GOLD AND SILVER SMITHS' WORK 
 
 IN THE 
 
 SOUTH KENSINGTON MUSEUM. \ 
 
 36105. 
 
 Wt. B575. 
 

 
 
 
 A 
 
RE LI QUAR Y, 
 Rheum sk Bv/ANTIMi. 
 Late XII Century 
 N° 7 6 50 - 61, p. 4 . 
 
SCIENCE AND ART DEPARTMENT 
 OF THE COMMITTEE OF COUNCIL ON EDUCATION 
 
 SOUTH KENSINGTON MUSEUM. 
 
 ANCIENT AND MODERN 
 
 GOLD AND SILVER SMITHS* 
 
 WORK 
 
 IN THE 
 
 SOUTH KENSINGTON MUSEUM. 
 
 Defcribed with an Introduction 
 
 BY 
 
 JOHN HUNGERFORD POLLEN, M.A., 
 
 C. M. ROYAL ACADEMY OF MADRID, AND OTHER LEARNED SOCIETIES. 
 
 -JL 
 
 LONDON; 
 
 PRINTED BY GEORGE E. EYRE AND WILLIAM SPOTTIS WOO DE, 
 PRINTERS TO THE QUEEN’S MOST EXCELLENT MAJESTY. 
 
 AND SOLD BY CHAPMAN & HALL, 
 
 AGENTS TO THE DEPARTMENT FOR THE SALE OF EXAMPLES, 
 
 193, PICCADILLY, LONDON. 
 
 1878. 
 
T A B L E OF CONTENT S, 
 
 LIST OF ILLUSTRATIONS - 
 
 INTRODUCTION : 
 Section I. Gold 
 
 II. 
 
 III. 
 
 IV. 
 
 V. 
 
 VI. 
 
 VII. 
 
 VIII. 
 
 IX 
 
 X. 
 
 XI. 
 
 XII. 
 
 XIII. 
 
 XIV. 
 
 XV. 
 
 Silver ------ 
 
 Gold and Silver Smiths’ work among the Ancients 
 The Greeks - - - - - 
 
 The Romans - 
 The Byzantines - 
 
 Precious Stones, Niello and Enamel 
 The Treafure of Petroffa - - - 
 
 Gold and Silver Work in Weftern Europe of Byzan- 
 tine charafter - - - - - 
 
 Charlemagne - 
 The Eleventh Century - 
 
 The Thirteenth, Fourteenth, and Fifteenth Cen- 
 turies ------ 
 
 The Revival - - 
 
 The Sixteenth Century - 
 
 The Seventeenth Century - - - 
 
 Hall Marks ----- 
 
 DESCRIPTIVE CATALOGUE: 
 Greek, Roman, and Byzantine 
 Mediaeval - 
 
 Renaiffance - - - 
 
 Modern - 
 
 Oriental - - - 
 
 Abyffinian - 
 Alhanti - 
 
 CASTS AND OTHER REPRODUCTIONS: 
 Antique Treafure found at Hildelheim 
 Treafure of Petrolfa - - - 
 
 Byzantine, Mediaeval, and Modern 
 
 APPENDIX : 
 
 Important Objefts in various Collections 
 INDEXES ... - 
 
 Page 
 
 vii 
 
 ix 
 
 xvi 
 
 xviii 
 
 xxxi 
 
 xliv 
 
 lxii 
 
 lxxi 
 
 Ixxxi 
 
 Ixxxiv 
 
 xcii 
 
 cv 
 
 cxxxiv 
 
 clvi 
 
 clix 
 
 clxxix 
 
 cxciii 
 
 I 
 
 8 
 
 117 
 
 232 
 
 280 
 
 281 
 286 
 
 290 
 
 299 
 
 302 
 
 362 
 
 379 
 
LIS T OF ILLUSTRATIONS. 
 
 CHROMOLITHOGRAPH. 
 
 Reliquary in form of a Byzantine Temple, izth- century. 
 Frontifpiece. 
 
 WOODCUTS. 
 
 No. Page 
 
 I. 
 
 Seven-branched Candleftick. Arch of Titus, 
 
 Rome 
 
 - 
 
 ■- 
 
 xxiii 
 
 z. 
 
 Patera. Hildefheim treafure - 
 
 - 
 
 - 
 
 - 
 
 xxxviii 
 
 3 - 
 
 „ „ (Interior) 
 
 - 
 
 - 
 
 
 xlviii 
 
 4 - 
 
 Oblong Difh. Hildefheim treafure 
 
 - 
 
 - 
 
 - 
 
 li 
 
 5 - 
 
 Tripod Stand. Ancient Roman 
 
 - 
 
 - 
 
 - 
 
 lii 
 
 6 . 
 
 Abyftinian Chalice - - - 
 
 - 
 
 - 
 
 - 
 
 lxv 
 
 7 • 
 
 Bafe of Albero. Milan cathedral 
 
 - 
 
 - 
 
 - 
 
 lxx 
 
 8. 
 
 Cover of Byzantine Vafe 
 
 - 
 
 - 
 
 
 lxxix 
 
 9 - 
 
 Crown from Abyffinia 
 
 
 - 
 
 - 
 
 lxxxv 
 
 IO. 
 
 Votive Crown of King Suintala. Guarrazar 
 
 treafure 
 
 - 
 
 - 
 
 xc 
 
 ii. 
 
 Crown of Charlemagne 
 
 - 
 
 - 
 
 - 
 
 xciii 
 
 12. 
 
 Bell of St. Patrick 
 
 - 
 
 - 
 
 - 
 
 ci 
 
 1 3 - 
 
 Golden Altar Front from Bafle Cathedral 
 
 - 
 
 - 
 
 - 
 
 cvii 
 
 14. 
 
 Portable Altar. German. 12th century 
 
 - 
 
 - 
 
 - 
 
 cxii 
 
 15 - 
 
 Gloucefter Candleftick. Englilh. 12th century 
 
 ' 1 
 
 - 
 
 cxvi 
 
 16. 
 
 Albero. Milan cathedral 
 
 - 
 
 - I 
 
 - 
 
 cxviii 
 
 i7- 
 
 ,, Bofs 
 
 - 
 
 
 - 
 
 cxx 
 
 18. 
 
 Engraved and Enamelled Crucifix. 12th century 
 
 - 
 
 - 
 
 cxxii 
 
 *9> 
 
 20. Chalices ... 
 
 - 
 
 - 
 
 - 
 
 cxxv 
 
 21. 
 
 Marble Tabernacle. Italian. 15th century 
 
 - 
 
 - 
 
 - 
 
 cxxvii 
 
 zz. 
 
 23, 24. Chalices. 14th century 
 
 - 
 
 - 
 
 - 
 
 cxxxviii 
 
 25 - 
 
 Chalice. 15th century 
 
 - 
 
 - 
 
 - 
 
 cxxxix 
 
 26. 
 
 » » 
 
 - 
 
 - 
 
 - 
 
 cxl 
 
 27. 
 
 Coronation Spoon - 
 
 - 
 
 - 
 
 - 
 
 cxli 
 
 28. 
 
 Triptych. 15th century 
 
 - 
 
 - 
 
 - 
 
 cxliii 
 
 29. 
 
 Hanap. German. 15th century 
 
 - 
 
 - 
 
 - 
 
 cxliv 
 
 3 °- 
 
 Cup with tranflucent Enamel 
 
 - 
 
 - 
 
 - 
 
 cxlvi 
 
 3 *• 
 
 Pendant, Guild of Goldfmiths of Ghent 
 
 - 
 
 - 
 
 - 
 
 clii 
 
 32 . 
 
 Monftrance. Italian. 15th century - 
 
 - 
 
 - 
 
 - 
 
 clvii 
 
 33 - 
 
 Pax. Early 16th century 
 
 - 
 
 - 
 
 - 
 
 clviii 
 
 34 - 
 
 Pax. Italian. 1 6th century 
 
 - 
 
 - 
 
 - 
 
 clx 
 
 35 - 
 
 Hammer made for Jubilee of 1550 
 
 - 
 
 - 
 
 - 
 
 clxiii 
 
 3^>- 
 
 Chalice. Spanifh. 16th century 
 
 - 
 
 - 
 
 - 
 
 clxvi 
 
 37- 
 
 Hanap .... 
 
 
 - 
 
 - 
 
 clxix 
 
 38. 
 
 Silver-gilt Cup. German. 1 6th century 
 
 - 
 
 - 
 
 - 
 
 clxxi 
 
 39 - 
 
 Medallion - 
 
 - 
 
 - 
 
 - 
 
 clxxii 
 
 40. 
 
 Sugar Cafter. Englifh. 16th century 
 
 - 
 
 - 
 
 - 
 
 clxxviii 
 
 41. 
 
 Chalice and Paten. Englifh. 1 6th century 
 
 - 
 
 - 
 
 - 
 
 clxxviii 
 
 42. 
 
 Salver. Flemifh. 17th century 
 
 
 * 
 
 
 clxxix 
 
viii 
 
 Lift of Illuft rat ions. 
 
 No. 
 
 43. Tankard. Nuremberg. 17th century- 
 44- » Englifh. „ 
 
 4^. Silver-gilt Cup. Englilh. A.D.1611 
 
 46. Silver Baftn. Englifh. 17 th century - 
 
 47. Covered Silver Cup ... - - 
 
 48. Ampulla. Coronation Plate - 
 
 49. Ivory Sceptre. „ ... 
 
 50. Silver Table at Windfor Caftle. Englifh. 17th century 
 
 51. Silver Cafket. Englifh. 17th century 
 
 52. Bowl or Salver. Englifh. Early 1 8th century 
 
 53. Tureen at Windfor Caftle. Englilh. 1 8th century 
 
 54. Tea Kettle „ „ „ 
 
 55. 56, 57. Silver Vafes. Englifh. 18th century 
 
 Page 
 
 clxxxi 
 
 clxxxii 
 
 - clxxxiii 
 
 - clxxxiii 
 
 - clxxxiv 
 clxxxv 
 clxxxv 
 clxxxvi 
 
 - clxxxvii 
 
 - clxxxvii 
 
 - clxxxviii 
 
 - clxxxviii 
 
 cxci 
 
 ETCHINGS. 
 
 1. Silver Vafe. Greek. 4th century B.C. ... j 
 
 2. Enamelled Calket. Englifh (?). 13th century - - 31 
 
 3. Reliquary French. 14th century - - - - 61 
 
 4. Cruet, Rock Cryftal, with Silver-gilt Mounts. French. 14th 
 
 century - ------ 65 
 
 5. Reliquary or Pyx. Flemifh or German. 15th century - 91 
 
 6. Morfe. The Adoration of the Magi. German. 15th cen- 
 
 tury ------- 98 
 
 7. Pax. The Nativity. Italian. 1 6th century - - - 124 
 
 8. Monftrance. Spanifh, dated 1537- - - - 129 
 
 9. Spoons, Silver-gilt. 17 th century - - - - 141 
 
 Jo. Knife and two Forks. 16th century - - - 143 
 
 11. Silver Cup attributed to Jamnitzer of Nuremberg - - 153 
 
 12. Cup and Cover, mounted with Onyx Cameos. German. 
 
 1 6th century - - - - - - 157 
 
 13. Cup or Tazza. German. 17th century - 222 
 
 14. Peftoral Croftes. Ruffian. 17th century .... 229 
 
 *** Thefe are the work of ftudents, iti training as art teachers, in the etching 
 clafs at the South Kenfington art schools. 
 
ALL that is attempted, in the following imperfedl Jketch is to 
 diredi attention to Jome examples handed down to us , and to the 
 excellent treatifes which illuftrate the hifiory of goldfmith s' work ; 
 an art to which the heft fculptors, from Phidias to the revival , 
 have devoted much of their Jkill and accomplifiments. Jewellery , 
 not being included in the body of the book , is but incidentally 
 treated in the Introdudiion. 
 
 INTRODUCTION. 
 
 i.— G old. 
 
 HE edimate fet on gold as the reprefentative of 
 wealth can be traced through all the records of 
 hidory. Except in countries peopled merely by 
 wandering families roaming over plains and paf- 
 dures, and counting their riches only in the numbers of their 
 flocks and their herds, all poffeffions have been exchanged for 
 the two precious metals, gold and filver. 
 
 Thefe metals have been fometimes taken in exchange by 
 weight, in the fbape of ornaments for the neck, the arms, the 
 ears, or the ankles ; fometimes in the rude form of dull:, bars, 
 or ingots ; fometimes damped with the mark of kings, govern- 
 ments, or cities. Perhaps the earlieft recorded mark of this 
 kind was the rude image of a fheep or an ox, the metal being 
 called in Latin from that image “ pecunia ,” from “ pecusf 
 cattle, reprefenting fo much live dock. 
 
 36105. b 
 
X 
 
 Introduction. 
 
 Gold has been taken by the common confent of mankind 
 as the fitted: reprefentative of wealth both in ancient and in 
 modem times, for the following (amongfl: many) reafons*: 
 
 i. Gold is of real value as merchandife, and is ufed for 
 many purpofes, whether it is damped and coined or merely 
 fold by weight. i. This value being acknowledged, gold is 
 lefs in quantity and more eafily carried about than any mer- 
 chandife or produce for which it is taken in exchange. 3. The 
 changes in the value, or, in other words, the quantity of food 
 or produce for which a given quantity of gold will Hand, are 
 independent of fudden political or commercial troubles. 4. Gold 
 is Ipread too widely over the world for the rilk of its being all 
 gathered into the hands of one or a few perfons, as precious 
 ftones might be. 5. Gold is not fubjedfc to alteration by time, 
 by chemical agents, by frequent melting and recalling ; and it 
 can be prefer ved without trouble. 6. Wherever gold is found 
 it is one and the fame in subftance. Diamonds, which are of 
 greater intrinfic value, depend on many conditions, and have 
 faults only known to perfons of fkill and experience in buying 
 them. 7. Gold can be divided, (a coin, e.g. } reprefenting 
 twenty /hillings, can be divided into twenty parts, each worth 
 one fhilling,) and the parts, either feparately or together, or 
 recall:, retain their intrinfic value. The carat, on the other 
 hand, in diamonds, increafes in value in proportion to the fize 
 of the done, but if a diamond were divided into many parts, 
 each would lofe molt or all of its value. 8. Gold takes and 
 will preferve the molt delicate ftamp, luch as for flatnefs is 
 little liable to wear. 9. Laftly, though fo foft and dudtile a 
 metal, it can be made hard enough to wear very long with 
 but flight lofs of its value. 1 
 
 The dudlility of goldj which is little harder than lead, has 
 always been known as a valuable quality. One ounce could be 
 
 1 Rofwag, B. 1 1 , ch. i. 
 
IntroduSlion . 
 
 xi 
 
 beaten out, according to Pliny, 2 into 750 leaves, “ four fingers 
 fquare.” This extenfion is far exceeded by gold beaters of 
 the prefent day ; according to Chambers, modern gold leaf if 
 beaten from an ingot weighing two ounces, when at its extreme 
 thinnefs of 2 0 ^ 6 0 -th of an inch would cover about 200 fquare 
 feet. 3 As regards weight, the ancients knew nothing of pla- 
 tinum or iridium, metals heavier than gold. 
 
 One other element in the value of gold, fpecially in refer- 
 ence to gilding, is the glory and beauty of the colour. Pliny, 
 indeed, notices the high value of this afpe6t of the metal, which 
 he calls the colour of the ftars, but declares that filver is feen 
 from a greater diftance, and that it was, on that account, ufed 
 by the Romans on the military ftandards. 4 The only remains, 
 however, of thefe infignia now known are of bronze, and 
 probably were always gilt. 5 \ 
 
 The language of poetry has borrowed the name of gold as 
 that which fignifies the yellowed: and richeft hue of the rays of 
 light, when they llant over the face of nature at the riling and the 
 fetting of the fun. The “golden morn,” “the waves tipped 
 with gold,” the evening Iky, “ barred with gold.” Again, 
 the harmony of this yellow light with purple has ranked 
 “ purple and gold,” as royal colours, reminding us of these 
 broken rays “ passing from gold into orange, from that into 
 “ rofe, from that into purple :” 6 and once more the colour 
 fpecially fuggefted by gold has acquired a moral fignificance. 
 We fpeak of golden hopes, golden dreams, golden profpetils, 
 and the golden age, the earthly paradife of the ancient poets, 
 “ Saturno rege ,” when innocence and peace reigned over the 
 earth, before material gold was dug. The word golden, in this 
 
 5 Defcription of the Trajan column, 
 
 P- 3 i- 
 
 6 Rulkin, Mod, Painters, i. 207. 
 
 b 2 
 
 2 H. N., xxxiii. 19. 
 
 3 Cyclopcedia. 
 
 4 2 H. N., xxxiii. 19. 
 
Xll 
 
 Introdu&ion. 
 
 fenfe, refers to the brightnefs, glow, luminoufnefs of the metal, 
 as well as to the abundance it reprefents. 
 
 The purity, the weight, the beautiful colour, the known 
 value of gold, have not only made it the medium of exchange, 
 but enfured its employment in the moft precious veffels devoted 
 to the fervice of religion, and in crowns, fceptres, thrones, and 
 other enfigns of royal power, down to the prefent day. 
 
 Gold is found alloyed with various metals, never without 
 fome mixture of filver, often with copper, iron, and other 
 fubftances in fmall quantities, fometimes with mercury, when it 
 is called an amalgam. Gold alloyed with filver is called native 
 gold, and in this form it has its chief commercial importance. 
 The filver in this combination varies in proportion from one 
 hundredth to one half of the entire fubftance. Gold fo alloyed 
 takes the form of particles, water-worn plates, fcales, occafionally 
 of cryftals, and then of odohedra. Gold dull, particles of 
 various fize and weight, the larger known as nuggets, are 
 found in alluvial wafhings. When the metal is found in veins 
 it is generally enclofed in a quartzofe gangue or gold quartz, 
 diffeminated and affociated with other mineral fubftances, but 
 it is alfo found in the form of threads, thin plates, and grains 
 not always viftble to the eye. 
 
 Gold is diftributed in rocky veins over the earth. A con- 
 fiderable portion of the gold-bearing rocks belongs to the 
 palasozoic, fome to the azoic, ftrata, the two loweft geological 
 groups ; but the gold-bearing veins vary much, not only in 
 dimenfion but in produ&ivenefs as well. The moft produc- 
 tive veins contain great quantities of diffeminated fulphurides, 
 and thefe, as the veins become worn and decayed by heat and 
 cold, come clofe to the furface, are decompofed, and liberate the 
 granules of gold. In this ftate the gold particles are moved 
 by the acftion of water, and become the gold fands found in 
 
IntroduSlion. 
 
 xm 
 
 water courfes ; nuggets, and plates. Though found in more 
 or lefs abundance near the furface of the earth, in fome of the 
 gold fields this accumulation is the refult of yery long periods, 
 during which the veins have been in procefs of decompofition, 
 and this abundance is not neceffarily a fign of veins of extra- 
 ordinary richnefs. On the other hand, it has been thought that 
 veins get poorer as they are worked deeper down, but profefl'or 
 Phillips fhows this to be an error. 
 
 Gold is extracted from the fubftances in which it is mixed 
 or embedded by breaking up the quartz and picking out the 
 parts containing the ore, which is then fufed ; or by fimple 
 waffiing; or it is feparated from other metals by means of 
 mercury, to which gold eafily amalgamates, and from which 
 the mercury is afterwards evaporated ; and by other proceffes. 
 
 Gold is found in fmall quantities in England and Wales ; 
 in the tin mines of Cornwall and Devon ; and over a fmall 
 area of a few fquare miles north of the road from Dolgelly to 
 Barmouth . 7 
 
 Small quantities of gold had been found in Scotland during 
 the reign of James V. That “.addive and patriotic prince 
 u obtained miners from Germany, who extradited both filver and 
 “ gold from the mines of Leadhills in Clydesdale. The gold 
 <c was of fine quality, and found in quantity fufficient to fupply 
 “ metal for a very elegant gold coin which, bearing the head 
 <c of James wearing a bonnet, has been thence called a bonnet- 
 <c piece .’' 8 Gold is now found in Sutherlandfhire, but whether 
 in quantities fufficient to repay the working of mines it would 
 be premature to ftate. 
 
 7 Between twelve and thirteen thou- moor, ferving them with a “ delTert of 
 
 fand ounces had been found there up to “ the finefl: fruits which the country 
 
 April i, 1866. “ afforded,” viz., faucers fall of thefe 
 
 8 This king entertained the ambaffa- gold pieces. — Tales of a Grandfather, 
 dors of Spain, France, and other coun- ch. xxvii. 
 
 tries at a hunting excurfion on Crawford 
 
XIV 
 
 Introduction. 
 
 In Ireland gold has been found from a very early date, 
 and the number and value of gold ornaments, fuch as torques or 
 twilled neck collars, reliquaries, and velfels for ecclefiaftical ufe, 
 made in Ireland during the middle ages was great. Beautiful 
 examples of old Irilh workmanfhip will be defcribed further on. 
 It would be intefefting to be able to make fome authentic com- 
 putation of the quantity of treafure trove of this kind that has 
 been collebted in the royal Hibernian academy and in private 
 hands. There are no data to be relied on for more than guefs 
 work on the fubjedt. Great quantities have been melted down. 
 I have been told that from 250,000/. to 300,000 /. fterling is 
 probably within the intrinsic value of the metal, and, perhaps, 
 this amount might be fafely put at a far higher figure. 9 
 
 The old gold workings of the county of Wicklow were 
 re-opened during the lad century, and were profitable in 1796, 
 but the works were deftroyed during the rebellion in 1798, and 
 have never been renewed, but it is polfible that they might be 
 made produdtive ftill. 
 
 Small quantities of gold are found in France, and quantities, 
 alfo fmall, have been got from the Rhine, the walhing of the 
 fands of which was formerly farmed by the municipality of 
 Stralburg. 
 
 Spain and Portugal produce gold. The yield of the Spanilh 
 mines is much reduced in modern times. They had a great 
 name in this refpecft in the times of the Roman emperors, 10 par- 
 ticularly thofe of Galled a, from which the gold was very pure. 
 Remains of ancient works on a grand fcale are ftill traceable 
 in feveral parts of Spain. 
 
 The Norician Alps were faid to be highly produbtive of 
 
 9 Large numbers of maffive gold 
 
 armlets and other perfonal ornaments 
 have been on fale in Dublin within the 
 laft twenty years. The claims of the 
 treafury, before the prefent alteration 
 
 of the law regarding treafure trove, had 
 the natural effeft of inducing peafants 
 who made difcoveries of gold ornaments 
 to conceal and melt them. 
 
 10 Plin., H. N., xxxiii. 21. 
 
Introduction. 
 
 xv 
 
 gold at a very earlier period . 11 The mines of this region pafied 
 into the pofleffion of Rome under the emperors. Gold was 
 found in Piedmont and Savoy, in the fands of the Po in ancient 
 times, and a fair quantity is ftill faid to be produced on the 
 fouthern Hopes of Monte Rofa. 
 
 In Hungary and Tranfylvania gold mines have been con- 
 tinuoully at work fince the eighth century ; at Schemnitz, 
 Kremnitz, Neufohl, and other places. Indeed, gold mines and 
 a Collegium aurariorum , or mining office for working them to 
 the profit of the Hate, exifted at Apula from the time of the 
 conqueft of Dacia under the Emperor Trajan. Waffiings on 
 the Ifer in Bohemia produce a fmall quantity, and the Bohemian 
 mines were of fome importance from the eleventh to the 
 fifteenth century. The amount of gold, however, no^produced 
 from all parts of Germany is very fmall. The fands of the 
 Rhine and Ifer have been alluded to. The Reufs, the Aar, 
 the Danube, the Elbe, the Moldau, the Oder, and the Wefer, 
 have alfo fand more or lefs auriferous. 
 
 The greateft produdtion in any European country at the 
 prefent day is that from the weftern Hopes of the Ural Moun- 
 tains in Ruffia. But Ruffia draws fupplies of gold from Siberia 
 and the Caucafus. 
 
 Much greater quantities of gold are found in Auftralia and 
 California, the Auftralian being the moft pure . 12 The gold 
 produced in Brazil has declined in quantity fince the middle of 
 the laft century. 
 
 11 Thefe mines were on the fouthern 
 dopes of the Tyrolefe Alps, and gold 
 was obtained by wafhing, the froits 
 and violent aCtion of Alpine torrents 
 contributing to the difintegration of the 
 auriferous rocks, Strabo, iv. 6. 
 
 12 The United States Commiffioner 
 of Mining Statiftics, puts the production 
 of gold and iilver in that country, fxnce 
 the difcovery of gold in California, 
 
 from 1848 to 1873 inclulive, at 
 $1,426,800,600 ; that of other dates 
 and territories; gold, $254,950,000; 
 Iilver, $186,050,000. The gold pro- 
 duct before 1848 is eftimated at 
 $14,440,000 ; the total gold and 
 iilver products of the United States 
 at $1,441,240,000. — Times, February 
 4 > i 8 75 - 
 
XVI 
 
 Introdu&ion. 
 
 From very ancient times gold has been found in condder- 
 able quantities in India and other parts of Alia. Much was 
 brought to Europe in the courfe of trade and as fpoils of war. 
 It was abundant in ancient Egypt, and though not, apparently, 
 coined in that country. King Solomon was fupplied with gold 
 by trade regularly carried on byway of the Red fea. 
 
 Pliny fpeaks of gold excavated by ants cc amongd the 
 <c Dardae, the ants are as large as Egyptian wolves and are 
 “ cat coloured. The Indians gather the gold duft thrown up 
 ‘ c by the ants when they are fleeping in their holes in fummer, 
 “ but if thefe animals wake they purfue the Indians and, though 
 tc mounted on the fwifteft camels, overtake and tear them to 
 “ pieces tanta pernicitas feritajque eft cum amore aurift fuch 
 dedrucdivenefs and ferocity have they along with the love of 
 gold ! a danger to which modern gold diggers are not expofed . 13 
 
 Gold was found in Colchis, of which the fable of the 
 Golden Fleece may be taken as evidence. Saulaces, king of 
 that country, is faid by Pliny to have plated his palace with 
 gold taken from Sefoftris, king of Egypt. The rivers reputed 
 by the Romans to have gold-bearing fand were the Tagus, the 
 Po, the Hebrus in Thrace, the Patdolus, and the Ganges. 
 
 II. Silver. 
 
 Native filver occurs fometimes in a date of purity, oftener 
 mixed with other metals and fubdances. Alloys of filver and 
 gold are numerous, but the filver fometimes fo preponderates 
 as to fhow traces only of gold. It is alfo found as an amalgam, 
 that is, ad'ociated with mercury ; in vitreous fulphide of filver 
 or filver-glance, the mod important of the ores of diver; and 
 
 13 Mr. Wilfon, in reference to a Sans- believed to be excavated by ants. Note 
 
 krit poem, remarks that certain tribes to Bollock’s Pliny, H. N., xi. 6 and 
 
 between Hindooftan and Thibet, were xxxiii., 15, zz. 
 faid to fell grains of gold called antgold, 
 
Intro mitt ion. 
 
 XVII 
 
 in various other ores. cc Few metals,” fays profeffor Phillips, 
 “ enter into a greater variety of natural combinations, or are 
 cc found over a wider geological range than filver. It is faid 
 “ to exift in minute traces in fome organic bodies and in the 
 tc waters of the ocean.” 14 
 
 As to the places in which filver is produced, the mines that 
 have been the longeft worked are thofe of Schemnitz, already 
 alluded to. A fchool of miners was eftablifhed there by the 
 emprefs-queen Maria Therefa, in 1760. There are many and 
 produdtive filver mines in the Erzegebirge diftricts of Saxony 
 and Bohemia. Thofe in the Hartz mountains are worked but 
 produce lefs filver. 
 
 Spain in ancient times was rich in filver mines. "S£he pro- 
 dutftion is now nearly confined to the mines of Hiendelaencina. 
 
 The famous filver mines of A aopelov, Laurium in Attica 
 were a fource of wealth to ancient Athens from a remote date. 
 Herodotus notices this in defcribing the policy of Themiftocles 
 for the creation of an Athenian navy. 15 The Athenian coinage 
 was in filver. The word ’apyupiov, a filver piece, as the 
 French word argent , came to mean money generally. Our own 
 word money is derived from the word moneta : the temple of 
 Juno Moneta was the depofitory of the Roman mint. The 
 word pecunia has already been explained. 
 
 But the mines of Laurium were gradually exhaufted. ct In 
 cc the days of Themiftocles the fupply from them was very 
 cc abundant ; when Xenophon wrote they were beginning to 
 “ fail ; in Strabo’s age they were exhaufted. Paufanias fpeaks 
 (C of them as a monument of the paft.” 16 
 
 A great amount of filver has been produced and imported 
 into Europe fince the difcovery of the New World at the end of 
 
 14 J. A. Phillips, p. 248, where a 15 Book vii. 144. 
 
 complete lift is given of the ores and le Wordfworth, Greece, p. 184. 
 
 other fubftances in which filver is con- 
 tained. 
 
XV 111 
 
 Introduction. 
 
 the fifteenth century. The greateft quantity is now produced 
 in Mexico. The mines of Veta Madre of Guanaxerato are 
 over 300 fathoms deep. The mines of Nevada, difcovered 
 only in 1 859, are of extraordinary richnefs. Next in rank as 
 to quantity are the mines of the United States, Chili, Peru, and 
 Bolivia. 17 So far as to filver. 
 
 III. Gold and Silversmiths’ Work among the Ancients. 
 
 It is faid, in the book of Genefis, xiii., that Abraham in the 
 twentieth century, B.C., “when he went out of Egypt,” was 
 very rich not only in cattle but in filver and gold, acquired 
 probably in exchange for his cattle in that country. This gold 
 was both wrought, and in ingots and dull: ; golden earrings and 
 bracelets are fpoken of, Gen. xxiv, but it is remarkable that no 
 coined gold or filver have been found among the ruins either of 
 Egypt or Nineveh. 18 Gold was ufed as a medium of exchange, 
 but by weight, by both people. 
 
 Abundant examples of the goldfmiths’ work of the 
 Egyptians remain in our mufeums, or may be ftudied in the 
 paintings ftill to be feen in Egyptian tombs, and in the elaborate 
 books that have been publifhed on Egyptian antiquities during 
 the prefent century. It will be enough here to refer to a 
 remarkable fet of gold ornaments exhibited during the Great Ex- 
 hibition in London of 1862. Thefe belonged to the Khedive of 
 Egypt, and had been found at Thebes by M. Augufte Mariette. 
 They were in the cafe containing “ the mummy of queen Aah- 
 ft Hotep,” whofe date is about 1500 b.c., and confifted of a 
 poignard with a gold blade on which was engraved a combat 
 between a lion and a bull, the cartouche on which is that of king 
 
 17 Before 1862 the fupply of filver Mexico and South America. In 1874 
 from all parts of the world amounted the total yield was 13,000,000/. — 
 
 to only 8,000,000/. a year, and “Times,” Nov. 27, 1876. 
 
 6,000,000/. of that amount came from 18 Layard, Nineveh, ii. 4x8. 
 
Introdu&ion. 
 
 xix 
 
 Amofis, fon of the queen named and firft king of the eighteenth 
 dynafty. A diadem, on each fide (or extremity) of which is a 
 couching fphinx. A hatchet, the fymbol of divinity : on the 
 blade is a reprefentation of Amofis immolating a barbarian, the 
 whole legend of the fame king is infcribed on the handle. A 
 fquare pectoral brooch, having the appearance of being enamelled 
 but in reality fet with coloured ftones. A jewel reprefenting 
 king Amofis Handing on a bark between two divinities who are 
 pouring over him the waters of purification. A jewel formed 
 by three bees of maflive gold. A gold chain of woven pattern 
 (Trichinopoli), three feet long, from which is fufpended a 
 fcarabasus. A bracelet of maflive gold ornamerfifed with 
 repoufle figures repofing on a ground of lapis lazuli along with 
 the figure of Amofis. A boat of maflive gold on four 
 wheels of bronze ; this was found with the mummy of the 
 queen, and was a fymbol of the departure of the foul of the 
 deceafed ; the towers are of filver, on the prow is a cartouche 
 with the name of king Ramefes, hufband of the queen and 
 father of Amofis. Thefe jewels were without enamel though 
 inlaid with coloured ftones . 19 
 
 The Egyptians both worked mines 20 and exaCted annual 
 tributes of the precious metals from the conquered provinces in 
 Alia and Africa in the form of duft, vafes, and other manu- 
 factured objedts. The Egyptians made ftatues and vafes, as 
 well as jewels in gold, filver, and filver inlaid with gold. Such 
 jewels were common in the eras of Ofirtafen the firft and 
 Thothmes the third (the contemporaries of Jofeph and 
 Mofes ). 21 
 
 19 Report of the Jury, Clafs xxxiii. 
 
 p. 5. 
 
 20 Gold mines are ftill feen in the 
 Bifharee defert, “ about feventeen or 
 “ eighteen days’ journey to the fouth 
 “ eaft of Derow, a little above Koum 
 “ Ombo, on the Nile.” They were 
 
 in work in the tenth century, and 
 much later, but abandoned, as Aboul- 
 feda Hates, becaufe the gold barely 
 covered the expenfe of working. — 
 Wilkinfon, Anc. Egypt, iii. 227. 
 
 21 Wilkinfon, Anc. Egypt. 
 
XX 
 
 IntroduSiion . 
 
 The goldfmiths’ work and metallurgy of the Hebrews have 
 fo clofe a connection with that of ancient Egypt, that in a review 
 of thefe arts the two people may be confidered together. 
 
 The facred veffels of the Jewifh tabernacle, of which detailed 
 accounts are given in the book of Exodus, xxv., xxxvi., were 
 made from jewels and veffels of gold and filver borrowed from 
 the Egyptians, and forced upon the Hebrews in order to induce 
 them to leave the country. The quantity of the precious 
 metals offered by the people in the defert was more than 
 enough to make the required altars and veffels, and many 
 offerings were returned. 22 
 
 The objects made in the defert of Mount Sinai were, (i) the 
 ark, a facred cheft or reliquary made to hold the ftone tables of 
 the law, the pot holding miraculous manna, and the rod of 
 Aaron that bloffomed 23 ; (2) the propitiatory or mercy feat ; 
 (3) the altar of incenfe ; and (4) the feven-branched candle- 
 ftick. Sacred fire was kept perpetually burning in the taber- 
 nacle and in the temple. cc The fire fhall never go out on 
 <c the altar.” It had, however, to be rekindled more than once 
 during the hiftory of the Jews. <c Fire coming from the Lord 
 “ devoured the holocauft.” It was rekindled in the temple of 
 Solomon ; “ The children of Ifrael faw the fire coming down,” 21 
 &c. ; and on other occafions cenfers were ufed to burn incenfe 
 during folemn a< 5 ts of worfhip. Tongs, fnuffers, and other 
 neceffary utenfils for trimming and making the lights and fires, 
 were of the precious metals. The facred cheft was of mimofa 
 wood, overlaid with gold infide and out; it had a crown or 
 crefting of leafwork round the upper edge and loops of gold at 
 the corners, through which paffed two poles that were never 
 removed. 
 
 The table of propofition, on which were kept twelve loaves, 
 anfwering to the twelve tribes, was of the fame wood overlaid 
 
 22 Exod. xxv. 
 
 23 Heb. ch. ix. 
 
 2i Lev. vi., ix ; 2 Cliron. vii. 
 
IntroduSlion. 
 
 xxi 
 
 with gold, with a creating or crown round the edge, four fingers 
 broad , 25 and another crefting pointing downwards. 
 
 Two cherubim, fymbolic figures, (perhaps of animals, or 
 human-headed,) with wings ftretched out, facing each other, were 
 placed on the propitiatory or feat of mercy, a pedeftal or bench 
 that flood over the ark, and the wings covered or fhadowed it 
 over ; a defcription that might alfo ftand for the out-ftretched 
 wings fo common in Egyptian paintings and baf-reliefs. Thefe 
 figures were of beaten gold, as well as the propitiatory, which 
 was of the fame length and width as the ark. The capitals of 
 the columns that fronted the fandluary, and the hooks and 
 fockets that could be feen, were alfo of gold. Obrj^dts lefs 
 facred were of filver, and the metal work that faftened the 
 wooden enclofure round the whole facred ftrudture, the boards 
 of which were ufed to cover and pack the fandluary, and the 
 veflels kept within it, were of brafs or bronze. The moft im- 
 pofing, if not the moft important objedt will be noticed prefently, 
 the feven-branched golden candleftick. 
 
 The goldfmiths who made thefe veflels were Bezaleel and 
 Oholiab, but under the diredtion of Mofes, according to a 
 pattern revealed to him in a vifion . 26 All had fpecial lines, parts, 
 and proportions ; fpecial numbers and combinations of numbers 
 were preferibed in the parts and details of compofite objedts, 
 fuch as the twelve oxen that fupported the fountain or laver of 
 bronze. The moft exadt details are given us in words as to 
 thefe preferibed conditions, which were rigoroufly carried out. 
 But of the art, the form, or charadter of the decoration we 
 know nothing. Whether the creftings, capitals, even the 
 cherubs, were of an Egyptian type or had anything in common 
 with Greek or with Oriental, or with mediaeval European art we 
 can but conjedture. With the exception of the golden candle- 
 ftick, trumpets, and the table (?), fculptured on the infide of the 
 
 25 Jerem. lii. 21. 
 
 26 Heb. viii. 5. 
 
XXII 
 
 IntroduElion. 
 
 arch of Titus, we have no graphic or pibtorial reprefentation of 
 thefe utenfils. And it is aftonifhing how differently different 
 ages and countries will reprefent their ftyle and decorations ; how 
 they fill up the details of a picture, on the important or fignificant 
 features of which all are agreed. In the Middle Ages and at 
 the revival artifts made pidlures of fubjetfts of common intereft, 
 fuch as the myfteries of the Chriftian religion, and imitations 
 of the feven-branched candleftick, without the fmalleft regard 
 to archaeology. And fo we are left to complete the idea of 
 the Hebrew goldfmiths’ work for ourfelves. A cloud of writers 
 have commented on the paffages in the facred writings which 
 defcribe or name the cherubim . 27 With regard to all the facred 
 veffels, while it is certain that all details, fignificant or typical 
 of theological truths or myfteries, were in no way left to the 
 artificers, details of ornamentation would feem to have been 
 confidered lefs important. The conditions required could be 
 carried out, as we fhould fay, in any ftyle, and both Mofes 
 and his affiftants had been trained in Egypt, though as they 
 inhabited a particular province they might have retained primi- 
 tive methods of working. It is probable, however, that the 
 metallurgy of the Hebrews was not very unlike that of the 
 Egyptians, 
 
 27 Confult Dr. Smith’s dictionary 
 of the bible for a wide table of refer- 
 ences ; but what form thefe objects had 
 remains obfcure. Cherubim were 
 embroidered on the curtains that hung 
 over the door of the tabernacle ; they 
 were frequent in the ornamentation of 
 the temple walls of Solomon, and in 
 high relief on the fmall olivewood doors 
 of the oracle, as well as of the temple 
 itfelf ; on the moveable lavers or water 
 velfels ufed for walhing the flefh for 
 facriiice and other liturgical purpofes. 
 In the vifion of Ezekiel, Ez. x., the 
 cherubim have four faces — that of a 
 
 cherub, that of a man, that of a lion, 
 that of an eagle. In the vifion of 
 Ifaiah the face of an ox is defcribed 
 inftead of that of a cherub. In the 
 vifion of Ezekiel they are on wheels, 
 have each of them four hides with four 
 faces or likenefles, are full of eyes, and 
 the wheels are full of eyes, they advance 
 or retire fwiftly in any direction with- 
 out turning. Thefe appearances are 
 fymbolic of attributes, fuch as know- 
 ledge, power, and other qualities. But 
 to reprefent them by the arts of fculp- 
 ture or painting could be poflible only 
 by forne abftraCt image. 
 
IntroduSiion . 
 
 XXlll 
 
 To return to the golden candleftick, which figures in the 
 fculptures infide the arch of Titus in Rome. This was an 
 object of curicfity from its peculiar fhape, and the perpetual 
 light it maintained ; a figure likely to make a deep impreflion 
 on the heathen nations of antiquity. In a certain fort of way 
 fire was worlhipped or held facred over many countries of the 
 Eaft. 28 So it furvived to be carried to Rome along with the 
 table of prothefis (?) ; probably not the original table, nor that 
 of Solomon ; poflibly that mentioned in i Maccab. iv. 49, 
 when many new veflels were made. A fplendid table was 
 given by Ptolemy Philadelphus, 29 perhaps the table fihown in 
 the fculptures. 
 
 1. 
 
 Seven-branched Candlestick. — Arch of Titus, Rome. 
 
 28 The ancient “ Parfi faid, Tire is ing to Strabo. Dollinger, Gentile, 
 “ ‘ the pureft and brighteft element, &c., i. 392. 
 
 “ ‘ impregnated with that which is 29 Jofephus, Antiq., B. xii. 
 
 “ ‘ divineft in nature’s light,’ ” accord- 
 
XXIV 
 
 Introduction. 
 
 The candleftick was of pure gold, a talent in weight ; the 
 ftem was made up of bofles and leaves alternating, the defcrip- 
 tion of which in Exodus xxv. is rather obfcure : three cups or 
 bowls, like nuts or almonds, with lilies or flowers. The de- 
 fcription which comes neareft to the fculpture as now feen in 
 Rome is that of nuts, with the foliated involucrum curling over 
 the lower part of the bofs or fruit, and a bowl at the head of 
 the ftraight part of the ftem, the receptacle of the oil and wick. 
 The fix branches are fegments of circles curving out at regular 
 intervals in three fets, with a bowl or bofs under each pair of 
 branches, coming to one height above, and ranging in one line 
 of lamps along with the centre light. It was kept always 
 lighted ; was placed fouth of the tabernacle, oppofite to the table 
 which was on the north fide. The bafe, as reprefented in the 
 fculpture, is in two plinths, panelled on the fides with griffins 
 or winged animals in baf-reliefs, intended perhaps to reprefent the 
 Jewifh cherubim (?). The three fides of the bafe feen on the 
 arch, and as given in the woodcut, reprefent three fides of an 
 octagon, not of a hexagon. The lower part of the ftem fpreads 
 out into a ring of conventional petals, like an inverted lily or 
 flower cup. No allufion to the octagonal bafe is contained in 
 the Mofaic account, and it has been confidered by fome to have 
 been an addition to the original candleftick. This whole bafe 
 was, perhaps, a Roman reftoration, or late foreign addition. It 
 is faid to have been fo high in its original form as to have 
 required the ufe of fteps to trim the lights. Many parts, there- 
 fore, of the ftem or bafe might have been loft or replaced. 
 
 The lights were fymbols of the Divine prefence , 20 the feven 
 fpirits of God ; feven eyes. The number feven was a cc number 
 of perfection,” fometimes ufed to mean many ; feven times, 
 many times ; fo again in multiples of feven, £C feventy times 
 feven,” i.e., any number of times. It was a number of con- 
 
 30 Rev. i. 13. 
 
Introdu8lio?t. 
 
 xxv 
 
 tinual recurrence in the ritual : it became a fubjedt of frequent 
 comment by the Fathers, and ruled the difpolitions of many 
 mediaeval founders, builders, and architects. 
 
 The later hiftory of the golden candlestick is not very 
 clearly recorded. There is a loofe tradition that it was carried 
 away by Maxentius and thrown into the Tiber as he fled over 
 the Ponte Molle in the fourth century ; and, perhaps, hopes 
 are entertained of its recovery when the new drainage of that 
 river is complete. Gibbon, however, expreflly ftates that the 
 holy veflels were carried in the triumph given to Belifarius at 
 Constantinople after the fubjugation of Africa in 334. He 
 brought the candleftick from Carthage, cc The holy veflgls of 
 cc the JewiSh temple, after their long perigrination, were refpedt- 
 “ fully depofited in the Christian church of Jerufalem.” 31 
 It had been taken to Carthage by the Vandals. In the year 
 614 Jerufalem was taken by the Perfians under Chofroes. 
 u The fepulchre of Chrift and the Stately churches of Helena 
 “ and ConStantine were confumed, or at leafl: damaged, by the 
 “ flames ; the devout offerings of three hundred years were 
 “ rifled in one facrilegious day.” 32 From this time the golden 
 candleftick is loft Sight of in hiftory. 33 
 
 The facred veSfels and utenfils made for the tabernacle re- 
 mained in ufe after the completion of the temple of Solomon. 
 Many more were added, larger, and fome of them of great 
 value. The fandtuary was lined with plates of gold; walls, 
 
 31 Decline and Fall, ch. xli. 
 
 32 lb., xlvi. 
 
 33 “ Adrichomius, a writer of the lix- 
 “ teenth century, in a work on the 
 “ geography of the Holy Land, gravely 
 “ tells us that the ark, the tables of the 
 “ law, rods of Mofes and Aaron, and 
 “ fome portions of the lhow-bread 
 “ were in his days, in the church of 
 “ St. John, Lateran at Rome. Area 
 “ videlicet, auro tamen denudata, Ta- 
 “ bids Legis, Virga Moyfis et Aaron, 
 
 36105. 
 
 “ Panes quope propolitionis Roms in 
 “ ecclefta S. Joannis Lateranenfis ad 
 “ hue confervantur.” Arch, of Titus, 
 by W. Knight, 132. This writer goes 
 carefully through the authorities from 
 which the fcattered notices of the can- 
 dleftick and other veflels can be gathered. 
 Their reftoration to the “church at 
 “ Jerufalem,” that of St. Helena, is the 
 laft trace attainable of the hiftory of 
 thefe precious relics. 
 
XXVI 
 
 IntroduElion. 
 
 ceiling, and floor. All the carved work on the walls and doors 
 was gilt. Two great cherubim, ten feet high, of olive wood, 
 were covered with the fame precious metal ; hanging chains 
 about the capitals of columns and all hinges and faftenings were 
 of gold. 
 
 The offerings made by foreign nations to Jewilh kings were 
 of gold and fllver. The queen of Sheba offered Solomon 120 
 talents of gold, 200 fhields containing 600 fhekels of gold 
 (the fhekel was worth about 50/. fterling), 300 fhields of fllver 
 containing 300 minas, roughly to be valued at 1,200/. each. 
 The fhields were kept in the temple as royal ornamental treafure, 
 and were carried away as fpoil of war by the Egyptians in the 
 fucceeding reign. 
 
 The ftate or royal furniture of the palace of Solomon was 
 of gold, fllver being of no account owing to the abundance of 
 the more valuable metal. His throne was of ivory partly 
 covered with gold, or more probably having parts made of 
 wood and covered with plates of hammered gold, like the feat 
 of Runjeefflngh now in the India mufeum, and the thrones, car- 
 riages, and elephant furniture we have read of, prepared and 
 ufed for the reception of the Prince of Wales in India. Two 
 large golden lions were the fupports of the feat, probably not 
 unlike thofe that fupport many Greek, Roman, and Egyptian 
 thrones ; and twelve fmaller golden lions were placed two and 
 two, on the fteps that led to it. It may be obferved that a life- 
 fized head of a tiger, of thick hammered gold over a wooden 
 model, one of leveral which fupported the throne of Tippoo 
 Sahib, is now in the royal collection at Windfor caftle. 
 
 The whole treafure of king Solomon, either for his perfonal 
 ufe or as ftate refources, is calculated at 666 talents. 34 
 
 With regard to modern objects of facred ufe in Jewifh 
 
 34 Prideaux, following Lewis, efti- the temple) at 833,000,000/. (!) — 
 mates the amount (of treafure be- Milman, Jews, i. 267. 
 queathed by King David for building 
 
IntroduEiion. 
 
 XXVll 
 
 religious worfhip, 35 fuch as filver rollers with bells like thofe on 
 the border of the prieftly robes, for the fcrolls from which the 
 law is read, reprefent only the workmanfhip of the age and 
 country in which they have been made, as the number 349. ’70. 
 in the mufeum, made for the Spanilh and Portuguefe fynagogue 
 in Amfterdam in the feventeenth century. 
 
 In the fame way Jewilh wedding rings, among the Waterton 
 collection, now in the South Kenfington mufeum, Nos. 864, 
 865, 866, 868, are German, or of other countries. They are 
 ornamented with fmall fhrines having pointed roofs, crockets, 
 and gables. According to Mr. Waterton, wedding rings were 
 of very late adoption by the Jews. 36 None of thefe cJtyeCts 
 reprefent the charaCteriftics of ancient Jewifh goldfmith’s work. 
 
 With regard to the Affyrians, Mr. Layard dates cc that from 
 £c India, through Media, Hyrcania, and Central Alia, gold 
 “ and various precious ftones were probably fupplied to Babylon 
 “ and Nineveh. Gilding appears to have been extenfively 
 cc ufed in decoration, and fome of the great fphinxes may have 
 cc been overlaid with gold, like the cherubim in Solomon’s 
 Cf temple. I cannot, however,” he continues, <c but exprefs 
 <f my conviction that much of the metal called gold, both in 
 “ the facred writings and in the profane authors of antiquity, 
 cc was in reality copper alloyed with other metals, the aurichal- 
 cc cum or orichalcum of the Greeks, fuch as was ufed in the 
 cc bowls and plates difcovered at Nimroud.” 37 
 
 No gilding, or overlaying, of this defcription was prac- 
 tifed in Egypt as far as our knowledge goes, and in the 
 metallurgy of the Jews and of king Solomon, gold, filver, and 
 brafs are too conftantly and expreffly diftinguifhed to allow the 
 gilding or plating with gold ufed in the temple and in king 
 Solomon’s palaces to be miftaken for fuch a decoration in mixed 
 metal. It is evident that great quantities of gold were imported 
 into the kingdom of Solomon, and molt of this was devoted to 
 
 36 E. Waterton, Cat., Special Exhib., S. K. M., 1862, p. 623. 
 
 37 Nineveh and Babylon, 537-652. 
 
 35 Exod., xxviii. 
 
XXV 111 
 
 Introduction. 
 
 facred or to royal buildings, very few in number ; not to 
 houfes, palaces, or public buildings fcattered over the land ; 
 and for fuch purpofes there muft have been real gold more than 
 enough. 
 
 Though the Aflyrians may have ufed mixed metals for 
 gilding external walls, “ they had,” fays Mr. Layard, cc abund- 
 ‘ c ance of gold and filver and carried away artificers from con- 
 “ quered countries ; craftfmen, and engravers from Jerufalem 
 “ in the Babylonifh captivity.” 38 Dr. Birch remarks (in his 
 obfervations on the ftatiftical tablet of Karnak) tf that the filver 
 <c vafes of the Tahai are a remarkable tribute, as they fhow 
 “ an excellence in working metals among thefe people, indeed 
 <c the art of toreutic work in Afia influenced fo largely the 
 “ Greek work at a later period as to rival and gradually fuper- 
 “ fede the fidtile painted vafes of the Greeks.” Mr. Layard 
 mentions “ offerings of vafes of gold and filver with handies, 
 cc feet, and covers, in the fhape of animals, fuch as the bull and 
 “ gazelle, (or wild goat), kneeling Afiatics, the heads of lions, 
 “ goats, and even of the god Baal. The tribute obtained by 
 “ the Egyptians from Naharaina or Mefopotamia confifted of 
 tc vafes of gold, filver, and copper, as well as precious ftones.” 39 
 
 The walls of Ecbatana 700 years b.c. were in feven 
 circuits, and the two inner lines had the bulwarks or parapets, 
 Trpoixa^eibvag 0 [xev xarapyupcoixeuoug, 0 tie xaraxe^pua-cu^evoug, 
 one filvered and the other gilded. In this inftance, perhaps, a 
 mixed metal was ufed. The mafonry of the other walls was 
 ftained. 
 
 The temple of Belus, in Babylon, had a feated golden 
 image of coloflal fize, aya/Y^a [xeya ; the throne and the bafe 
 were of gold, as well as a large table and a JuggeJlum or pedeftal 
 in the porch. The ftatue fet up in the plains of Dura, was 
 fixty cubics high and fix cubits broad. 40 Both ftatues were 
 
 38 Jerem. xxiv. i. 
 
 39 Nineveh, ii., 415, &c. 
 
 40 Herod, i. 58-183; Daniel iii. 
 
Introduction. 
 
 XXIX 
 
 probably plated on a frame of wood, and this Aliatic method 
 was adopted by Phidias and other Greek artifts, the gold being 
 hammered and engraved, in plates of appreciable weight and 
 thicknefs, and not mere gilding. There was alfo in Babylon a 
 column of folid gold, %pu<reo£ (rrepeog, twelve cubits high, 
 which was carried off by Xerxes. More beautiful, and pro- 
 bably highly wrought, fpecimens of Aliatic or Aliatic-Greek 
 workmanlhip were a vine and a plane tree of folid gold, the 
 leaves all hammered and chafed. This was given to Darius, 
 by Py thius of Celaenas, a man fo wealthy, either from the pof- 
 feflion of gold mines or the farming of the revenues of Darius, 
 that in the march of Xerxes to Greece Pythius could^ offer 
 him 4,000,000 of gold darics and 2,000 talents of lilver, 
 computed by Blakely at about 3,400,000/. of gold, and more 
 than half a million of lilver. 41 Pliny fpeaks of the treafure 
 brought away by Cyrus, in addition to the vine and plane tree, 
 and the bowl of Semiramis, weighing fifteen talents. 42 
 
 The Romans had many mythical traditions of Aliatic 
 fplendour. The ftory told by Athenaeus, for an inftance, of 
 the death of Sardanapalus, who built his funeral pile of per- 
 fumed wood, and put on it 150 beds of gold, on which his 
 mistreffes repofed to lhare his death, with 150 tables of the 
 fame metal, 10,000,000 of talents of gold, and a 100,000,000 
 of talents of lilver, collly robes, purple garments, and apparel 
 of every imaginable kind. This gorgeous funeral pile burned 
 for fifteen days. 
 
 The ancient traditions, then, of thefe barbaric riches have 
 come down to us through a £ golden ’ haze of exaggeration 
 and fable, but exaggerations have commonly a real foundation, 
 as fables group themfelves round fome true ftories. There 
 were, and there mull; have been, great llores of the precious 
 metals among the ancient oriental monarchs and princes. 
 
 42 H. N. xxxii. 15. 
 
 41 Herod, vii. 28. 
 
XXX 
 
 Introduction . 
 
 Property of this precious kind; indeed, was in few hands, and 
 was treafured and hoarded in ingots, vafes, and coftly fur- 
 niture, things that retained their adtual value for ftate emer- 
 gencies, while they were vilible fymbols of wealth and royalty. 
 Curious particulars, indeed, of a family banking firm ‘ Egibi 
 and Sons ’ of Babylon, in a later age, have been difcovered 
 from fome ancient tablets in the Britifh Mufeum. They were 
 agents, lenders of money, and, perhaps, dealers in the precious 
 metals. Banks, however, in the modern fenfe of the word, 
 exchange, circulation, and other financial philofophy were un- 
 known. The fize and fplendour of the objedts made were alfo 
 lome fecurity againft robbery, and tended to keep thefe objedts 
 from deftrudtion or wafte, as they pafled from hand to hand in 
 the way of guarantees, tribute, or plunder. The quantities, 
 therefore, of the precious metals did not, under thefe great 
 eaftern monarchies, wafte, as they do in modern times, but 
 accumulated from reign to reign, and from one conqueft to 
 another. 
 
 It is reafonable alfo to fuppofe that native gold found 
 in fuperficial diggings, in river waftnngs, and amongft the 
 debris of gold-bearing rocks, had accumulated on or clofe 
 under the furface from the patient chemiftry of natural 
 agencies, flowly but furely, during long periods of time. As 
 the various climates of the earth were tempered and prepared 
 for the feveral races of mankind, fuch riches lay more or 
 lefs ready for the hands of thefe ancient rulers of the Eaft. 
 Gold and filver were accumulated only in few hands at a 
 time. One dominant race fucceeded to another, and each 
 abforbed the exifting ftock of the precious metals in turn ; it 
 was collected and hoarded till a rival arofe ftrong enough to 
 carry off whatever had not been buried or wafted in tiftues and 
 fmall ornament. 
 
 At a later ftage of this difcuftion it may not be wholly 
 without intereft to allude to certain eftimates made by modern 
 
Introduction. 
 
 XXXI 
 
 writers of the quantity of the precious metals poffeffed by the 
 ancient world. 
 
 IV. The Greeks. 
 
 The various Afiatic monarchies and states came into 
 contadt with the Greeks as they neared the fhores of the 
 Mediterranean and the Egasan. Into the fertile and beautiful 
 countries of Alia Minor colonies of Greeks had been pufhed 
 from an early date. A great Ionian migration took place 
 about 1,000 years b . c . The Greeks were not then settled 
 for the firft time on the feaboard of Alia. Already they had 
 made colonies and fettlements, had acquired riches and power, 
 and had engaged in war with various fortune. But they re- 
 turned in greater numbers and power about this time, and 
 grew into more wealthy and luxurious focieties. tc The fet- 
 cc dements of Greece,” fays Mr. Clinton, fpeaking of this 
 immigration, cc gave birth to new and flourifhing communities, 
 cc equal, and often fuperior, in wealth and population to the 
 “ mother city.” The colonifts adopted much of the manners 
 and learnt many of the arts of the wealthy ftates around them. 
 
 A fupply of the precious metals, and the art of working 
 them, came to thefe Greek populations from the Eaft. The 
 ftatement of Dr. Birch, already quoted, fuffices to fhow how 
 this command of the precious metals affedted the manners of a 
 vigorous people, driven by want of fpace and ever-increafmg 
 numbers to feek new fields of adventure, and foil broad enough 
 for its rate of growth. The gold which had barely been enough 
 for fmall jewels and perfonal ornament was multiplied till it 
 fpread into the dimenfions, not of vafes and cups only, but of 
 beds, thrones, and the ornaments of chariots and armour. 
 
 The Homeric heroes 43 have gold fhields, fuch as that of 
 
 43 The reader will find fuch defcrip- i. 49, v. 363 ; dpovov xpvcraw., xiv. 238, 
 
 lion often applied to the gods, e.g., II., and viii. 442 ; the arms and chariots 
 
XXX 11 
 
 Introduction. 
 
 Achilles ; gold armour, fuch as that exchanged between Glaucus 
 and Diomede; as well as golden furniture. Poetic defcriptions 
 perhaps : but it fhould be borne in mind that the poet wrote at 
 about the period of the Ionian immigration, and the fplendour 
 with which his champions are furrounded was painted from in- 
 ftances real, though rare, which were known, and could be feen 
 in his own day. The gold belts, baldrics, buttons, helmets, 
 breastplates, ornaments of leg armour, &c. juft difcovered by 
 Dr. Schliemann at Mycenae belong to this early age. Some 
 are of great fize and weight, and the great number of objebts 
 worn, and of thofe made as funeral ornaments, argues, accord- 
 ing to that learned archaeologift, the exiftence of goldfmiths 
 who kept ftocks of wrought gold on hand. More than 1,500 
 gold crowns, bracelets, vafes, fpoons, and gems, found at 
 Kourioum in Cyprus, by General di Cefnola, were offered to 
 the Britifh Mufeum in 1876. About a hundred veffels were 
 of hlver, Ihowing examples of hammered, emboffed, and chafed 
 work. A few were inlaid with gold. They were of Egyptian, 
 Babylonian, and Afiatic Greek workmanftiip, fome of the latter 
 fhowing traces of enamel, ranging in date from 1000 to 600 b.c . 44 
 
 It was long before the Greeks of Europe were rich enough 
 to make either veffels or furniture of gold and filver for 
 general ufe, not, probably, till after the conqueft of the Perfians 
 and the final expulfion of their armies from Europe after the 
 battle of Platasa, in the fifth century. Herodotus defcribes 
 the fpoil that was taken after the battle ; tents mounted with 
 gold and filver as well as beds, couches, vafes, and veffels of 
 all forts. 45 
 
 of Minerva, and to mortals as well, apyvpey, a door ring, Od., i. 441, 
 
 e.g . , the armour of Paris, iii. 331, &c. 
 
 and again xi. 18, &c. The bed of 44 Times, Mar. 22, 1877 ; Athe- 
 
 Ulyffes, SaiSaXXi’y xpvaS re kcc ) aoyvpa naeum, Nov. 4, 1876. 
 
 eXefavri, Od., xxiii. 200 ; Kopur/j 45 Herod, viii. 80. 
 
Introdu&ion. 
 
 XXXlll 
 
 A vaft number of perfonal ornaments, fuch as wreaths, 
 brooches, earrings, chains, and coronets, were made, and have 
 been found during late years in tombs in various parts of Italy. 
 Thefe were the work of Greek colonifts in Magna Grecia or 
 of the Etrufcans, who were of Eaftern origin. The ornaments 
 are of two kinds ; thofe made for funerals, which are of extreme 
 thinnefs, and thofe for wear. Several beautiful examples will be 
 found among the jewellery of the South Kenlington Mufeum 
 and in the B jewel room of the Britifh Mufeum. As jewellery 
 does not enter into the gold and filver fmith’s work defcribed 
 in the following pages, thefe fmall pieces need not be difcuffed 
 at any length. 
 
 The Ikill and refinement of the early Greek goldfmiths, as 
 well as of the greater artifts to be named prefently, were very 
 great. Though they did not hammer up ftatues or large 
 vefiels embofled with figures as the great fculptors who fuc- 
 ceeded them, there were no methods in ufe in later times that 
 were unknown to thefe ancient workmen. Many of their 
 fecrets remained unknown for centuries after the deftrudtion of 
 the Roman Empire, if not all but loft and forgotten long before. 
 The ufe of the graver, with which the artifts of the fifth and later 
 centuries, b.c., executed compofitions and figures of aftonilhing 
 delicacy, feems to have been unknown to them. Their Ikill lav 
 in their knowledge of folder and metallic or other cements. 
 With the help of thefe they joined pieces of gold wire drawn 
 out to an incredible finenefs, and grains fo fmall as to be 
 fcarcely difcernible, feparately on furfaces of fmooth metal. 
 Acorns, beads, buttons, or tiny vafes covered with fine down, 
 or with grains, of gold, and other pieces feeming at firft fight 
 to be beaten up in relief are in reality built up by foldering 
 minute plates or grains one over the other . 43 
 
 46 Caftellani, Antique Jewellery. 
 
XXXIV 
 
 IntroduElion. 
 
 For years the procefs by which thefe jun&ions were managed 
 defied the refearch of Duca Michelangelo Caetani, and G. Caf- 
 tellani, the moft accomplifhed artifts in gold work of this kind 
 known in our day. They fucceeded at laft in finding one or two 
 workmen in the fmall town of S. Angelo in Vado, with whofe 
 help they have recovered fome of thefe forgotten methods. 
 The wandering goldfmiths of feveral parts of India make gold 
 jewellery of the fame kind, though coarfe by comparifon with 
 the ancient work, but by the fame methods and by the ufe of 
 the fame cements and folders. No workmanfhip, however, of 
 modern times has yet equalled that of the gifted Greeks. 
 
 It was after the end of the long ftruggle with the Perfians, 
 as already faid, that the Greeks became independent at fea, 
 and grew rich by commerce. Then followed the great age of 
 Greek art. Sculpture and painting were carried to the higheft 
 perfection, and the great fculptors worked in the precious 
 metals. A number of artifts feem to have devoted tnemfelves 
 to the making of vafes, cups, and other fmall goldfmith’s work, 
 or decorations that could be laid on, or let into larger objects, 
 made in bronze, ivory, or other materials, fhields, chefts, tables, 
 thrones, and the like. A number of fmall figures of gold, 
 e.g . , making up groups and compofitions, illuftrating local 
 legends and mythical ftories, were inlaid in the ivory cheft of 
 Cypfelus kept in the temple at Olympia. A moveable head 
 of Gorgon made of gold was faftened on an asgis of Minerva, 
 the gift of Antiochus, was hung up in one of the temples 
 of Athens . 47 Phidias, however, made large ftatues of ivory 
 and gold (chryfelephantine), fome of coloflal fize. His famous 
 ftatue of Athene, the guardian goddefs of Athens, was kept 
 in the Parthenon, or temple of the virgin deity on the 
 Acropolis. What portions of the ftatue were made in ivory 
 
 47 Paufanias, Elis. x. xii. 
 
IntroduSiion. 
 
 XXXV 
 
 and what of gold is only to be gathered from the rather vague 
 defcriptions of Paufanias who faw this ftatue during his tour 
 towards the end of the fecond century. Probably the head, 
 neck, limbs, and all parts reprefenting flefh, were of ivory and 
 painted. (The eyes of a Minerva in the temple of Vulcan 
 on the Ceramicus were coloured blue, a Libyan tradition .) 48 
 The drapery was gold. On the head was a helmet with a lofty 
 creft, and a fphinx with gryphons on each lide fupported the 
 creft. The bread: was covered by a cuirafs of gold ; the head 
 of Gorgon in the middle had been of gold, but was replaced by 
 one of ivory when Paufanias faw the ftatue. In her right 
 hand the goddefs held a Vidtory four cubits high, and X fpear 
 in her left. A large fhield by her fide was embofled with 
 hammered gold infide and out. The infide reprefented the 
 contefts of the giants with the gods, and the outer that between 
 the Athenians and the Amazons. Every part of the gold was 
 delicately worked, the edges of the fandals were engraved with 
 the contefts of the Centaurs and Lapithas, and the bafe had 
 many figures round it in relief. The eyes of the ftatue were 
 neither in ivory nor gold, but were marble, perhaps fome inlay- 
 ing of “ pietra dura ” to reprefent the colours of the iris and 
 pupil. A more coloftal gold and ivory ftatue was made by 
 Phidias of Jupiter for his temple at Olympia. This image 
 was feated in a chair, and under the feet flood a footftool. 
 A reftoration has been attempted by Quatremere de Quincy in 
 his “Jupiter Olympien.” 
 
 Other works in ivory and gold were kept in the fame 
 temple ; the cheft already named and a table on which were laid 
 the crowns of vidtors in the games, the crowns being probably 
 made of leaves in beaten gold. 
 
 Another gold and ivory Jupiter was given in later times by 
 Hadrian to his temple at Athens. An image of Bacchus of 
 
 48 Attica, xiv. 
 
XXXVI 
 
 Introdutlion. 
 
 the fame kind was kept in his temple in the ftreet of tripods ; 
 and many others in various parts of Greece. Images in bronze, 
 marble, and wood had details inlaid in more precious material, 
 eyes of ivory, nails of filver, and fo on. 49 
 
 The defire to imitate the example of devoting wealth and 
 coftly fculpture to thefe religious fiirines was not confined to 
 native Greeks but attracted royal devotees to well-known Greek 
 fanctuaries. Crcefus, among many offerings of gold and filver 
 to the fhrine of Delphi, fent a golden ftatue of his favourite 
 wife. Darius alfo eretfted to a favourite wife a ftatue of ham- 
 mered gold, (rcpvpr^arou . 50 
 
 The fame of thefe gold and ivory ftatues fo increafed 
 the defire to have them for temples in foreign countries that 
 later fculptors in Athens made them in numbers expreflly for 
 exportation. Philoftratus alludes to fuch ftatues as to be feen 
 in many fmall temples which were properly and well kept up. 51 
 
 The gold portions of the chryfelephantine ftatues were not 
 caft but hammered. The metal on the ftatue of Minerva was 
 made fo as to be removable, and Phidias, when tried on the 
 charges of impiety for having reprefented his own portrait and 
 that of Pericles on the fhield, and for that of embezzle- 
 ment, was able to infift on the gold being weighed. 52 How 
 thick the metal was can but be a matter of conjecture. Not 
 lefs, probably, than the gold that covers the gold chair in the 
 Indian mufeum : perhaps as thick as a finding. The weight 
 is varioufly eftimated by ancient authors ; it was probably 
 forty-four talents, about 118,000/. value of our money. The 
 gold is faid to have been robbed by Lachares, B.C. 2 96 ; but 
 Paufanias fays he faw it entire five centuries later. 
 
 Not one of thefe ftatues furvived the fourth century of our 
 era. The converfion of the empire to Chriftianity put an end 
 
 49 Attica, xxiii. 
 
 61 De Quincy, 384.. 
 
 60 Herod, i. 51 ; vii. 69. 
 52 Plutarch, Pericles, xxxi. 
 
IntroduSlion. 
 
 xxxvn 
 
 to any remains of veneration in which thefe or any ftatues 
 had been held. The gold became ftate property, and was 
 in part melted down to make veffels and utenfils for the new 
 worfhip. 
 
 Statues of gold, not of gold and ivory, were made for con- 
 querors, and Pliny the younger alludes to this mark of honour 
 in a letter to the emperor Trajan. 53 
 
 The treafures of feven or eight centuries paffed before the 
 eyes of Paufanias when he made his famous tour of Greece in 
 the fecond century. The gold and filver fhields, fpoils of the 
 Perfian wars, had been carried off from the Parthenon, at 
 Athens, but the coloffal ftatues were all but entirq^ The 
 Erebtheium and the temples gathered round it ftill contained the 
 ftump of the facred olive, the filver-footed throne of Xerxes, 
 the golden-hilted fword of Mardonius, the wrought and gilded 
 (?) palm tree overfhadowing the lamp of gold with its wick 
 of Carpafian linen, the light of which never went out. The 
 temple of Jupiter at Olympia was uninjured, with the coloffus, 
 the cheft, tables, wreaths, and precious objebts already defcribed : 
 fo were the treafuries of Altis and many others, and the facred 
 fhip of Delos ; not to fpeak of Delphi where there were 3,000 
 ftatues in different materials. 
 
 Somewhat unhappily our knowledge of ancient Greek art 
 has been till recent years brought to us through the medium of 
 what may be called a Roman tranflation. Apart from the jewel- 
 lery dug up in various parts of Italy, the treafure of Mycenae 
 and Cyprus, and a number of beautiful pieces of various 
 kinds collebled in St. Peterfburg, many from the mufeum of 
 Kertch in the Crimea, 64 not much of their goldfmiths’ work 
 remains. Gold vafes of ancient Greek workmanfiiip are very 
 rare. One or two {hall be noticed prefently. The filver, 
 gold, or filver-gilt goldfmiths’ work that is to be feen in 
 
 53 Ep., iv. 7. 54 Bofphore Cimmerien carefully il- 
 
 luftrated with engravings. 
 
XXXV111 
 
 IntroduBion . 
 
 modern collections has been moftly found in the excavations of 
 Herculaneaum and Pompeii, of Rome, one or two in France, 
 and other countries in the north of Europe, and a number of 
 beautiful pieces outftde the walls of Hildefheim in Hanover. 
 Moft of thefe belong to imperial times. 
 
 Some accounts of well-known vafes and other examples 
 of old Greek gold and ftlver fmiths have been preferved by- 
 Pliny the elder, and other writers, and they may be quoted in 
 treating of the moft renowned of thefe artifts. It is to be 
 noted that though Phidias and his contemporaries made great 
 ftatues of gold, many artifts, who devoted themfelves mainly 
 and altogether to working on the precious metals, executed their 
 beft work in ftlver. 
 
 The ancient Greeks alfo worked in an alloyed metal, to 
 which they gave the name of eleffrum, and by which they fet 
 great ftore. It was gold with one fifth part of ftlver. This 
 was found in fome of the wafhings of the Italian rivers, and 
 was conftdered of far higher value in this ftate of native alloy 
 than when mixed in the furnace. The colour was whiter and 
 more luminous than that of gold. It was fuppofed to betray 
 the prefence of poifon. It is difficult to underftand the great 
 eftimation in which this metal was held, except, perhaps, 
 that though gold is never found without fome mixture of 
 ftlver it is rarely procured in this particular proportion. A 
 vafe of elettrum is preferved in the St. Peterfburg mufeum . 55 
 
 53 Bofphore Cimmerieu, PI. xxxii. eft ab yKsiciup, fol quia folis inftar 
 Facciolati has the following on elucet. Huic fabulae origo, folis Alias 
 the metal eledtrum : Electrum didtum Phaetontis forores in ripis Padi in popu- 
 
Introduction. 
 
 XXXIX 
 
 InFances, however, of the difcovery of vafes or ornaments 
 made of this alloy are rare. 
 
 The names of the beft known artifts in Fiver or gold are 
 the following. 
 
 The FrF place belongs to Mentor. His exadt date is not 
 known, but he muF have lived in the time of the immediate 
 fucceflors of Phidias. Four pairs of his lilver vafes are faid to 
 have perifhed in the burning of the temple of Diana at Ephefus 
 b.c. 356. 66 But Martial alludes to pieces of his work as Fill in 
 the poFeffion of a friend in Rome, — 
 
 Argenti genus omne comparaFi, 
 
 Et folus veteres Myronis artes. 
 
 Solus Praxitelis manus, Scopasque 
 Solus Phidiaci toreuma caeli 
 Solus Mentoreos habes labores, 
 
 Nec defunt tibi vera Gratiana. 57 
 
 and Pliny fpeaks of works by him fold by audtion in Rome ; 
 at how great a value his works were efteemed Frail be illuFrated 
 further on. Martial in the paffage quoted fpeaks, or feems 
 to fpeak, of Fiver cups or vafes, at any rate of metal work, 
 made by Phidias and Myron, Scopas and Praxiteles, as Fill 
 extant in his time. Mentor and his brother artiFs were 
 emboFers, chafers and engravers, toreutores and cxlatores. The 
 emboFed work was beaten up or executed on bands of metal, and 
 
 los converfas, ex quibus ele&rum defluat, 
 et in oftiis ejufdem amnis inlulas duas 
 effe, eledtri feraciffimas. 
 
 Eft etiam metalli genus, fcilicet au- 
 rum, cui quinta argenti portio ineft. 
 Eft etiam duplicis generis foflile, cui ea 
 ratione argentum natura eft admixtum ; 
 et fadtitium, cui arte portio ilia argenti 
 admifcetur. 
 
 Ejus natura eft ad lucernarum lumina 
 clarius argento fplendere. Quod eft 
 
 nativum, et venena deprehendit nam- 
 que difcurrunt in calicibus arcus, coelef- 
 tibus fimiles cum igneo ftridore. Plin. 
 1. 37, c. 2, 3. 
 
 For the metal Virg. v. 402, 
 v. 624; Mart., 8., Epig. 51., Stat. 6, 
 Theb. v. 270, and Sib. 1 . t, v. 229 ; 
 Juv. Sat. 14, v. 307. 
 
 56 Pliny, H. N., xxxiii. 55. 
 
 57 Mart. IV. xxxix. 
 
xl 
 
 Introduction. 
 
 afterwards foldered on the outfide of the veflels for which they 
 were intended. Thefe ornaments were figures, dramatic com- 
 pofitions, mafks, goat fkins, attributes of the theatre, offerings 
 to Bacchus, or fubjedts of the chafe. Gold inlay, and gold beaten 
 work was laid on vafes auro circumvincta , but this was probably 
 rare among the Greeks of the great time, and was common in 
 Rome to pleafe a more expenfive and oftentatious fociety. 
 
 Other known names are: — Acragas; of the age of Scopas 
 and Praxiteles; vafes of his, on which were Centaurs and Bac- 
 chantes in relief, were in the temple of Father Liber (Bacchus) 
 in Rhodes ; in Pliny’s time. 
 
 Boethus, of uncertain date, of Carthage, more probably 
 Chalcedon ; 5S works by him were kept in the temple of Minerva 
 at Lindus. 
 
 Mys, of the date of Phidias or his immediate fuccefTors. 
 Vafes of his with figures of Satyrs and Cupids on them in relief, 
 others with hunting compofitions, were in the temple of Liber, 
 already mentioned. He alfo worked on a larger fcale. The 
 fhield of Minerva of the Parthenon, with emboffed figures, 
 reprefenting the conteft of the Centaurs and Lapithas was by 
 him. He is faid, by Paufanias , 59 to have worked from defigns 
 by Parrhafius ; if fo his date is later, and the fhield was later 
 than the ftatue itfelf. 
 
 Calamis, of unknown date and place of birth, is fuppofed 
 tc have been of the time of Phidias or foon after it. 
 
 Stratonicus, of Athens, was of the third century b.c. ; 
 Tauriscus of Cyzicus, flourilhed at the fame time or foon 
 after. 
 
 Antipater, of unknown date, is named by Pliny 60 as the 
 maker of a bowl on which was a fleeping fatyr, engraved fo 
 wonderfully as to feem laid on in relief. 
 
 58 Muller, Handbook, p. 117. 
 
 59 i. 28. 
 
 60 H. N., xxxiii. 54. 
 
Introdu&ion. 
 
 xli 
 
 Hedystratides or Leostratides, of the time of Pompey, 
 is named by the fame writer as an engraver of battle fcenes 
 and armed warriors. 
 
 Eunicus of Mytelene; Hecatceus of the fame place, were 
 of the time of Pompey. 
 
 Zopyrus, of the fame date, reprefented on two cups the 
 trial of Oreftes for the murder of Clytemneftra before the court 
 of Areopagus. Thefe works were valued in Rome at 12,000 
 fefterces (fay, 100/.) a modeft fum compared with what will be 
 mentioned prefently. 
 
 Pytheas was a generation later. He made a famous bowl 
 emboffed with a compofition of figures reprefenting TJlyffes 
 and Diomed Healing the Palladium, a veffel bought at an 
 enormous rate in Rome. He engraved cups with fubjedts ot 
 domeftic life, the execution of which was of fuch extreme 
 delicacy that they could not be moulded fo as to obtain calls 
 from them, nor were there artifts in Pliny’s time competent to 
 copy them . 61 
 
 Pasiteles, of the fame date, chafed and em boiled in filver, 
 particularly animals, and often from the life. 
 
 Posidonius, of Ephefus, was another contemporary, his 
 compolitions were of athletes, hunting fcenes and facrifices, 
 
 Ariston of Mytelene, of unknown date, is mentioned by 
 Pliny. 
 
 Speaking of the collections of precious vafes in ancient 
 Greece, Muller fays, cc In thofe feats of royalty ” (the cities of 
 Macedonian rulers) Cf were made an unufual number of chafed 
 cc and emboffed lilver veffels.” 62 
 
 But the number of pieces of metal work reprefenting the 
 fchools of which thefe great mailers were the founders, that 
 were extant in Rome in the firll century of our era, was fmall. 
 The exigencies of war had probably caufed the fale or dellruc- 
 
 61 H. N., xxxiii. 54. 62 Handbook, p. 17* 
 
 36105. 
 
 d 
 
xlii 
 
 IntroduSiion. 
 
 tion of vaft numbers. Exifting examples of the Greek gold 
 or filver fmiths’ work of a date earlier than that of the Roman 
 empire are rare. There is in the Britifh mufeum a gold -patera 
 or difhj found at Agrigentum in Sicily, which has four bulls in 
 low relief on the infide. A fceptre, about twenty inches long, 
 in the fame collection, is of gold, covered all the way up with 
 a network of filigree finifhing with a fmall Corinthian capital, 
 furmounted by an apple made of green glafs, fecured by a gold 
 pin that pafies through it, and finifhed with a bloffom, and with 
 leaves, all of beaten gold ; a filver difh, found at Rhodes, with 
 cartouches on it, Etrufcan work. Other fceptres, found at 
 Kertch, are now in the Petersburg mufeum. Portions of 
 ancient Greek fceptres have been found at Mycenae. 
 
 Amongft the remains of ancient Greek and Etrufcan metal- 
 W'ork (not ufually gold or filver) none fhow more admirable 
 art than the mirrors, numbers of which are to be feen in modern 
 collections, fome cafed in filver. The furface of thefe mirrors 
 is ufually an alloy of copper and Jiannum (tin?), the greater 
 number of more ancient mirror cafes being of bronze. Accord- 
 ing to Beckmann 63 the Jiannum of Pliny is rather an alloy of tin 
 and lead, <c a fort of” (very hard) cc pewter.” Silver came 
 gradually into ufe for the furfaces of mirrors, alloyed with other 
 metals, and by degrees it was ufed almofl pure. In this metal 
 mirrors were made by Pafiteles. A layer of gold was fome- 
 times added at the back to make the reflection clearer — utterly 
 inexplicable to Beckmann, who fuggefts that a gold refleCtor 
 might have been hung at an inclination to throw a light on a 
 filver mirror fixed in the wall . 64 Mirrors on a large fcale were 
 occafionally placed on the walls of temples. In that of Here in 
 Arcadia, a mirror was fo placed as to give a diftorted and 
 ridiculous reflection ! 05 That is, it was fpherical, was above the 
 
 63 Inventions, ii. 209 ; Plin. H. N., 
 
 xxxiv, 47 ; 
 
 64 lb., ii. 62. 
 
 65 Pliny, H. N., xxxii. 45. 
 
IntroduElion. 
 
 xliii 
 
 fpecftator, and magnified the head and fhoulders out of all 
 proportion to the reft of the body. 
 
 Gilding. 
 
 The Greeks, like the Egyptians, Ninevites, Hebrews, and 
 other nations of antiquity, ufed gilding both on metals, bronze 
 particularly ; and on wood, and external mafonry and marble 
 fculpture. In the firft cafe gold was laid on as an amalgam 
 with mercury, and the latter metal afterwards evaporated by 
 heat. In the other cafes, gold leaf of a tolerable fubftance was 
 laid on a prepared bed made of chalk, marble duft, or other 
 compofitions with animal fize admirably tempered, as in modern 
 water gilding .® 6 Bronze chariots, armour, arms, tripods ; the 
 ornaments on the pediments of temples, railings, gratings, and 
 other architectural ornaments ; fculptures in marble, wood, and 
 moft other materials were enriched by this beautiful method. 
 
 Enamel.— The art of chafing out lines or forms, and in- 
 laying a black compofition called nigellum or niello, was pro- 
 bably well known to the Greeks, but it fhall be referved for a 
 later fection. Enamel, a method of laying powdered glafs of 
 different colours over gold and other metals, and fubmitting the 
 metal to the action of the furnace fo as to fufe and unite the 
 coloured glafs to the furface of the metal, was known to the 
 Greeks, as to fome other nations of antiquity (Jee p. xxxii). 
 Poftibly alfo to the Egyptians, but not till the time of the 
 Ptolemies. The Greek artifts were fparing in their ufe of enamel 
 over gold. A few fpecimens, one or two ear-rings in the Britifh 
 mufeum, others in the collection of Signr. Caftellani, may be 
 quoted. It was a kind of decoration introduced from the 
 eaft, and ufed with fplendour and effect by Byzantine artifts 
 when Afiatic and barbarous goldfmiths’ work replaced the purer 
 
 66 For details of thefe precedes of tially varied to our times, the reader 
 which the principles have not elfen- may confult the Encyclopedias. 
 
xliv 
 
 Introduction . 
 
 art of the Romans ; art pure by comparison with that which 
 came after it, but far below the ftandard of the ancient Greeks, 
 of whom we muft here take leave. 
 
 V. The Romans. 
 
 The Romans were not a race of artifts ; but they were, 
 <c rerum domini^ lords of the world and the treafures of it. 
 The Roman patrician was refined in his pleafures and taftes, 
 often highly educated, and knew what good art was, though 
 he could not create it. Rich patricians and money makers 
 were often collectors, went to fales, and paid enormous fums 
 for old gold and filver plate made by famous artifts. They 
 did this often, no doubt, from oftentation, and knew that they 
 were getting c moneys’ worth,’ but they gave prices that would 
 aftonifh many modern buyers at Chriftie’s and the Hotel 
 Drouot. 
 
 Pliny the elder, for example, fpeaking of pieces of old plate 
 by well known artifts of ancient Greece, who have been named 
 already, tells us that Lucius Craftus, the orator, gave 100,000 
 fefterces (fay, from 800/. to 900/. fterling) for two goblets 
 chafed by Mentor ; but only 6,000 (fay, 50/.) -per pound for a 
 number of other pieces of lels value. The coft of a pair of 
 fmall filver dolphins bought by Caius Gracchus was 5,000 
 fefterces (fay, 40/.) per pound weight ; the bowl of Pytheas, on 
 which was reprefented Ulyfles and Diomed with the Palladium, 
 fetched 10,000 denarii (fay, about 330 /.) per ounce. 
 
 So much as to the value put on fine old gold and filver 
 fmiths’ work by the Romans. During the firft century of our 
 era there remained in the Greek cities artifts, fecond rate as com- 
 pared with the great names of the paft, but of great {kill. In 
 copying or reproducing traditional defigns thefe artift workmen 
 were unfurpafied. They were the inheritors of all kinds of 
 methods of fufing, damafcening, in-laying, and tempering all 
 
Introduction . 
 
 xlv 
 
 the metals ufed in founding, fculpture, and decoration, whether 
 of ftatues, vafes, or the decorative parts of coftly furniture, 
 the after growth of a great creative age. Rome was full of 
 Greek artifts and workmen, and whether they wrought for 
 exportation in their native cities or fettled in the luxurious 
 capitals of the empire, the working of gold and filver, as of 
 other materials ufed in the arts, was moftly in the hands of 
 Greeks. Their Ikill and their fervility were proverbial. 
 
 At the prefent time, however, objedts made of gold or filver 
 by the Romans or their Greek workmen are very rare. They 
 have been carried away and deftroyed long fince for the value 
 of the metal they contained. A few vafes have been found in 
 Rome and other places. One hundred filver vafes have been 
 difcovered at Pompeii, fourteen of which were found in the 
 houfe oppofite that of Meleager. 07 
 
 Moil of thefe old drinking vafes were made of two plates 
 of metal, one hammered, embofled, in-laid, or chafed, or with 
 all thefe methods of decoration; the inner Ikin fmooth, both to 
 add ftrength and to be eafily cleaned. Some of the plates of 
 which the Pompeiian cups are made are quite uninjured, and 
 are ftill elaftic from the clofenefs of the fibre caufed by ham- 
 mering, fo that the metal has undergone no difintegration. 
 
 A beautiful cup was found at Antium, and is, or was, kept 
 in the Corfini colleftion. A vafe, with a reprefentation of the 
 Apotheofis of Homer, is in the Bourbon collection in Naples. 
 
 Two vafes have been found at Bernay in Normandy, on 
 which are reprefented the death of Patroclus and the ven- 
 geance of Achilles. 68 
 
 The South Kenfington Mufeum has a fmall vafe of filver, 
 No. 737, found in the fulphur baths of Vicarello, on which 
 figures and animals are embofled ; and a ring of filver, part of 
 
 67 Mufeo Borb., B. x. 14, xi. 45, 68 Raoul Rochette, Vafes de Bernay, 
 
 xiii. 49, &c. &c. 
 
xlvi 
 
 IntroduSiion. 
 
 a vafe or pyxis, embofled with genii. A filver vafe, the 
 outer plate embofled with leafwork, and part of a fmall box 
 or pyxis, with mafks and animals embofled round it, form 
 part of the collection of the Britifh mufeum. 
 
 No example is better fuited to illuftrate this period of late 
 Greek art made in the Auguftan times than the filver cup 
 belonging to Sir William Drake. It is fully defcribed in the 
 appendix. All the details of ornamentation are admirably de- 
 figned, and a number of acceflbries, fuch as offerings on an 
 altar or table in front of a small fylvan deity, are of extraor- 
 dinary delicacy. Thefe offerings are cups and vafes of nine 
 different fhapes and fizes, moll of them two handled, fo that, 
 with the vafe itfelf, no lefs than ten of thefe fhapes are recorded 
 by it. 
 
 A cup of about the fam^ date belonging to Mr. C. Drury 
 Fortnum is alfo defcribed in the appendix. 
 
 Treasure of Hildesheim. 
 
 The mufeum collection includes fome caffs of antique 
 Roman filver plate, of a good period, found in 1869 outfide 
 the city of Hildefheim in Hanover, and now in the mufeum 
 of Berlin. 
 
 The beft pieces are probably not later in date than the firft 
 century. They are defcribed as the treafure of Hildefheim 
 at p. 290, and confift of a number of drinking veflels, fome 
 parcel-gilt ; difhes, ladles, fragments of tripod or table ftands, 
 and handles of cups and vafes. Thefe treafures were found 
 by fome German foldiers under the hill above the city while 
 digging a trench and throwing up butts for rifle practice. At 
 firft the value of the fragments of metal was not fufpe&ed, 
 but a more careful fearch difclofed a great number of different 
 pieces, fome richly decorated and inlaid. The whole have been 
 placed in the gallery of antiques in Berlin, and the copies de- 
 
Introduction. 
 
 xlvii 
 
 fcribed hereafter were made by Melirs. Criftofle, the filverfiniths 
 in Paris. Among!! them are examples of moft of the patterns 
 of drinking cups ufed by the Greeks, and adopted from them by 
 the Romans. 
 
 One velfel only. No. 340, is of Gothic or trans-Alpine 
 delign, and it is a queftion how the whole came into their late 
 hiding place. It is not probable that they formed the reli- 
 gious treafure of a temple, being too obvioufly a table fer- 
 vice with portions of candelabra Hands, and various objedts 
 fuch as might have formed the camp fervice of a Roman com- 
 mander. But the Romans had no hold on Hanover, nor per- 
 manent ftations as far north as Hildefheim. Trajan’s fettle- 
 ments were not carried far beyond the valley of the Rhine. 
 It is, however, probable that a treafure fuch as this given or 
 bequeathed by, or captured from, one perfon (and that a 
 Roman magnate) has been fecreted by a German tributary or 
 hoftile chief, who, in his turn, has been driven far from his 
 native land. His captured or ftolen treafure has ferved to 
 intereft artifts and archaeologifts of a cliftant age. 
 
 The camp equipages of filver plate carried by Roman com- 
 manders were often of great fplendour. Pompeius Paulinus, of 
 Arles, only named by Pliny as the fon of a man of equeftrian 
 rank, carried 1,200 pounds weight of filver on a campaign. 69 
 Compared with this the fervice about to be noticed is of 
 very model! proportions. The large!! veil'd is a vafe of oval 
 lhape on a Hand with handles ; both Hand and handles are 
 fmall in proportion to the capacity of the vafe, which follows 
 an outline common on the old terra-cotta vafes of the Greeks. 
 
 The names given by antiquaries to cups and other velfels 
 are many, and are not ealily to be clalfed with precilion. 
 
 This particular piece is a jtpa-njp, crater , ufed for mixing wine 
 with water, without which it was unmannerly to drink wine. 
 
 69 H. N., xxxiii. 50. 
 
xlviii 
 
 lnt ro duff ion. 
 
 In hot weather wine and water was occaftonally cooled by fnow 
 mixed with it or fet round it and protected by chaff. The 
 crater in the collection is covered with arabefque work of 
 leaves, fcrolls, cupids, fphinxes, in relief of great delicacy. 
 Wine would have been ladled out of this veffel by means of a 
 fmall cup called xu udog, cyathus , or by an oiv 6 %or], oenochoe , a can 
 or ladle the handle of which rofe ftraight from the fides of the 
 bowl, not at right handles as in punch ladles. According to 
 the gender the word fometimes refers to the youthful male or 
 female attendants who waited on the guefts. 
 
 Another veflel, cylix, of which a beautiful example 
 
 will be feen in No. 312, was an open faucer with handles 
 through one of which a finger was palled fo as to balance the full 
 cylix on the hand while drinking, not eafy to the unpraCtifed, 
 To carry round wine in the cyathus and fill up for the guefts 
 was ftill lefs fo ; it was kept replenifhed by thefe ladles. A 
 vafe, defcribed by Winckelmann Monumenti inediti. No. 200, 
 fhows the ufe of both cyathus and cylix in a drinking party. 
 
 Cylix or Patera, No. 312, p. 290. 
 
 In this large cylix the concave fides are relieved by a 
 delicate frieze of Greek flower and fcroll ornament of archi- 
 tectonic character, and a feated figure of Minerva in long 
 
Introduction. 
 
 xlix 
 
 drapery, helmeted, holding a lance, and leaning on a fhield in 
 all but entire relief, fills half the capacity of the bowl, partly 
 gilt. Such a bowl filled with wine, white or red, over the 
 gilded fculpture, would glow with a light not feen even in a topaz 
 or carbuncle fet over foil, an effedt well underftood by gold- 
 fmiths and topers who, whether Greek or Roman, loved to 
 dazzle every fenfe of their guefts. 
 
 Another round drinking bowl contains a bull of the infant 
 Hercules, much worn. 
 
 The xapxrjariov, carchefium , is of the form perhaps befi: tranf- 
 lated goblet, rounded below, bell-mouthed, and contracted 
 towards the middle, with or without handles. No. 321 is a 
 beautiful example, the middle furrounded with a crown of bay 
 leaves of gold. Such vafes, with gold wreaths or ^pucrev^era, 
 auro circumvintta, anfwer to thofe fpecially noted by Pliny, 70 as 
 an invention of the Greeks, and as reprefenting the feftive gar- 
 lands with which the guefts and the cups were decked at a claffic 
 dinner. The 7 rpo^oog, prochous , was a jug or ewer, of which 
 there is no example amongft the Hildefheim velfels. 
 
 Patera is a name given to fiat open faucers or bowls, of 
 which there is a remarkable example, No. 323, round, en- 
 graved in the middle, with twelve egg-fhaped hollows or 
 fmaller bowls round the fides, perhaps to hold eggs or balls of 
 force meat. 
 
 The xavQapog, cantharus, a drinking cup with high loop 
 handles, was facred to Bacchus. No. 317 is an example. 
 Out of fuch a vefiel a libation would be poured before be- 
 ginning to drink. In this cantharus and in No. 319, on 
 the neck, and on the lower body a goatlkin, 71 pairs of the 
 
 70 Nat. H., xxxiii. 14. ‘and dedicated yearly to the Roman 
 
 71 The he goat was facrificed to Bacchus or Liber, was different, though 
 the Greek Dionyfus, but the image connected with it in popular eftimation. 
 fpecially carried in waggons, crowned 
 
1 IntroduEiion . 
 
 thyrfus, fcenic malks, and other ornaments, are raifed in bold 
 relief. 
 
 The <ry. 6 <pog , Jcyphus , was facred to Hercules. The purov, 
 rhyton, was a veffel with a pointed bottom, in which was a hole 
 through which wine trickled into another veffel or into the 
 mouth when held over it. Thefe veffels are often made like 
 the head of a hart, a hind, or other animal, fometimes with 
 a hole through the nofe ; but which could not be fet down when 
 full, and refembled the drinking cups made of lilver in the 
 head of a fox, and palled round to fporting guefts in this 
 country a generation lince, cups which muff be emptied by 
 each at a draught. The Spaniards Hill pour wine from fmall 
 wine lkins into the mouth through a narrow neck or hole, but 
 tie up the neck or fpout again after a reafonable fupply. Other 
 names of cups were xcbQcov, cothon, a cup of narrow neck with 
 an elevation on the bottom of it ; oLpuficCKKog, aryballus , purse 
 formed, narrowing upwards ; xotoToj, cotyle , a fmall cup or 
 pointed glafs ; tfudXrj, phiale, a fiat, fhield-like goblet; dpua-rixog, 
 arysticus , a ladle. There are ftill other fhades of difference in 
 the shapes of vafes, and the names are not eafy to appropriate 
 exadlly. The true names of Greek vafes have been the themes 
 of learned treatifes, into which it would be pedantic and weari- 
 fome to drag the reader. They are fufficiencly defcribed in 
 Muller’s handbook. 173 
 
 The lanx is a flat, Iballow difh, fquare or oblong. 
 Nos. 334, 335, are lances elegantly ornamented, the fides 
 ftrengthened by ftraight Hems of metal, and the ends having 
 projecting rims fliaped into ogee and other curves : one with 
 
 72 C. O. Muller, Handbook of An- noms, &c. ; Uflius, De Nominibus Va- 
 tiquities, See., p. 291. More perfe- forum Groecorum; Letronne, Obferva- 
 vering archseologifts may confult Pan- tions, & c. ; and other books referred 
 ofka, Recherches fur les veritables to in Becker’s Gallus on this fubjeft. 
 
Introduction. li 
 
 filh, water fowls, and other obje&s worked on these portions in 
 relief. 
 
 4 - 
 
 Lanx, No. 335, p. 296. 
 
 There are no fpoons amongft this table plate. Three filver 
 fpoons are in the mufeum of Naples, two from Pompeii and 
 the third from Herculaneum. The bowls of two of them 
 come to a point, have a rib fomething like the c rat tail ’ 
 fpoons, and the handles finifh one with a goat’s foot, the other 
 with a ball. The third fpoon is more like the old fait fpoons of 
 the beginning of the laft century ; the laft was called xo^Xiapiov, 
 cochleare , the pointed end of the handle being intended to draw 
 fnails (or periwinkles') from their fhells. 
 
 The Hildefheim treafure illuftrates the fplendour with 
 which the kitchen and the fitting rooms of the Roman houfe, 
 even of the campaign tent, were furnifhed. The filver ftewpans, 
 Nos. 325, 326, are in fize like thole we now ufe, the handles 
 elegantly worked into leafwork ending in the necks and heads 
 of geefe or other aquatic fowls, where they clip round the edges 
 of the pans. 
 
 To thefe ftewpans, difhes, plates, and cups for the actual 
 preparation of food muft be added the table and lamp fupports, 
 necelfaries of the dining room, of which fragments are included 
 in the Hildelheim feries. A trapezophoron , or table fupport, 
 was ufually made of marble, bronze, or, as here, of folid filver. 
 In the former cafe it was the head, fhoulders, and leg of a 
 lion or leopard, fuch as can be feen among the carts of antique 
 
lii 
 
 introduSlion. 
 
 fragments in the mufeum. Thefe heavy 
 fupports were placed under flabs of 
 marble, but the lighter tables and fide- 
 boards were movable and made of 
 precious woods, 73 fet on light metal 
 fupports. Thefe fupports were frames 
 of three legs, or of four, or fix, con- 
 nected by light diagonal bars or braces. 
 The braces were fixed, or could Aide 
 up and down, or could be folded to- 
 gether for tranfport. No. 337 is a 
 poll; or bar with a terminal head form- 
 ing one of thefe legs ; a hook at the 
 back indicates its connexion with others. On this fmall movable 
 ftand, the menfa , table or tray, containing each courfe of a meal, 
 was placed, and the entire table changed with each courfe of 
 the meal, as in this woodcut of the reproduction of a bronze in 
 the South Kenfington Mufeum. 
 
 No. 339 is the tripod ftand or foot of a candelabrum. 
 Many examples of tall ftems varioufly decorated, moftly of 
 bronze, are to be feen in modern collections, and numbers are 
 in the Britifh mufeum. Lamps were placed on the tops of fome 
 of the larger ftands. The fmaller and more movable metal can- 
 delabra had hooks or branches, to which lamps could be hung. 
 
 Rich veflels of certain ftiapes were kept for facred ufes by 
 the Romans, and belonged to the fervices of the temples. 
 Except the Jimpuvium , a wooden bucket ufed for drawing the 
 water of purification, thefe veflels were of gold or filver. 
 They may be feen fculptured on the bas-reliefs of the frieze 
 of the temple formerly called that of Jupiter tonans in Rome, 
 and on fome fragments of a frieze from a temple of Neptune 
 in Rome, not a veftige more of which now ftands. The 
 
 73 I have given fome account of this modern woodwork and furniture, & c.” 
 kind of furniture in “ Ancient and — Preface. 
 
Introduction. 
 
 liii 
 
 fragments are now in the mufeum of the Capitol. Calls of 
 both friezes are to be feen in the South Kenlington mufeum. 
 
 The vafes required were an ewer and difh, an acerra or 
 incenfe holder, a fmall chell or box, and the lanx already 
 defcribed . 74 The veflels fculptured on the frieze of the temple 
 of Neptune are : — a graceful, oval-bodied ewer, with a long 
 neck, lip, and foot, the parent of the renailfance ewer ; a patera 
 richly arabefqued ; two incenfe chefts with the lids open ; a 
 flabellum or fly-flap to keep the victim from moving, bellowing, 
 or fhowing fear ; (matters of ill omen) the curved lituus , 
 augur’s ftaff, befldes the cap of the flamen , and the knives of 
 vitiimarii. On the Trajan column, the emperor is fhown 
 repeatedly uling thefe veflels while offering facrifice in his cha- 
 racter of Pontifex Maximus™ 
 
 Wine was poured from the ewer into a -patera or dilh, from 
 which the Jacerdos poured it on the flames of the altar. Far , 
 meal, or the fruits of the earth were held in a lanx , and the 
 facerdos fprinkled it on the head of the victim. Grains of 
 incenfe were taken by the hand and thrown on the fire, not 
 burnt on charcoal in a cenfer that could be fwung. Muller 
 fpeaks alfo of broad facrificial diflies with numerous fmall cups 
 attached, xotvCktxoi, cotylisci. 
 
 Silver was ufed in Rome to decorate all kinds of furniture. 
 Couches and feats had mounts, borders, friezes, medallions 
 of chafed and embofled filver. The ifle of Delos fet the 
 fafhion in filver furniture, though couches and feats were en- 
 riched with filver after oriental or Carthaginian patterns alfo. 
 Bronze furniture, fuch as chairs and beds, was damafcened 
 with filver and gold ; other pieces were of hammered metal fo 
 thick (probably over a core or framework of wood) as to be 
 
 74 Turibula et patera, qua tertia vafa 75 The defcription of the Trajan 
 Deum ? Lanx. From Anfon. Faccio- column, p. 57. 
 
 ati, fub. v. 
 
liv 
 
 IntrMuSiion. 
 
 called folid filver. Pliny quotes the number of 150 fdver 
 couches well known in Rome at one time, after the civil wars 
 of Scyll.a, and declares that many poffeffors were prefcribed from 
 the mere defire to get poffeflion of fuch valuables. The death 
 of Attalus the third, king of Pergamus, marked an epoch in 
 Roman luxury ; he made the Roman people his heirs, and 
 tapeftries and other rich objebts came then into the market, and 
 were largely bought up at extravagant prices. The cafe was 
 the fame with the booty captured at Corinth, and brought to 
 Rome by L. Mummius Achaicus. Roman chariots and har- 
 nefs of the rich were plated over with filver ; and of Poppoea, 
 wife of Nero, it is faid that her mule’s hoofs were fhod with 
 gold. The ufe of the precious metals gradually invaded the 
 more private rooms of the Roman houfe, and ferved for veffels 
 of the vilefi: clafs. At firfi, indeed, luxury of this kind was 
 confidered vulgar or fhameful, fit only for foreigners. Accord- 
 ing to the orator Meffala, Antony, during his triumvirate, 
 debafed himfelf by compliance with fuch difiolute or effeminate 
 oftentation. 76 
 
 But under the emperors gold and filver poured into Rome, 
 and were worked wherever the wealthy owner could make 
 ufe of them. Freedmen who had farmed the imperial reve- 
 nues or made fortunes in trade rivalled the haughty patricians 
 in fplendour and outftripped them in difplay. A filver centre 
 diiTi of 500 pounds weight with eight fmaller, weighing 107 
 pounds each, were made in a foundry built exprefily by one 
 Drufillanus, a freedman of Servius. 77 
 
 Solid gold and filver ftatues, and other fculpture properly 
 fo called, were made in Rome, but not often. A gold ftatue 
 of the goddefs Anaitis, carried off during the Parthian war, 
 gave rife to the humorous anfwer given over the dinner table 
 to Auguftus on the part of a veteran warrior. Auguftus 
 
 76 Plin. H. N., xxxiii. 14. 
 
 77 lb. 
 
Intro dn Elion. 
 
 iv 
 
 afked if it was true that the perfon who had committed fuch 
 facrilege had been ftruck dead. “ Not at all,” was the anfwer, 
 “ you are now dining off one of her legs.” Silver ftatues of 
 Mithridates, taken by Pompey, belong, like the laft named, to 
 foreign and oriental art. Statues of themfelves in filver, 
 fometimes of gold, were carried in triumph by the emperors. 
 Lucullus had a filver ftatue made. 
 
 Curious inftances are on record of the difplay of the pre- 
 cious metals, occalionally made by the Roman emperors. Take 
 for inftance : — 
 
 Caefar, when aedile, plated the whole profcenium (or archi- 
 tectural framework of the ftage front) of a theatre at the 
 funeral games given in honour of his father. Caius Caligula 
 had a piece of ftage machinery ere&ed in the amphitheatre to 
 aftonifh the Roman public. This was apparently a contrivance 
 which opened, clofed, and adapted itfelf to various transforma- 
 tions, fhowing, we may conclude, fomething of a fairy temple or 
 fhrine of many fcenes, plated with filver, not lefs than 124,000 
 pounds in weight. 7S The emperor Nero covered the theatre 
 of Pompey with gold (gilding ?) for a fingle day, called the 
 “ golden day,” when he difplayed it to Tiridates, king of 
 Armenia. 
 
 After all that has been related of the fhow made by gold 
 and filver among ancient nations, the queftion will arife, how 
 much gold did they really poffefs, and what proportion did it 
 bear to the ftores of thefe metals now actually to be found in 
 the modern world ? A far greater proportion, both of gold and 
 filver, is now coined and in circulation than was the cafe before 
 or during the fupremacy of the Roman power. How would the 
 quantities coined and hoarded compare with thofe of our own 
 times ? The problem has been tried by more than one modern 
 
 78 See Senec., Ep. 88, referred to by Pliny, H. N., xxxiii. 16, which is riot 
 Hardouin in a note on the paffage in very explicit. 
 
Ivi 
 
 Introduction. 
 
 writer, but the grounds for any decifion that can be relied on 
 are, of courfe, very far from fufficient. 79 
 
 The yearly revenue of king Solomon is ftated in the Scrip- 
 tures to have been 666 talents of gold alone (not reckoning 
 fiver, which would have been as much more). The gold talent 
 of the Hebrews is valued at 1,290,000 grains troy: 80 making 
 fomewhere over feven millions fterling (of gold alone). 
 
 Other writers value this weight of gold at about 7,780,000 /., 
 and again 3,646,350/. 
 
 The money revenue of the Perfians in the time of Darius 
 was, according to Herodotus 14,560 Euboic fiver talents, over 
 three millions fterling. 
 
 Pliny mentions the quantities of gold and fiver collected in 
 the Roman Treafury at certain periods 81 as upwards of feventy 
 millions fterling. 
 
 How long the revenues of the Eaftern monarchs lafted at 
 the high amount given by hiftorians, whether for a year or two 
 during the height of their power, or during a confderable pro- 
 portion of any one reign, we do not know. It is probable that 
 there were great rifes and falls in the abundance or want 
 of gold, and that the tide fet firft in one direction then in 
 another, precious ftuelds, images, vafes, beds, and fo forth, 
 changing hands often, as the treafures do of collectors in our 
 day. Even under the orderly government and unqueftioned 
 fovereignty of Rome it was a fluctuating quantity. 
 
 M. Otrefchkoff gives the following figures as reprefenting 
 the quantities of the precious metals in ancient times and 
 during the Middle Ages, but we mull confder them as greatly 
 exaggerated. 
 
 The whole quantity of gold in ufe up to the beginning of 
 our era : — 
 
 Gold - - 7,49 i,333.332\ f _ n „ 
 
 Silver - - - 13,148,666.668 J 
 
 79 Rofwag. 
 
 80 Smith, Ditt. 
 
 81 Lib. xxxii, 17, 
 
IntroduElion . 
 
 lvii 
 
 In round numbers about 300,000,000/. fterling in gold, 
 and about 546,000,000/. fterling in filver. 
 
 From the beginning of our era to the date of the difcovery of 
 South America about 938,000,000/. fterling. 82 
 
 The gold of the ancients was lefs alloyed, fofter than ours ? 
 and more of it was ufed in woven fabrics, ornaments, and 
 jewellery. It therefore wafted fafter than modern coined gold ; 
 hence much of it has difappeared. 
 
 On the other hand turning to modern figures, Dr. Linder- 
 man, director of the United States’ mint, eftimates the ftock of 
 gold and filver now in ufe in the world at about 2,000,000,000/. 
 fterling, and the prefent rate of production about one and a half 
 per cent, on the exifting ftock. 83 M. Vidor Bonnet cc in an 
 “ able article in the ‘Journal des Economiftes ’ (December 
 <c 1875), aflumes the annual fupply to be 20,000,000 /., 
 allows 2,480,000/. for wear and tear of exifting ftocks, and 
 “ 4,000,000 /, for confumption in the arts, &c.” 84 
 
 A writer in Blackwood’s magazine on money (October 
 1875), ftates that one fixth of the weftern ftore of precious 
 metals is hidden away (probably in coin), that two fixths are in- 
 effective circulation, and that the immenfe proportion of one 
 half is held in plate and ornaments. 
 
 How often has the gold of ancient times, continually 
 wearing and wafting, been remelted with frelh metal ? The 
 gold that has been exchanged by the patriarchs, worfhipped 
 on idols, embofled on ftatues, vafes, and armour, covered 
 the fan&uary of Jerufalem, figured in triumphs, miniftered 
 to the fouleft debaucheries, rung to the litanies of pilgrims on 
 fhrines and reliquaries ; what has become of it ? Is not fome 
 of it ftill pafled from hand to hand ftamped with the likenefs of 
 
 82 “ Les chiffres de M. Otrefchkoff, 83 “Times,” Nov. 4, 1874. 
 
 “ dit M. Villaume ne font bafes fur 84 “ Economift,” Dec. 18, 1875 
 
 “ aucun document ferieux.” C. Rof- 
 wag, les metaux precieux, p. 122. 
 
 36105. e 
 
lviii 
 
 IntroduSlion. 
 
 queens, kings, and emperors of the prefent day ? It has been 
 mixed with the ores of a hundred mines, divided, circulated, 
 added to on countlefs occafions all over the world ; portions 
 of it have figured in Arrange and terrible fcenes to fatisfy the 
 old proverbial “ facra fames ; ” the reward of infamy, or the 
 price of blood : and, again, in turn it has ferved good ends 
 during the changes and viciflitudes of the hiftory of men. 
 
 Decay of Classic Ary. 
 
 After the clofe of the third century the decay of the old 
 tradition of claflic art was general, in gold and filver fmith’s 
 work as in the arts of calling and making fculpture on a larger 
 fcale. During the reign of Trajan the perfonal fplendour and 
 the houfehold magnificence of the Roman patricians continued 
 as in the first century. Perhaps the Ikill of metal workers in 
 cups, vafes, furniture, harnefs, and things that made up the 
 tangible wealth of the great families, did not decline. 
 
 During the reign of the Antonines, ft Romans and provincials 
 “ celebrate the increafing fplendour of the cities, the beautiful 
 ‘ c face of the country cultivated and adorned like an immenfe 
 <c garden, and the long fellival of peace which was enjoyed by 
 “ fo many nations, forgetful of their ancient animofities, and 
 “ delivered from the apprehenfion of future danger.” 85 
 
 The end of the fecond century faw the firft decline of this 
 Hate of dignified fecurity, which was reftored to fome extent 
 under Alexander Severus, and lalled till his death in 235. 
 From this period begins that univerfal decay which brought the 
 arts, carried by the Greeks and by the Romans under their 
 lead to fuch univerfal excellence, to an end. At what precife 
 period we fhould place the break up of the great treafuries of 
 Greek art defcribed or alluded to by Paufanias cannot be 
 
 85 Gibbon from feveral authors, ch. 1 1 . 
 
Introduction. 
 
 lix 
 
 decided. The diforders and difunion of the empire under 
 the fucceffors of the Antonines, and again after the death of 
 Alexander Severus, probably led to fuch infecurity of the pro- 
 vinces out of immediate reach of Rome that all that was of 
 intrinfic value in the precious metals went to the crucible. 
 
 Little can be faid as to the quantity of wrought gold and 
 ffiver in the pofleffion of the patrician families in the time of 
 Conftantine, or of what fort of art was devoted to adorn it. 
 When the emperor entered Rome in triumph a golden chariot 
 was provided for him. He made a golden coffin for himfelf. 
 Of the fkill of Roman artifts in his day we judge by the rob- 
 beries of bas-reliefs from the forum of Trajan which were 
 required to decorate his triumphal arch. It is not probable 
 that the goldfmiths were much more Ikilful than the fculptors 
 of the day. 
 
 It has fometimes been faid that the legal recognition of the 
 Chriftian religion was the great reafon of the decline of the 
 arts which had hitherto been devoted to the fhrines, temples, 
 and altars of heathenifm. It was a matter of popular rejoicing, 
 no doubt, to make a fhow of the vanity and falfehood of the 
 ancient oracles, fhrines, and the “dufty infide of chryfele- 
 <c phantine (gold and ivory) ftatues .” 86 But in Rome all remain- 
 ing monuments were placed by the emperor under the charge 
 of a fpecial officer. Moreover, it was far from the intention 
 of Conftantine to difcourage the art then to be found in Rome. 
 He was about to give as great an impulfe as his imperial 
 rule could enable him to art of every kind. To him muft be 
 credited fuch a revival of art as fet in under the protection, and 
 mainly for the fpecial fervice, of the new religion. Of the new 
 or revived art under Chriftianity we will treat prefently ; here 
 it muft be noted that Conftantine built the great balilicas of 
 S. John Lateran and the old S. Peters in Rome, and befides 
 
 86 Eufeb, Vit. Conft., iii. 54, in Muller, Handbook, p. 182. 
 
lx 
 
 Introduction . 
 
 encouraging religious art determined to build and adorn a new 
 capital. It cannot therefore be faid that Chriftianity killed the 
 arts of antiquity. On the contrary, the moft curfory examination 
 of the catacombs fhows that fuch modeft ornamentation as could 
 be placed with propriety over the altars of thofe facred grottoes 
 was carefully carried out before the converfion of the emperor. 
 The paintings ftill remaining there are rude, but it was fuch 
 art as was procurable. 
 
 The old art periftied from other caufes. When national 
 character dwindles, thofe qualities of mind and fpirit which 
 fpring up amongft a cultivated fociety abounding in life and 
 vigour die too. There mull be ftrength, brightnefs, life, in 
 any race if it is to give birth to that refined play which pro- 
 duces art. It is only from a vaft field of exuberant life that 
 this kind of growth can be expedted. When fuch a field is no 
 longer fruitful, and the foil exhaufted, the higheft produce of 
 all cannot pofilbly be looked for. This is as true of modern 
 as it has proved of ancient times. The art of claflic Greece 
 and Rome dwindled and died out from natural caufes. 
 
 The art of the filverfmiths of the late Roman empire can 
 be illuftrated by a number of exifting veflels, cafkets, and orna- 
 ments of filver of the higheft interest, fully defcribed in the 
 appendix. They were probably hidden in Rome in the fifth or 
 fixth century, and are now in the Britilh mufeum. 
 
 The moft confiderable in fize and value is a cheft, 
 made to contain cofmetics, and forming part of the toilet 
 fervice of a Roman bride of the fourth century. It is 11 inches 
 by 17 and 11 in height. It is Ibaped like a farcophagus of 
 that age, hammered up with portraits of the bride and bride- 
 groom, and figures reprefenting friends offering prefents, the 
 portraits fupported by genii, Venus carried on hippocamps and 
 marine monfters ; a mixture of pagan and Chriftian fubjedts and 
 of fymbols of friendfhip and love. The defign and execution 
 are ftiff and coarfe, but the fpirit of the compofition recalls the 
 
Introduction. 
 
 lxi 
 
 old claflic tradition, ftill to be recognifed though fall dying out. 
 Another calket is round, domed over with flat panels and 
 circular recefles round the tides. We feem to fee in it the type 
 of the reliquaries reprefenting fmall churches or Ihrines with 
 domed roofs, of which the South Kenflngton mufeum collec- 
 tion has one beautiful example figured in the frontispiece. 
 The infcription on the principal objedt, giving the names of 
 the married couple, contains a Chriftian blefling, vivatis in 
 chris [to] : otherwife the details, aflumed as emblematic, are 
 drawn from the old mythology. 
 
 A number of difhes, round Jcutell<e 3 on low ftands or rims ; 
 oblong lances , of old Roman form ; fpoons with pointed han- 
 dles of the old fhape ; are all figned with a monogram in niello. 
 A fet of horfe trappings, phalera , fuch as were hung on the 
 breaftplates of horfes in ftate equipments, con lifts of double 
 fhields and lion heads. There are, befides, four feated figures 
 of the four great capital cities of the empire, Rome, Conftan- 
 tinople, Alexandria and Antioch. Thefe have fquare fockets 
 attached to them, and have been ufed to ornament the elaftic 
 fhafts of a litter. 
 
 The bridal calket, veflels and pots to hold unguents, belong 
 to the fourth century, fubfequent to the time of Conftantine, not 
 earlier than 385-90. The fquare dilhes and horfe ornaments 
 are afligned by Mr. A. Franks to the middle of the fixth century. 
 Vifconti 87 fi^s given full accounts and plates reprefenting this 
 treafure, and was in Rome when they were difcovered in the 
 vaults of a houfe which had probably fallen in, and where they 
 might have been hidden. He afligns to the later veflels and 
 dilhes a date agreeing with that of the calket and other bridal 
 ornaments and toilet veflels, but the refemblance of the 
 monograms, tall Roman letters (on the plates as above), to 
 
 87 Lettera, &c. intorno ad un antica fupellettile, &c. 1825 ; and Opere varie, 
 Milan, 1827. 
 
lxii 
 
 Introdu&ion. 
 
 the letters on the coins of the Oftro- Gothic kings, fuggefts the 
 end of the fifth or beginning of the fixth century as the 
 probable time of depofit. Poflibly the treafure may have been 
 hidden on the taking of Rome by Totila, A.D. 546, or on its 
 fecond capture by the fame barbarian invader A.D. 549. 
 
 This treafure was difcovered in 1793 ; it formerly belonged 
 to Baron Skhellerfheim, and was acquired by the father of the 
 late due de Blacas, who was French ambaffador during many 
 years in Rome, and a collector of great knowledge and expe- 
 rience. From this collection it was purchafed for the Britifn 
 mufeum in the year 18 66. 88 
 
 Here ends the hiftory of old claflical gold and filver fmiths’ 
 art. What fucceeded owed its fplendour to the new feat of 
 empire, and is known as Byzantine art. 
 
 VI.- — The Byzantines. 
 
 The next great period to be confidered in the hiftory of 
 gold and filver work begins in the fourth century and continues 
 to the eleventh. What remained of Roman power, majefty, 
 and fplendour was planted under new ideas and traditions at 
 Conftantinople. The art of this long feries of years is called 
 Byzantine. Its influence muft be traced in various countries 
 according as exifting examples enable us to follow in chrono- 
 logical order. 
 
 It is not to be fuppofed that Byzantine art was pradtifed only 
 at Conftantinople, nor entirely kept in the hands of Greek artifts, 
 for (on the contrary) much was done by the Roman pontiffs to 
 enrich the bafilicas or churches in the ancient capital. The feat 
 and home of the old art, however, had been tranfferred to Con- 
 ftantinople. Conftantine himfelf, though he did much to renew 
 the fplendour of Rome, carried off the beft artifts bodily to his 
 
 88 Guide to the Blacas colledlion, Britifh mufeum, by C'. T. Newton. 
 
Introduction . 
 
 Ixiii 
 
 new capital, where the riches and difplay of the imperial court 
 and of the patrician families equalled, if they did not exceed, 
 thofe of the old empire. The condition of Italy, and of the 
 whole weftern empire, till the end of the tenth century was fuch 
 that the arts and efpecially thofe employed on precious fub- 
 ftances could with difficulty be cultivated. Wars, lieges, 
 plunder, maffiacres, fwept over the mod beautiful countries and 
 cities of Europe, defolating Italy and the rich and populous 
 outlying provinces eaft, weft, and fouth. The ancient feats of 
 learning, refinement and wealth, fuch as Antioch, Alexandria, 
 and Carthage, fared no better than Rome and the neighbour- 
 hood. Statues, veffels, and precious ornaments were fwept away 
 by hordes of barbarous conquerors, occafionally treafured up 
 and recaptured, (as in the cafe of the golden candleftick and 
 the veffels brought by Belifarius to Conftantinople ) 89 oftener 
 melted into ingots and recaft in barbarous forms or turned into 
 rude perfonal ornaments. 
 
 There were times of ebb and flow in this courfe of 
 deftruction, but the periods of reft were not long enough to 
 allow the difturbances of fociety to fettle down* or codes 
 of law and fettled forms of focial life to be re-eftablifhed, 
 far lefs for any fchool of art to grow to maturity. Moft of 
 the goldfmiths’ work dating from the early centuries of the 
 modern era is from the eaftern empire. Conftantinople 
 
 and its many treafures flood unviolated till the age of the 
 crufades. 
 
 But the art of the eaftern empire was barbarous compared 
 with that of claffic Rome. Here and there defigns on ivories, 
 enamels, and goldfmith’s work are graceful, and not wanting in 
 dignity. The human figure, if conventional, is not always ill 
 proportioned, and vegetable and animal life are often vigorous 
 and racy, though conventional in treatment ; but compared to 
 
 89 Gibbon, Decline and Fall, ch, xli, 
 
lxiv 
 
 IntroduElion . 
 
 the art of Rome that of Byzantium is fcarcely the ghoft of it, 
 a mere fhadow, dull, feeble, and diftorted. Still Conftantinople 
 was the heirefs of what w’as left of Roman arts and refources, 
 and this inheritance, though lowered, was a fort of reprefenta- 
 tion of older and better forms. It handed down thefe conven- 
 tional and ftiffened traditions through a vaft period of time 
 till weftern Europe was once more poflefled by powerful ftates, 
 in which the arts revived, and this of the goldfmith came into 
 new life and produced works of incomparable beauty. Nor, 
 indeed, are Byzantine traditions wholly loft in Greece, Con- 
 ftantinople, and Ruflia to this day. 
 
 The outlines, compofition, and details borrowed from 
 antique architecture were much ufed in the larger Byzantine 
 gold work and rolling acanthus fcrollwork in beaten and chafed 
 work on fmaller things. The fhapes and outlines are ftiffer, 
 heavier, lefs graceful, and more complicated. Human figures 
 no longer reprefented gods and goddefles, the images of natural 
 ftrength and beauty, the pride or the paflions of mankind. As 
 the old religion had infpired the earlier art, fo did the folemnity 
 of the Chriftian religion fet its mark on the new. Its aufterities, 
 its ftrife with the world, its contempt of pleafure, its future 
 hopes, found expreflion in the heads and bodies of prophets, 
 apoftles, and martyrs. Inftead of the fmoothnefs of face and 
 roundnefs of limb of the Greek artifts, thofe of Byzantium 
 reprefented the wafted fhapes of hermits, the forrows of the 
 mother of the Redeemer, and the myftery of the Crofs. Thus 
 their art, befides its technical fhortcoming, was fevere. Thefe 
 folemn fubjedts, however, were fet off with the utmoft 
 magnificence, hammered gold, filigree, precious ftones, and 
 enamel. The fplendour of material ufed in Byzantine art 
 deferves fpecial notice. It took the place of good defigns and 
 refined details, for which artifts could no longer be found. But 
 this part of the fubjedt will be more conveniently difcufled 
 further on. 
 
Introduction. 
 
 lxv 
 
 The age of Justinian. — The emperors who had em- 
 braced Chrifiianity devoted their gold and jewels to enrich 
 the bafilicas and churches, their fandtuaries and altars, and 
 to furnilh them with richly covered books, chalices, cenfers, 
 and other vessels for the fervices of religion and the folemn 
 adminiftration of the facraments. The quantity of gold and 
 filver devoted to these purposes was considerable. The 
 details of the offerings made to the bafilica of St. Peter’s in 
 Rome by pope Symmachus (498-514) are preferved in the 
 pages of Aiiaftafius Bibliothecarius in the “ Liber pontificalis.” 
 Not only was the high altar plated with filver, but all the 
 ornaments and utenfils for the public fervice thereon were 
 of gold, and enriched with precious ftones. Perhaps 
 the Abyffinian chalice of maffive gold, defcribed in the 
 appendix, more nearly reprefents the fhape of thefe early veffels 
 than any others ftill in ufe.' 
 
 6 . 
 
 Abyssinian Chalice, p. 373. 
 
 The amount of thefe offerings by pope Symmachus, ex- 
 tradled by d’Agincourt, from the “ Liber pontificalis ” 90 
 amounted to one hundred and thirty pounds of gold and 
 
 90 Hift. de l’Art, i. p. 99. 
 
lxvi 
 
 Introdu&ion . 
 
 feven hundred of filver. But the fplendour of the churches 
 of Conftantinople far exceeded this eftimate under the reign 
 of Juftinian in the fixth century. No emperor of Rome 
 up to that period had the command of treafure in the pre- 
 cious metals in fuch abundance. The conqnefts of Belifarius 
 brought to Conftantinople an immenfe treafure, that had been 
 taken from the weftern empire, and lain preferred in Car- 
 thage and other ftrongholds of Africa. “ The wealth of 
 “ nations was difplayed, the trophies of martial or effeminate 
 “ luxury ; rich armour, golden thrones, and the chariots of 
 “ ftate which had been ufed by the Vandal queen ; the mafs of 
 sc furniture of the royal banquet, the precious ftones, ftatues 
 “ and vafes, the more fubftantial treafures of gold, and the 
 <c holy veflels of the Jewifh temple ,” 91 (the ark and the feven- 
 branched candleftick). Juftinian removed and appropriated 
 the column of Theodosius, which was of filver, and weighed 
 feven thoufand four hundred pounds. 
 
 The church dedicated to the St. Sophia, the Divine 
 Wifdom, a bafilica in the ftyle of thofe built by Conftantine, 
 was deftroyed by the populace of Conftantinople in confequence 
 of the perfecution of St. John Chryfoftom. It was rebuilt by 
 Juftinian as we now fee it. The crowning feature of the ftruc- 
 ture is the vaft and fhallow dome ; and the altar was built in the 
 choir or recefs that lies eaft of it, and is covered by a half-dome. 
 The fanctuary was parted off* by an arcade ftanding on a 
 dado in the manner of the prefent chancel fcreen of St. Mark’s 
 in Venice. The lower part was made of gilt bronze, the 
 pillars and architrave were plated with maflive filver, with 
 ftatues and tablets, engraved and filled in with images of faints 
 in niello (apyupeyxauc-rov). The altar was a flab of marble 
 plated over with gold fet with precious ftones and plates of 
 enamel. It was fupported on columns covered with maflive 
 
 91 Gibbon, Dec], and Fall, ch. xli. 
 
IntroduSHon. 
 
 lxvii 
 
 plates of gold, and the fpace between the bafes was alfo plated 
 with gold. Over the altar ftretched a vaft ciborium or canopy 
 refting on four filver-gilt columns, vaulted or plated over with 
 ftieets of filver, decorated with figures in niello, and furmounted 
 by a large mund or orb ifluing from a neft of leafwork (like 
 the graceful fruit finials feen on fo many reliquaries of Ger- 
 many and France), and over this flood a crofs of maflive 
 gold fet with precious ftones, the moft valuable that could be 
 procured . 92 
 
 The ambo, an enclofed pulpit or platform raifed on columns, 
 was large enough to fuffice for fuch ceremonies as the im- 
 perial coronations. It was placed outfide the enclofure and was 
 covered by a canopy lined with plates of gold and fet with 
 precious ftones. The enormous fpace contained within the 
 dome, the fan&uary, aifles, and other parts of the church was 
 lighted by lamps hung from the roof by ornamental chains on 
 circles of filver and filver-gilt ; erodes with the arms extending 
 both ways, fuch as that now hanging in the nave of St. Mark’s 
 in Venice ; networks of gilt metal, which were picked out at 
 night by lamps, befides coloflai candelabra of filver fupporting 
 pyramids of candles, fome holding a central column of wax, 
 like the great pafchal candles of the middle ages. The 
 fan&uary contained forty thoufand pounds weight of filver. 
 The veflels ufed at the altar, and all moveable ornaments 
 applied to it, were of the pureft gold fet with the moft valuable 
 gems that were then probably to be found in the whole heritage 
 of Greek and Roman antiquity. In Conftantinople alone 
 Juftinian dedicated twenty-five churches, moft of them deco- 
 rated with marble and gold ; all, probably (befides thofe at 
 Ephefus, Jerufalem, and other provincial capitals) gifted with 
 
 92 Procopius de Edif., 1. i. Paul have written deferiptions. Thefe 
 Silentiarius, the poet Agathius, and authors are followed by Gibbon, ch. 
 Evagrius the hiftorian, eye witneffes, xli. 
 
lxviii 
 
 IntroduElion. 
 
 crofles, chalices, and altar veflels of gold ; even his body, after 
 death, was buried in a coffin of maffive gold. 
 
 A check was given to ecclefiaftical art by the decrees of 
 Leo the iconoclaft in the eighth century (726-840). His 
 hatred of images led to the deftruCtion of many exifting works 
 of fculpture and veflels and utenfils decorated with figures in 
 enamel. Many artifts were driven by thefe meafures from 
 Conftantinople, and took refuge in Italy, Germany, and Gaul. 
 It is probable that the fchools of mofaic workers and of gold- 
 fmith’s work, gradually forming during intervals of peace 
 under the protection of the popes, the Venetians, and the Gauls, 
 received a new impulfe from the emigration of artifts and 
 teachers that then took place. 
 
 Images were reftored by Bafil the Macedonian (867, 886) 
 in the ninth century, and not only the images but ornaments of 
 all kinds were again made for the churches of Conftantinople, 
 “ with incredible luxury ; gold, filver, precious ftones, and 
 “ pearls were fcattered about with a profufion which furpafles 
 “ imagination.” 93 
 
 Leo the philofopher and Conftantine porphyrogenitus, his 
 fon, did their beft to encourage the art of the goldfmiths 
 during the tenth century, a time of terrible depreffion through- 
 out weftern Europe. This fkill continued through the eleventh 
 and twelfth centuries. 
 
 The fplendour of fecular life correfponded to fome extent 
 with this prodigious application of gold to facred ufes. 
 
 The emperor Arcadius, in the fifth century (399-408), fat 
 on a throne of maffive gold ; his chariot was of gold ; the two 
 white mules that drew it had plates of beaten gold upon their 
 harnefs. <c According to the defcription or rather inveCtive of 
 “ St. Chryfoftom, an auCtion of Byzantine luxury muft have 
 “ been very productive. Every wealthy houfe poflefled a 
 
 93 Labarte. 
 
Introduction. 
 
 lxix 
 
 <c femi-circular table of maflive filver, fuch as two men could 
 <c fcarcely lift, a vafe of folid gold of the weight of forty 
 “ pounds, cups, difhes of the fame metal.” 94 
 
 Theophilus (829) rebuilt the great palace of the emperors. 
 It was furrounded by five churches. The throne of the 
 emperor was of gold fet with gems, and was fet on a terrace 
 in a fquare, round which were diftributed the public offices of 
 the state. The long feries of reception rooms was adapted to 
 the feafons of the year, decorated with marble, porphyry, and 
 mofaics, and with a profufion of gold, filver, and precious 
 ftones. The model of the palace was of oriental and Arab 
 origin ; it had been taken by one of his ambafiadors from a 
 palace lately built on the banks of the Tigris for the caliph 
 of Bagdad. 
 
 The Greeks down to the ninth century were the poflefiors of 
 fuch principles of mechanical fcience as had been known 
 to or at lead: tranfmitted by Archimedes, or by the Rhodians 
 and others fpecially fkilled in mechanifm. In the ninth 
 century this fcience was applied by the emperors in the 
 conftrudtion of coftly toys, made to move and act by clock- 
 work. The throne of Theophilus was overfhadowed by a tree 
 of gold, in the branches of which were birds of many kinds, 
 and at the foot two lions, all of gold. When ambafiadors or 
 potentates were entertained at great receptions the lions moved 
 and roared, and the birds piped their proper notes. 95 
 
 Thefe curious contrivances, however, point to the keennefs 
 of obfervation, and the fpirit and vigour with which the artifts 
 of the early middle age reprefented animal life. The fcroll 
 compofitions into which they arranged the bafes of candle- 
 fticks, the borders, creftings, and reliefs of their reliquaries, and 
 other metal work, abounded in reprefentations of birds, dragons, 
 and monfters, conventionally treated, fo as to give due effedt 
 
 94 Gibbon, Decline and Fall, ch. xxxiv. 
 
 95 lb. 
 
lxx Introduction. 
 
 to the finuous fcrolls and knots in which this rich interlaced 
 ornament was combined. This was a fpecial feature in their 
 goldfmith’s and other metal work, and this feature took deep 
 root in the early art of weftern and northern Europe. It 
 prevailed till the twelfth century or later, and the fame fpirit 
 furvives in the rich defign of the great candleftick of Milan, 
 of which part of the bafe is here feen. 
 
 7 - 
 
 Seven-branched candlestick, Milan. (Bafe.) p. 139. 
 
IntroduStion. 
 
 lxxi 
 
 Thefe treafures of gold and diver, precious ftones, and 
 enamels, fo great in weight and quantity, fo curioufly contrived 
 and wrought, and of such enormous intrinfic valve, remained 
 fubftantially intadt till 1204. In that year the French and 
 Venetians ftormed and facked the imperial capital. A 
 fecond fiege ended in the pillage of the city, and the 
 churches were dripped, while the plate and treafure of the 
 imperial palaces and private houfes were confifcated to the 
 captors. Cf Of the treafures which trade or luxury had accumu- 
 cc lated, the filks, velvets, furs, the gems, fpices, and rich 
 <c moveables, were the mod precious, as they could not be 
 “ procured for money in the ruder countries of Europe. 
 “ After the whole had been equally divided between the 
 <c French and the Venetians, fifty thoufand marks were dedufted 
 “ to fatisfy the debts of the former and the demands of the 
 “ latter. The refidue of the French amounted to four hundred 
 cc thoufand marks of diver, about eight hundred thoufand 
 cc pounds derling, nor can I better appreciate the value of 
 fC that fum in the public and private tranfacdions of the 
 “ age than by defining it at feven times the annual revenue of 
 tc the kingdom of England.” 96 The Englilb ambafladors at 
 the council of Lyons put the revenue of the crown below the 
 sum of 60,000 marks a year. 
 
 It is not probable that any of the gold and diver of St. 
 Sophia, which was either faftened down or not light enough to 
 be carried off and hidden, could have furvived this fatal day. 
 
 VII. — Precious Stones : Niello, and Enamel. 
 
 Precious Stones. — Speaking generally, it may be ftated 
 that precious ftones made no important feature of the ornamen- 
 tation of goldfmith’s work, whether Greek or Etrufcan. Small 
 ftones, pearls, and cryftals were ufed fometimes along with pieces 
 
 96 Gibbon, Dech and Fall, ch. lx. 
 
lxxii 
 
 IntroduSiion. 
 
 of glafs to give fpots of colour where required, but they were 
 not probably to be had of fuch fize, luftre, and water as to be 
 of any great intrinfic value ; and precious ftones have been in 
 all ages the produce of Afia, of India, and the far, unknown, 
 myfterious eaft. The fplendour, luftre, and value of precious 
 ftones have always had a high place in the imagery of oriental 
 poems and fables. It was from the eaft that the fleets of 
 king Solomon and Hiram brought cc precious ftones .” 97 Pre- 
 cious ftones were amongft the offerings of the queen of Sheba. 
 They were articles of the commerce of Tyre , 98 and figure in 
 the defcription of the vifion of Ezekiel . 99 “ From India,” 
 fays Layard, “ through Media, Hyrcania, and central Afia, 
 {C various precious ftones were probably fupplied to Babylon 
 “ and Nineveh .” * 1 
 
 Among the antique gold ornaments in the Britifti mufeum 
 from the Blacas collection there is a necklace fet with beautiful 
 Syrian carbuncles, the ftones forming a rich interlaced knot ; and 
 fmall ftones are found fet on crowns, earrings, and fmall Greek 
 jewellery, but coloured glafs is as often ufed. If diamonds, 
 emeralds, rubies, or pearls of great fize, beauty, or perfection 
 had been procurable by the Greeks they would have been 
 ufed on the drefles, crowns, fhields, and thrones of the great 
 ftatues of Greece, and we fhould have heard of them in the 
 defcription of the fhrines and treafuries feen by Paufanias. 
 
 It was when art was on the decline that precious ftones 
 found their way to Rome. Stones of inferior value, but of 
 great beauty as to colour, the amethyft, fardonyx, onyx, car- 
 nelian, and other materials, were ufed by the late Greco-Roman 
 artifts for intaglioes, cameoes, and fculptured gems. Such gems, 
 as well as cryftals and precious ftones, were to be had in great 
 numbers by the Byzantine goldfmiths, and were fet on the fur- 
 
 9 7 HI Kings. 
 
 93 Ezech. xxvii. 
 
 99 Ezech, i. 
 
 1 Bab. and Nineveh, 337. 
 
IntroduSiion. 
 
 lxxiii 
 
 faces of reliquaries, croffes, and the covers of ecclefiaftical books. 
 Stones not figured or engraved were not cut into regular 
 facets as modern ftones are, but ground down with as much 
 fymmetry as the natural lhapes of hard cryftals would allow 
 and polilhed ; commonly called by lapidaries tc tallow cut,” or 
 in French, cc en cabochon.” Stones or pearls, however precious, 
 do not make up for the beaten and chafed work of antiquity, 
 but they are fet with advantage on the great furfaces of fmooth 
 or filigree gold which the Byzantine artifts ufed fo much. 
 
 Niello. — Befides precious ftones the Byzantines ufed niello, 
 a black compofition made of filver, lead, fulphur, and copper. 
 This material is powdered, and laid in lines or cavities pre- 
 pared for it on a furface of filver ; it is then pafled through 
 the furnace, where it is melted and incorporated with the folid 
 metal. Niello has the effect of the black lines of an en- 
 graving, but the figures made with it are not liable to perifh. 
 It is fpoken of as cc encaustum nigrum vel fubnigrum ex argento et 
 <c auro confe&um,” and is mentioned in a letter to pope Leo III. 
 as early as the beginning of the ninth century . 2 3 Theophilus, 
 who wrote at the beginning of the twelfth century, gives , exaCl 
 directions for making it . 3 
 
 Enamel. — A more beautiful kind of decoration is that of 
 enamel; a glaffy fubftance of many brilliant colours, melted and 
 united to gold, filver, bronze, copper, and other metals in the 
 furnace. It has been ufed on gold and filver fmiths’ work 
 from the fourth to the feventeenth century ; indeed, though 
 with Ids fkill and knowledge, it is in ufe in the prefent day. 
 Enamel is nothing elfe than filicate (glafs in faCt) coloured by 
 certain metallic oxides, and is ufed on the furfaces of pottery 
 and porcelain, as well as metal. It is broken up into powder, 
 made into pafte, and laid on gold, filver, or bronze, which is 
 then palTed through a furnace. From this ftage of prepara» 
 
 2 Ducange. 3 Schedula iii., xxviii. 
 
 36105. 
 
 f 
 
lxxiv 
 
 IntroduSiion. 
 
 tion it has been given the name of Jmaltum . 4 In Italian, 
 Jmalto ; in French, email (pafte or plafter). The glafs is melted 
 and adheres to the heated furface of the metal on which it is 
 laid, fo that the two are permanently united. 
 
 Another way of uftng enamelled decoration is to make 
 vitreous paftes coloured by the means defcribed, cut, polifh, 
 and fet them on the furface of gold, lilver, and other metals : 
 a method of very ancient ufe. This laft mode of decoration 
 is not, however, commonly called enamel. It is neceffary in 
 tracing the hiftory of enamel, and in examining ancient jewellery, 
 to keep this diftindlion clear. 
 
 So much has been done with enamel of different kinds, fuch 
 beautiful examples are to be feen in many collections, and there 
 has been fo much written and faid about it, that it deferves an 
 entire treatife. The fubjecft cannot be paffed over here, becaufe 
 the goldfmiths of Conftantinople and thofe of weftern Europe 
 throughout the middle ages were more or lefs dependent on 
 enamel for their moft beautiful works. 
 
 True enamel then being a kind of glafs, is coloured by the 
 following fubftances ; white, by oxide of tin, which mineral is 
 alfo added to make enamel of any colour opaque ; blue by 
 oxide of cobalt ; red by gold ; violet by manganefe ; green by 
 copper. Other fhades and colours have been ufed by the 
 enamellers of France and the Rhine, and every guild, fchool, 
 or family of artifts has had fpecial methods of its own, both 
 for colouring and ufing the material. 
 
 The metal to be enamelled is placed under a bowl or cover 
 pierced with holes and covered over with charcoal in a fmall 
 furnace. Sometimes, no doubt, enamellers fufed their material 
 with the blow-pipe. It is effential that the glaffy pafte fhould 
 
 4 From 7 nalta, a word of late origin call's) 847-55, that P°P e having deco- 
 fignifying mortar. The name feems to rated the altar of S. Peter in Rome 
 have been firft met with in the life of with enamels after the fack by the 
 Leo. IV. by Anaftaiius ( Liber pontiji- Saracens in 847. 
 
IntroduElion. 
 
 Ixxv 
 
 be a certain time only under the fire, becaufe the colours may 
 change if kept too long, and mud be withdrawn when juft 
 of the hue defired. Some colours fufe more eafily than others, 
 in other words, will not ftand, and do not require fo much heat. 
 Thefe are kept for the lad. Thofe that ftand the moft heat are 
 fird fufed, and they are put back as often as another colour 
 remains to be added to the work. It need not be faid that the 
 regulation of the exacd time of expofure to heat, as well as the 
 making and mixing of materials, and the methods of apply- 
 ing them, are only learnt by long experience and many failures. 
 Artifts have kept much of this knowledge as a perfonal 
 or family fecret, as is dill the cafe with certain fine kinds of 
 enamel in India. The materials are fimple and the outlines of 
 the methods are eafily told, but to ufe them fo as to reach fome 
 meafure of perfection in the working cods the devotion of a 
 lifetime — perhaps of generations. 
 
 It has been faid already, in treating of antique Greek work, 
 that the artids of Greece were not ignorant of enamel, as may be 
 feen by fome earrings in the jewel room of the Britifh mufeum. 
 But the Greeks ufed it very fparingly. They do not feem to 
 have cared, according to Signor Cadellani, to cover gold 
 furfaces with what they confidered a common-place material . 5 
 Pieces of jewellery are occafionally found from which, judging 
 from a glofiy fmoothnefs left on the metal, enamel has 
 probably dropped off. Did the Greeks ever ufe vitreous pades 
 as folder ? Signor Cadellani fays no. It has been made in the 
 ead and in the wed, the fouth and north, of Europe ; in the far 
 ead alfo of India and China ; and the fird difcovery of the 
 procefs is lod in what, for want of a better term, we are apt 
 to call the mids of antiquity . 5 
 
 5 De la Borde, Notices des emaux, &c. Texier, Did. d’orfevrerie, 
 &c. See alfo Journal of the Archsol. Caftellani Memoire fur la jouaillerie, 
 
 alloc., 1847, P- 281. Labarte, Arts, &c. 
 
 f x 
 
lxxvi 
 
 IntroduSlion. 
 
 It is held by more than one writer that the Hebrew word 
 hajhmal tranflated electrum , and in the Englifh amber, in the 
 vifion of Ezekiel, an expreffion or figure ufed to defcribe 
 the fplendour of golden or white light, means enamel, and 
 that the art was known to the Hebrews. How long the 
 art of enamelling has been known in China and India is 
 worth careful inquiry ; there are, perhaps, data for fo in- 
 terefting a fearch. Speaking broadly, it is of late invention 
 as regards Europe. A paflage of a letter written by Philoftratus 
 to Julia, wife of Septimius Severus, at the beginning of 
 the third century, fays, cc They fay that barbarians in the 
 “ ocean (islanders or coaft tribes) pour colouring matter 
 cc on bronze, that pafies through the fire, and that by this 
 <c means the colours are fixed and petrified, and that they pre- 
 cc ferve the figures they have defigned (or painted) by this 
 cc means.” 6 
 
 The early date of a number of examples of Gallo-Roman and 
 Gallo-Britilh enamels, fuch as two fhields now in the Britifh 
 mufeum, one of them from the Meyrick collection, prefented by 
 Mr. Franks, and other fmaller examples which have been found 
 in Gaul and in this country, and exhibited in the South Kenfing- 
 ton mufeum and elfewhere, 7 favours the belief that the Gauls 
 and Britons were among the earlieft artifts in this material, at 
 any rate in the weft : that from them enamels were obtained in 
 Rome ; and the art was developed and enlarged by the Byzan- 
 tine goldfmiths, when Chriftianity became the religion of the 
 State. Whatever the country from which we firft derived 
 enamel, or the date of its firft ufe, it became of the greaieft 
 
 ® “ t uvra, (patri r a, %pcopf.a,ra rol( iv 
 Cl/ceam B apPdpovi; tu xaXKo 
 
 Siam 'pcct; t a Se cvv'!<rTu<7Qai kixi \i6ova9cu 
 Kai ou^ei v a ecppdyv). — Philoftr. Icon. 
 L. i. c. 28. 
 
 7 Exhibition of Enamels, 1874, 
 
 with which may be mentioned a 
 vafe found in a Roman fepulchre in 
 Effex, defcribed in the Archseologia, 
 vol. 26, and many ornaments in the 
 Gibbs colledlion of the South Keniing- 
 ton mufeum. 
 
IntroduSiion . 
 
 Ixxvii 
 
 importance in Byzantine goldfmiths’ work, and has been ufed 
 continually down to our own times. 
 
 There are different kinds of enamel : i, inlaid or encrufted ; 
 
 2, tranfparent, fhowing defigns on the metal under it; or, 
 
 3, painted as a complete pi&ure, which can be carried out 
 with the finenefs and delicacy of miniature painting. 
 
 The two firft are what moft concern the hiftory of the gold- 
 miiths’ art, but goldfmiths’ work of a later date is fometimes 
 decorated with the third kind, and occafionally with two of 
 thefe varieties on the fame piece. When enamel is encrufted 
 the different parts of the figure or pidture are drawn out by 
 thin gold ftligree bands or enclofures, which are folderea down on 
 the furface of the metal to which the enamel is to be applied ; and 
 the enamelling matter or glafs is laid into the various divifions fo 
 contrived as already defcribed. The burning is repeated with frefh 
 material if the enamel is not equally thick in all parts, or if any 
 of it does not completely fill the place prepared, and when cool 
 the furface is rubbed down and polifhed. The metal generally 
 enamelled by the Greeks is gold, which has to be very pure 
 fo that the thin bands may not melt. This is called by the 
 French <c cloifonne ? from the fmall filigree bands or enclofures. 
 Encrufted enamel is not always enclofed by filigree work. The 
 metal to which it is applied often is of thicknefs fuflicient to 
 dig or hollow out cavities in it to hold the enamel. In that cafe, 
 when, for inftance, bronze or copper is ufed, the hollow spaces 
 are divided by thin walls left in, not foldered to, the metal, and 
 the vitreous material is treated in the way defcribed. The 
 narrow divifions, and fometimes important portions, are chafed 
 with figures, and gilt. This method is called by the French 
 “ champleve” becaufe the ground of metal work is cut or dug 
 away. In coarfer and cheaper pieces, veflels were often caft 
 with thefe hollows ready provided. 
 
 The fine enamels of the Byzantines are of the firft of thefe 
 varieties. The encrufted enamels made in Cologne or in ether 
 
lxxviii 
 
 IntroduElion. 
 
 cities on the Rhine, thofe of the early Limoges manufacture, 
 and the enamels of the Britons and Anglo-Saxons were of the 
 fecond kind. The fine Irifh works (the cup, e.g., defcribed in 
 the appendix, found at Ardagh in Co. Limerick) have alfo 
 enamel enclofed in gold filigree of the firfi: kind. The enamel 
 of this encrufted work is of confiderable body, and more or lefs 
 opaque. 
 
 The next kind of enamel to be noticed is tranfparent and 
 laid over delicate engravings, generally on filver. The fub- 
 jects are painted over with the colours required, which are 
 then melted, care being taken not to let the colours run into 
 each other. The chafing and modelling of the filver is feen 
 through the tranfparent medium, and this kind of work is of 
 great delicacy and beauty. The French call it of “ bajje 
 taille ” that is, enamelling over low reliefs. This enamel had 
 its origin in Italy about the thirteenth century, and fome 
 of the moft beautiful pieces of Italian goldfmiths’ work have 
 parts or points coloured by this method. It was carried to 
 perfection by Cellini and his pupils and contemporaries. 
 
 The third kind, a mere painting on an enamelled copper 
 furface, was the method ufed by the Limoges artifts of the 
 fixteenth century. Thefe enamels do not come under notice 
 in treating of the art of the goldfmith. 
 
 Beautiful tranfparent enamels are made at Pertabghur in 
 India. They look like flices of emerald or fapphire laid in 
 beds of gold, and having tiny figures of beaten gold Jet into 
 their furfaces. Thefe enamels are made in that one place and 
 by only two or three families, who keep their procefies as 
 fecrets. Their only muffles are metal cups, and their furnace 
 a hole in the earth in which they blow the fire up with the 
 lungs. 
 
 The enamel of the Byzantines was very often made in 
 jewels or fmall pieces, and applied as precious ftones are, by 
 collets or by loops and flaps which Amply joined the piece 
 
IntroduSiion. 
 
 lxxix 
 
 of enamel to the object to be decorated. In this way enamels 
 were fent as prefents and fattened to crowns, even to drettes 
 and gloves, as in thofe of Charlemagne in the crown trea- 
 fury at Vienna. 8 They were often ufed on objects for which 
 they had not been made. Many fine pieces, however, were 
 complete in themfelves. Unhappily, owing to the value of 
 the pure gold of which fo many of the fineft examples of 
 facred veflels and royal ornaments, arms, or plate were made, 
 very few Byzantine enamels can now be pointed out. 
 
 A crofs, belonging to Mr. A. J. B. Beresford Hope, formerly 
 in the Debruges collection, now on loan in the South Ken- 
 fington mufeum, is defcribed in the appendix. It is of pure 
 gold, with the figure of our Lord on the Crofs, between butts 
 of the blefled Virgin and St. John, and has enamels on the 
 back. The middle of the Saviour’s body is broken through fo 
 that the gold and the fedtion of the enamel can be carefully 
 examined. It is of the tenth or eleventh century. 
 
 There is a fine example of goldfmiths’ work, a crucifix, the 
 crofs of gold, mounted on cedar wood, with the evangeliftic 
 fymbols in round medallions on the four arms of the crofs, 
 numbered 7943 in the South Kenfington colledtion, and de- 
 fcribed in its place. The letters of the title over the head 
 are Latin and not Greek, but the finenefs of the filigree and 
 the extreme luftre and delicate working of the enamels feem 
 beyond the reach of any but Greek workmen during the tenth 
 century. The back is of pure gold, delicately beaten up. 
 
 To thefe examples of Byzantine gold- 
 fmiths’ work may be added a beautiful piece 
 of beaten work, defcribed under No. 392. 
 
 It is the cover of a fmall pyxis, perhaps a 
 
 1 Cover of a Vase 
 
 chrifmatory, very delicately beaten, in a fort No. 392, p. 21. 
 of architectural dome or lantern, and with half figures of animals 
 
 8 Ur. Bock’s Kleinodien. 
 
'Ixxx 
 
 Introdu&ion. 
 
 looking out of holes or windows, only imperfe&ly illuftrated 
 in the accompanying woodcut. It is of beaten gold only, and 
 has no enamel upon it. 
 
 A few examples of known pieces of Conftantinopolitan 
 goldfmiths’ work are preferved in the national library, Paris. 
 Some of thefe have been prefents, made expreffly for and fent 
 by the emperors to foreign kings and princes. The following 
 are enumerated by J. Labarte : — 9 
 
 1. The fword and various ornaments of drefs found in the 
 tomb of Childeric at Tournay in 1635. Thefe are covered 
 with filigree enamel. 
 
 2. An oblong difh of gold with a border of lozenges and 
 trefoil ornaments on the angles. This piece was found near 
 Gourdon, in the Haute Saone, not long fince, along with gold 
 coins of the emperor Anaftafius I. (491-518), and Juftin 
 (518-527) which, however, do not prove the date of the difh, 
 though it mull have been buried later than the laft here given. 
 
 3. A MS. cover (MS. Suppl. Latin, No, 1,118 in the 
 library catalogue), ornamented with enamels and precious 
 ftones, confidered by Champollion Figeac to be not later than 
 the eleventh century. 10 
 
 4. The cover of a book of the Gofpels, the border of gold 
 with double bands of pearls and tallow-cut ftones. It is not, 
 however, earlier than the twelfth century. 
 
 Photographs of Nos. 3 and 4 will be found amongft the 
 colledtions of the South Kenfington mufeum library. A cafe 
 for a mifial or fervice book is preferved in the collection of the 
 Louvre. It is in beaten work, having the Crucifixion under an 
 arch and furrounded by a wide border containing cloifonne 
 enamels. The evangeliftic lymbols are reprefented on the four 
 corners. Another example of Byzantine goldfmiths’ w r ork, 
 alfo in the Louvre, is a plate of beaten gold, perhaps a book 
 
 9 Handbook, ch. iv. 
 
 10 Revue archeologique, 3 mo Ann., 89. 
 
Introdu&ion . 
 
 Ixxxi 
 
 cover. An ele&rotype caft of this piece is in the South 
 Kenfington mufeum, which is fully defcribed under No. 55.-3 
 further on. 
 
 An enamelled cover of a gofpel book is kept in the library 
 at Munich (M.S. No. 37). The frame of this cover is of 
 gold with enamels imbedded in filigree of beautiful execution. 
 It is the work of a Greek artift, made, probably, in weftern 
 Europe for the emperor Henry II. It is of the early eleventh 
 century. 
 
 The crowrn of Hungary, kept in the caftle of Buda, is a 
 Byzantine work of the eleventh century, given by Michael 
 Duras (1071-78), to Geyfa I. (1047-77), but has additions 
 of more modern date. The older part confifis of a cylindrical 
 band of pure gold. 
 
 A few examples of crofles of Byzantine work are preferved 
 in Germany. One at Eflen fet with precious ftones, and 
 confidered to be of the fourth century : a crofs of gold fet 
 with precious ftones, of the tenth century, in the treafury of 
 St. Mauritz at Miinfter in Weftphalia : another in the treafury 
 of the Dom, of the fame city, but probably not earlier than 
 the eleventh or twelfth century : a crofs of the ninth century 
 in the treafury of the Dom of Hildefheim in Hanover, of filver, 
 made to contain relics, faid to have been brought from the 
 holy land by Lewis the pious, defcribed amongft the cafts. 
 
 VIII.— The Treasure of Petrossa. 
 
 An interefting example of the art of the goldfmiths of the 
 Gothic races who came under the influence of the Byzantines 
 has lately come to light. It confifts of a number of veflels, 
 fome apparently brought from Conftantinople, or one of the 
 provincial capitals of the empire. 
 
 Thefe veflels are of pure gold and of great value : fome of 
 them covered with beaten and chafed work, others confifting 
 
lxxxii 
 
 IntroduEtion . 
 
 of a network of broad bands made to hold table-cut ftones, 
 cryftals, and paftes. Some are fet tranfparently, others over 
 foil on a plate of gold. One deep patera of maffive gold with 
 figures in it is in the debafed claflic ftyle fo long maintained 
 in Conftantinople and the border provinces of the empire. 
 
 The “ treafure of Petrofla,’’ as the whole collection is called, 
 was found by peafants in 1837 011 the banks of the river 
 Argifh, a tributary of the Danube, flowing fouth-eaft from the 
 Carpathian mountains. Thefe veflels were hidden by the 
 finders, and afterwards mutilated, in order to avoid the rights 
 of the government and the owner of the foil over treafure 
 trove. Out of twenty-two feparate pieces only twelve now 
 remain. They were exhibited in the Paris exhibition of 1867, 
 in the feCtion of the “ Hijioire du travail ,” and were afterwards 
 lent to the South Kenfington mufeum. They are now kept in 
 the mufeum of antiquities at Buchareft. A fele&ion only out 
 of the twelve remaining pieces has been caft in electrotype 
 for the mufeum. Detailed defcriptions of them will be found 
 under the head of cafts in the fequel. 
 
 Along with the beaten and inlaid veflels there was found a 
 maflive torque or Celtic collar of gold, made in a fquare rod 01- 
 bar twilled and hooked at the two ends, an ornament common 
 in Gaul and amongft the Celtic tribes in thefe iflands long 
 before the times of the Roman conqueft. The veflels, of. beaten 
 gold,’confift of, 1. A maflive round dilh of great intrinfic value, 
 cut into four pieces by the finders. All the pieces, fortunately, 
 have been faved, 2. An ewer or wine veflel of elongated oval 
 form, with a broad flat lip, a flat foot, and a handle. The body 
 is beaten up in fpiral lines. Thefe two pieces are of claflical 
 outline, and the ornament is Ample and well arranged. They 
 are probably of the early fourth century. 3. A dilh with a row 
 of mythological figures already noticed. Thefe three objects 
 were probably made at Conftantinople. 4. Two two-handled 
 vafes are made of flices of Syrian garnet and other precious 
 
IntroduStion. 
 
 lxxxiii 
 
 ftones fet in maflive reticulations of gold difpofed in geometrical 
 tracery. In one of thefe the handles, which are flat pierced plates 
 projecting on a level with the lip of the vafe, are fupported by 
 two leopards of maflive gold, the fpots reprefented by carbun- 
 cles. Several brooches of large fize are compofed of ftones, 
 alfo fet in pure gold, and lined with plates of the fame metal. 
 Thefe are made in the form of the heads of birds ; one 
 reprefents the head and breaft of a pheafant. A collar or gorget, 
 part of a fuit of ceremonial armour, is made of a plate of pure 
 gold, and has had a mafs of precious ftones fet in reticulated 
 gold bands, completely covering the lurface. 
 
 The exaCt nationality of thefe treafures has been much 
 difputed. The fine chains from which cryftals and jewels are 
 hung, and which are a charaCteriftic feature in the brooches 
 or breaft ornaments, are twifted in the way common both to 
 the old Greeks and to the Indian goldfmiths ; little, therefore, 
 can be deduced from this, but the hanging of jewels round 
 crowns or head ornaments was part of the decoration of the 
 crown of the emprefs Theodora, in the mofaic picture of 
 St. Vitale, in Ravenna, a fac-fimile of which is now in the 
 South Kenfington mufeum. The fame ornament appears on 
 the Gothic crowns of Guarrazar, now in the mufeum of 
 the hotel de Cluny in Paris. It is probable that the 
 
 Goths derived thefe ornaments from Constantinople. Mr. 
 Soden Smith’s conclufion is that they are the work of Byzan- 
 tine artifts, made for military officers or colonifts who had to 
 retire fuddenly before fome inroad of the Huns ; either in 
 the capital of the Eaft or in that of an outlying fettlement of 
 Hungary, Tranfyl vania, or other of the Danubian provinces . 11 
 
 The great difh, which is of maflive gold, is valued at 1,000/. 
 Moft of fuch valuables have long Since gone into the crucible, 
 
 11 For a fummary of the arguments, Report of the commiffion, &c. Paris, 
 fee the preface to Mr. Soden Smith’s 1867. 
 
 Treafure of Petroffa. Ch. de Linas. 
 
Ixxxiv 
 
 IntroduElion . 
 
 and pafled through a metemphfychofis of many mints and 
 coinages. 
 
 IX.— Gold and Silver work in western Europe of 
 Byzantine character. 
 
 The breaking up of the Roman empire and the convulfions 
 through which Europe reached new life, firm governments, 
 and well-ordered fociety, would have buried the very memory 
 of the arts but for one proteftor, the Chriftian Church. Power- 
 ful tribes, Goths, Vandals, and Hans, pafled like great waves 
 of barbarifm, deftroying or carrying away the wealth and 
 cultivation of the old world ; but the new religion, nearly co- 
 extenfive with the old empire, was everywhere at hand to 
 comfort, to encourage, and to repair. It kept alive the ancient 
 learning, and what is to our purpofe here, it never ceafed to 
 encourage the arts, thofe efpecially that adminiftered to the 
 fervice of the fanfluary. Rome, the ruined capital, befieged, 
 facked, and burnt, was never abfolutely deftroyed. It held 
 within the broken circle of its walls the only power that could 
 make itfelf felt in diftant cities and capitals, or in what remained 
 of them. The learning and cultivation which enjoyed the pro- 
 tection of the Roman pontiffs were encouraged and cared for 
 in Milan, in Venice, in Gaul ; in fhort, wherever Chriftian 
 churches were ftrong enough in the numbers and circumftances 
 of the community to maintain their clergy and their ritual in 
 fome decent independence. 
 
 As time went on the Roman pontiffs, the bifhops of other 
 diocefes, exarchs, kings, and chiefs that maintained themfelves 
 for longer or ftiorter feafons of power, borrowed models and 
 teachers from Conftantinople. Sometimes imperial gifts, fuch 
 as altar fronts, crofles, reliquaries, or royal crowns, found their 
 way to churches and courts from the Byzantine capital. They 
 were objefts on which a great value was fet, and were received 
 
Introduction. 
 
 lxxxv 
 
 as motives for ftudy and imitation : fome of them are ftill 
 kept as venerable monuments in church treafuries, and among 
 ftate regalia. 
 
 9 - 
 
 Crown from Abyssinia. 
 
 This curious tiara, made for eccleliaftical ufe, brought from 
 Abyflinia and not, probably, fo old as the middle ages, repre- 
 fents the old oriental traditions preferved in diftant provinces. 
 It is defcribed p, 281. ( Compare crown , p, 372.) 
 
 It is now time to point out the fchools of the goldfmith’s 
 art which maintained themfelves more or lefs directly after the 
 teaching and example of Byzantium. Gaul, Spain, and Britain, 
 including weftern Europe as far as the Rhine, were colonies 
 and provinces of the Roman empire in the third century. 
 Roman legions were quartered in thofe countries, troops were 
 enrolled from them for the fervice of the empire. Cities 
 and villas were built in them protected by walls, fuch as 
 London, Silchefter, and York. The military colonifts brought 
 with them the arts of the imperial city ; painting, fculpture, 
 and architecture ; the arts of making and working bronze, 
 the laft probably already long eftablilhed in both Gaul and 
 
lxxxvi 
 
 IntroduElion. 
 
 Britain. Provincial life was an imitation, more or lefs exaCt, 
 of Roman manners. Provincial art could bear a comparifon 
 with that of the contemporary fculptors and painters in Rome. 
 
 The precious metals were rare in Gaul and in Britain, much 
 more abundant in Spain, and found in moderate quantities in 
 the fands of the Rhine and other large northern rivers. It is 
 probable, therefore, that while metallurgy was carried to a 
 higher perfection than fculpture, it was employed on the found- 
 ing and chafing of fhields, arms, and perfonal ornaments, rather 
 than ftatues of life fize or on a fmaller but ftill confiderable fcale, 
 and that the colonies worked in bronze rather than in filver or 
 gold. Still, though the Celtic and Gallo-Roman remains of 
 enamelling are mofily executed on bronze, thefe races were 
 well acquainted with the art of gilding, and the precious 
 metals were ufed on perfonal ornaments, horfe trappings, and 
 the mountings of arms. But thefe arts died out after the 
 breaking up of the empire, and the lofs of the fecurity 
 given while the power of the empire lafted, and even the 
 memory of that power, till they were fwept away before the 
 fury of hoftile invafions. Few traces furvived. Some facred 
 veflels and reliquaries, faved here and there in churches and 
 fanCtuarres, where Chriftianity held its own, may have difpofed 
 the Franks and Saxons to receive again and to cultivate dili- 
 gently the art of metallurgy as foon as more peaceful times 
 were reached. But the art of working with grace and fkill 
 in the precious metals was a revived art. Very little could 
 have remained of the fchools of metal workers that grew up 
 under the Roman dominion. 
 
 We have no Italian goldfmiths work of the fifth or fixth 
 centuries. The oldefi: examples now remaining are the trea- 
 fures of the cathedral of Monza : a box enclofing feleCtions 
 from the Gofpels ; the cover of a copy of the Gofpels ; and the 
 celebrated iron crown of Monza. In the crown there is little 
 
IntroduEiion. 
 
 Ixxxvii 
 
 of the goldfmith’s art. It is a flat circle of gold, between two 
 and three inches wide, joined, and covered with precious ftones 
 in rows of three, one above the other, in plain fettings. In the 
 fpaces between thefe rows are fet Angle [ftones, with six foiled 
 flowers of gold. It is called the iron crown becaufe of a thin 
 circle of iron inftde it, believed to be one of the nails of the 
 Crofs, and it is the traditional crown of the kings of Lombardy. 
 It was given to the treafury of the cathedral by Theodolinda, 
 queen of the Lombards, in 6i6. u Another crown, that of 
 Agilulph, of the end of the Axth or beginning of the feventh 
 century, was included amongft thefe treafures. This crown 
 refembled that of Juftinian in the mofaic of San Vitale at 
 Ravenna. 15 It was taken to Paris by the French, and ftolen 
 from the national library in 1804. A bafs-relief from the 
 cathedral of Monza . reprefents an imperial coronation, and 
 thefe crowns are feen in the back-ground of the compofttion. 
 (A caft of the baf-relief is now in the South Kenflngton mufeum.) 
 
 France, during this time, the Axth and feventh centuries, 
 w r as lefs defolated by wars than Italy, many provinces lying 
 out of the track of conqueft. There the remains of the gold- 
 fmiths’ art furvived. The ancient Roman traditions gathered 
 frefh life from fuch examples of Byzantine workmanftiip as 
 were obtained from time to time by princes and bifhops. 10 
 Abbo, the goldfmith and mint mafter of Clothaire the fecond, 
 was the mafter of a pupil far better known, who rofe from 
 the pofttion of a goldfmith to the rank of a bifhop, St. Eloi 
 or Elegius, 588-659. He made crowns, chalices, and other 
 ornaments for the church of St. Denis and others. He is the 
 fuppofed author of the fautueil of Dagobert the ftrft, a chair 
 
 14 Figured, Du Sommerard album, 16 Work done by Gallo-Roman 
 
 Xth Ser. pi. xiv. workmen of a fine kind, and according 
 
 15 See a full-sized copy of this mo- to the ancient traditions was rare, 
 faic in the South Kenfington mufeum. Labarte Art. indult. ii. 
 
lxxxviii 
 
 Introdu&ion. 
 
 of bronze gilt now in the national library in Paris, and of many 
 celebrated golden reliquaries now no longer in exiftence . 17 
 Mod; of the works of this kind which were of great intrinfic 
 value were either melted down by Louis XV. during his 
 German wars, or by the revolutionary commiflioners at the 
 clofe of the lad; century. 
 
 Whether the enamels for the manufacture of which Limoges 
 became the fpecial feat fome centuries later were made in that 
 city as early as the feventh century or not, it was at Limoges 
 that the bed; goldfmiths were eftablilhed. In the abbey of 
 Solignac, founded by St. Eloi, near Limoges, the art of work- 
 ing metals for all utendls required for religious ufe, or the 
 decoration of churches was carefully encouraged under his 
 patronage. 
 
 From this period indeed the monafteries of Europe became 
 fchools of learning and of all arts and handicraft, from agri- 
 culture to architecture, fculpture, and painting ; and efpecially 
 of the art of the goldfmith, and the fpread of Chriftianity fur- 
 rounded thefe homes of charity and peace with a reverence that 
 became a general, if not an abfolute, protection in war. In 
 fuch inftitutions there was time for experiments in the arts and 
 in manufacture, and for the refults to be perfected and tranf- 
 mitted to fucceffive ages of patient and unfelfidi pupils. Tra- 
 ditions and <f rules of thumb,” of fuch great value in the 
 preparation and adjuftment of materials and in proceftes of 
 manufacture, were not loft for want of a continuity of pupils 
 and fucceffors. 
 
 Treasure of Guarrazar. 
 
 A remarkable example of the ftate of goldfmiths’ work 
 in Spain in the feventh century came to light a few years fince. 
 
 17 Muratori Rer. Ital. Script, t. xii. Labarte gives an enumeration of tome 
 of thefe objects. 
 
Introduction. 
 
 Ixxxix 
 
 Towards the clofe of 1858 fome peafants travelling near 
 Toledo, at a place called La Fuente de Guarrazar, came upon 
 a quantity of treafure of gold and precious ftones, buried at a 
 flight depth below the furface of the ground. They were at- 
 tracted by the rich colour of the gold, but had a very infufficient 
 notion of the full value of what they had found. A fpeculator, 
 better inftruded, found out the fecret, bought up the jewels, 
 which had been taken to pieces and divided amongft the finders ; 
 and having put them together completely, carried the whole 
 treafure to Paris, where it was bought and placed in the hotel 
 de Cluny. This treafure confifts of eleven crowns of* the 
 pureft gold, fome fet v/ith precious ftones, fome hammered 
 in relief ; tftree croffes of the fame ftyle ; an emerald rudely 
 engraved with an Annunciation, and various fragments of 
 hammered gold with chains fattened to them, by which they 
 have been hung over an altar, but in what church is uncer- 
 tain. The crowns are of different fizes. The largeft is a 
 jointed circle or belt of gold made of two thickneffes, the inner 
 plate quite fmooth, the outer doubled • over on the top and 
 bottom edges to hold two rims or borders of tranfparent glafs 
 paftes fet. in thin bands of gold like Greek enamels. The outer 
 plate between thefe edges is thickly fet with thirty large fap- 
 phires and thirty large pearls. The ftones are <f tallow cut,” /.<?., 
 polifhed without facets. There are rings or hooks on the edge, 
 by which M. Du Sommerard, the curator of the museum, fup- 
 pofes a lining of filk or rich fluff has been fattened fo that the 
 crown could be worn. The moft remarkable part of the orna- 
 mentation is a row of letters hung by fine gold chains to the 
 lower edge, the letters fpelling together the legend, reccesvin- 
 thus rex offerret. From the letters hang fmall drop jewels 
 pierced and attached by links of fine gold. The crown is hung 
 by four chains, each link forming a fort of triangular lobed leaf 
 infide a rim or border, all pierced. The chains unite in a jewel 
 of rock cryftal cut into the form of a rude capital to a column, 
 and below this is a fort of flower compofed of gold C-fhaped 
 
 3610s. g 
 
xc 
 
 IntroduSlion. 
 
 leaves gathered into a graceful neft or bloffom, and with jewels 
 hanging from the points. Below the crown again hangs a 
 crofs fet with large fapphires and pearls, and with pendants 
 hung from the arms and from the foot of the crofs. Another 
 crown bears in letters the name of king Swinthila, 621— 631. 18 
 
 10. 
 
 Votive crown of king Suintila. 
 
 18 Juan Riano, objects of Spanifh production in the South Kenfington mufeum. 
 
IntroduElion. 
 
 xci 
 
 One other crown, of the fame kind but fmaller and fet with 
 ftones, may have been worn by a queen, a fourth is made in the 
 fame form. Three others are of open work made up by bars of 
 gold interfering each other in fquares ; with jewels at the points 
 of union, and jewels hung below them ; a kind of work called 
 interrafile , open or pierced, or bafket work. From all thefe 
 are hung fix crofles, lefs rich than the fir ft defcribed, and made 
 of flat furfaces of gold with fmall gems fet on them. 
 
 Three other crowns are fmaller and are without hanging 
 ornaments, but they are wrought with more lkill ; one is a colon- 
 nade or row of fmall arches ; and the others have ornaments of 
 hammered gold. The name of Reccesvinthus, 649-672, ferves 
 to fix a probable date to thefe crowns. They are moft of them 
 votive offerings, but one, perhaps two, have been actually 
 ufed as enfigns of kingly dignity. 
 
 As in Monza with the iron crown, fo here in Spain crowns 
 were hung over the altar. It had been a common form of 
 offerings from the reign of Conftantine in many countries of 
 Europe, and the crown ufed for actual coronations was probably 
 kept in fuch a confecrated fpot, or it may have been hung up 
 in memory of that folemn ceremony. In Toledo, when the 
 city fell into the hands of the Mahommedans, cc twenty-five 
 diadems ” were found in the cathedral ct beautifully ornamented 
 “ with jewels, one for each of the kings who had ruled over 
 <c the country, fince it was a cuftom amongft them for every 
 “ monarch to depofit there before his death a crown of gold 
 “ bearing an infeription indicative of his name, perfonal de- 
 “ feription, duration of life and reign, the children he had.” 19 
 The moft remarkable ornaments are the letters. The open 
 network of three of the crowns, as well as the jewels hung 
 from the lower edges by fine chains, are like thofe of the jewels 
 
 19 Pafcal de Gayangos, hiftory of Append. D., 48., quoted in Lafteyrie- 
 the Mahommed dyn. in Spain, vol. i. Trefor de Guarrazar, p. 21. 
 
XC11 
 
 Introduction. 
 
 found at Petrofta, fome of which have thefe chains and pierced 
 appendages, the intervening fpaces filled in with paftes, sap- 
 phires, and garnets. The charatfter of the work is Gothic. They 
 are made after methods and traditions inherited, probably, from 
 ancient Roman artifts rather than from Byzantines, as enamel 
 is not ufed, though the appearance of that material is imitated in 
 the dices of done, jewels, and paftes fet in the letters. Though 
 thefe crowns are probably the work of Spaniffi artifts, it mull 
 be remembered that late Roman or Byzantine art was for many 
 centuries after the feventh ftill the model for imitation over 
 moft parts of Europe. 20 
 
 X. Charlemagne. 
 
 No one perfon did fo much for the reftoration or for 
 putting courage and life into the art of the goldfmith as the 
 emperor Charlemagne. 21 He held under his fway the whole of 
 continental Europe weft of the Rhine and the Danube. He 
 eftablilhed the independence of the Roman pontiff, and within 
 his vaft dominions both gave and encouraged others to give 
 abundantly to the founding or rebuilding of churches and 
 furnifhing them with coftly veflels of all kinds. He was 
 crowned on the feaft of the Nativity, in the year 800. With 
 regard to the making of veflels and utenfils in gold, filver, and 
 bronze, he had no difficulty in finding workmen : fome in the 
 monafteries, and many fecular artifts had taken refuge in 
 weftern Europe in confequence of the decrees of the iconoclafts 
 in the eaft. Thefe had brought works of art and carried with 
 them their fkill, their method of working, and their knowledge 
 of defign. 
 
 20 See a detailed account of this found in the “ Arte Latino Bifantino cn 
 trealure with coloured figures — Laf- Elpana,” &c. Madrid, 1861. 
 
 teyrie Trefor, &c. The moll inter- 21 Du Sommerard. 
 elling account, fays Riafio, is to be 
 
IntroduSlion. 
 
 XClll 
 
 Amongft the jewels and ornaments made for his own 
 perfonal ufe the imperial crown muft be lpecially noticed, for it 
 is ftill preferved amongft: the regalia in Vienna. This crown is 
 made up of eight round-headed plates of gold, the largeft nearly 
 fix inches high, jointed together. 22 The larger are fet with 
 jewels in pierced openings, kept in place by gold claws, and 
 the fmaller with enamels, reprefenting Solomon, David, the 
 prophet Efaias before king Hezekiah, and our Lord between 
 feraphim. Thefe enamels are enclofed in filigree bands in the 
 
 IX. 
 
 Crown of Charlemagne. 
 
 Greek manner, and the whole funk into the metal plate. Por- 
 tions of the crown are of later date : a crofs on the front 
 and an arch from back to front, on which are the letters, 
 CHOUONRADVS DEI GRATIA ROMANORV IMPERATOR AUG, in 
 
 pearls. The date of the coronation of Conrad III., i 138, 
 brings this portion down to a later century. It was probably 
 
 22 Willemin Monuments, ined. pi. 19. 
 
XC 1 V 
 
 Introduction. 
 
 crofted by a fecond arch, traces of which can be feen on the 
 back of the fide plates. It is kept at Vienna with other of 
 the regalia, fuch as the fword, fceptre, fhoes, gloves, albe, and 
 dalmatic. They were preferved at Nuremburg before the wars 
 of the French revolution, and from thence fent to Frankfurt, 
 or whatever other city might be chofen, for the coronation 
 of an elected emperor . 23 Other ornaments of the regalia of 
 Charlemagne, ftill preferved, have been noticed already. 
 
 It is probable that in the ninth century many utenfils for the 
 adminiftration of religious offices, and many of the ornaments 
 of churches were of bronze gilt oftener than of gold or of filver. 
 Thofe metals were probably refer ved for what were held to 
 be the moft facred ufes, the cups of chalices, patens, and re- 
 liquaries. Neverthelefs, Charlemagne was the poffieffior of greater 
 treafure than any monarch of the weft in his own age. No 
 one fince the fall of Rome fo nearly reprefented the fway of 
 the emperors of the weft. Hiftory records fome few traces of 
 his perfonal magnificence in the matter of goldfmiths’ work, 
 befides the crown, fword, and other regalia. Among his trea- 
 fures were a table of gold and three of filver, of large fize, and 
 great weight. On one was traced or hammered the plan of 
 the city of Conftantinople, on another a view of Rome. The 
 third was wrought with great delicacy ; it was convex, perhaps 
 in the ftiape of a round fhield, and compofed of three zones 
 containing a defcription of the whole univerfe, figured in low 
 relief or chafing. Such a piece of goldfmiths’ work was 
 probably of Conftantinopolitan origin . 24 
 
 Charlemagne was buried, like the old Egyptian kings, with 
 many of his treafures about him. His body was embalmed 
 and feated on a throne of gold, clothed in his imperial robes ; 
 wearing a fword, of which the hilt and fcabbard were of gold ; 
 with his fceptre and his fhield of gold hung up before him ; a 
 gold chain, to which was faftened a relic of the true crofs was 
 
 23 'Willemin, ii. p. 428. 
 
 24 For an account of thefe treafures 
 
 fee Du Sommerard arts, &c, ii. 
 443 - 
 
IntroduSiion . 
 
 xcv 
 
 wound round his head. Thefe treasures were carried away by 
 his fucceflors about the twelfth century, cc probably the fpolia- 
 “ tion took place when in 1106 Frederick Barbarofla, who 
 “ had obtained from the anti-pope Pafcal the canonifation of 
 (c Charlemagne, diftributed his bones to be enclofed in reli- 
 <f quaries.” 25 
 
 The early jewellery of the Saxons, from the middle of the 
 fifth century, when they firfb fettled on the £C Littus Saxonium,” 
 proves that they were fkilful goldfmiths. Their jewels fhow, 
 fays Mr. Roach Smith, cc in artiftic merit in ftyle and defign, 
 “ a clofer relationfhip to claflical or Roman art than thofe 
 “ from other parts of the kingdom.” 26 With certain Teutonic 
 features they retained traditions received from the colonifts of 
 Rome fettled for many generations on our fhores. Again, “ in 
 a grave at Sarre ” (in Thanet) cc was found a necklace com- 
 “ pofed of four gold coins (of the feventh century ), and circular 
 <c flat mofaic work fet in gold ” — fibula, a glafs bulla, another 
 of cryftal, perforated fllver-gilt fpoon fet with garnets, and other 
 precious objedts. 
 
 Once more : cc The girdles of the Franks and Saxons of 
 
 “ diftindtion were ufually ornamented moft profufely. Not 
 u only were the buckles often of the richefl: workmanfhip, and 
 <c confpicuous for fize and decoration, but they are fometimes 
 u fupplemented by enchafed plates, or plates fet with precious 
 cc ftones.” Many pendants found in Saxon tombs of the flxth, 
 even of the fifth, century cc are of elegant defign and work- 
 cc manlhip, 27 and muft have decorated ladies of rank ; made of 
 “ gold and fet with garnets and turquoifes.” Examples of 
 
 25 Labarte Handbook. chrale, pi. xvi. &c., and Roach Smith, 
 
 26 C. Roach Smith, catalogue An- where alfo the reader will find a full 
 glo-Saxon antiquities, &c. Introd. ix. lift of authors on the fubjedt of thefe 
 
 27 B. Fauffett. Inventorium Sepul- remains in England and France. 
 
XCV 1 
 
 Introdu&ion. 
 
 thefe ornaments may be ftudied in the South Kentington 
 mufeum. In 1828, about a hundred gold coins were found 
 at Crondale, in Hampfhire, with two jewelled clafps of a 
 purfe. cc They cannot be later than the feventh century, and 
 c ‘ they were probably buried not very long fubfequent to their 
 fc mintage, which there is good reafon to aflign to London.” 23 
 Bronze was well known and worked in Britain, fo was 
 enamel, generally embedded in maflive metal, and oftener in 
 bronze than in gold. A fine vafe was dug up in Efiex in 
 1834 in a Roman fepulchre, a round fitula or bucket, 4f- in. 
 diameter, 3f in. high, with a fwing handle and bold fcroll and 
 leafwork, in green, red, and blue enamel, round the body. It 
 was deftroyed by fire at Lord Maynard’s houfe. 29 The ring of 
 king Ethelwulf, bearing his name, of gold, with dark blue- 
 black enamel, and confidered by M. De Laborde to be certainly 
 of Saxon workmanfhip, dates from the eighth century. 30 It was 
 found at Laverftock, in Hampflfire, and is now in the Britith 
 mufeum. 31 
 
 During moft of the eighth century Alcuin was living (73 5— 
 804) : his learning and accomplifhments gave him a name and 
 a power that reached half over Europe. He was the friend and 
 advifer, perhaps the tutor, of Charlemagne, and went to Parma 
 to confer with that monarch on queftions connected with the 
 advancement of {kill in the art of the goldfmith, and all other 
 arts employed in the fervices of religion. He was the founder 
 of many monafteries, then quite as much feats of learning and 
 nurferies of art in the northern provinces of England as in Paris, 
 Tours, and elfewhere on the continent. While the germs of 
 future univerfities, Oxford, Paris, Tours, and others, were 
 laid in folid learning, the dedication of churches, the making 
 
 . 28 B. Fauflett, Inventorium Sepul- 30 Notice des emaux da Louvre, 
 chrale, p. viii. p. 86. 
 
 29 It is figured in Archaeologia, 31 Archsol. Journal, ii. 163. 
 vol. 26. 
 
IntroduSiion . 
 
 XCVll 
 
 of ecclefiaftical utenfils, croftes, fhrines, and reliquaries were 
 amply cared for by Alcuin and contemporary prelates. 
 
 Pafling on to the ninth century, we have evidence of the 
 goldfmith’s art under Alfred. He reigned 871-900. He 
 vifited Rome .with Ethelwulf his father in his youth, and had 
 the firft elements of learning from the mother city under 
 pope Leo IV. His father gave to St. Peter’s crowns, difhes, 
 and little images of the pureft gold. He brought back fome 
 impreflions of the rich veflels and ornaments he muft have feen 
 in Rome, and, after a troubled reign, became himfelf the founder 
 of feats of learning, and a favourer of art ; that of the gold- 
 fmith being the fhape in which art could be moft fafely prac- 
 tifed in his reign. 
 
 Of what fhape the chalices, patens, cenfers, croftes, and 
 other ecclefiaftical utenfils, might have been there remains no 
 evidence. They were defigned by the clergy, and probably 
 after forms and types in ufe in Rome. The jewel preferved in 
 the Afhmolean mufeum in Oxford is of more definite authority. 
 This remarkable objeCt was found at Athelney, in Somerfetfhire, 
 whither Alfred retired 878. It is of gold, richly wrought, with 
 filigree, chafing, and engraving. The face is formed by a piece 
 of rock cryftal, four-tenths of an inch thick, under which is a 
 figure fuppofed to reprefent our Saviour, St. Neot, St. Cuth- 
 bert, or Alfred himfelf. The defign is traced in lines of filigree 
 attached to a plate of gold, and the fpaces filled up with 
 enamel of Greek character. 32 The jewel has a broad rounded 
 end, and finifhes in a point on the oppofite or upper end formed 
 by the head of an animal. Round the edge runs a legend 
 cut in bold characters : X aelfred mec heht gevvr can 
 
 (ordered me to be wrought). The intervening fpaces are 
 pierced to fhow the rock cryftal within. So far of England at 
 this early period. 
 
 32 Duncan, Cat. Afhmolean Mufeum, Mufgrave, Phil, trans. xx. 441. Hickes, 
 ib. xxii. 
 
XCV111 
 
 IntroduSlion. 
 
 A remarkable example of the Italian art of the ninth cen- 
 tury {till exifts at Milan, the golden altar of St. Ambrofe, 
 in the church dedicated to him. It Hands under a ciborium 
 or canopy, fupported by four pointed arches refiing on four 
 columns. The front, called the palliotto, was executed by 
 an artifi named Wolvinus, in 835, by the order of Angil- 
 bertus II., archbilhop of Milan. 
 
 The front is entirely of gold. It is divided by a border of 
 enamel into three divifions. The middle divifion contains a 
 crofs of four equal arms, making five divifions, formed by 
 {trips or borders of enamel, fet at intervals with tallow-cut 
 precious Hones. The middle divifion contains our Saviour in 
 MajeHy, the four arms the EvangeliHs ; and the fquare panels 
 between thefe have the twelve ApoHles in fets of three to each 
 fquare. Thefe images are hammered up in relief. The two 
 divifions each fide of the crofs contain fix compofitions repre- 
 fenting fcenes from the life of our Lord, framed in by borders 
 of like kind to thofe defcribed. The two ends of the altar are 
 of filver with gold enrichments, and covered by large crofles 
 marked out in the fame way as the divifions already detailed. 
 The back is of filver, with enrichments of gold, and divided 
 into three large panels like the front. In the fide panels there 
 are twelve compofitions reprefenting the eledtion of St. Ambrofe 
 to the fee of Milan, and other adts of his life. The middle 
 contains four medallions, in one of which the faint is Ihown 
 receiving the golden altar from the founder, and in the other 
 giving his benedidtion to the artifi with the legend : wolvinvs 
 magister phaber. 33 Though kept covered with fhutters of 
 iron, this altar is ealily feen by the modern tourifi. 
 
 3;i V er y carefully figured and coloured. Du Sommerard, X Ser. pi. xviii. 
 
Introduction. 
 
 xcix 
 
 In France, during this century, Angelelme, Bifhop of 
 Auxerre (813-828), gave to the church of St. Stephen filver 
 altar tables (coverings), three crowns, and ten filver candlefticks, 
 as well as a very large crofs and the face of our Saviour in gold. 
 Abbo left by will the means to overlay the high altar with 
 gold and precious ftones ; and Vala (879) offered to the 
 cathedral gold and filver veffels, and many precious ornaments. 31 
 Hincmar, Bifhop of Reims, enclofed the relics of St. Remi 
 in a fhrine of filver, decorated with twelve images of bifhops. 
 his predeceffors. 35 
 
 The tenth century was a period of general depreffion 
 throughout weftern Europe, an iron age in Italy, and it was 
 fcarcely lefs fo for th.e reft of the Chriftian world, excepting 
 only the eaftern empire, in which the arts were continued 
 in practice without interruption. An impreftion, widely fpread, 
 hung over the weftern church as the century clofed in that 
 the world would come to an end in the year 1000. The fields 
 remained uncultivated, and induftry of all kinds was kept to 
 the provifion of what was neceffary for the mere fuftentation of 
 life. On the other hand, rapine and deftrudion were more 
 violent and more abfolutely defperate from this prevailing dread ; 
 famine and plague followed, and defolated whole provinces. 
 
 Neverthelefs, the making of gold and filver veffels, and the 
 neceffary utenfils for divine worfhip in churches and monas- 
 teries was not abfolutely difcontinued. Some of the larger 
 monafteries prote&ed by the fortified cities of France and Italy 
 maintained their art traditions. For inftance, Gaudry and 
 Guy, bifhops of Auxerre, made offerings of rich goldfmith’s 
 work to the cathedral of that fee. 36 Du Sommerard gives the 
 date of a golden altar more than nine feet long, with figures 
 of our Lord and the four evangelifts hammered up in relief, 37 
 
 31 Abbe Le Boeuf Mem, fur l’hift. 36 Abbe Le Bceuf. 
 d’Auxerre, x. 173. 37 IV me fer. pi. xiii. 
 
 35 Labarte. 
 
c 
 
 Introduction . 
 
 given to the cathedral of Sens by Sevin or Seguin, archbifhop, 
 at the very clofe of the century 999. Unfortunately, this piece 
 was one of many other treafures facrificed to the exigencies of 
 the feven years war. 
 
 The republic of Venice gave the order, under Pietro Orfeolo 
 the doge, for the great pala d’oro , the gold and enamelled altar 
 of St. Marks, in 976. It was made at Conftantinople, and was 
 in fa6t the work rather of the eleventh then the tenth cen- 
 tury. 
 
 Generally the age was barren in what concerns this prefent 
 inquiry. 
 
 Irish Celtic work. 
 
 From this dearth of goldfmiths’ work on the continent of 
 Europe in the tenth century let us turn to the moft diftant of 
 the European iflands. 
 
 In all probability, gold was the metal with which the primi- 
 tive inhabitants of Ireland were firft acquainted. A greater 
 number and variety of golden jewels have been difcovered in 
 this than in any other country in north-weftern Europe. 
 Records of thefe difcoveries can be traced through all the 
 books relating to the archaeology and hiftory of Ireland during 
 the laft two hundred years. They are principally perfonal 
 ornaments for the head, neck, breaft, limbs, cheft, waift, &c. 
 The collections of thefe things, however, though well repre- 
 fented in Irifh. academies and in private collections, in that and 
 other countries, are but a fmall portion of the antiquities found 
 in Ireland even within the paft century ; the great bulk 
 having been melted down by jewellers. The prefent gold- 
 fmiths and jewellers of Ireland bear teftimony to the great 
 quantities of antique articles of gold which have been configned 
 to the crucible. Some filverfmiths eftimate that they have pur- 
 chafed as much as 10,000/. worth for breaking up. 38 
 
 3S Wilde cat,, R. Irifh academy, preface. 
 
Introduction . 
 
 ci 
 
 In the ninth and tenth centuries the goldfmiths of Ireland 
 produced brooches and perfonal ornaments, chalices, covers 
 for books of the gofpels, reliquaries, croziers, and other 
 objefts of religious ufe, unfurpafled in the reft of Europe. 
 
 Bell of S. Patrick, p. 310. 
 
 A number of examples in the Irifh academy and in private 
 colledions remain to bear witnefs of this excellence. Some 
 of thefe are made of bronze in many varieties of alloy, fet 
 with jewels, paftes, and enamel, and with circles or fpaces 
 filled in with a filigree of extraordinary richnefs. This kind 
 of ornament is plaited, twilled, and interlaced, each thread or 
 component member of thefe complicated ornaments worked 
 out through a number of turns difficult to follow with the eye, 
 beginning, however, and ending with fome kind of animal head 
 and tail, as in the cafe of St. Patrick’s bell, a caft of which is 
 in the mufeum. 
 
 The moft beautiful and perfect example of earlier date than 
 the eleventh and twelfth century is the cup found at Ardagh, 
 near Limerick : fully defcribed in the appendix. The material 
 is filver alloyed with one third part of copper. It is a two- 
 handled chalice, the furface of a low white colour and decorated 
 
Cll 
 
 IntroduBion. 
 
 with bands of pierced, plaited, and filigree gold, as well as with 
 enamels and paftes. It has, however, more kinds of ornament, 
 and each kind is more varied than any example of the fame 
 early period to which reference can be made. The bowl is plain, 
 except for an infcription containing the names of the Apoftles, 
 almoft as they {land in the commemoration in the canon of the 
 mi (Tale Romanum. Thefe names are engraved with the hammer 
 and chifel, and flill fhow a flight turning up of the metal at the 
 end of each chifelling. The engraving, however, is of the utmofl 
 delicacy (the cup has been reproduced by Mr. Johnfon the filver- 
 fmith in Dublin ). 39 The ornaments applied on the furface are 
 belts and handles, to which are attached plates compofed of little 
 compartments of the finefl gold plaitwork. Thefe are as fine 
 on the under or inner furface of the foot as on the bowl or cup. 
 Crvftals and paftes as well as boftes of enamel are diftributed 
 at centres, points of junction, on the handles, and wherever 
 they can be effectively fet. Of the gold wire work Lord 
 Dunraven in his paper on this cup 40 enumerates forty varieties 
 of defign, fome being the Greek fret with Celtic varieties ; fpiral 
 trumpet-fhaped lines, interlaced bands, knots, and arabefques, 
 all in feveral varieties. Befides this delicate work in pierced 
 metal and plaited wirework there are boftes, and on the handles 
 flat compartments of enamel alternating with gold fretwork. 
 The enamel, again, is of feveral varieties, moftly opaque, and 
 bedded in depreflions, but under the foot completely tranflucent, 
 fired over wrought filver in the manner of the Italian work of 
 the fourteenth century ; in fome inftances two or three thick- 
 nefles of enamel are fired one upon, or within, the other. There 
 are aifo fmall portions into which gold beads or plates have 
 been inferted and united by firing. Amber has alfo been fet 
 
 39 It is to be regretted that this 40 R. I. Academy, vol. xxiv., Feb. 22, 
 model has not been added to the 1 869. 
 mufeum collections. 
 
IntroduSlion. 
 
 cm 
 
 round portions of the enamel, traces of which remain. The 
 workmanfhip is certainly unfurpafled by that of any example 
 remaining to us of the Byzantine goldfmiths or enamellers 
 of the fame period. 
 
 <f The ornamental defigns on this cup,” fays Lord Dun- 
 raven, “ belong to the Celtic fchool of art which, according 
 tc to Dr. Petrie, reached its higheft perfection as regards metal - 
 “ lurgy in this country in the tenth and eleventh centuries.” 41 
 The great variety of the enamelling feems to point to fami- 
 liarity with the methods of working the material that muft 
 have been long eftabliftied in Ireland as in England. Poflibly 
 this kind of art was pufhed weftward by the preflure of 
 invafions on the great- monaftic eftablilhments, firft to the 
 weftern coafts and iflands then acrofs the fea. There was fre- 
 quent intercourfe between the monafteries of the weft ; but 
 whatever might be owing to teaching fpread by this means, 
 Ireland muft have had an immemorial Celtic tradition both of 
 the goldfmith’s art and of that of the enameller. 
 
 Before noticing the change of ftyle that came in with the 
 eleventh century, fomething muft be faid of one of the moft 
 beautiful monuments of mediaeval goldfmiths’ work remaining 
 in Europe. The pala d'oro , to which allufion has been made, 
 is an oblong of about ten feet four inches by fix feet nine or 
 ten inches. It is furrounded by borders fet with jewels and 
 medallions, and divided by little arches or fquare panels into 
 eighty-three pictures inlaid on a ground of gold. All the 
 dividing members, fpandrils, and fpare fpaces, are covered with 
 jewels, pearls, and fmall medallions of enamel, and among them 
 are two antique cameos. All the enamel is encrufted on metal, 
 the colours feparated by fine lines of filigree gold. The enamels 
 
 41 R. I, Academy, vol. xxiv., Feb. 22, 1869. 
 
CIV 
 
 Introduction. 
 
 were carefully examined by M. Labarte in 1839, when it was 
 temporarily placed in the treafury, and it has fince been re- 
 paired and fet in a marble frame above the altar. He veri- 
 fied all the details of the execution. 
 
 The entire compofition is divided into two unequal portions. 
 The upper contains a quatrefoil medallion interfected by a 
 fquare, and in which is a figure of the archangel Michael, 
 partly in relief. Three round arches ftretch out on each fide, 
 containing enamelled pictures of the crucifixion, harrowing 
 of hell, entry into Jerufalem ; and of the afcenfion, defcent 
 of the Holy Spirit, and burial of the blefled Virgin ; round 
 thefe arches are confiderable fpaces filled in by flowing fcroll work, 
 with bulls and figures in enamel, and with jewels and precious 
 ftones. The lower part is divided into a fquare centre, in which 
 are circular medallions and three rows of figures on each fide, 
 each containing fix fingle figures. In the large medallion our 
 Lord is feated in majefty with the four evangelifts round Him. 
 Below Him are three figures under arches : the blefied Virgin, 
 the emprefs Irene, and the doge Ordelafo Faliero in whofe time, 
 1106, the altar was completed and put to its prefent ufe. The 
 eighteen figures on each fide are angels, apoftles, and prophets. 
 Twenty-feven fmall fquare pictures, reprefenting fcenes in the 
 Gofpel hiftory, form an outer range above and on the two tides 
 of thefe wider fubdivifions. But the arrangement of divifions 
 and lines are not made to range either with the centre or with 
 the three fets of figures to the right and left. Thefe parts have 
 been at various times repaired, and more or lefs rearranged in 
 the procefs. 
 
 It is claimed as in great part a work of Italian goldfmiths, 
 by Cicognara and other writers ; but Andrea Dandolo was 
 both the grand duke and the hiftorian of the Republic 42 
 1342-54, and the ordering of the pala d'oro by the Doge 
 
 42 Chronicon Venet., lib. viii., ch. 15. Rer. Ital. Script. 
 
Introdu&ion. 
 
 cv 
 
 Orfeolo at Conftantinople is diftindtly related by that writer, 
 who had every means of verification under his hand, and in 
 whofe time this piece of goldfmiths’ work underwent repairs. 
 
 Labarte, who carefully examined and meafured the divifions 
 of which the altar is found to be now made up, is of opinion 
 that the lower portion, which was formerly hinged to the higher, 
 has been increafed to its prefent height by the infertion of the 
 twelve apoftles. It has been added to, and frelh jewels and 
 precious objects devoted to the enrichment of it at various times, 
 even as lately as in 1847 when it was finally repaired. For a 
 very fully detailed and carefully coloured plate of the pala ct oro 
 the reader fhould refer to the work, of Du Sommerard. 43 It 
 is, without exception, the richeft and moll precious monument 
 of the goldfmith’s and enameller’s art of the earlier middle 
 ages that has come down to us fubftantially entire. We haye 
 no other work in the precious metals fo large or fo thickly fet 
 with precious Hones. 44 
 
 XI. The Eleventh Century. 
 
 All Europe woke up to frelh life when the eleventh ren- 
 tury was fairly begun. The arts ftarted with a new life. 
 Artifts no longer followed timidly fuch ideas as they had 
 borrowed from the Byzantines. The weft brought into the 
 world a ftyle of its own. Families of monks, generally 
 Benedi&ines or ofHhoots of that order, animated by one 
 fpirit and educated in one and the fame way, were planted in 
 monafteries north, fouth, eaft, and weft. They built, adorned 
 their churches, hammered, chafed, and enamelled gold, filver, 
 and bronze, nearly in the fame ftyle. Altar fronts, pyxes. 
 
 43 Moyen Age, X me Ser., pi, xxxiii. of the defign and workmanfhip, fee 
 
 44 For a review of the argument Labarte Arts Induftriels, iii. No one 
 
 againft the modern writers, both from has a better right to pronounce on the 
 the teftimony of earlier authors and charadter of the work, as he had unufual 
 from the evidence given by the nature opportunities of examination. 
 
 16105. h 
 
CV1 
 
 Introduction . 
 
 lamps, patens, chalices, crofles, candlefticks, and reliquaries 
 during two centuries, though in greadvarieties, were all defigned 
 after common and general types and ideas. Travelling, the 
 vifitation of monafteries, the change of inmates from one to 
 another, the refort of fuch vaft numbers to Rome, the common 
 intereft in the crufades, made painters, fculptors, and metal 
 workers, of one mind, though often working far apart, for moll 
 of them were monks or perfons employed for the fervice of the 
 cloifter. The abbeys of Ely and St. Alban’s in England ; of 
 Auxerre, Tours, St. Denis, and others in France; of St. Gall, 
 Richenau, and Fulda in Germany ; of Monte Caflino and 
 Subiaco in Italy, as well as a hundred others, were fchools 
 of eccleftaftical goldfmiths. Moll; of their motives of aefign, 
 methods of working, and chemical fecrets were common 
 property. 
 
 The goldfmiths’ art borrowed much from the archite&ure 
 of the times. The fyjftem of domes and vaulted roofs, the 
 multiplication of fmall arches, arcades, and coupled window 
 openings, the mouldings and mafles of fculptured decoration 
 which belong to the Norman or Lombard ftyle furnilhed 
 models for the goldfmiths. Many of thefe churches and 
 fhrines were planted in forcfts and waftes. The neighbourhood 
 of lawlefs men, of wild beads, of folitudes haunted by the 
 remembrance of heathen worfhip, all tended to fill the minds of 
 artifts with vilions of the ftrife waged by the fpirit againft the 
 powers of darknefs. Sculptors and metal workers twined 
 ftalks and leaves round their columns and candlefticks, planted 
 (lately columns, the emblems of divine majefty and truth, on 
 the backs of lions and monfters, and delighted to reprefent 
 the Chriftian foldier ftruggling with ferpents and dragons in 
 and out of the graceful fcrolls into which they plaited the ivy, 
 the thiftle, and the branches of the vine. 
 
 Enamel, introduced from Conftantinople, came into general 
 ufe in Italy. Cicognara fpeaks of the prefents fent by Greek 
 
IntroduSlion. 
 
 evil 
 
 emperors, and the neceffity of fending to Conftantinople for 
 workmen, as caufes of this Byzantine influence in Venice; 43 
 that city had more communication through its maritime trade 
 with Conftantinople than any ftate in Europe. The opus 
 entrecojeum filigree knotted and plaited work of an elaborate 
 kind, in gold and filver, which the Venetians introduced into 
 the Mediterranean republics, was perhaps derived from the 
 fame fource. 
 
 The German emperors became familiar with the art of 
 enamelling, and with the gold and filver fmiths’ work of Con- 
 ftantinople, after the marriage of Otho III. with the princefs 
 Theophania, 972. At a time when kings, bilhops, and abbots 
 were renewing the fplendour of their churches and of the divine 
 offices, the fervices of Greek mafters were eagerly fought for, 
 and they were kept well employed. 
 
 * 3 - 
 
 Golden Altar Front from Basle. 
 
 A golden altar front, formerly given by the emperor 
 Henry II., 1003-1024, to the cathedral of Bafle, is now in 
 
 45 Storia della Scultura, i. 399. 
 
CV 111 
 
 IntroduSiion . 
 
 the mufee de Cluny in Paris. 46 It is between five and fix feet 
 wide. The principal part of it is a colonnade refting on belted 
 columns with capitals of Byzantine character. Under the arches 
 are images hammered up, in relief, of our Lord, and the three 
 archangels Gabriel, Raphael, and Michael, with St. Benedict. 
 The emperor and his emprefs, St. Cunegunda, are reprefented 
 on a very fmall fcale proftrate at the feet of our Lord. 47 
 
 A fchool of goldfmiths who produced beaten work, chafing, 
 gem letting, and founding in maffive metal, was in great activity 
 during the eleventh century at Hildefheim in Hanover. Bifhop 
 Bernward (992-1022), fubfequently canonized, was one of 
 thofe monadic artifts who had been taught within the walls 
 of his abbey, and who protected and helped to perpetuate a 
 fchool of religious metallurgifls in north Germany. Cads of 
 candledicks executed in alloyed metal (eledtrum ?) by him are 
 now in the mufeum, and are included amongd the defcription 
 of the cads in part II. A crucifix of gold fet with dones and a 
 chalice fet with antique cameos and gems, by his hand but with 
 fome later alterations, are preferved in the treafury of the cathe- 
 dral of Hildefheim. 48 Photographs of thefe objedts can be feen 
 in the South Kendngton mufeum. Large coronas or circles of 
 light were made by his feholars, and by Hezilo, the fucceffor 
 of St. Bernward, for the choir and the nave of his cathedral. 
 Parts of thefe circles were filver-gilt, pierced and chafed in 
 a feries of patterns, arcades, and rolling fcrolls of leaf work, 
 with twelve large towers, each containing four images, and re- 
 prefenting the circuit of the heavenly Jerufalem, and twelve 
 fmaller niches with images of the Apodles, in diver. The 
 diver images have been taken during the religious wars of the 
 dxteenth century, but thefe rich and beautiful chandeliers, par- 
 
 40 Figured in colours, Du Som- 13 Kratz, Dom du Hildefheim, pi. 
 nrerard Album, Ser. ix. pi. xii. iv., and King, Annales Archeo!., xix. 
 
 47 Lacroix and Sere, Orfevrer.ie, p. 59. 
 p. 24. 
 
Introduction. 
 
 cix 
 
 tially reftored, are ftill in fitu , 49 A caft of one of them is now 
 in the mufeum, and is fully defcribed in part II. 
 
 The church of Mayence was enriched by Willigis the arch- 
 bifhop, ion, with a crucifix of 600 lbs. weight of gold, the 
 limbs of the Saviour fo put together that the joints could be 
 moved. 60 
 
 Italy, which had buffered fo heavily in the tenth century, 
 made great efforts to furnifh her churches with goldfmiths’ 
 work in the eleventh. The great Benedidine monaftery of 
 Monte Caffino, the mother houfe of the order, encouraged 
 and protected by the Roman pontiffs, was adive in obtaining 
 examples from Conftantinople and in promoting metal work 
 within the walls. The abbot in 1058 bought in Conftan- 
 tinople a number of precious objeds, the moft important of 
 which was an altar front enamelled with compofitions repre- 
 fenting the ads of St. Benedid. To thefe he added a chancel 
 fcreen of filver columns with open work and architraves of gilt 
 bronze. Paintings and images of filver-gilt were placed above 
 it in the manner of the marble chancel fcreen ftill remaining in 
 St. Mark’s, Venice ; three out of thirteen of thefe images were 
 made in the abbey. The altar had three fides of hammered 
 filver work, befides an enamelled frontal. The columns, 
 architraves, and ciborium were covered with plates of filver, 
 hammered, chafed, and probably gilt. 51 The other great 
 Benedidine abbey of Subiaco followed this example. John, 
 the thirty-fecond abbot, in the year 1090, the twenty-third 
 of his abbacy, made {inter alia) an image of gold and filver 
 of admirable workmanfhip {miro opere laboratam ), a chalice and 
 other precious objeds, fuch as veffels for the church, cande- 
 labra, repofitories for the facred books, &c. 52 
 
 49 Kratz, p. 78. 51 Leo Oftienlis, Labarte, A. Induft.^ 
 
 50 Weter Gefchifle des doms zu ii. 217. 
 
 Mainz, S. 155. 52 Cicognara Storia della fcult. iij., 
 
 p. 226, note. 
 
cx 
 
 Introduction. 
 
 Turning homewards to our own country we find Brith- 
 nodus, abbot of Ely, among the known artifts of his time. Four 
 images by him covered with filver-gilt and precious ftones were 
 ftripped to appeafe the refentment of William the conqueror. 
 Leo, a contemporary, worked after his teaching. Elfinus, his 
 fuccefior, made a reliquary for the bones of St. Windreda. The 
 abbey was able to offer William a thoufand marks, obtained by 
 the facrifice of gold and filver ornaments of the cathedral, 53 after 
 the refiftance made in the ifiand by the Saxons. Blitherus was 
 director of works in the cathedral of Canterbury towards the 
 clofe of the eleventh century, and recovered the relics of St. 
 Auguftine, the apoftle of England, from his tomb and enclofed 
 them in metal work. 54 Two remarkable reliquaries of the 
 eleventh century, covered with images of gold, probably in 
 the fhape of thofe at Cologne and Aix-la-Chapelle, the work 
 of Richard, fifteenth abbot of St. Alban’s, are mentioned by 
 Matthew Paris, monk of that monaftery, along with other 
 examples of his fkill as a goldfmith. 
 
 The early fkill of the Spanifh goldfmiths has been illuftrated 
 by the treafure of Guarrazar, defcribed above. Let us now 
 liften to Mr. Juan Riano’s notices of the goldfmiths of Spain 
 during the fucceeding centuries. “ Spanifh goldfmiths’ work 
 tc continued, after the invafion of the Arabs, to give figns of 
 “ life among the Chriftian population. We are led to fuppofe 
 <c this from the number of jewels and donations of all kinds 
 cc made to the different churches. The moll remarkable 
 tc belonging to this period are two crofles, preferved in the 
 “ Camara fanta of Oviedo, the Cruz, de los Angelos , of gold 
 <c plates, with filigree, antique and other jewels. At the back 
 “ of thefe is an infcription, ‘ Ofert Aldefonfus humilis fervus 
 “ c Chrifti,’ and the date 808. The Cruz de la Vidloria is 
 rc of wood, like the other, plated with gold and fet with gems. 
 
 53 Texier didt. Orf. Brithnodus. 
 
 54 lb. 
 
Introduction. 
 
 cxi 
 
 “ It was faid to have been ufed by King Don Pelayo in warfare. 
 cc It was made in 908. At the back there is this infcription, 
 “ c Adefonfus princeps et Scemena regina. Hoc opus per- 
 “ ‘ fe6tum eft — operatum eft in caftello Gauzon ... in 908.’ 
 “ The Area Santa , a cafket to contain relics, kept in the fame 
 <c treafury, is of wood covered with plates of filver, with remains 
 “ of gilding. It was brought from Jerufalem to Africa at the 
 “ beginning of the feventh century, removed to Cartagena on 
 “ the invafion of the Arabs, to Seville, to Toledo, laftly, to 
 cc Afturias. The ornamentation of part of the ark belongs to the 
 tc feventh century and the reft to the end of the eleventh, 
 cc when, according to an infeription on the lid, it was re-made 
 “ by Don Alonfo V. Moorifh letters are ufed as ornament 
 “ only in the border. 
 
 Another interefting reliquary of the eleventh century in the 
 
 fame place contains the relics of cc St. Eulalia.” “ It is formed 
 
 “ of ftlver-gilt plates. At intervals, within circles, there are 
 
 * 
 
 “ figures repeated feveral times, and in the interfpaces an orna- 
 “ mentation of circles and crofles. The largeft dimenfion is 
 “ about 15^ inches, 55 
 
 cc In fpeaking of goldfmiths’ and ftlverfmiths’ work of the 
 “ eleventh century, it is neceflary to mention the magnificent 
 “ high altar of the cathedral of Gerona in Cataluha. This altar 
 cc is of alabafter, and is covered on three fides with filver plates 
 c ■ faftened on wooden boards, while in front the plates are of 
 “ gold. It is decorated with figures in relief, reprefenting fub- 
 “ jeefts from the life of our Lord, the Blefted Virgin, and faints. 
 cc in the centre towards the bottom there is a female fphinx on 
 “ green enamel, with the legend jujfit fieri Guifia Comiti/fia 
 <c (wife of Bercnguer Ramon I., count of Barcelona, died 
 ct io 35 )- Between the figures and borders precious ftones are 
 
 55 ObjeQs of Spanifti produftion, p. xvii. 
 
CX11 
 
 IntroduEHon . 
 
 “ fet, fome of them antique. The retable over the altar is 
 “ alfo of filver plates with figures and religious fubjeds, made 
 “ in the fourteenth century by Pedro Benes, or Barners, a 
 “ filverfmith of Valencia.” 
 
 Moorifh artifts maintained their celebrity, indeed, through- 
 out the middle ages in Spain. “ In the fifteenth century the 
 “ Spanifh Moors made admirable chifelled, enamelled, and gilt 
 “ work, and applied filigree on the furface, a fyftem kept up at 
 “ Salamanca and Cordova to the prefent day.” 
 
 The Twelfth Century. 
 
 The twelfth century was fruitful in the production of large 
 and coftly pieces of goldfmiths’ work ; of every kind of veffel 
 for ecclefiaftical ufe, and much fine metal work for civil and 
 
 domeftic purpofes. Only vefiels for the 
 moft facred ufes of religion and for relics 
 of the higheft title to veneration, were 
 made actually in gold. Others were of 
 filver gilt, or portions, fuch as the cups of 
 chalices, while the llems and feet were of 
 bronze, as were many pyxes, ciboria and portable altars. No. 1 1 
 is of filver and gilt metal fet with precious ftones. Reliquaries 
 of fmaller importance, and vefiels made for domeftic ufe, were 
 of copper gilt ; of bronze ; or of various alloys of copper and 
 tin, fometimes with fmall quantities of iron and other metals. 
 The South Kenfington mufeum is provided with examples of 
 many kinds illuftrating the materials and the {kill of this time. 
 
 The largeft and moft fumptuous pieces of goldfmiths’ work 
 of the twelfth century next to golden and filver altars, already 
 noticed, were the reliquaries. The “great relics” brought 
 by St. Louis to Paris; thofe of Treves; of Cologne; of Aix- 
 la-Chapelle, and other well-known fhrines were enclofed in 
 coftly coffers. Smaller relics, but of a kindred value, fpecially 
 
 14 - 
 
 Portable Altar. 
 No. ii, p. io. 
 
Introduction. 
 
 CXlll 
 
 particles of the wood of the Crofs, were among the treafures 
 brought home by pilgrims from the holy land. Small as 
 fome of thefe relics were, they were enclofed in coftly receptacles, 
 generally erodes of gold or of diver-gilt, and fet with gems 
 and precious {tones, often, as may be feen {till, with antique 
 entaglios taken from family jewels and devoted to this facred 
 purpofe. 
 
 Chajfes , or farcophagus-fhaped reliquaries, of dx or feven 
 feet in length were made to hold the bodies of martyrs and 
 faints. Smaller relics, or bones, or parts of the body of a 
 faint, were enclofed in reliquaries of lefs dze, fometimes fhaped 
 like {hrines or churches, fometimes like heads, buds, arms 
 hands, feet, according to the bones they were meant to con- 
 tain. Several of great beauty will be feen in the Kendngton 
 mufeum. One of thefe, from the Soltikoff collection, has 
 been already alluded to. It is a fmall church or fhrine in 
 the fhape of a crofs, covered by a dome, and the bafe of the 
 dome divided into twelve niches. The fhrine itfelf is of gilt 
 bronze, elaborately decorated with enamel embedded in the metal. 
 It was made, according to Dr. Franz Bock, 56 in one of the 
 monafteries of Cologne. 
 
 No. 7947, p. 1 1, has both gilt metal and diver beaten work. 
 It is an arched panel, with half arches clodng it. It has been 
 made for two relics of the crofs, one in the fhape of a Latin 
 and the other of a Greek crofs, enclofed in cryftals. The 
 arch contains alfo two angels, who hold the implements of the 
 Paffion, and beautiful pieces of dligree work. Others are in 
 the fhape of diptychs or folding tablets. Others, belonging 
 to the fame century, will be found fully deferibed in their 
 chronological order. They are moftly of German origin. The 
 greater part of the French goldfmiths’ work of this period has 
 been either deftroyed and remade, or fold. 
 
 56 Report to South Kenfington mufeum quoted in the defeription. 
 
CX1V 
 
 IntroduEiion. 
 
 In thefe pieces of German goldfmiths’ work the material is 
 rarely of the precious metals, which faCt accounts, perhaps, for 
 the prefervation of many pieces of the time now under dif- 
 cuffion : to this we may add the deep-feated love of ancient 
 traditions fo general among German people. 
 
 Small pieces, however, fuch as thofe in the South Kenfington 
 mufeum, though rich and beautiful as examples of enamel, give 
 but an imperfeCt notion of the fplendour of the great reliquaries 
 or fhrines made from the twelfth to the fixteenth century, fome 
 few of which are ftill remaining. The fhrine containing the 
 Ikull of the three Kings or three Magi in the cathedral of 
 Cologne, well known to modern travellers, was begun towards 
 the end of the century (1190). It carries out the tradition of 
 an antique farcophagus, a little houfe in this inftance in two 
 ftoreys, the lower projecting beyond the upper, and enlarged 
 into a fmall church or Ihrine. Round the lower ftorey runs an 
 arcade of trefoiled arches, and another of round arches along 
 the lides of the upper. Thefe arches are cut out of plates of 
 folid metal. Under them Hand figures of prophets and apoftles, 
 and on the end, compofitions reprefenting the blefTed Virgin 
 and the holy Child ; the adoration of the Magi, with the 
 emperor Otho IV., and the baptifm of our Saviour. Thefe 
 compofitions are hammered in relief, and are of folid gold. 
 The cornice bands round the ftruCture are of gold, and the 
 other architectural details covered with enamels and precious 
 ftones. The cover or upper part is of filver-gilt. The fkulls 
 of the three Magi, vifible through a grating, are covered with 
 gilt copper crowns which have replaced the original crowns, 
 elaborately wrought in folid gold, weighing 6 lbs. each, fet 
 with pearls and aigrettes of diamonds. The names of the 
 Magi, Gafpar, Melchior, and Balthazar, are done in rubies. 
 The length of the fhrine is about 5 feet 6 inches by 5 feet high 
 and 3 wide. It was removed during the w ars of the French 
 revolution to Arnfberg in Weflphalia, and fome of the jewels 
 
IntroduSlion . 
 
 cxv 
 
 were then fold to fupply the neceflities of the chapter, and thefe 
 have been replaced by paftes, but a great number remain. 
 Other Ihrines are ftill preferved in feveral churches in Cologne, 
 e.g., in the churches of St. Urfula ; St. Mary in the Schnur- 
 gafle ; St. Eribert, over the river. 57 Another Ihrine of the 
 fame kind as that of the kings, known as the fiirine of Charle- 
 magne, is preferved at Aix-la-Chapelle. It is made with eight 
 arches on each fide, with images of imperial fucceflors of 
 Charlemagne : the blefled Virgin between two angels on one 
 end ; and Charlemagne between pope Leo III. and a bilhop, 
 on the other. This reliquary is longer than that of Cologne. 58 
 One of the moft beautiful features of the Ihrine is a creft- 
 ing of acanthus leaf along the ridge of the roof, with rich 
 finials made of round granulated fruits growing out of nefts of 
 acanthus leaves elegantly wrought, and furmounted by a rofette 
 made up of leaves of the vine or acanthus. 59 No. 7237, a 
 fragment in the mufeum, is a finial of this defcription, of beau- 
 tiful defign, and all parts of it carefully chafed. It has been 
 the hip knob of a large chafle, and fits on an ornamental 
 faddle of ironwork made to fit on the ridge of a fiirine fuch 
 as thofe defcribed. A fine example of the fmaller reliquaries, a 
 crowned head in filver, may be feen in the Britifh mufeum. 
 
 Of the ornaments or furniture of churches of the twelfth 
 century no pieces of metal work furpafs the candlefticks. The 
 twelfth century produced a number of beautiful circles or 
 crowns, not all as large as the great corona at Hildefheim, 
 but many of them made of filver, pierced, chafed, and ena- 
 melled, fuch as that in the cathedral of Aix-la-Chapelle. 60 
 
 57 For a complete defcription of 59 Figured in Arts induftr. Album, 
 this fplendid Ihrine the reader Ihould pi. xlvii. 
 
 refer to F. Bock* Heilige Koln. 60 Figured and fully defcribed in 
 
 58 Revue Archeol., ii. 525. Melanges d’Archeol., vols. i. and iii. 
 
CXV1 
 
 IntroduBion. 
 
 Many of the Handing candlefticks ufed for the altar during 
 this century are beautiful and aftonifhing examples of calling, 
 fculpture, and finilh. One of the moll elaborate Hill exilling 
 is in the mufeum, a work of the early part of the twelfth cen- 
 tury, made in Glouceller ; it is numbered 7649, and is fully 
 defcribed in its place. The material of which it is made is a 
 white alloyed metal, probably containing a good proportion 
 of filler. In general outline this fcandleftick prelerves the 
 type common to moll ol thefe objects down to the time of 
 
 the renaiftance. It is a llraight 
 Hem, divided by three bolfes 
 or knops, with a triangular bafe 
 and a large greafe-pan, with a 
 pricket to hold a wax candle. 
 Church candlefticks during 
 feveral centuries continued to 
 follow the fame general ar- 
 rangement of parts. In the 
 Glouceller candlellick all the 
 parts are fculptured in fpiral 
 bands or in bold volutes, well 
 compofed and filled up, and all 
 thefe bands and lines are ftalk 
 and leaf, furrounding or fup- 
 porting men, dragons, birds, 
 or monllers. All are modelled 
 with fpirit, in dramatic ablion, 
 full of variety of attitude, and 
 the figures and monllers twilled 
 into fymmetrical knots, inter- 
 twined, loft, and reappearing 
 through continual changes. All 
 
Introduction. 
 
 CXVll 
 
 the parts balance each other, but each is drawn with a diftind 
 meaning and fyftem of knotting. No example in the colledion 
 fhows better the power, ingenuity, and play of imagination of 
 the artift. 
 
 A number of fmaller candlefticks, and of fragments of lefs 
 importance, are defcribed hereafter, and need not be noticed 
 here. 
 
 The churches of the twelfth century were furnilhed with 
 fingle candlefticks of far larger fize, Handing not on the altar 
 but on the floor of the church. During great feftivals huge 
 columns furrounded with branches or fconces for wax candles, 
 which made pyramids of light, had, from an early period, 
 been ufed to illuminate the great churches of Conftantinople, 
 Rome, Milan, and other important diocefes. Notably at the 
 feftival of Eafter, when new fire is ftruck from a flint after 
 all lights have been put out on Good Friday, and a candle 
 of great fize is lighted, a type of the new dawn and the 
 heavenly life of the Refurredion. During the firft fix or 
 feven centuries thefe great candlefticks were columns of filver. 
 Some faint remembrance of them as grand and impofing 
 ornaments, as well as of the network of hanging lamps fed 
 with olive oil, feems to have been kept by the^ Turks and 
 Arabs in one or two mofques of Conftantinople, Damafcus, 
 and Cairo. In fome churches of Italy , 61 Eafter candlefticks 
 of the twelfth century may ftill be feen in the fhape of 
 columns of white marble, fome divided by bofles, inlaid with 
 mqfaic. 
 
 Seven-branched candlefticks were alfo made during ' the 
 eleventh and following centuries after the example of that of 
 the Jewifh temple. They were on a large fcale, and were 
 ufually made of bronze or of fome alloyed metal. Many of 
 
 81 In the Cathedral of Amalfi, for inftance. 
 
CXV111 
 
 IntroduSlion. 
 
 them Show the remains of gilding ; the bofles were not unfre- 
 quently decorated with enamel and polifhed cryftals. 
 
 1 6 . 
 
 Seven-branched candlestick in Milan cathedral, p. 3J9. 
 
 Without calling them abfolute imitations of the candleftick 
 in the arch of Titus, they are made in accordance with the 
 outlines and divisions of the original, but with details fuch 
 as the goldfmiths of the day were ufed to produce. Abfolute 
 imitation was rarely understood or attempted by artifts of the 
 middle ages, whether builders, fculptors, or painters. The 
 
IntroduSlion. 
 
 cxix 
 
 fragment of one fuch candleftick ftill kept in the cathedral at 
 Prague is traditionally called part of the acftual Jewifh candle- 
 ftick. The Prague fragment is of gilt bronze, of the fame ftyle 
 of work as the Gloucefter candleftick and the large albero at 
 Milan. It came from Milan, and had been originally brought 
 to Milan from Rome. 
 
 The largeft, richeft in deftgn, and moft complete that now 
 remains is the albero of Milan. A complete caft of this 
 magnificent candleftick is in the mufeum, and is defcribed in 
 detail in this volume among the cafts. It is of gilt bronze over 
 14 feet high, made up of a ftraight reeded ftem divided by 
 bold round boftes, by which the fets of branches are joined to 
 the body of the candleftick. Graceful leafwork, anfwering to 
 the involucrum in which the nut grows, iflues from the boftes 
 which divide the lengths of the ftem and branches. The bafe 
 is made of four dragons, the tails rolled upwards in bold 
 volutes, in which are figures reprefenting the great rivers of 
 Italy. Rolled foliage and dragon work with figures and the 
 zodiacal figns fill up the fpaces between the four dragons. 
 It has probably been reftored, and fome figures have been 
 replaced in the fixteenth century, when it was removed to its 
 prefent place, according to an infcription on the pedeftal. 
 
 It is difficult to make out the exad defcription of the 
 feven-branched candleftick of Exodus XXV., or how far the 
 Milan candleftick was intended to reprefent it. The ftem in 
 that cafe was made up of knobs or boftes, flowers, and rings, 
 as feen in the baf-relief of the arch of Titus. The ftraight ftem 
 carried the moft important light. The lights in the Mofaic can- 
 dleftick were oil lamps with linen wicks. Thofe on the albero 
 are wax candles, with three branches furrounding each light and 
 four round the middle light. The difpofition of the balls, knobs, 
 boftes, and leaves which form the fpringing of each frefh length 
 of ftem in the albero is intended to agree with the general 
 account of the Jewifh candleftick, and the number feven is 
 
cxx 
 
 Introduction. 
 
 fymbolical in the Catholic as it was in the Jewiflr ritual. 
 According to Jofephus there were feventy different parts or 
 ornaments on the Mofaic canaleftick, feventy being alfo a facred 
 number with the Jews. The various parts of the albero 
 might be made to amount to that number, e.g., twenty-three 
 fe6tions of Items or branches, feven main lights, twenty-two 
 fmaller, feventeen knobs and flowers, confidering the upper 
 middle one to belong to the difli of the candle, and the bafe : — 
 feventy. But this diviflon is arbitrary, and the four dragons 
 and intervening figure work of the bafe are the moft ftriking 
 parts of the whole. 
 
 * 7 - 
 
 Lower Boss Albero of Milan, p. 319. 
 
 A fragment, one of the panels or divifions of the foot, of a 
 feven-branched candleftick of the fame ftyle and date remains 
 in the cathedral of Rheims. It is faid to have been 18 feet 
 high. 62 Another, complete, about 10 feet high, of bronze, with 
 bands of enamel, ftands before the altar of the cathedral of 
 Brunfwick, the gift of William the Lion, in the twelfth century. 
 
 62 A. Martin, and Melanges d’Arcbeologie, vol. iv. p. 2~5. 
 
Introduction. 
 
 CXXl 
 
 Another, of which there is a caft in the mufeum (defcribed 
 among the cafts) is kept in the church at Effen. Pugin 
 mentions others, but without giving dates, at St. Jeande Lyon, 
 St. Pierre d’ Angers, Notre Dame de Rouen, and at St. Lo de 
 Rouen. 63 It is probable that records of many more will be 
 found in old church inventories. Candlefticks made with five 
 branches only, and with three, are to be feen in the cathedral 
 church of Halberftadt. One of brafs, with five branches, of 
 a later date, is kept in the Dom of Munfter in Weftphalia. 
 
 It will be feen from the example of the Gloucefter candle- 
 ftick in the mufeum that England was not behind continental 
 nations in thefe beautiful pieces of metal work. An old writer 64 
 records, amongft other examples of twelfth century goldfmiths’ 
 work, that two candelabra of gold and filver, made at the abbey 
 of St. Alban, were fent to pope Adrian IV. (1154-59) and 
 offered in the bafilica of St. Peter in Rome. 
 
 Moft of the reliquaries, whether large gable roofed chefts, 
 like the old farcophagus, or fmall movable enamelled pieces that 
 could be put on the altar and removed into treafuries, were 
 made with round arched niches and colonnades, acanthus leaf 
 capitals, creftings and finials, in accordance with the architecture 
 of the day. 
 
 Nor were reliquaries or fhrines only made in this archi- 
 tectural fpirit. The cenfers, {Jee No. 73.526, among the cafts), 
 curioufly carry out the fame type. The covers of other cenfers 
 are beautiful rolls or whorls of animal and vegetable forms. 65 
 A beautiful example from Lille is given by Labarte, furmounted 
 by an angel, with the children of the furnace, Ananias, Azarias, 
 and Mifael among the foliage. Generally cenfers were crowned 
 with towers, turrets, and pinnacles, through the windows of 
 which the fmoke efcaped. A remarkable example is kept in 
 the cathedral of Treves. 
 
 63 Gloflary. 65 Labarte, Handb., 221. 
 
 64 MatthewParis, fee Labarte,ii. 272. 
 
 36105. i 
 
CXX11 
 
 IntroduSiion. 
 
 When the general plan or arrangement of twelfth century- 
 metal work was not architectural, the details of ornamentation 
 were bold, full of thought and invention, ahd fhowed a deep 
 perception of the peculiar qualities of metal, its dudtility and 
 ftrength. No metal work compofition of a later date is 
 imagined and put together with more conftant variety, or with 
 a more juft apportionment of balance ; the various mafles of 
 interlaced work rarely repeat each other, and the courfe of 
 
 Crucifix, No. 7234, p. 13 
 
IntroduElion . 
 
 exxm 
 
 
 long rolls and knots of dragons is accounted for through 
 many complications. The union of beaten work with engraving 
 and enamel is well feen in this crucifix, No. 7234. 
 
 Chalices from the eleventh to the thirteenth century went 
 through little change. In fome early examples the fhape of the 
 old claffic drinking cup may be traced fomewhat bell-mouthed 
 and mounted on a flight Item. Thofe of the eleventh and 
 twelfth centuries are plain half globes, with a round, fpreading 
 foot, as wide or wider than the cup, to give it fteadinefs, with a 
 bofs on the Item for the convenience of the celebrant. 
 
 About the end of the eleventh or the beginning of the 
 twelfth century the ufe of two-handled chalices came to an end. 
 Charlemagne gave to the bafilica of St. Peter in Rome three 
 chalices of gold at his coronation : the largeft was two-handled 
 and weighed 58 lbs. 66 Another of the tenth century, the 
 Ardagh cup, has been mentioned. Ancient chalices were fome- 
 times made from antique cups cut in precious materials. On 
 a baf-relief in the cathedral of Monza, already alluded to, 
 reprefenting the coronation of the emperor Otho, three chalices 
 are fhown on an altar. Thefe three chalices reprefent three 
 now in the treafury of the cathedral. One is two-handled, 
 weighing 100 ozs., fet with precious ftones, another of 
 fapphire (fapphirine ?), and the third of oriental agate, with 
 gold fettings, fterns, and foot. 67 A two-handled chalice pre- 
 ferved in the abbey of Wilten in the Tyrol is figured in 
 Labarte’s arts induftriels. 68 It is fuppofed to be Byzantine. 
 Thefe large chalices were called minifteriales , and were filled 
 from the chalice ufed in confecrating, in order to be carried 
 by the deacon to give communion to the laity. At the prefent 
 day when the Pope officiates in the great bafilicas of Rome, 
 he confumes the Hoft and the contents of the chalice, not at 
 
 66 Anaftafius in Labarte, Art. Ind., 
 iv. 634. 
 
 1 2 
 
 67 Frifi Memorie, ch. xv., vol. i. 173. 
 83 Album, pi. xlvi. 
 
CXX 1 V 
 
 Introduction. 
 
 the altar but on his throne, to which the chalice is carried 
 by the deacon, and the chalice is emptied according to the 
 ancient cuftom by means of a fiftula or reed , 69 a tube of gold 
 with a difh to catch drops, and two fmall fide tubes to carry 
 thefe drops back to the bottom of the chalice. This reed is 
 kept in the papal facrifty in the Vatican . 70 A beautiful chalice 
 of early date is preferved in the national library in Paris. It 
 is called the chalice of St. Remi, and was made for or ufed 
 at the cathedral of Rheims. This chalice 71 is of gold, bound 
 round with bands of enamel fet in filigree gold, and with ftones 
 at intervals. Moll of the cenfers and chalices of this period 
 are made according to the rules laid down by Theophilus, 
 the monaftic artift of the twelfth century already named, who 
 gives careful directions as to the general fhape, methods of 
 ornamentation, the order in which pearls, jewels, or enamels 
 are to be fet upon them, with minute directions as to the 
 technical execution of all parts of the work . 73 
 
 Poorer churches were provided with chalices in bafer 
 materials, copper, bronze, occafionally glafs, horn, even wood . 73 
 The ufe of fuch materials had ceafed before the twelfth century. 
 Chalices of which the flem and foot were of copper or bronze 
 gilt had the bowl of filver or filver-gilt, and decrees were 
 pafled in provincial fynods and councils to enforce this 
 ordinance . 74 
 
 Other chalices had been in ufe for offering milk and honey 
 to the newly baptized . 75 Thefe veflels were alfo placed along 
 
 69 Dr. Rock, Ch. of our Fathers, ing and piercing filver or copper. His 
 
 vol. i. Schedula is a complete code ofinftruc- 
 
 70 For a figure, fee Labarte, iv. tion for the goldfmiths’ art. See alfo 
 
 Rock, ut fup. Dr. Rock, Hierurgia, p. 201. 
 
 71 Fully defcribed, annales arche- 73 Pugin, Gloffary Chalice, 
 
 ologiques, vol. ii. 363. 7i lb. 
 
 72 For poorer employers Theophilus 75 Texier, Did. Calice. 
 provides the proper methods of ftamp- 
 
Introdu&ion . 
 
 cxxv 
 
 with flowers and candlefticks as ornaments for the altar. 70 
 Great cups, the types of the large lamps of the fixteenth and 
 fubfequent centuries, were hung over the fcreens or partitions 
 of the fan< 5 tuary as ornaments. They had ceafed to be ufed 
 in the twelfth century. 
 
 The accompanying woodcut of No. 
 
 237, a chalice of the thirteenth century, is 
 a good reprefentation of the forms now 
 coming into ufe. 
 
 Patens were anciently very large. 
 
 They are counted among the gifts of 
 Charlemagne to the church of Rome. 
 
 Anaftaflus mentions patens of gold, weigh- 
 ing 30 lbs., ufed as bafins to receive 
 offerings. 77 By the twelfth century they Chalice, No. 237, p. 41. 
 were flat difhes or plates engraved ; this decoration is now no 
 longer allowed, except on the outfide. There are no patens of 
 this early date in the mufeum, this wood- 
 cut reprefents No. 4523, p. 74, of the four- 
 teenth century. Another veflel of facred 
 ufe and import often fpoken of in thefe 
 pages was the pyx, literally a box : in 
 which the Sacrament was kept for the ufe 
 of the flck and dying. It was made like 
 a tower, 78 or in the fhape of the my flic 
 dove, 79 and was of gold or fllver, or of bronze or copper 
 enamelled. Of the latter kind more than one is ftill in exift- 
 ence (<?•£., one was contributed to the loan exhibition at 
 South Kenfington in 1862). Thefe doves were hung by chains 
 over the altar. They were fupported on a difh and covered by 
 a crown ; curtains were hung round them. Thefe veflels were 
 
 76 Rock, Hierurgia, 510. 
 
 77 Texier : fee alfo Pugin, Gloffary. 
 
 78 Rock, Hierurgia, 200, 
 
 79 lb., 50 6 , 
 
cxxvi 
 
 Introdu&ion. 
 
 fometimes u depofited in one of the two chambers which, in 
 tc ancient churches, flood on each fide of the altar,” 80 and were 
 called 7 rao-To<popia (facred chambers or inner fhrines). At a later 
 period fhrines or temples on the altar called cc tabernacles ” 
 were provided for them, and the curtain became a roof or a 
 canopy, as already noticed in the ornaments of the church of 
 JuHinian in ConHantinople. This is now called in Italy the 
 baldachino. Tabernacles were expanded till in the fifteenth and 
 fixteenth centuries they became Hone fhrines decorated with 
 fculpture, approached by Heps, rifing into lanterns and pinnacles 
 to the roof of the church ; the doors only were of metal. A 
 beautiful example, the work of Adam Krafft, is preferved in 
 Nuremburg. A caft of a tabernacle by Cornelius de Vriendt 
 can be feen in the South Kenfington mufeum. In the cathedral 
 of Munfter in WeHphalia there are two, one being in the fhape 
 of an enormous monftrance Handing on a foot, and upwards of 
 fifteen feet high. In one of the churches of Soeft there are 
 five of thefe beautiful ftrudlures. A fmall cc quattro cento ” 
 tabernacle of marble, with gilt metal door, can be feen amongfl 
 the marbles of the mufeum. ( See next page.) 
 
 Pyxes were of many fbapes. Two beautiful veffels of this 
 kind, round flattened fpheres, Rhenifh enamelled work of the 
 twelfth century, opening in two halves, were contributed to the 
 loan collection of 1862 and to that of 1874. Others, of which 
 there are feveral in the South Kenfington mufeum, are round 
 with conical tops; No. 186 is fquare with a pointed top; all 
 of them of fmall fize for carrying the Sacrament to the fick. 
 
 An important clafs of ecclefiaftical utenfils were the croziers 
 and Haves of bifhops, abbots, and other ecclefiaHical dignitaries, 
 and thofe occafionally ufed by fingers in the choir. Many 
 fine examples of bifiiops’ paHoral Haves of the twelfth century 
 are preferved in various public treafuries and galleries, and 
 
 80 Rock, Hierurgia, 200. 
 
Introduction. 
 
 CXXVll 
 
 21 . 
 
 Tabernacle, Late Fifteenth Century. 
 
CXXV111 
 
 Introduction, 
 
 in private colle&ions. One of great intereft and in excellent 
 prefervation has been exhibited at different times, belonging 
 to Mr. Charles Magniac. It is of gilt metal rolling over in a 
 graceful whorl or volute, the eye finifhed with a large flower 
 coloured with enamel. Below the whorl comes a bofs of open 
 metal work. Other heads of ftaves are to be feen in the collec- 
 tion. Moft of thefe are dragons, fome fcaled, with fpines iffuing 
 from their backs, and ending with heads or tails of dragons in 
 the eyes of the volutes. 
 
 The crozier of Lifmore, in Ireland, now in the mufeum of 
 the royal Irifh academy, is of more primitive fhape. It is a 
 Ample crook like the claffic pedum , the front end of the curve 
 ftraightened, finifhed with a dragon’s head, and with a fpine or 
 creft along the back of the curve, more perhaps in outline like 
 the neck and head of a horfe. The South Kenfington collection 
 contains beautiful examples of thefe paftoral ftaves of later date. 
 They were borne by all bifhops of the middle ages, the pope 
 excepted, who ufes the ftaff in the diocefe of Treves only : 
 St. Peter having fent his ftaff to the bifhop of that fee. The 
 paftoral ftaff was the emblem of epifcopal jurifdidtion, and as 
 the mediaeval bifhops held territorial privileges, the right of 
 inverting the bifhop with ftaff and the ring were matters 
 long and often contefted by kings. The reader may refer 
 to A. Martin 81 and Pugin’s gloflary for a more detailed 
 account of the meaning and hiftory of thefe objedts than can be 
 given here. So far as to the ecclefiaftical metal work of the 
 twelfth century. 
 
 The twelfth century has not left us many examples of 
 goldfmiths’ work for perfonal and domeftic ufe. Thrones or 
 
 81 A. Martin, erodes paftorales. &c. and Mel. d’Archeologie iv. 145. 
 
Introduction. 
 
 CXX1X 
 
 feats were made for great perfonages after the model of the old 
 clalfic curule chairs. Suger, the abbot of St. Denis, the 
 chancellor and minifter of ftate of Louis VII., caufed the gilt 
 chair of Dagobert to be repaired, and it was probably added 
 to under his orders . 82 
 
 Metal work, however, both for fecular as well as for reli- 
 gious ufe, was made by the enamellers of Limoges. Beftdes 
 reliquaries, candlefticks, croziers, many pieces of metal work 
 for the furniture of halls and chambers, and for the decoration 
 of armour, were exported from Limoges. Bafons were made 
 for walking before meals in the hall, others furnilhed with 
 fpouts from which water was poured as from an ewer or jug ; 
 ewers in many forms, fometimes that of animals or monfters ; 
 even monumental effigies, as that of Aylmer de Valence in 
 Weftminfter abbey. The commoner kinds of jewels, fuch 
 as buckles, brooches, or morfes, for the belts of knights or 
 the veftments of eccleliaftics, too poor to afford to buy fiver or 
 gold, were made in enamelled bronze, and found their way 
 over the north-weft of Europe. Several are contained in the 
 collection. The guilds and the trade of Limoges were pro- 
 bably far more aCtive in this kind of manufacture than thofe 
 of Cologne, whofe work feems to have been devoted to fhrines, 
 reliquaries, candlefticks, monfter-lhaped ewers, &c. for religious 
 purpofes. The Limoges trade increafed till the wars of 
 Edward III., when the city was facked by the Black Prince. 
 
 Kings of the twelfth century, though more fecure than their 
 predeceffors of the eleventh, were rich in lands and title only. 
 The rents of lands referved and farmed for the ufe of princes 
 was an uncertain tribute, moft of it paid in kind. They 
 made progreffes with their courts from one caftle, ftronghold. 
 
 82 A cafi: of this chair is in the niture and Woodwork in the South 
 
 mufeum. For a defer ip cion, fee Fur- Kenfington mufeum. 
 
cxxx 
 
 Introdu Elion. 
 
 or town, in which they could be well lodged and fed, to 
 another. They lived on the produce of thefe eftates, or on 
 what could be got by requifitions in the towns where they 
 had or claimed legal rights. They were perhaps mold hof- 
 pitably ferved in monafteries or in the houfes of the great 
 prelates. Their treafure was carried with them . 83 
 
 Of money, adtual gold and filver coin, there was little. In 
 cafe of war our kings got voluntary taxes voted by the com- 
 mons, and by the convocations of the clergy. Often the crown 
 jewels were put in pawn with the merchants of London, York, 
 or other wealthy capitals. Thefe treafures were therefore liable 
 to continual difperfion. Unlike the jewels or veffels offered to 
 churches, which, though but occafional gifts, were never alienated, 
 and therefore accumulated in courfe of time, the perfonal pro- 
 perty of mediaeval kings was often all the difpofable gold and 
 lilver that they could command. Very little of it has come 
 down from the twelfth century, nor have we more than fcanty 
 particulars as to the plate and jewels they ufed, much of which 
 had to be given away as rewards or perquifites. William the 
 conqueror appointed William de Albini his fincerna (cup- 
 bearer) at his coronation, an office afterwards hereditary to 
 the dukes of Norfolk, to whom the golden cup ufed on the 
 occafion went by right. When he made Geoffrey Plantagenet 
 a knight he gave him, belides his armour, fpurs of gold and 
 a jewelled helmet . 84 
 
 The moil valuable objects were the royal crowns which 
 were worn not only during adts of government but alfo on 
 great feftivals. The Conqueror wore the crown , 85 on three 
 
 83 Almoft every article of furniture grelfes from one houfe to another. Ed. 
 in the inventory of the goods of Bonnaffe, Inventaire, &c., p. 55, note. 
 Catherine de Medicis had its proper 84 Queens of England, i. 229. 
 
 cover and place in the bahut or cheft 80 lb., i. 1 16. 
 
 in which it was to be packed in pro- 
 
Introduction . 
 
 CXXXl 
 
 great feftivals : on the Nativity in Gloucefter, at Eafter in 
 Winchefter, and at Whitfuntide in Weftminfter. The emprefs 
 Matilda, after the death of the emperor Henry V. in 1125, 
 brought his crown with her to England. 86 Stephen wore 
 his at high mafs on the feaft of the Nativity in Lincoln in 
 1 145, confidered in that city an abb of ill augury. Thele 
 enfigns of royalty were perfonal property and few of them 
 defcended from one reign to another. King John in 1216 
 crofled the Wafh, going to Swinehead abbey in Lincolnfhire, 
 and in a fudden rife of the tide the crown and all his regalia 
 were fwept away. John, who was a mediaeval dandy, wore 
 diamonds, emeralds, fapphires, and pearls profufely on his red 
 cloak, in his girdle, gloves, and on the baldrick of his fword. 87 
 The gold coronet taken from prince Llewellyn at Builth 
 was offered at the fhrine of St. Edward the Confeffor. John de 
 Frowick is named in the parliamentary rolls as the maker of 
 a crown for the coronation of Marguerite, fecond queen of 
 Edward I. 88 Ifabella, queen of Edward II., brought two 
 crowns with her as part of her perfonal jewellery. 89 Joanna 
 of Navarre, at her marriage with Henry IV., brought a rich 
 crown, a feeptre of cryftal, another of gold, befides numerous 
 buckles and other jewels, all fet with pearls and precious ftones. 
 Henry IV. had a crown made which he called the tc great 
 Harry,” pawned afterwards by his fon Henry V., in order to 
 raife money for his war in France. 90 The earl of Cambridge, 
 in the confpiracy for which he was judged and condemned 
 before that king’s embarkation, brought the crown of Pedro 
 the cruel, which came to him through his mother, intending 
 to have it carried to Wales to reprefent the Englifh crown at 
 his propofed coronation. 91 
 
 86 Queens of England, i. 1 16. 90 Queens of England, from Chron. 
 
 87 lb. ii. 62. de Bretagne and other authorities, iii. 
 
 88 lb., vol. ii. It was never ufed. 73-128. 
 
 89 In the Foedera, iii. 59. 91 lb., 131. 
 
CXXX 11 
 
 IntroduElion . 
 
 The gold crowns worn in adlion on the back of the helmet 
 were fmall and made for that exprefs purpofe. The kings 
 who expofed themfelves with fuch a mark on their heads 
 mull have been brave men. Henry V. had a piece of his ftruck 
 off by the axe of the due d’Alen^on in the defperate charge 
 made by that prince on the king and his guards at the battle of 
 Agincourt. Richard III. was the laft of our kings who wore a 
 crown in adion. It was taken from his helmet after his death at 
 Bofworth field, and hidden by a foldier in a hawthorn bufh. 
 Lord Stanley took it to the earl of Richmond after the battle, 
 placed it on his head, and faluted him as king Henry VII. A 
 crown in a fruited hawthorn bufh became the device of king 
 Henry . 92 
 
 The Scottifh crown of the Stuarts was found by Sir Walter 
 Scott and other fpecial commiflioners in the old cheft in which 
 it is ftill kept in Edinburgh caftle. This crown is faid to be 
 as old as the fourteenth century ; and according to fome 
 traditions to be the crown ufed by Robert Bruce. The crown, 
 however, ufed for the coronation of that king was found in 
 the poffeffion of one Galfredus de Coigniers and brought to 
 Edward I . 93 
 
 The kings who have died leaving treafure of any great 
 
 93 In remembrance of the aftion by 
 which the crown was thus firft given 
 him, Henry VII. wills, “ that his 
 “ executors caufe to be made an image 
 “ of a king reprefenting our own 
 “ perfon covered and wrought with 
 “ plate of fine gold in manner an 
 “ armed man, and upon the fame ar- 
 “ mour and coat armour of our arms 
 “ of Engl, and France enamelled, with 
 “ a fword and lpurs, and the faid 
 “ image to kneel upon a table of filver- 
 “ gilt, and holding betwixt his hands 
 
 “ the crown which it pleafed God to 
 “ give us with the viftory of our 
 “ enemy, and to be three feet above 
 “ the knee, &c. ; to be placed upon 
 “ and in the midfl: of the creft of the 
 “ fhrine of St. Edward King, &c.” 
 — Teftamenta vetufta, Hen. VII. 
 
 93 A pardon iifued to Galfredus 
 commemorates this faft in Rymer, 
 Fcedera, i. 1022. See a memoir on die 
 difeovery of the Scottifh regalia by Sir 
 W. Scott, reprinted, Edinb. 1874. 
 
IntroduSlion. 
 
 CXXXlll 
 
 value have been few. Henry I., one of the greateft princes of 
 his time, ordered 60,000 marks to be taken from his royal cheft 
 for the coft of his funeral, and to pay his hired troops ; and 
 Henry II., towards the end of the century, is faid to have left 
 in the charge of Ranulph de Glanville, his treafurer, as much 
 as 900,000/., befides jewels. 94 Joanna, his youngeft daughter, 
 widow of the king of Sicily, claimed as legacies from her 
 hufband, a chair of maffive gold, footftools of gold, a table of 
 the fame metal, on trefl'els, 1 2 feet long (thefe were probably 
 thick plates laid over wood), and urns and vafes, alfo of gold. 
 Tancred, the fucceffor, compounded for thefe treafures and * 
 the dower by a payment of 40,000 ounces of gold. 95 Richard 
 earl of Cornwall, king of the Romans, is faid to have carried 
 700,000/. fterling when he went to be crowned at Aix-la- 
 Chapelle. Thefe were exceptions. 96 
 
 Eleanor, queen of Henry III., had to depofit her jewels 
 with the knights of the Temple in London to raife money for 
 the war againft the barons. Edward, her fon, feized them, as 
 well as 10,000/. placed under the care of the knights, belonging 
 to the citizens of London. 97 Edward III., in 1340, pawned all 
 his queen’s jewels, even to her crown, and finally the perfon of 
 the earl of Derby, to raife money for his French wars from 
 the merchants of Flanders. He had pawned this crown the 
 year before at Cologne for 2,500/., till his fubjedts fent 30,000 
 packs of wool up the Rhine to redeem it. 
 
 94 Queens of England 353, from 
 Howden and others. 
 
 95 lb., on the authority of Hoveden, 
 Vinefauf, and Piers of Langtoft. 
 
 96 The fhifts and devices of the 
 
 royal revenue are curioufly illuftrated 
 by Madox’s Hiftory, &c. of the ex- 
 chequer of the kings of England. 
 
 97 Queens of England, ii. 1 1 8. 
 
CXXX1V 
 
 Introdu&ion . 
 
 XII. Thirteenth, Fourteenth, and Fifteenth 
 
 CENTURIES. 
 
 The art of precious metal work and jewellery of the middle 
 ages reached the higheft perfection during the thirteenth 
 century, reigned through the fourteenth, and this excellence 
 flowly declined during the fifteenth. The fame may be faid 
 of all the arts connected with the reign of pointed architecture. 
 
 Architecture and metal work, though they had become 
 national all over Europe during the twelfth century, had borne 
 a likenefs in many features to the architecture and the metal 
 work of the eaftern empire. In the thirteenth century this 
 old family likenefs difappeared. Conftantinople was facked by 
 the French and Venetians, and Byzantine artifts make no 
 more work in the weft. The Greeks employed gold, filver, 
 and jewels in. their churches, but the images of the Saviour 
 and the faints were painted, and no longer fculptured. The 
 Byzantine art, ftiff and fevere in drawing now, as then, fur- 
 vives, and is praCtifed ftill in the monafteries of mount Athos, 
 and other places, but it has made no change or advance, and 
 remains a fhadow of the fplendour of the days of Bafil the 
 Macedonian, and his immediate fucceflors. 
 
 The pointed ftyle in architecture marked a complete change. 
 It was not the ufe of a pointed arch inftead of a round one. It 
 was a fcientific fyftem, well underftood and carefully worked 
 out. The art of the goldfmith and all the arts were grown and 
 changed with it. The old folemn, dignified architecture, founded 
 on the ufe of the claflic column and the round arch, had 
 gradually given place to lighter, more delicate, and fubtle forms 
 of arch, window, column, and the various details of ornament 
 proper to thofe features. 
 
 This dramatic, complicated, elaborate architecture became 
 the type and model of the work of the thirteenth, fourteenth, 
 and fifteenth century goldfmiths. The Spaniards gave the later 
 
IntroduElion. 
 
 cxxxv 
 
 forms of it the title of platere/ca , Silver architecture, from the 
 fplendour of the architectural models when worked in diver 
 plate. 
 
 If the fculptors and modellers of the thirteenth century 
 had not learned in the fcientific manner of the fixteenth, they 
 faithfully followed the living model as they faw it. The drapery 
 of the cloifter, and of the ceremonial of religion, the armour 
 of knights and men-at-arms, and the dreftes of women in 
 the world, fet before the artift models of the draped figure 
 ready to his hand. Of the grace and dignity of both armour 
 and civil drefs, the drapery of women, and the habits of eccle- 
 fiaftics, we can have no truer reprefentation than the many 
 images on tombs Still remaining to us. The artift had only to 
 tranfiate what was conftantly under his eye into ftone, alabafter, 
 gold, filver, bronze, or other materials. Teaching that had been 
 diligently carried on in monaftic enclosures bore found fruits. 
 Hundreds of artift workmen could defign and model correCtly 
 and with eafe. In manufcript illuminations and ornaments, in 
 hammered or chafed metal work, in enamel and niello decora- 
 tions, the lines are drawn with a firm and dexterous hand, 
 perfeClly trained for the work to be done. Thefe artifts were 
 of unequal merit, as at all times, but none of their work Shows 
 ignorance or hesitation ; ignorance, that is, of what may be 
 called the Stores of accomplishment of that day, or hefitation 
 in carrying their Share into execution. 
 
 This command of good and correCt defign led to a new and 
 very beautiful method of enamelling. Hitherto goldfmiths 
 were reduced to fet furfaces of gold with precious Stones, or 
 with inlaid enamels, beautiful, indeed, becaufe of the richnefs 
 and fplendour of the materials, but with little more than mere 
 conventional defigns, or if judged of as reprefentations, weak 
 and rude almoft to barbarifm. The thirteenth century enamel- 
 lers had far greater refources at their command in tranfiucent 
 
CXXXV1 
 
 IntroduSiion. 
 
 enamel. This kind of work is executed ufually on filver. 
 The metal is chafed and modelled in very flat relief, the 
 colours are laid over the reliefs and are quite tranfparent, fo that 
 the artift’s work is feen in all its completenefs, the light palling 
 through the coloured glafs fubftance as through films or flices 
 of ruby, emerald, topaz, or fapphire. An immenfe ftep forward 
 towards what makes up perfection in the goldfmiths’ art. 
 
 Moffc of the valuable and highly wrought pieces of gold- 
 miths’ work of the later thirteenth, fourteenth, and fifteenth 
 centuries, now under review, are enriched with this beautiful 
 kind of enamel, and the mufeum collection is well furnilhed 
 with examples of it. Precious ftones are more rare in great 
 pieces made for ecclefialtical ufe, this more delicate kind of 
 decoration which can be put to more fubtle ufes taking their 
 place. Occafionally, as in No. 7950, p. 69, a paltoral ftaff, 
 beaten gold, tranflucent enamel, and precious ftones, are ufed 
 at once, with beautiful effeCt. 
 
 Feretra, fhrines, hitherto made like thofe of the three kings, 
 already defcribed, were now built up of innumerable plates 
 foldered together, with buttreftes, pinnacles, traceried windows, 
 like models of churches and fmall chapels. Thefe fhrines, the 
 offerings of perhaps generations of devout pilgrims not only 
 of a large neighbourhood, but of half a kingdom, or half of 
 Europe, continued to be the mafterpieces of precious metal 
 work. The great reliquary at Aix-la-Chapelle, given by 
 Frederic II., and known as the chafle of Notre Dame, 98 retains 
 the old outline, but with aftonifhing wrought work along the 
 upper fides of the gables and the ridges of the pointed roof. 
 Inftead of the meagre and ftiff foliage of the older fhrines 
 of Charlemagne and of the three kings, the foliage in the 
 thirteenth century work is compofed, beaten, pierced, and 
 
 98 Figured, Annales archeologiques, vol. i. 
 
IntroduSiion. 
 
 CXXXVll 
 
 chafed in rich rolls of leaf and ftalk. The fide mouldings and 
 other architectonic details are fet with enamels encrufted in 
 filigree, while the recefies or niches into which the fides and ends 
 are divided are filled with images hammered up in high relief. 
 
 One of the moft beautiful of the greater fhrines of the 
 fourteenth century is that which holds the relic of Bolfena, in 
 the cathedral of Orvieto. It is a fort of model (not exact) of 
 the front of that cathedral, enriched with figures and enamels, 
 the work of Ugolino of Siena and his pupils, given by 
 Benedict XII." 
 
 It is impoflible to fpeak of the details of our loft fhrines in 
 this country. Only the wood framework of that of St. Edward 
 remains in Weftminfter abbey over the fmall arches or 
 porches into which cripples and the fick were placed, in the 
 hope of a miraculous cure. That of St. Thomas of Canter- 
 bury was removed before the reformation by Henry VIII. 
 Others of great repute were thofe of St. Alban, at St. Alban’s 
 abbey ; St. Erkenwald, at St. Paul’s, London ; St. Edmond, at 
 St. Edmond’s Bury ; St. Cuthbert’s, at Durham ; St. Hugh of 
 Lincoln ; St. Mary of Walfingham; St. Fridefwide in Oxford. 
 On many of thefe fhrines goldfmiths continued to be em- 
 ployed from time to time as perfons bequeathed their gold and 
 jewels for the fpecial adornment, and that at various times. 
 In 1339 three London goldfmiths were retained for a year 
 by the chapter of St. Paul’s in confequence of a bequeft of 
 gold and jewels to the fhrine of St. Erkenwald. 1 
 
 The fmaller churches had reliquaries of every fize and in 
 many fhapes, but moft of them after the pattern of a little 
 chapel, a turret, fpire, lantern, or fome other light and orna- 
 
 99 Figured, d’Azincourt. See alfo membered, is the fubjeft of one of the 
 Della Valle iftoriadel duomo d’Orvieto. frefcoes of Raphael in the Vatican. 
 The miracle of Bolfena, it will be re- 1 Dugdale, St. Paul’s. 
 
 36105. 
 
 k 
 
CXXXV111 
 
 IntroduSiion. 
 
 14TH Century 
 Chalice. 
 
 mental feature of a church in the ftyle of the time. There 
 are feveral in the collection defcribed in the fequel. 
 
 The veffels ufed on the altar, the chalices, pyxes, tabernacles, 
 cenfers, were as richly wrought as the reliquaries. There are 
 feveral chalices in the collection, one already noticed, of which 
 the bodes and feet are covered with plates of filver, coloured 
 with tranflucent enamel, with figures or half 
 figures of faints, while the borders and in- 
 tervening parts are chafed, hammered, and 
 modelled in many ways. 
 
 The fhape of the cup was ufually oval, 
 with ftraight fides, and the feet generally 
 fpread out in fix round lobes, or round and 
 larger in diameter than the cup, as in No. 
 4903, p. 60; often with edges of exquifite 
 hammered work, as in No. 236, p. 56. 
 
 Many fmall plates of filver, enamelled 
 with patterns or minute pictures of faints, 
 are defcribed in the collec- 
 tion, that have formed parts 
 of book covers, reliquaries, 
 and other pieces of metal 
 work now deftroyed. Thefe 
 fmall plates or ornaments 
 were made in Limoges ; in 
 Italy ; and wherever familie 
 tury Chalice, or guilds of good enamellers 
 No 236, p. 56. WO rked, and were ufed by goldfmiths to give 
 richnefs and effeCt to their work. 
 
 The paftoral ftaves, which before the invention of the 
 tranfparent enamelling that belongs to this time of finer em- 
 bofling and engraving had been bold but fimple in fhape, w’ere 
 now made of extraordinary richnefs. The Items were covered 
 
 2 3 - 
 
 14.TH Century 
 Chalice, 
 No 2 33. P- 55- 
 
Introduction, 
 
 CXXX 1 X 
 
 with plates of filver-gilt or of gold, the 
 curved heads were longer, and coloured 
 with beautiful enamelling. The architec- 
 tural type, fo unlikely to fuit a ftaff, was 
 ufed in the ornamented heads or knops, 
 from which the curves fpring with great 
 effeCt, whatever might have been thought 
 beforehand as to its propriety. There are 
 good examples in the mufeum. A ftill finer 
 example, the work of 'William of Wyke- 
 ham, of the fourteenth century, is preferved in New college 
 Oxford, his own fpecial foundation. The upper part is a neft 
 of the richeft niche and tabernacle work in hammered filver- 
 gilt, the niches filled with fmall images of the faints, and the 
 plain furfaces coloured with enamel. The founder’s own 
 image remains in the volute, kneeling before the bleffed Virgin, 
 to whom he dedicated his two colleges. Her’s has been 
 removed fince the change of religion. 
 
 Paxes came into ufe in the thirteenth century. They are 
 plates of gold, filver, or gilt metal, or pieces of carved ivory, 
 fet in frames, commonly architectural fronts, doorways, or 
 panels, with a handle at the back, which were killed by the 
 priefl: during the mafs and carried round to communicate the 
 kifs of peace. Beautiful examples of paxes of the fifteenth and 
 fixteenth centuries will be feen in the collection. 
 
 The beauty of architectural ornament, quaint in defign and 
 molt minute and elaborate in execution, is perhaps belt Ihown 
 on a morfe or clafp for a cope. No. 394, defcribed p. 98. 
 The adoration of the Magi, a compofition in complete relief, 
 is placed in a fort of courtyard or cloifter, furrounded by 
 buildings, part reprefenting the top of the palace of Herod, who, 
 with his guards, looks down on this fcene. Below is the houfe 
 of Loreto, in a green enamelled field, with figures, flowers, and 
 animals in gold upon it. The different details of the buildings 
 
 15TH Century 
 Chalice, 
 
 No. 2102, p. 100. 
 
cxl 
 
 IntroduSiion . 
 
 require a careful ftudy ; though ornamentally balanced thefe 
 tiny ftrubtures are varied throughout, and feeni ftudied from 
 architecture well known to the artift. 
 
 One of the moll beautiful examples of architectural orna- 
 ment in the collection is a chalice of the 
 fifteenth century, of which the knop and 
 ftand is a mafs of rich architectural 
 tabernacle work in filver-gilt ; it is num- 
 bered 631, and fully defcribed in its 
 place, p. 80. 
 
 It is impoflible to give more than a 
 glance at the goldfmiths work made for 
 religious ufe of the three iaft centuries 
 of the mediaeval period. The treafuries 
 of many large churches in Germany 
 retain a great number and variety. 
 Thofe of Aix-la-Chapelle ; of feveral churches in Cologne, and 
 Deutz ; Munfter in Weftphalia ; Hildefheim in Hanover ; 
 have been noticed. The churches of Men, Treves, Paderborn, 
 Kaiferworth, Siegburg, Limburg, Xanten, and many others 
 are ftill rich, though great numbers of thefe objeCts were de- 
 ftroyed during the Lutheran reformation and the wars of the 
 feventeenth and eighteenth centuries. Neverthelefs, fome 
 Lutheran churches in Germany have retained all their old 
 chalices, though ufing but one. The fmall church of St. Peter 
 alone, in Soeft, for inftance, ftill poftefles twelve. There are 
 numbers of crofies, various veftels, and old veftments ftill 
 kept in the . cathedral of Halberftadt, and, no doubt, many 
 other Lutheran churches might be named in which the fame 
 confervatifm has prevailed. 
 
 From the thirteenth century onwards the arts, that of gold 
 and filver work efpecially, ce.afed to be confined to the cloifter. 
 Goldfmiths’ guilds were founded, and rich and coftly veffels and 
 utenfils, table andperfonal ornaments, were made for the princes, 
 
 26. 
 
 Fifteenth Century 
 Chalice. 
 
IntroduEiion. 
 
 cxli 
 
 barons, and feudatories, amongft whom the landed property of 
 Europe was parted out. 
 
 Italy, more fertile and rich than the northern kingdoms, 
 with richer municipal inftitutions, better navies, and greater 
 commerce, was divided into fmall but wealthy ftates. At the 
 head of many of them were independent princes, and other 
 ftates, fuch as Venice, Genoa, Pifa, though little more than 
 wealthy mercantile cities, had a nobility far richer in proportion 
 than the feudatories of the great northern ftates. In Italy, 
 therefore, when comparative peace was eftablifhed, the gold- 
 fmiths produced the moft numerous, and the moft beautiful, 
 works; France, Germany, England, and Spain followed the 
 example, but not fo completely or with fuch method as after the 
 end of the mediaeval period. It was in Italy that Niccola Pifano 
 and John his fon invented the tranflucent enamel already 
 defcribed. 
 
 The greater ufe of plate and perfonal jewellery called 
 attention to the frauds pradifed by goldfmiths and jewellers, as 
 early as the thirteenth century. Laws were palled compelling 
 guilds of goldfmiths to ufe ftamps to fecure the purity of the 
 metal. Others forbidding the ufe of falfe jewels with real gold, 
 and vice verja. To this part of the fubjeCt it will be better to 
 recur later on. 
 
 We have few of the perfonal ornaments of the jewels or 
 houfehold plate of the thirteenth or fourteenth centuries, but 
 there are many defcriptions. The coronation fpoon, defcribed 
 amongft the calls, ought perhaps to be confidered as one of the 
 veftels ufed at the altar, but it 
 
 except the ftate fwords. It is of gold, the bowl oval, divided 
 by a fpine down the middle, the ftem twilled with a flat knop 
 
 has been preferved amongft 
 the regalia of the tower, and 
 is the only piece of mediaeval 
 metal work in that collection, 
 
 27 - 
 
 Coronation Spoon, p. 317. 
 
cxlii 
 
 Introduction, 
 
 fet with precious ftones half way down its length, and fafhioned 
 into a dragon’s head where it joins the bowl. The crown, 
 fceptres, and other date jewels, and the various objefts ufed 
 at coronations and coronation feafts, except the ivory fceptre 
 called that of Anne Boleyn, are none of them older than the 
 reftoration of Charles II. In the middle ages, and, indeed, 
 from remote antiquity, 2 fceptres were not only rods or emblems 
 of authority at coronations but were ufed during the feflions 
 of parliament by the king, who ratified charters or atfts of 
 parliament by touching each document with the fceptre. This 
 ufage has fallen into abeyance in England fince the revolution 
 of 1688 : if the writer of thefe pages is not miftaken. 
 
 The perfonal fplendour of princes and noblemen during 
 thefe centuries was great. Of all the princes of Europe, 
 perhaps, the dukes of Burgundy had the richeft and mod: 
 coftly court during the fourteenth and fifteenth centuries. The 
 goldfmiths of Burgundy and of the low countries were the 
 moft accomplifhed artifts of their time. The plate armour 
 of barons and knights, though few complete fuits now re- 
 main earlier than the fifteenth century, can be ftudied in many 
 monumental portraits faithfully produced from life. It was 
 more than a noble and coftly drefs, it was confecrated in the 
 eyes of the generations who wore it. It reprefented the myftic 
 armour of the Chriftian hero, the “ helmet of falvation, the 
 breaftplate of juftice,” &c. 3 It was put on by the knight after 
 vigils and prayer and a bath. 4 Accordingly armour was en- 
 riched in proportion to the wealth of the wearer. The helmet 
 was jewelled, fometimes covered with velvet. An example of a 
 
 2 Either : “ Such to whom the King 
 fhall hold out the golden fceptre,” &c, 
 Ch. iv. 11, and again v. 2. 
 
 3 Eph. vi. 14. 
 
 4 All knights created with great 
 ceremonies were “of the bath.” 
 
 Knights created at coronations were 
 fo named, and the bath was ufed down 
 to the creations at the coronation of 
 Henry VII. and Elizabeth of York, 
 perhaps not later. 
 
IntroduSiion. 
 
 cxliii 
 
 covered helmet can be feen in the tower of London. William 
 of Hainault gave a jewelled helmet to his fon-in-law, Edward 
 III., in 1334. Elizabeth of York decorated the helmet of 
 Henry VII. with her own jewels when he ftarted on his 
 expedition to the north againft Perkin Warbeck. 5 The crown 
 was worn on it, and the device of the family. The belt was of 
 leather, filk, or precious tiflues, and covered with fcales or plates 
 of gold or filver-gilt and enamel, or jewelled. No. 4278 is a 
 belt of gold tiflue with buckle, ftuds, and other ornaments of 
 filver-gilt. It is probably of the fourteenth century. The richer 
 girdles were made of wrought metal jointed together and fet 
 with precious ftones. The belt went round the body at the 
 hips. The fpurs and the hilt and mountings of the fword, 
 dagger, and the fcabbaras were of gold or filver gilt. The fword- 
 hilt of Henry V. at Azincourt was of gold and jewelled. 
 Gold chains of mafllve links were worn round 
 the neck and badges, reliquaries, or love tokens 
 were fattened to them. A fmall triptych 
 which contains a pieta may be ftudied. No. 
 
 633, p. 106. No. 250 contains a fmall 
 St. George and the dragon. No. 218 
 is a fmall reliquary with chivalrous devices 
 in enamel. In the fifteenth and fixteenth 
 centuries coftly armour and accoutrements 
 mounted with bofies, bells, buckles, &c. of 
 gold and filver were added to horfe furni- 
 ture. In this way a great part of the wealth in goldfmiths’ 
 work of thefe centuries was carried on the perfon of the 
 knight and of his horfe. Ladies of condition and wealth wore 
 jewels on the head drefs, brooches, chains, belts, and rings. 
 
 From the thirteenth century the houfes of feudal lords 
 were furnifhed, many of them very richly, with filver, filver- 
 gilt, and occafionally pure gold plate. Many inventories of 
 
 28. 
 
 Fifteenth Cen- 
 tury Triptych. 
 
 5 Strickland, ii. 314, iv. 48. 
 
cxliv 
 
 Introduction. 
 
 royal treafure are extant, put together with care, and giving a 
 tolerably exact account of each objebt, with the nature of the 
 precious ftones with which they were fet. 6 
 
 The mifcellaneous items of the dining-table are referred to 
 in the old French romance of Partenoz de Blois : — 
 
 “ Tables, mifes, et doubliers, 
 
 Couteaux, failliers, et cuillers, 
 
 Coupes, henas, efcuelles d’or et d’argent.’' 
 and in Richard Coeur de Lion : — 
 
 “ Now ftyward I warne the 
 Bye us veffels gret plente 
 DyfTchys, cuppys, and fawfers, 
 
 Bollen treyes and platers ” &c . 7 
 
 There are feveral good examples of hanaps or covered cups 
 of the fifteenth century in the mufeum, fuch as No. 7941, p. 1 1 5. 
 
 The difhes and platters continued to be of 
 pewter or of wood, and fquare, down to the 
 fixteenth and feventeenth centuries in houfes 
 of people of fmaller means and more fimple 
 manners. 
 
 In royal and great feudal houfes the guefts 
 wafhed the hands before dinner and after in 
 difhes of enamelled bronze, filver or filver-gilt, 
 fometimes after dinner in perfumed water or 
 rofe water, and, in fome cafes, to the found of 
 the trumpet. 8 c Even as late as the four- 
 c teenth century,’ according to Turner, only 
 knives and fpoons were in general ufe at meals. 
 Examples of filver enamelled difhes and fpoons are defcribed 
 at p. 6 6. Forks are never fhown in illuminations of feafls 
 or dinners. The knives had handles of filver or ivory, but 
 it was common for noblemen to eat with knives pulled out 
 of their wallets. According to FroifTart, 9 one of the tokens 
 
 6 Of the Due d’Anjou. Of Charles 7 Turner, domeftic arch. iii. 57. 
 
 the VI. of France. See Labarte 8 lb. 
 
 Handbook, ch. vii. 9 lb., vol. iv., c. xcviii. 
 
Introduction. 
 
 cxlv 
 
 by which Gallon de Foix was known to his adherents was a 
 certain knife he carried about him with which he helped himself 
 at meals. Forks, however, were occafionally ufed. Eleanor of 
 Caftille, queen of Edward I., had amongft her plate a pair of 
 knives with filver fheaths enamelled, with a filver fork handled 
 with ebony and ivory, and a fork of cryftal. 10 Forks were con- 
 fidered articles of extreme luxury. Piers Gavefton, favourite 
 of Richard II., the ideal of a mediaeval dandy, had three 
 Fiver forks for eating pears : John, duke of Brittany in 1306, 
 had one cc to pick up foppys.” * 11 
 
 The dilhes, bowls, and ornamental plate put on the table 
 on ceremonial occafions fuch as coronations were coftly and moft 
 curious. We no longer speak of feafts in our day. In the 
 middle ages, when markets were ill fupplied and money fcarce, 
 princes made progreftes to diftant houfes.and eftates and con- 
 fumed what was gathered in each by purveyors or paid in kind 
 by tenants. When a great entertainment could be given, it 
 might often foothe or reconcile the nobility of a difcontented 
 province, and preparation was made accordingly. Henry III. 
 fpent 300,000 marks on the marriage feaft cf his fon Edward 
 at Bordeaux. In the Temple, in Paris, Henry entertained 
 St. Louis, and the king of Navarre, with his fon and daughter- 
 in-law at an hiftorical meal called the “ feaft of kings ” from the 
 kings and queens he entertained. Eleanor of Provence was 
 met on her firft journey to London by three hundred and ftxty 
 citizens on horfeback richly drefled, and each carrying a gold 
 or filver cup for the coronation feaft 12 (their own no doubt, 
 brought to fhow on the occafion). 
 
 Mr. Herbert, in his hiftory of the city corporations, quotes 
 details of the plate of Edward I. among which we may note thirty- 
 four pitchers of gold and filver, for wine ; ten gold chalices of 
 the value of 140/. to 292/. each; ten cups of filver-gilt, fome 
 
 10 Record commiffion, p. 78. 12 Matthew Paris, O. England, vol. ii. 
 
 11 See Authorities in Turner, ii . 65. 109. 
 
cxlvi 
 
 IntroduSiion, 
 
 with ftands of the fame or enamelled ; more than a hundred 
 fmaller filver cups of from 4/. to 1 18/. value ; cups of jafper ; 
 plates and difhes of filver ; gold falts ; filver hanapers or 
 balkets; juft a argenti anellata (jugs of hammered filver), 
 round which were two figures of the king and two of the 
 queen ; a large filver image of the king in a furcoat and hood 
 on a plate of filver ; a large ewer fet with pearls all over, 13 
 and many more. No, 403, a covered drinking cup of Bur- 
 gundian or Flemifh origin, is carefully worked with archi- 
 tectural mouldings, and has four mullioned windows with 
 geometric tracery round the body, and four in the cover, filled 
 with panes of tranfparent enamel fet in gold, through which 
 the light pafles. 
 
 3 °- 
 
 Fifteenth Century Cup, No. 403, p. 79. 
 
 13 City companies, ii. 128, note. 
 
Introdu&ion. 
 
 cxlvii 
 
 Bowls of maple wood were often fet in gold, fiver-gilt, or 
 fiver, and called mazers. Several can be feen in the collection. 
 Befides cups, jugs, covered and Handing cups, or images, 
 fuch as that of king Edward juft mentioned, the table orna- 
 ments were often in the fhape of animals, apes, ftags, fometimes 
 on wheels, with hounds, horfes and huntfmen. Eleanor of 
 Provence received from Marguerite queen of France, her 
 fitter, for a coronation prefent, a large peacock of fiver, with 
 fapphires and precious ftones, wrought with fiver fet in the 
 tail. From the. beak perfumed waters were poured into a 
 bafn of chafed fiver, in which it flood. This was for 
 wafhing the fingers after meals. 
 
 The waflail bowl was round, like the mazers, and pafled from 
 hand to hand. It was the favourite drinking veflel. It was 
 fometimes covered with coftly work, enamelled with the arms 
 of the owner, had “ curious emblems and choice old legends, 
 cc expreflive of hearty goodwill and fellowfhip, infcribed on the 
 “ rim and cover. Engraved on the bottom, St. Chriftopher 
 c ‘ appeared before the eyes of the waftailer as he drained the 
 cc bowl .” 14 
 
 The fait cellar was an important feature of the table. It 
 was of gold, fiver-gilt, or plain fiver, generally it had a 
 cover ; a napkin was placed over the fait when not in ufe to 
 keep the cover from actually touching the fait. This tradition 
 furvives in the fait cellars of the feventeenth century, kept in the 
 tower of London. Salt was the^,emblem of hofpitality. No 
 gueft was placed below the fait, guefts ufually fitting on one 
 fide only of the mediaeval table. When they fat on both, or on 
 lower fide tables, the fait marked the iimit of the high feats or 
 dais. A curious fiver gilt and enamelled fait cellar , 15 that of the 
 
 1Ji On one belonging to Mr. Evelyn Shirley, temp. Ric. II. 
 
 “ In the name of the trinitee, 
 
 “ Fille the cup and drink to me.” 
 
 Turner, ii. 61, 599. 
 
 15 It was exhibited in South Kenfington. 
 
cxlviii 
 
 Introduction . 
 
 founder, is kept at All Souls college in Oxford. It is in the 
 fhape of a giant. 
 
 If the fait cellar was the moft fignificant piece of plate on 
 the mediaeval table, the moft coftly and curious was the fhip or 
 nef. It was ufually in the fhape of a boat or fhip. Sixteenth 
 century nefs were made with mails, yards, fbrouds, bailors 
 climbing in the rigging : models, or conventional models, of adtual 
 fhips as they were reprefented to the un-fea-going world. One 
 is now exhibited in the South Kenfington mufeum, belonging 
 to Mr. Leyland (fee p. 371), and others are not unknown. 
 The name is derived from the French word navette , 16 a veffel in 
 the fhape of a boat in which incenfe is kept for the altar. The 
 nef held fpices and fweetmeats, and was in place of the epergne 
 of more modern times. One is kept in the Rathhaus of Emden 
 in Hanover, with mafts and rigging, from the hull of which 
 wine was drunk, but this piece is probably not older than the 
 end of the fixteenth or early feventeenth century. It was fome- 
 times put on wheels. Piers Gavefton, already quoted, had 
 among his jewels in 1313, a fhip of filver on four wheels 
 enamelled on their fides. In the inventory of the jewels of 
 Edward III., a fhip of filver is numbered. It was on four 
 wheels, and had gilt dragons on both ends. It was valued at 
 ill. js. 4 d. Piers Gavefton had bafins and ewers for wafhing 
 the hands before and after meals, of gold and filver enamelled 
 with his armorial bearings. 17 
 
 On occafions of ceremonial feftivity, fuch as coronation 
 feafts, the gold and filver cups, ewers and bafins ufed by the 
 king or queen, became the perquifite of the great ftate officers, 
 whofe duty it was to hold or hand them. Gold and filver coin 
 were ffiowered down on the heads of the king and queen, 
 e.g., Edward I. at his coronation. 
 
 Mention is made often in old chronicles of the offerings 
 
 16 Turner, ii. 59, 599. 
 
 17 Turner, from Rymer Foedera, iii. .392. 
 
Introduction. 
 
 cxlix 
 
 made particularly on thefe occafions by the king and queen at 
 the high altar of Weftminfter abbey, for inftance: — Edward 
 II. offered, firft, a pound of gold in the likenefs of a king 
 holding a ring in his hand ; the fecond was, eight ounces of gold 
 in the form of a pilgrim putting forth his hand to take the 
 ring. 18 This reprefented the legend of St. Edward the con- 
 feffor receiving a fapphire ring from the hand of St. John the 
 Baptift in Waltham foreft (ftill worn at coronations, and 
 actually ufed, it is faid, by her Majefty). From this tradition 
 the old royal manor of Havearing Bower derived its name. It 
 is often named in the annals of the Tudor kings. The offering 
 of the pound of gold was made at the laft coronation. cc Her 
 fC firft oblation, a pail or altar cloth of gold, and an ingot or 
 (C wedge of gold of a pound weight.” 19 In the middle ages thefe 
 offerings were in the likenefs of the faint to whom the king or 
 queen had a fpecial devotion. 
 
 The plate of Ifabella of France, the queen of Edward II., 
 is worth notice, as fhowing the property of this kind held by 
 queens as parts of their dower. She brought to England, 
 befides two gold crowns fet with precious Hones, feveral gold 
 and filver drinking cups, gold fpoons, fifty filver porringers, 
 twelve great filver difhes, and twelve fmaller, befides jewels, 
 clothes, linen, and tapeftry. 
 
 The difpofitions in mediaeval wills in regard to hereditary 
 jewels and plate are curious illuftrations of the fplendour in 
 which fo many of the rich feudal lords lived during thefe 
 centuries in this country. We may wind up this account of 
 mediaeval plate with a glance at a few of thefe taken from the 
 teftamenta vetufta of Sir N. Harris Nicolas. Moll of thefe 
 wills difpofe of chalices and facred veffels ufed in the private 
 chapels of the teftators ; of reliquaries, and of relics. For 
 inftance — the earl of Warwick in 1380 <c a bone of St. George 
 
 18 O. of England, ii. 216. 
 
 13 Laft Coronation ferviee. 
 
cl 
 
 Introduction. 
 
 Humphrey de Bohun, earl of Hereford, in 1361 bequeaths 
 <c a crofs of gold in which is a piece of the true crofs of our 
 cc Lord,” and this is found in many wills. Gold and filver plate 
 is left for making facred veflels. Lionel, duke of Clarence, 
 in 1368, after difpofingof a girdle of gold and a favourite horfe 
 called Maughreleyn, devifed to John de Capell, his chaplain, a 
 <f girdle of gold to be made into a chalice in memory of my 
 cc foule, alfo the circle of gold with which my brother was 
 “ created prince, and the circle with which I was created 
 <f duke.” 20 
 
 Jewels are mentioned which are tokens of tenures of land. 
 Sir Michel de Poynings bequeaths <f a ruby ring, which ring 
 “ is called the charter of Poynings.” 21 Quaint drinking cups 
 and fait cellars in the fhape of animals have been mentioned. 
 Edmund, earl of March, in 1380 bequeaths cc a filver fait 
 <c cellar in the fhape of a dog, and our beft gold horn with the 
 cc belt. To our daughter Elizabeth a fait cellar in the fhape 
 cc of a dog, a gold cup, and one hundred pearls.” By the 
 fame teftator; “to Symon of Sudbury, archbifhop of Canter- 
 <c bury, a tripod with two filver lions, gilt and enamelled, 
 “ a pouche in the form of the body of a flag with the head of 
 “ an eagle.” 
 
 Richard, earl of Arundel and Surrey, in 1392 leaves his 
 wife Philippa (among other pieces) her own cup, called Beal- 
 chier , two fait cellars of fiver ; two candlefticks of filver, 
 for fupper in winter ; cf a pair of bafons in which I was 
 “ accuftomed to walk before dinner.” The duke of Lancafter 
 in 1397, inter alia , <c a chain of gold of the old manner , with the 
 “ name of God in each part.” 
 
 Several generations of earls of Warwick, fplendid gentle- 
 men and princes, were poflefled of plate and jewels of extra- 
 ordinary value. Earl Thomas, for inftance, in 1400 bequeaths 
 an “ image of the blefled Virgin ; two cruets in the fhape of 
 
 20 Teft. Vetufta. 
 
 21 lb., P . 73- 
 
IntroduSHon. 
 
 cli 
 
 tc -angels ; ” (many {acred veflels, and the {word and coat of mail 
 of Guy of Warwick) his cc cup of the fwan, and knives and 
 fC fait cellars for the occalion of the coronation of a king.” 
 Earl Richard, in 1435, t0 the collegiate church of Warwick 
 an image of our Lady, in pure gold, there to remain for ever 
 (only a century in fad) in the name of a heriot. He defires his 
 cc executors to caufe four images of gold, each weighing twenty 
 <f pounds, to be made like unto myfelf, in my coat of arms, 
 <f holding an anker.” Thefe were for the fhrines of St. Albans, 
 Canterbury, Bridlington, and Shrewlbury. Amongft his table 
 plate were two dozen filver dilhes, twelve chargers, twelve 
 faucers of filver, a pair of covered filver-gilt bafons, four other 
 bafins, and four ewers of filver ; twelve pieces of filver of one 
 fort with cc my arms enamelled on the bottom of them ; a great 
 tc paytren ; a cup of gold, with the dance of men and women.” 
 Again, Ifabel, countefs of Warwick, in 1439 bequeaths to 
 the altar of our Lady of Caverfham tf a crown of gold made 
 cf of my chain, weighing twenty-fi ve pounds, and other broken 
 “ gold in my cabinet, and two tables, the one of St. Katherine 
 cc the other of St. George, the precious Hones of which tables 
 “ are to be fet in the faid crown.” 
 
 Walter Hungerford, knight, lord of Hungerford, Heytef- 
 bury, and Hornet, in 1449, to his fon Sir Edmund, cc a cup of 
 cc gold, and cover with a fapphire on the head ; belt pair of 
 Cf cuirafles to be chofen by Robert Hungerford, lord Molins, 
 <c out of the armour at Farley Hungerford ; a cup of filver 
 tc bordered with gold,” &c. 
 
 Laftly, it is to be noted that in the fifteenth century the heads 
 of the profeflion of law became pofiefiors of large perfonal property 
 in plate. Sir Thomas Lyttleton, juftice of the common pleas 
 (died 1487) bequeaths, cc a bafon of filver, ewer of filver, two great 
 c< fait cellars, and a kever, weighing ninety-three oz. ; a ftand- 
 cc ing plain gilt piece with plaine gilt kever, weighing twenty- 
 cc four oz. ; fix bolles of filver, in the middle of which been 
 cc enamelled fix months of the year ” (emblematic compofitions,) 
 
clii 
 
 IntroduSiion. 
 
 <c c {landing peece ’ with kever and two others ; depe warning 
 <c bafon of filver, forty-one oz. ; two falt-cellars, a kever to one 
 “ of them, weighing thirty-one and a half oz. ; another of 
 cc hlver, all gilt, in the myddes of which be three eagles with 
 cc kever, weighing thirty-three oz. ; low peece of filver with 
 “ kever ; ” a dozen of bell fpoons ; four more falts, and feveral 
 other pieces of filver, with their weight Inter alia he names, 
 ‘ c the bell dofein of the Jecond bejl fort of his fpones,” and 
 cc a dozen fpones of the third forte.” A fplendid fervice of 
 plate for a man not holding one of the great offices of the 
 {late, fhowing that the law was a remunerative profeffion four 
 centuries ago. 
 
 Wealthy merchants of the thirteenth, fourteenth, and fif- 
 teenth centuries, the municipal dignitaries, and the heads of 
 corporations and guilds were not far behind the great lawyers 
 in the outward infignia of their offices. They were, perhaps, 
 more modeft in their plate and in the perfonal expenditure of 
 their families. 
 
 31 - 
 
 Pendant of the Guild of Goldsmiths of Ghent, 15TH Century. 
 
Intr'oduElion. 
 
 cliii 
 
 The pointed architecture of northern Europe, carried 
 out with fuch unity and completenefs in ornamental detail, was 
 never fo entirely at home in Italy. The gold workers, how- 
 ever, of Venice and Florence, and of Umbria and Tufcany, pro- 
 duced beautiful works in the ftyle of that architecture, as their 
 contemporaries did in France, England, and Germany. This 
 may be feen by referring to the chalices, the erodes, and other 
 works in hammered metal, generally enamelled, of Italian 
 workmanfhip in the mufeum. 
 
 Two remarkable examples muft now be referred to, the 
 diver altar of Piftoia, and that of St. John the Baptift, in 
 Florence. The latter of thefe was begun the firft, and maeftro 
 Cione, a goldfmith of the firft half of the fourteenth century, 
 executed a baf-relief, ftill preferved, illuftrating the life of 
 St. John. This altar, however, was re-made. 
 
 That of Piftoia was begun in the fourteenth century. It 
 is compofed of a number of baf-reliefs, fmall images and figures 
 in high relief. There are nine baf-reliefs on the right fide 
 illuftrating the life of St. James. They are the work of 
 Leonardo di fer Giovanni of Florence in 1371. The corre- 
 fponding baf-reliefs on the left fide are by the fame hand. A 
 fhrine over the altar contains the relics of St. Atto. A baf- 
 relief on the face of this fhrine reprefenting the Annunciation, 
 is by Pietro, fon of Arrigo Tedefco, a German, done in 1390; 
 nine half-length figures are from the hand of the fame artift. 
 Two prophets on the fame part of the altar are by Brunellefchi, 
 the architect:, faid to be the only examples of filverfmiths’ work 
 by his hand ftill remaining. An image of St. James, alfo on this 
 upper part, is by Giglio, or Cillio, of Pifa, done in 1350. 
 The angels, the tabernacle, and twenty-four fmall figures to 
 the right and left of St. James are by Pietro Tedefco. Other 
 fmall images diftributed about the altar are the work of Nofri, 
 1396; Atto Braccini, of Piftoia (1400); and Pietro, fon of 
 Antonio, of Pifa, 1456. Lorenzo del Nero, of Florence; 
 
 36105. 1 
 
Introduction. 
 
 cliy 
 
 Ludovico Buoni, of Faenza; Meo Ricciardi, Cipriano, and 
 Filippo are names of goldfmiths connected with this great work. 
 The whole weight is eftimated at 447 lbs. 
 
 The altar of St. John the Baptift in Florence had been 
 begun in the fourteenth century. It was deftroyed to make 
 materials for a new and richer one. The guild of merchants, in 
 purfuance of an intention long held to cover the altar of the 
 baptiftery with plates of filver, illuftrating the life of the Baptift, 
 had the old altar melted down in 1366; the new one was not 
 completed till 1477, an d two baf-reliefs are wanting to this day. 
 This altar is lhown on the feaft of St. John. It is about three 
 yards and a half in width by three feet and a quarter deep, and 
 four feet three inches or thereabouts in height. The front is 
 divided by a niche with tabernacle work, containing the image 
 of St. John, and rich niches and tabernacles are on the two ends 
 of the front. The fpace between is covered with eight baf-reliefs 
 in a double tier, four-and-four on either fide. The figure of 
 the Baptift is of filver-gilt, upwards of two feet high (twenty- 
 fix inches according to Labarte), the work of Michelozzo, in 
 i45 2 - 
 
 Each of the ends of the altar contains four baf-reliefs, dis- 
 pofed like thofe on the front ; fixteen in all : but two are ftill 
 wanting, and are reprefented by paintings. Thefe baf-reliefs 
 reprefent the acts of the faint, and are in high relief, fome 
 twelve inches high. The frieze is made up of a row of forty- 
 three niches, containing fmall filver images. The borders and 
 frame pieces are elaborately ornamented with windows, little 
 niches, with tranfiucent enamels over reliefs, and niello. Alto- 
 gether, thefe two altars are mafterpieces of the greateft gold- 
 fmiths of the two centuries during which the art called Gothic 
 reached its higheft perfection and began to decline. 
 
 A large crucifix, a rood reprefenting the Crucifixion, in filver, 
 over eight feet high, belongs to the ornaments of this altar. 
 It is the work of Milano, fon of Dei ; Becto, fon of Francefco, 
 
IntroduSiion. 
 
 civ 
 
 and Antonio del Pollaiolo. Candlefticks of filver, made for the 
 fame altar, by Antonio del Pollaiolo, were melted in 1527. 37 
 Two reliquaries of gold and filver containing the heads of SS. 
 Peter and Paul ; made by Giovanni Bartholi, and Giovanni 
 Marci, in 1369 for Urban V. ; are kept over the high altar of 
 St. John Lateran in Rome. 
 
 Among the great Italian goldfmiths of the fourteenth 
 and fifteenth centuries mult be numbered Luca della Robbia; 
 Antellotto Baccioforte and Maggiano of Piacenza ; Nicold 
 Bonaventura and Enrico his nephew ; Arditi of Florence, and 
 Lorenzo Ghiberti, author of the bronze gates of the baptiftery 
 of Florence ; Bartolommeo Cenni, Andrea del Verrocchio, An- 
 tonio Salvi, Francefco, fon of Giovanni. Antonio del Pollaiolo 
 holds the higheft place. 
 
 All the methods, acceflories, and refources of the art of the 
 goldfmiths of thefe three centuries were continued by the 
 Italians to the clofe of the mediaeval period. In the middle of 
 the century they invented the art of printing from their en- 
 graved plates. Mafo Finiguerra, a worker of niello of great 
 repute in Florence in the middle of the fifteenth century, 
 made a pax in 1452 for the fame baptiftery of St. John ; now 
 in the cabinet of bronzes of the gallery at Florence. An 
 impreflion on paper from the plate, before the lines were filled 
 in with black enamel, is now in the public library in Paris. 38 
 It is the earlieft known example of an impreftion from an 
 engraved metal plate. The art of engraving, whether for the 
 decoration of the piece of metal work engraved, or for the 
 purpofe of taking printed impreflions, now became an impor- 
 tant branch of the goldfmiths’ art. Another accomplishment 
 was the finking of dies for coins, and fpecially for portrait and 
 memorial medals, for paxes, and for other goldfmiths’ work. 
 
 37 Gori, Thefaur. diptych. 
 
 38 Labarte, from D11 Chefne, Handb., 249. 
 
clvi 
 
 IntroduSiion. 
 
 in which flat furfaces could be firft embofled by cafl.ing or 
 ftriking the cold metal, then by finifhing with the graver. A 
 number of beautiful examples may be ftudied in the mufeum. 
 
 XIII. — The Revival. 
 
 Before the clofe of the fifteenth century many causes 
 were combining to bring about a change in the arts of 
 painting, fculpture, and architecture. The taking of Con- 
 ftantinople by the Turks, the council of Florence, and the 
 reunion of the Greeks, brought the Greek language and 
 literature to the knowledge of the Italians. Printing was 
 invented, and the works of the ancient poets and writers, Greek 
 and Latin, known heretofore, if at all, by manufcripts rarely 
 met with, were put within reach of the learned, and were 
 welcomed with enthufiafm. This was the cc Renaiflance,” or 
 revival of the ancient learning. We have in our day but a 
 faint conception of the delight and excitement which this 
 revival produced in learned Europe, more efpecially in Italy. 
 It mull be enough here to fay that the arts, and that of the 
 goldfmith with others, were engaged wholly in the new range 
 of thought and of afpirations which poflefled the rifing generation. 
 Veflels for religious ufe were made according to the prevailing 
 falhions. In this monftrance, No. 287, decorated with tranf- 
 lucent and painted enamel, the reader can fee an example of 
 thefe renaiflance changes. Numberlefs grand old reliquaries, 
 chalices, and other veflels were broken up, melted, and remade, 
 all over Europe, in Italy and France efpecially. The lovers of 
 the new fafhions had no fort of fympathy, fuch as we feel, with 
 the fplendour or {kill of older generations. 
 
 The Church even took a lead in thefe changes as regards all 
 arts concerned in her fervice. The peninfula of Italy had been 
 cleared of foreign armies mainly through the activity of the 
 
IntroduStion . 
 
 clvii 
 
 popes. They and all the princes of Italy enjoyed a freedom 
 and a renewed profperity to which their various ftates had long 
 been ftrangers. The popes became patrons of the poets and 
 
 3 2 - 
 
 Monstrance. Italian. Fifteenth Century. 
 No. 287. ’64, p. 101. 
 
 artifts of their- age, and their influence, in this refpedt, reached 
 beyond the boundaries of their own ftates into moft of the 
 countries of Europe. 
 
clviii 
 
 IntroduElion . 
 
 The earlieft works of the renaiflance, known in Italian as 
 the <c quattrocento ” period, partook of the character of the 
 age that was drawing to a clofe, and of the new ideas. This 
 union of two ftyles was more common in the French, Flemifh, 
 Burgundian, German, and Englifh art than in that of Italy, but 
 it is to be noticed in the metal work of Italy as well. The 
 ferioufnefs and fimplicity of traditions fo long followed pre- 
 vented artifts trained in the earlier fchools and workfhops 
 from throwing themfelves into the broader and bolder lines and 
 forms of the art of ancient Rome. Hence there is a lingular 
 fweetnefs and tendernefs in much of the work of the early 
 artifts of the revival. 
 
 The goldfmith had been the type of the complete 
 artift during the middle ages. He worked in all materials, 
 and produced an infinite variety of defigns for all forts 
 of things, from enamelled and gilt reliquaries to brooches, 
 belts, buckles, and jewellery of all forts, and on every fcale 
 of fize and magnificence. Under the revival it will be found 
 that many of the greateft painters, fculptors, and architects had 
 been goldfmiths firft, or had got their education in art in the 
 workfhops of matter goldfmiths, ftill fchools of every kind of 
 artiftic aecomplifhment. 
 
 Francefco Francia, a goldfmith of Bologna, is fpoken of 
 by Vafari, for the excellence of his enamelling on metal in 
 relief. He was celebrated as a tinker or 
 cutter of dies for coinage and for medals, a 
 kind of work which was much favoured by the 
 Italian princes of the late fifteenth century, of 
 whom many beautiful portraits were made in 
 this particular form. He did not learn paint- 
 ing till after he had grown to manhood, and 
 it is as a painter that he has become famous 
 22 . in after ages. His metal work, fo far as we can 
 
 Pax. Early Six- judge of it from his painting, like that of Sandro 
 No. 1205, p.123.’ Botticelli, (to whom the defign of a pax. No. 
 
Introdu&ion, 
 
 clix 
 
 4408, page 105, is attributed), partook of the tender and ferious 
 beauty that belonged to this earlier time. No. 1205 is of the 
 fame date or a little later. 
 
 Domenico Ghirlandajo, fo called from the garlands he made 
 of jewels for the Florentines, was another painter trained under 
 his father Tommafo, a goldfmith, who became a painter in later 
 life, and is known to us by his paintings. He made filver lamps, 
 which have been deftroyed, and if we may judge of thefe by 
 his paintings we may clafs him with the artifts firft: named. 
 
 A ftill more celebrated name is that of Andrea del Verrocchio, 
 the matter of Leonardo da Vinci in painting, and the fculptor 
 of the ftatue of Bartolommeo Coleoni in front of the church of 
 SS. Giovanni e Paolo in Venice, the earlieft and the grandeft 
 of modern equeftrian ftatues. He has been named among the 
 goldfmiths employed on the lilver altar of St. John. He was 
 fent for by pope Sixtus IV. to reftore the images of the 
 apoftles in the pontifical chapel. Another goldfmith of 
 great name was Ambrogio Foppa, called Caradolfo, of Milan. 
 He was {killed in the whole range of goldfmiths’ work, prin- 
 cipally, fays Vafari, 39 in enamelling on relief and in medal 
 cutting. Michelagnolo di Giuliano was a goldfmith of Florence, 
 much employed by Lorenzo and Giuliano de Medici, for whom 
 he made embolfed armour, enamels, niellos, and jewellery of 
 every kind. He was the firft teacher of the goldfmith whofe 
 name ftands above all others of the revival of the fixteenth 
 century, Benvenuto Cellini, who writes of Giuliano with great 
 praife in his autobiography. 
 
 XIV. — The Sixteenth century. 
 
 The goldfmiths’ work of the fixteenth century reached its 
 greateft fplendour and beauty in the hands of Benvenuto Cellini. 
 He is the artift of all others who reprefents the goldfmiths, the 
 
 39 Life of Bramante. 
 
clx Introduction. 
 
 lilverfmiths, and the jewellers of the revival, as Michel Angelo 
 and Raphael reprefent the painters and fculptors. He was 
 
 34 - 
 
 Italian. Sixteenth Century. 
 
 No. 401. ’72, p. 126. 
 
 1500, and was apprenticed at thirteen to 
 From him he went to the workfhops of 
 in Florence, Pifa, Bologna, and Siena. 
 
 Pax. 
 
 born in the year 
 Michel Angelo, 
 many goldfmiths 
 
IntroduSlion. 
 
 clxi 
 
 At nineteen he went to Rome. He returned to Florence but 
 was driven away in confequence of a fray, returned to Rome 
 and entered the fervice of Clement VII. for whom he made 
 coins and medals. He took the military command of the 
 caftle of St. Angelo, and while there took to pieces the jewels 
 of the pope by fpecial command to get money to pay the troops 
 while the pontiff was befieged by the Spaniards. According to 
 his own account they produced four hundred pounds of gold. 
 During fourteen years he worked at jewellery and goldfmiths . 
 work for the fovereign pontiff, paying vifits to Naples, Florence, 
 Venice, and other cities of Italy, making fome flay in Padua. 
 From thence he travelled to Geneva, Lyons, and Paris. Fie 
 was introduced to Francis I., but returned to Rome, and was 
 imprifoned on the charge of having robbed the caftle of St. 
 Angelo of fome of the treafure he had got together during the 
 fiege. He was releafed, and returned to Paris in 1540. 
 Cellini fpent five years in Paris, then quarrelled with madame 
 d’ Eftampes, miftrefs of the king, and' got permiflion to return 
 to Italy. He then took fervice with Cofmo dei Medici in 
 Florence and worked for him till his death in 1570. During 
 thefe years he undertook the mint of the grand duke, made 
 beautiful jewels for the ducheis, and executed feveral important 
 pieces of bronze fculpture. Vafari fpeaks of his many works 
 in gold, enamel, and jewellery fet with precious ftones, as of 
 the higheft merit. He covered the velfels he executed with 
 fmall figures, fuch as a chalice of gold ordered bv Clement VII., 
 the cup of which was fupported by the theological virtues. 
 His jewels were enriched with figures on a minute fcale. He 
 made a clafp for a cope for the fame pontiff, which contained a 
 reprefentation of the Eternal Father. A necklace containing 
 the hiftory of the Paflion, with feparate compofitions in each of 
 its links, has been exhibited by lady Mountcharles in the S. K. 
 mufeum ; it might without improbability be attributed to Cellini. 
 A book of hours is in the mufeum of the duke of Saxe Coburg, 
 
clxii 
 
 Introduction. 
 
 the cover of which, ornamented with little figures and compofi- 
 tions in enamelled gold, is attributed to him. A fait cellar of his 
 workmanfhip is in the mufeum of Vienna. A book cover of beau- 
 tiful workmanfhip with compofitions relating to the fountain of 
 youth and other poetic fubjedls, is to be feen in the collection, 
 defcribed under No. 736. ’64, p. 144. It comes, probably, 
 from the admirable fchool of jewellers eftablifhed by Cellini 
 in France. There are two precious cups attributed to Cellini at 
 . Munich and, it need not be faid, a vaft number of jewels are at- 
 tributed to him on no fufficient authority. Amongft thefe muft 
 be numbered an onyx vafe exhibited by Mr. A. J. B. Beresford 
 Hope in the S. K. mufeum. Confidering the number of rich 
 and coftly cups, vafes, and jewels he is known to have made and 
 the value that was fet on them in his own day and fince, it is 
 not unreafonable to fuppofe that many of his works muft ftill 
 remain, cautious as we fhould be in accepting the claim of his 
 authorlbip. 
 
 Cellini wrote two treatifes, one on fculpture and another on 
 the goldfmiths’ art. He treats, as Theophilus does in his 
 Jchedula , of the fetting of precious ftones and the making of 
 enamels. He defcribes the tranflucent enamel laid over reliefs 
 of filver, fo common in the fine chalices and vafes of the four- 
 teenth and fifteenth centuries ; and of enamel made in bands of 
 gold and fet tranfparently as glafs in the fide or bottom of a 
 vafe, as in the vafe 403. ’72, p. 79, already noticed. French 
 writers give this kind of enamel the name of “ plite ” or cc plique 
 a jour.” Cellini 40 difcuftes the method of its execution, fpeaking 
 of a cup of this kind fhown him by Francis I. The enamel pafte 
 is put into compartments prepared for it with falfe fides, an iron 
 cup infide, and a plate of the fame metal outfide. The enamel 
 can be fufed and attached to the furface of the gold without 
 foftening the furface of the iron fufficiently to prevent the 
 
 40 Trattato, ch. iii. 
 
IntroduSiion , 
 
 clxiii 
 
 removal of both the inner and outer falfe fides, and the enamel 
 can then be polifhed. The proceffes defcribed by Cellini in the 
 fixteenth century are on the whole the fame as thofe contained 
 in the treatife of Theophilus. Jewel fetting, enamel and niello, 
 hammered and call; work are treated by both in the fame way 
 or with little fubftantial difference. Though certain kinds of 
 enamelling had not been difcovered in the time of Theophilus, 
 the goldfmiths had pradtifed for 400 years mod of the proceffes 
 of their craft. Cellini was a contemporary and admirer of 
 Michel Angelo and of the great Italian artifts of his day, and 
 his art reprefents the ideas then fo popular, the fymbolifm and 
 imagery of the claffical Olympus. 
 
 The reliquaries, chalices, monftrances, and other work made 
 for religious ufes during the fixteenth century were not com- 
 parable with the work of the middle ages for ferious and 
 appropriate treatment. Still they were elegant, often of beau- 
 tiful execution, as in the pax, No. 401. ’72 : for a woodcut of 
 which fee p. clx. 
 
 A variety of fmaller utenfils or 
 ornaments, fuch as brooches, bells, 
 and other objedts for ecclefiaftical 
 ufe, was profufely decorated with 
 emboffing, engraving, enamel, and 
 precious ftones. This hammer, 
 
 ’72. 266, defcribed among the 
 calls, was made for the jubilee of 
 1550. 
 
 It would be difficult to fay 
 whether France, Flanders, Spain, 
 or Germany was the firfl to follow 
 the example fet by the Italians and 
 the French. In Paris, as already 
 noticed, Cellini had been received and had eflablifhed goldfmiths’ 
 
cxliv 
 
 IntroduSiion. 
 
 workfhops. He 41 himfelf bears witnefs to the abundance and 
 excellence of their eccleftaftical metal work, imagery, and table 
 plate, unfurpafled in other countries. 
 
 The artifts who fucceeded Cellini made numbers of jewels 
 compofed of precious ftones, misfhaped or baroque pearls, with 
 additions in gold and enamel. Valerio Vicentino, to whom a 
 crofs (p. 1 2 1 ) is attributed; Giovanni da Ferenzuola ; Luca 
 Agnolo ; Pilote ; Piero, Giovanni, and Romolo del Tovaloccio ; 
 Piero di Mino ; Lautizio of Perugia ; Vincenzo Dati ; Girolamo 
 del Prato, are among the names of Italian goldfmiths of this 
 period. Benedict Ramel was goldfmith to Francis I. ; Francois 
 Defjardins to Charles IX. ; Delahaie to Henri IV. Francois 
 Briot was a goldfmith of great Ikill in embofling tankards, 
 cups, and various kinds of plate. There is a pewter cup by 
 this artift in the South Kenfington mufeum. It was no doubt 
 a model made for a work in filver-gilt, unfortunately nothing 
 is preferved of his work but the models. It feems to have been 
 not an uncommon cuftom with artifts to make and keep them. 
 Cellini himfelf 42 recommends that goldfmiths fhould keep 
 proofs in lead of their callings. 
 
 Cups in the fhape of the claflic patera and calix and em- 
 bofled table plate were made in incredible quantities in Italy 
 and for all the courts of Europe. Many drawings of fuch 
 pieces are kept in the library of the S. K. mufeum. 
 
 Among the procefles in ufe in the fixteenth century by Italian 
 goldfmiths fhould be included damafcening, or working defigns in 
 gold and lllver on iron, bronze, and other metals. There are 
 different methods of executing damafcene work. The ground is 
 tooled over with lines according to the defign propofed. Gold 
 or filver wire is hammered or prefled into thefe cavities and 
 the harder metal takes firm hold of the wire. On fofter metal 
 thick leaf is hammered into the cavities, the edges of which are 
 
 41 Trattato del Oreficeria, 130. 
 
 42 lb. T29, 
 
IntroduSiion. 
 
 cl xv 
 
 prelTed down fo as to fatten in the gold or ttlver leaf. A mirror 
 cafe and other beautiful examples are defcribed at p. 13 1. The 
 beft known artifts in this material are Paolo, furnamed 
 cc Azzimino,” from his (kill in damafcening ; Paolo Rizzo of 
 Venice; Giovanni Pietro Figino, Bartolommeo Piatti, Francefco 
 Pellizzone, and Martino Ghinello, all of Milan. According to 
 Cellini the Lombards excelled in damafcening the foliage of the 
 ivy and the vine, the Tufcans and Romans in the acanthus. 
 
 The great wealth of Spain, the gold mines in it, the early 
 difcoveries of America, and the quantities of the precious metals 
 brought from thence by the navigators of that country, made 
 the Spanifh towns the homes of wealthy guilds of goldfmiths. 
 The quantity of ecclettaftical metal work and of plate for houfe- 
 hold ufe in that country mutt have been enormous towards the 
 beginning of the ttxteenth century. 
 
 Spanifh reliquaries and monftrances of the middle ages were 
 made after architectural models. This fafhion continued into the 
 early part of the ttxteenth century. There remain, however, as 
 M. J. Riano tells us, cc objeCts of ttlverfmiths’ work worthy of 
 cc notice where there is no architectural model, e.g., images of the 
 “ Virgin covered with ttlver plating in imitation of drapery. 
 “ Curious examples are to be feen at Aftorga of the four- 
 “ teenth century, and of the fifteenth and ttxteenth at Toledo, 
 c ‘ Seville, and other Spanifh towns. But the moft ftriking 
 cc fpecimens of ttlverfmiths’ work are the cuftodias (monftrances) 
 <c ftill exifting in Spain, which were faved from the French.” 43 
 Thefe monftrances are generally in the form of fmall archi- 
 tectural domes, lanterns, or fpires, fuch as the French, Flemifh, 
 and German monftrances or reliquaries in the collection. A 
 fragment of a rich example in the lateft pointed .ftyle, perhaps 
 early ttxteenth century, is exhibited by Mr. H. A. Layard 
 in the S. K. mufeum. Other Spanifh pieces, reliquaries, or 
 
 43 Juan de Riano, objects of Spanifh produ&ion, South Kenfington mufeum, xxi. 
 
clxvi 
 
 Introduction. 
 
 monftrances of the fixteenth century in the collection follow 
 the architecture of the revival. cc The multitude of columns, 
 a ftatuettes, minute fubjeCts in relief, pinnacles, and general 
 <c ornamentation render the cujiodias of the belt time of fil- 
 “ verfmiths’ work complete works of art.” Among the 
 names of the artifts devoted to this kind of work are thofe 
 of Becerril, Carrion, and Merino. {C Thofe who legitimately 
 <c bore the palm were the family of d’Arfe, a race of gold- 
 “ fmiths from Germany. Enrique d’Arfe made a famous 
 fC cuftodia early in the fixteenth century which was robbed 
 cf by the French; another for the cathedral of Cordova, 
 rc 1513; another for that of Toledo, 1515-24, both of 
 cc which remain, and are in the Gothic ftyle.” 44 Antonio 
 
 d’Arfe, his fon, made a cuftodia at Santiago in the ftyle of 
 the renaiftance. Juan d’Arfe again, fon of Antonio, followed 
 his father and wrote on filverfmiths’ work. It would be 
 interefting to poflefs his works. He defcribes a cuftodia 
 made for the cathedral of Seville in 1587, in one of his books 
 
 publilhed at that time. This artift 
 worked at Valladolid, tc which muft 
 “ have been an immenfe centre of 
 “ filverfmiths, when Navagiero, the 
 “ Venetian ambafiador to Charles V. 
 “ fays that there were more filver- 
 cc fmiths at Valladolid than in all the 
 <c principal poftefiions of Spain.” 45 
 The reader may refer to the pax 
 No. 314. ’64, wfith a compofition 
 Spanish Chalice, A. D. 1549. in full relief, probably by Alonfo 
 Duenas, carver and goldfmith of Salamanca ; the crofs, 305. ’66, 
 and this chalice, 132. ’73, p. 130, for examples of Spanifhwork 
 of the renaiftance. 
 
 44 Juan de Riano, objects of Spanifh produftion. South Kenfington mufeuin, xxi. 
 
 45 lb. 
 
IntroduSUon . 
 
 clxvii 
 
 Spanifh. jewels of this period are rare. All that need be 
 faid of thefe productions here is that, perhaps, no collection has 
 more important and interefting examples than that brought 
 from the fanCtuary of the Vergen del Pilar at Saragofla, now in 
 the S. K. mufeum. Mr. Riano gives fome names of filver- 
 fmiths and goldfmiths, from manufcripts containing defigns, 
 prefented as fpecimens for admiffion into the corporation of 
 filverfmiths of Catalonia. ct Thefe volumes have never been 
 tc mentioned by any writers who have treated of this fubjeCt, 
 (c and may be confidered unknown. I have been fortunate 
 Cf enough ” adds Mr. Riano cf to be able to look through them 
 cc and copy the following names of artifts who worked in gold 
 “ and enamel,” with the dates and fubje&s of their defigns : — 
 
 Joan Mafanell, jewels and pendants, 1534. Rafael Ximenis, 
 a dagger, 1537. Antonio de Valder, a dagger, 1537. Bene- 
 diCte Sabat, enamelled jug, 1545. Gabriel Comes, a hand 
 fcreen, with a delicate handle, 1546. Pero Juan Poch, filver- 
 fmith of the emprefs Ifabella, a vafe, 1551. Antonio Conill, 
 dagger, 1 553. Francifco Perez, necklace, 1559. Juan 
 Ximenez, a large pendant jewel, 1561. Francifco Vida, figure 
 of Phaeton, 1561. Felipe Ros, an enamelled medallion and 
 a vafe, 1567 and 1597. Joan Font, a vafe, 1572. Narcifo 
 Valla, pendant jewel, 1575. Juan Pau, medal of Santiago, 
 1586. 46 The jewels Nos. 334, 335, 336, in the collection from 
 Saragofla, may be referred to in illuftration. 
 
 Germany was fcarcely behind Spain in following the Italian 
 revival. In the cofl.linefs and dignity of the reliquaries, Ihrines, 
 and veflels for ecclefiaftical ufe, the German goldfmiths of 
 the twelfth and fucceeding centuries during the middle ages 
 were furpafled by none. Precious jewels and plate for fecular 
 ufe were rich and coftly. The feudal dignity that furrounded the 
 
 46 Juan de Riano, objeCts of Spanifh production, South Kenfington mufeum, xxi. 
 
clxviii 
 
 IntroduSlion. 
 
 fuccedors of Charlemagne had been kept up with fplendour, 
 and this fplendour was reflected in various degrees and with 
 much pomp and circumftance in the numerous courts of 
 German feudal princes, according to their wealth. As early 
 as the fourteenth century when Charles IV. was crowned with 
 the iron crown of Lombardy and afterwards with the golden 
 crown of the empire in the Vatican, “an hundred princes,’’ 
 fays Gibbon, “ bowed before his throne. At the royal banquet 
 “ the hereditary great officers, the feven debtors, who in rank 
 “ and title were equal to kings, performed their folemn and 
 “ domedic fervices of the palace. The feals of the triple king- 
 “ dom were borne in date by the archbiffiops of Mentz, Cologn 
 “ and Treves, perpetual archchancellors of Germany, Italy, and 
 “ Arles. The grand marfhal on horfeback exercifed his function 
 “ with a filver meafure of oats which he emptied on the ground. 
 “ The great deward, the count palatine of the Rhine, placed 
 “ the difhes on the table. The great chamberlain, the mar- 
 “ grave of Brandenburgh, prefented after the repad the golden 
 “ ewer and bafon, &c .” 47 No fucceffor of Charlemagne had 
 poffeffied fuch wealth as Charles V., and the coft and magnifi- 
 cence of ceremonial plate, date furniture, armour and accoutre- 
 ments, increafed accordingly. 
 
 In feveral great cities of Germany guilds of goldfmiths 
 douriffied during the dxteenth century. Silver cups and 
 plate of all kinds for houfehold ufe were made by them 
 after the dedgns or in the fpirit of the Italian artids. Augf- 
 burg was, perhaps, the riched feat of this manufacture, and 
 the earlied to adopt the new dyle. Nuremberg, a walled 
 and wealthy city, proud of its privileges, its old families and 
 its art, remained longer attached to the old traditions. One 
 of the mod remarkable pieces of table plate in the collection 
 
 47 Gibbon Decl. xlix. 
 
IntroduSiion. 
 
 clxix 
 
 is a covered gilt cup, No. 245 (p. 152), 
 made after the fhape of one of the towers 
 of Nuremberg, reprefenting even the 
 ruftication of the ftonework. The fup- 
 ports are little fortified outworks ; round 
 the bafe and the waift of the cup run gal- 
 leries fortified by fentry turrets-and larger 
 towers. The cover is a reprefentation, 
 actual or conventional, of the citadel. 
 
 There are two doping afcents or roads 
 with houfes, towers, bridges over por- 
 tions of the moat, in fhort a complete 
 model of a neft of buildings fuch as are 
 fee n in the diftant towns of the land- 
 fcape backgrounds of Durer. 
 
 Gradually the genius of Peter Vifcher and the flay he made 
 in Rome introduced the more modern ideas in metal work and 
 in gold and filver plate into his native city. Hans Krug, or 
 Kruger, and his fon Ludwig, were artifts of Nuremburg of the 
 beginning of the century. The father of Albert Durer was a 
 goldfmith at Cula in Hungary, and migrated to Nuremburg 
 in 1502 ; Jacob Hofmann worked there in 1564 ; Hans 
 Maflizer and Jonas Silber in the fecond half of the century. 
 Wenzel Jamnitz, Jamnitzer, or Jamitzer, 1 508-1 585, author 
 of a work on perfpective with cuts by Joft Amman, was one 
 of a family of gold and filver fmiths of the Nuremburg guild. 
 Chriftoph Jamnitzer, his nephew, is the maker of an epergne, 
 now in the Kunftkammer of Berlin. Albrecht, a brother, worked 
 till 1590. The filver cup, No. 150, p. 153, is attributed to 
 the hand of Wenzel. A cup of fimilar fhape, attributed to 
 Cellini, is kept in the print room of the Britifh mufeum. It 
 is more probably by the hand of Wenzel or that of an artift 
 of the fame fchool. It is defcribed under the reproductions, 
 p. 334. In both cafes the lips of the cups are made in fix lobes 
 
 36103. 
 
 37 - 
 
 Hanap in the Shape of 
 a Fortified City. 
 
 in 
 
clxx 
 
 Introduction. 
 
 or cufped projections, and correfponding bofles are beaten out 
 under them. The furfaces are embofled with figures and ftrap 
 or band work, foliage, and animals of admirable defign. A 
 filver cafket by Wenzel Jamnitzer is to be feen in the green 
 vaults at Drefden. A cup by Jonas Silber, of Nuremburg, 
 dated 1583, is preferved in the Kunftkammer of Berlin. 
 
 Several of thefe bofled cups will be feen in the collection. 
 Many of thefe are double, one fitting over the lip of the other, 
 fo as to make a piece of ornamental plate on the fideboard. 
 An examination of fome of thefe German cups, as well as 
 of the hanaps (covered cups without Hems), will fhow a 
 peculiar ornament made of narrow leaves, fcrolls, or ftalks, 
 gracefully beaten about, like ftreamers of filver or filver-gilt, 
 and fet round the knob or top of a cover. It feems to carry 
 out the traditional leafwork of beaten metal feen in early 
 mediaeval German work. 
 
 The Augfburg goldfmiths were more thoroughly Italian, 
 and at an earlier date than thofe of Nuremburg. Their cups, 
 falvers, and jewels followed the ftyle of decoration of the great 
 Italian mafters fo completely that of a vaft quantity of decora- 
 tive gold and filver fmiths’ work, and fpecially jewellery, it would 
 be difficult to affign it to either nation where hall marks are not 
 to be diftinguiffied. This German cup, No. 555, p. 145, {Jee 
 next 'page ) , is thoroughly Italian in defign. Great Handing covered 
 cups, and the bofled or lobed cups and vafes juft defcribed, 
 were national in Germany. A. great Handing cup in the gallery 
 at Vienna, covered with embofled work and tranflucent enamel, 
 is defcribed among the reproductions of the South Kenfington 
 mufeum. Another has pn the furface a crowded figure com- 
 pofition, reprefenting the conqueft of Tunis by Charles V. 
 
 The number of excellent goldfmiths working at Augfburg 
 from the fixteenth to the eighteenth century was very great. 
 Johann Kornemann is the name of an artift who made himfelf a 
 name in Rome and Venice before fettling at Augfburg; Georg 
 
IntroduSUon. 
 
 clxxi 
 
 Prunl ; Anton and Franz Schweinberger, and many others 
 might be added. The reader will fee a long lift of names in 
 
 38 . 
 
 Silver-gilt Cup. German. i6th Century. 
 
 the fC Kunft and Kunftgewerbe ” of Trautmann. As the great 
 centre of commerce between northern Europe and Italy, and 
 the Levant, and a free city enjoying imperial privileges, Augf- 
 burg was alfo the richeft manufacturing city of Germany in the 
 fifteenth and fixteenth centuries. Merchant families, fuch as 
 the houfe of Fugger, were often wealthy, and ftiowed, probably, 
 as much fplendour in the fervice of the table and the furniture 
 of their houfes as fome of the princely courts of Europe. 
 
 Ifaak and Hans Melper, of Munich, made candelabra, 
 precious tables, and other coftly furniture in the fixteenth 
 century. Cologne, Luneburg, Regenfburg, Bamburg, Saltz- 
 burg, Ulm, Utrecht, were all reprefented by good gold and 
 filver fmiths guilds. 
 
 With the goldfmiths fhould be noticed thofe engravers and 
 defigners of ornaments, fometimes called the fmall mafters, 
 who defigned fpecially all kinds of ornament for gold and 
 
 in 2 
 
clxxii Introdu&ion. 
 
 filver fmiths. The German artifts of the late fifteenth and fif- 
 teenth centuries were exceptionally bold, quaint, and abundant, 
 often humorous, in their defigns of ornament. Many engrav- 
 ings on wood and copper remain to atteft their excellence in 
 this refpedt. 
 
 39 - 
 
 Medallion. German. i6th Century. 
 
 This medallion, No. 4053, p. 1 50, is by Heinrich Ritz of 
 Leipfic. 
 
Introduction. 
 
 clxxiii 
 
 The revival made quicker progrefs in England in jewels 
 and goldfmiths’ work than it did in architecture. We feem to 
 have been indebted to Flemifh, German, and Italian artifts for 
 the firft change from mediaeval types. The old traditions lin- 
 gered long in the country. Henry VII. came to the throne 
 at the clofe of the long and favage wars of the rofes. During 
 the continuance of the itruggle the nation went back in many 
 ways from the refinement of the fourteenth century. The 
 cultivation even of many fruits ceafed with the ruin of houfes 
 and manors, and the defolation of orchards and gardens; the 
 population dwindled ; the arts loft their vigour and beauty. 
 The architecture, fculpture, and metal work were not equal to 
 what they had been, and frefti life was needed when peace was 
 once more fecured. The reign of Henry was peaceful and 
 profperous. He gathered riches, encouraged learning, built 
 much, invited foreign painters to his court, and made a begin- 
 ning to a collection of books, paintings, plate, -and other furni- 
 ture of his houfes, fome of which remains in our royal palaces 
 and in the Britifh mufeum to this day. Though careful of his 
 money, Henry VII. knew how to fhow royal fplendour on 
 fitting occafions. At the marriage feaft of his fon prince 
 Arthur, in the palace of the bifhop of London, princefs 
 Katharine of Aragon was ferved on gold plate fet with pre- 
 cious ftones and pearls, valued at twenty thoufand pounds . 48 
 
 When Henry VIII. fucceeded his father he inherited a large 
 treafure and his reign was rich and fplendid, efpecially in all 
 that relates to the prefent fubjeCt of gold and filver fmiths’ 
 work. That he had Italian goldfmiths under his orders is more 
 than probable, after the example of his royal brother of France, 
 of whom he was not free from jealoufy. A George, or jewel 
 for the garter, belonging to this period, and now in private 
 hands, is faid to have been made for him by Cellini. It is of 
 
 48 O. of England from Hall. 
 
clxxiv 
 
 IntroduSiion . 
 
 fine gold fet with jewels. Some notion of the richnefs of his 
 drefs and perfonal ornaments may be gathered from the notices 
 met with in Hall and other writers of the pageants and banquets 
 of the court. At a dance in his palace of Weftminfter the 
 king invited the ladies to pluck off the golden letters H and K 
 with which his drefs was covered. On this the citizens, who 
 were allowed to look on, broke in, took the jewels from the 
 ladies, and the letters and ornaments from the King, who 
 was ftripped to his doublet and drawers. One fhipmafter got 
 3/. i8r. 81 d. for the letters of beaten gold which fell to his 
 fhare . 49 
 
 The accounts of the feftivities prepared for Anne Roleyn 
 illuftrate the fumptuous living of the court. Gold cups of 
 aflay (ftandard gold) were ufed by the new queen at her 
 coronation feaft, and given as fees to thofe whofe office it was 
 to hold them. Henry had already given her nearly twelve hun- 
 dred pounds value of cups, flagons, bowls, trenchers, covered 
 cups, fpoons, falts, chandeliers, and a chafing difh when he 
 created her countefs of Pembroke . 50 He took her with him 
 when he received Francis at Calais. The banquet hall was 
 there hung with cloth of filver, raifed with gold. The feams 
 were covered with wreaths of goldfmiths’ work fet with ftones 
 and pearls. A cupboard of feven ftages (the reader will 
 remember more than one painting of Paolo Veronefe in which 
 filver and gold plates are reprefented fet out in this way) was 
 covered with plate of gold, and no gilt plate. Ten branches 
 of filver-gilt and ten of white filver, hung over the table 
 by long chains of the fame metal, bore two wax lights each. 
 Francis fent Anne Boleyn on this occafion a jewel worth 
 fifteen thoufand crowns . 51 The difplay of the field of the 
 Cloth of Gold was typical of Henry and his reign. Latterly 
 
 49 Q. of England, 
 so Jb. 
 
 si lb. 
 
Introduction . 
 
 cixxv 
 
 this oftentation had been fupplied from the plunder of monaftic 
 houfes. Moft of the church 'plate was feized and melted. 
 
 The fplendour of the royal table was not without imitators 
 amongft the great lords and dignitaries of the kingdom. 
 The treafure of cardinal Wolfey, of which an account was 
 given in by his goldfmith, Robert Amadal, in 1518, with 
 the weight and coft annexed, confifted of fuch items as {C an 
 “ image of our Lady ” of 300 ounces of fterling fiver. The 
 price of new fiver varied from five {hillings to four and eight- 
 pence, and three and tenpence per ounce. Six great candle- 
 fticks made at Bruges, with leopards’ heads and cardinals’ hats, 
 chafed and gilt, weighed two hundred and ninety-eight ounces, 
 at three findings and tenpence. A fpice plate, gilt and ena- 
 melled, with Edward of Caernarvon (from former ownerfiiip), 
 had been brought from the abbey of St. Alban. Among the 
 cardinal’s fervice of plate were three <f chargeours,” a hundred 
 and ninety-feven ounces ; twenty-five plates, nine hundred and 
 fixty-eight ounces ; twenty-two difiles, four hundred and fifty- 
 one ounces. The ufual weight of platters was from thirty-fix to 
 forty ounces each ; difhes, twenty to twenty-five ; faucers, twelve 
 to fifteen ; a cup of “ corone ” gold, fixty-four ounces, cofting a 
 hundred and thirty-four pounds, befides five findings an ounce 
 for making. According to Cavendilh, his biographer, “ There 
 “ was at great banquets a cupboard as long as the chamber was 
 u in breadth, with fix delkes in height, garnyflied with guilt 
 “ plate, and the nethermoft defke was garnyfiied ad with gold 
 cc plate, having with lights one paire of candlefticks with filver 
 ce and guilt, being curioufly wrought, which coft three hun- 
 “ dred marks. This cupboard was barred round about ” (a 
 wife precaution) cc that no man might come nigh it, for there 
 “ was none of all this plate touched — there was fufficient 
 “ befides.” 52 
 
 52 In Teftamenta vetufta, xxviii, 
 
clxxvi 
 
 Introdu&ion. 
 
 Such table plate, was not confined to the houfeholds of 
 fuch perfonages as the cardinal or the great noblemen of 
 the early fixteenth century. John, lord Dynham, in 1505, 
 bequeathed to his wife fifteen hundred and ninety ounces of 
 plate. Apoftle fpoons among other items are named in the 
 will of Amy Brent, who bequeathed in 1516 “ thirteen 
 cc filver fpoons, with the figure of J’hu and His twelve 
 “ apoftles.” 
 
 Amongft the prefents given by Henry to his favourites 
 gold chains were common, the weight being of more confide- 
 ration than the workmanfhip. Sir Thomas Parr, father of 
 queen Catherine Parr, bequeathed in 1517 a chain, iC which is 
 cc worth cxl/., which the king’s grace gave me.” 53 The 
 fafhion of gold chains was carried to a mod fumptuous excefs. 
 Sir Edward Howard, the admiral, bequeathed his “ rope 
 cc of bowed nobles that I hang my great whiftle by, certain 
 u ccc. (300) angels.” 54 The whiftle was left to the king, by 
 whom the admiral had been inverted with it on receiving his 
 command. But in an adtion with the French fleet in which 
 he was flain as he boarded the French commander’s galley, 
 accidentally unfupported, he was driven overboard by the French 
 pikemen, but he flung his whiftle from him before he fank. 53 
 Henry ufed to give gold cups 56 to foreign ambafladors, and 
 fpent large fums in prefents of jewels to his wives. 
 
 Holbein the painter defigned cups, arms, and jewellery during 
 this reign, A drawing of his of a cup for queen Jane Seymour is 
 kept in the print room of the Britifh mufeum, with other defigns 
 for jewels, &c. 57 Other drawings are in the mufeum of Bafle, 
 
 53 Teft. V., p. xxxii. drawings has been photographed 
 
 54 A gold coin worth 7 s. 6 d. under the direction of Mr. Reid, 
 
 55 Teft. V., and Strickland, iv. 91. keeper of the print room, Britifh 
 
 56 Teftam. Vet., preface. mufeum; a copy is in art library, 
 
 57 An interefting feledtion of thefe South Kenfingtoh mufeum. 
 
Introdu&ion. 
 
 clxxvii 
 
 notably one of a dagger with a dance of death in tiny figures. 
 Torrigiano had been already employed by Henry VII., and 
 defigned candelabra and other decorative metal work belonging 
 to the goldfmiths’ craft. In the privy purfe expenfes publifhed 
 by Sir N. H. Nicolas the name of John Baptift, the king’s 
 Italian goldfmith, occurs more than once, and that of Cornelius, 
 probably a German or Swifs. In the period embraced by 
 the publication named (juft over three years), the fum of 
 io,8oi/. 8 s. yd. was expended on precious ftones, gold chains, 
 &c., befides 1,517/. to the king’s goldfmith for plate. 58 
 
 The privy purfe expenfes of queen Mary give a detailed 
 lift of the jewels and precious goldfmiths’ work in her pofteftion 
 while princefs. On the occafion of her wedding feaft there was 
 a fideboard of nine ftages of gold cups and filver dilhes. 
 Philip of Spain gave her jewels worth fifty thoufand ducats, 
 and fent a treafure to London that filled ninety-feven chefts, 
 each a yard and a quarter long, loaded on twenty carts. 
 
 The age of Elizabeth was a period of great expenditure in 
 jewellery and goldfmiths’ work, efpecially fuch as could be 
 carried on the perfon. The drefles of .the queen were extrava- 
 gant, both in fafhion and coft, as we fee by tolerably exaCt 
 reprefentations in her portraits. Her courtiers were expected 
 to make her continual prefents, and thefe were generally 
 of jewels. We have a miniature cafe in the collection. 
 No. 4404. ’57, a fine example of enamelled work, made per- 
 haps for a prefent to be given by herfelf. Without referring 
 to private collections, we may quote feveral pieces of table 
 plate preferved by colleges and corporations, which belong to 
 the latter half of this century : a cup and cover, a tankard, 
 a fet of apoftle fpoons, and a falt-cellar, at Corpus Chrifti 
 college, Cambridge, the gift of archbifhop Parker ; an ewer 
 and falver belonging to the corporation of Norwich ; other 
 
 58 p r i V y Purfe Exp., Hen. VIII.,*xxix. 
 
clxxviii 
 
 Introdu&ion. 
 
 40. 
 
 Sugar 
 
 Caster. i6th 
 Century. 
 
 pieces belonging to feveral city of London com- 
 panies. In the South Kenfington mufeurn there 
 is a fugar or pepper caller, of lilver, with a 
 medallion on it of St. George, and an infcription 
 to the fovereign of the order, No. 551, p. 160; 
 it is like thofe commonly ufed from the feven- 
 teenth century to the prefent time. In 1559 
 the earl of Arundel, one of the moft powerful 
 noblemen in the kingdom, entertained her majefty 
 fumptuoufly in the palace of Nonfuch (near Ewell, in Surrey), 
 a fanciful hunting lodge, with gardens full of ftatues and calls 
 of Roman divinities. He gave her the cupboard of rich plate 
 that fhe had ufed for fupper. This example, as well as that 
 of giving jewels, had to be followed by other noblemen and 
 courtiers of the capricious queen. She herfelf fent a cupboard 
 of plate to James VI. on the occalion of the baptifm of prince 
 Henry. Some of the gold cups were fo heavy that fir James 
 Melville, to whom they were delivered, could hardly lift them. 
 They were foon melted down. 
 
 Rich church plate- was occalionally made for ceremonial 
 occalions, as, e.g. } on the occalion of the baptifm of James VI., 
 fhe fent queen Mary Stuart a font of gold worth a thoufand 
 pounds. 59 Generally lixteenth century chalices for the reformed 
 church were in the lhape of No. 4636, p: 159, 
 and which continues to the prefent day. 
 
 The age of queen Elizabeth was not free 
 from fuperftitious notion about alchemy, a fcience 
 fuppofed to lead to the difcovery of chemical 
 agents which could dilfolve all fubftances, re- 
 combine the component parts of metals, and make 
 
 gold out of them. Cornelius Lanoy, a Dutch- 
 41. 
 
 man, was committed to the tower for making 
 C 1 A Paten AND delulive promifes on this fubjed, as well as re- 
 
 59 Q. of England, from Melville Papers. 
 
IntroduSiion . 
 
 clxxix 
 
 garding the elixir of youth, magic mirrors, and other wonders 
 then popularly believed. On the other hand Dr. Dee, a divine 
 of the church of England and a profeffor of thefe arts, enjoyed 
 and retained the queen’s confidence , 60 
 
 XV, — The Seventeenth Century. 
 
 42. 
 
 Flemish Salver. 17TH Century, 
 
 No. 1153, p. 216. 
 
 The goldfmiths’ art underwent but few changes of fafhion 
 for the firft part of the feventeenth century. Much of the 
 fplendour with which the art of the revival had filled the caflles 
 and palaces of Italy had become by that time familiar to all the 
 north of Europe. For inftance, the caftle of Kronenburg, fo 
 
 00 £). of England, from Melville Papers. 
 
clxxx 
 
 IntroduSlion. 
 
 far north as the entrance of the Sounds to which place the earl 
 marifchal of Scotland went to receive Anne the future queen 
 of James I., was “very richly furnifhed with filver ftatues and 
 “ other articles of luxury .” 61 
 
 In Italy, the home of the great artifbs who in many dif- 
 ferent hates and capitals had acquired great fkill in gold- 
 fmiths’ work, jewels and plate were made and fent abroad. 
 While any of the great artifts of the fixteenth century 
 remained, and under the hands of their immediate pupils and 
 followers, the old defigns continued to be reproduced. No 
 art, however, fo clofely bound up with the habits of men as 
 that of the goldfmith remains long ftationary. The light and 
 graceful leafwork, the admirable figure-work, and the fimplicity 
 and dignity of both religious veffels and houfehold plate and 
 ornaments gave way to heavy and coarfe defigns. More count 
 was made of quantity in working the precious metals than of 
 beauty. 
 
 In Spain the admirable training of the pupils of the fchool of 
 religious fculpture as well as of the guilds remained, but the 
 fhapes and decorations of their work grew pompous and heavy 
 to a greater extent than in Italy. The large quantities of 
 filver that came into Spain from Mexico made the givers of 
 church veffels eager to make their offerings coftly, and the 
 fame fentiment helped to fwell the coft and oftentation of filver 
 in private houles. Rich Spanifh houfeholds were confidered 
 “ marvellous ” in regard to their abundance of table plate. 
 Sumptuary laws, indeed, were paffed but proved ufelefs 
 againft this luxury, “ which caufed Montefquieu to fay in his 
 “ c Efprit des loix,’ that the repeated flatutes of the Spaniards 
 “ prohibiting the ufe of precious metals were as abfurd as if 
 “ the hates of Holland prohibited the ufe of cinnamon .” 62 
 
 G1 O. of England, from Melville Papers. 
 
 62 J. Riano. 
 
IntroduEiion . 
 
 clxxxi 
 
 A modem author traces the degradation of art, among 
 other miffortunes, in fouthern Italy to the dominion of the 
 Spaniards. Luxury and pomp in the ufe of plate and fplendid 
 furniture were carried to excefs in Naples under the influence 
 and from the example of Spanifh viceroys. 63 
 
 Much fllver plate and of very fine defign was made in 
 Portugal, more or lefs following the example of Spain. 64 
 
 In Germany the great guilds of Augfburg and other cities 
 already named, continued for the firft thirty or forty years of 
 the century to produce excellent goldfmiths, Matthias Wal- 
 baum, of Augfburg, made the fllver images of the famous 
 cheft of the dukes of Pomerania now in the Kunftkammer 
 of Berlin': a cabinet, or neceffaire, with minute fubdivifions 
 and fittings, and ornamented with fmall images and baf- 
 reliefs. Hans Pegolt is another of the Augfburg artifts of 
 this time. Fine models in lead are kept in the Kunftkammer 
 of Berlin of the proofs ftruck by the artifts of the day of their 
 works in more precious material during thefe two centuries. 
 As to cups and vefiels, the lobed cups of Germany in 
 the feventeenth century were continued. 
 
 Another favourite fhape was that to which 
 we give the name of tankards, fuch as 
 No. 3637, p. 225. Tankards, with a 
 handle, purchafe, and hinged lid, were made 
 of all fizes and with many varieties of deco- 
 ration, both in Germany and other northern 
 
 as well as in our 
 own. They retain their popularity to this Nuremberg Tankard. 
 day. They were often made to enclofe gold and fllver coins, 
 
 63 Carafas of Maddaloni (Rofcoe), mufeurr, from pieces in the palaces of 
 P* 285. the Neceffidades and other colleftions 
 
 61 See an interefting colleftion of in Lilbon. 
 photographs in the South Kenfmgton 
 
 beer drinking countries. 
 
clxxxii 
 
 Introduction. 
 
 both on the flat top and bottom and 
 bent round and fet in the fides. Peg 
 tankards had knobs or pegs in the fide 
 to meafure the proportion to be drunk 
 by each, when they went the round of 
 feveral guefts. 
 
 Thefe hinged tankards were pro- 
 bably made for the exprefs purpofe of 
 holding beer (made with hops), and were introduced into Eng- 
 land when beer became a national drink. 65 The hot fpiced 
 wines that were drunk before going to bed, both in royal and 
 private houfes, were probably fent up in covered cups. We 
 can refer to no inftance of a tankard of Italian, French, or 
 Spanifh make. The manufafture feems confined to beer drink- 
 ing nations. No. 36, p. 201, is Englifh. 
 
 During the reign of James I. gold and filver fmiths’ work 
 followed in this country much the fame changes as have been 
 noticed. Of ecclefiaftical plate there was none produced worth 
 defcription, except the pieces kept among the regalia in the 
 tower of London and defcribed among the cafts. A beau- 
 tiful cup of filver-gilt, chafed and fet with hammered fcroll 
 work, No. 5960, is defcribed p. 17 6; it is of the date of 
 1611. 
 
 Toilets of filver became the fafhion. Several pieces of the 
 toilet fervices now kept in Knole park, Kent, are eledtrotyped and 
 defcribed in the following pages. There are others in private 
 hands. The great county families of England were probably never 
 more profperous than during the reign of James I. Numbers 
 of the great houfes called Elizabethan were then built. The 
 
 65 According* to an old diftich, i.e. early in the 16th century. Brazen- 
 
 “ Carps, reformation, turkies, hops, nofe college, Oxford, derives its name 
 and beer, from the king’s (Henry VIII.) braffen 
 
 Came to England all in one year.” houfe or brewing houfe. 
 
 English. 17TH Century. 
 Tankard. No. 16. 
 
Introduction. 
 
 clxxxiii 
 
 king encouraged the refidence of his fubjedts on their 
 eftates, and the many pidtures of old Englifh baronial interiors. 
 
 45 - 
 
 Silver-gilt Cup. English. 17TH Century. 
 
 No. 5960, p. 176. 
 
 fuch favourite fubjedts with modern artifts, fhow how often 
 people look back to thofe days as a kind of 
 golden age. Yaft tankards and falvers are 
 conftant details in thefe popular compofitions, 
 
 muft 
 
 have pofleffed great quantities of filver for 
 the table. Indeed, Charles I. in his wars 
 drew moft of his refources from this rich 
 clafs of his fubjedts, and much hard money 
 from country plate chefts and college but- 
 teries was contributed to his treafury 
 
 doubtlefs with perfedt propriety. They 
 
 46. 
 
 Silver Basin for 
 heating Wine. 
 17TH Century. 
 No. 469, p. 213. 
 
clxxxiv 
 
 IntroduSlion. 
 
 in Oxford. Much has gone fince then to the melting pot, and 
 
 there remain few pieces of plate 
 of the reign of the Stuarts. This 
 covered cup, No. 7242, is defcribed 
 p. 202. 
 
 The fondnefs for rich arms and 
 armour was kept up in England in 
 the feventeenth century, as in Italy, 
 France, and other countries. In 
 1606, Chridiern king of Denmark, 
 brother of queen Anne, vilited this country and amongd 
 codly prefents made on board his fhip at Gravefend gave 
 James I. a rapier and hanger worth feven thoufand pounds, 
 fet with gold and jewels. 66 The hammered and gilded fuit of 
 armour given by the armourers of London to Charles I. is 
 familiar to vifitors of the tower of London. 
 
 The coronation plate, with the exception of a beautiful fpoon 
 ufed for the undtion of the bread, fhoulders, head, and hands 
 of kings, and one or two fixteenth century fait cellars, is not 
 older than the redoration of Charles II. in 1668. The old 
 crown jewels were taken to pieces and fold by the parliamentary 
 commiffiOners after the death of Charles I. It appears from 
 Rymer’s Foedera, Vol. xviii. 236, that anno 1625, the fird 
 year of that king’s reign, the jewel houfe contained gold plate, 
 and great quantities of jewels of divers forms, fuch as feathers, 
 flowers, collars, compofed of diamonds and other precious (tones. 
 Bafins, ewers, bowls, cups, falt-cellars, and difhes had been fent 
 over privatelv by the king’s fpecial warrant to the duke of 
 Buckingham in Holland. 67 Mod of the plate now kept in the 
 
 06 Oueens of England, vii. king Edward’s crown (including the 
 
 67 The jewels of the king’s crown fum of 73/. 1 6s. in gold), at 429/. 11s. 
 
 were valued at 1,023/., thofe of the The curious reader will find full par- 
 
 queen’s at 38/. 16s. 8 d. (including ticulars in the Antiq. Repertory, vol. i. 
 3 lb. 5 oz. of gold at 40/, the lb.), 80. 
 
 Covered Silver Cup. 
 17TH Century. 
 
Introdu&ion. 
 
 clxxxv 
 
 jewel houfe in the tower was made for Charles II. A fmall 
 ivory fceptre with mounts of gold and enamel, 
 commonly called that of Anne Boleyn, was probably M 
 made for queen Anne of Denmark. The queen con- 
 fort’s crown and jewelled fceptre were made for Mary 
 of Modena, the reft for William and Mary. The 
 prefent great crown has been taken to pieces and 
 remade more than once. Poflibly this ampulla, for 
 
 holding the oil at corona- 
 tions, though not older than 
 the feventeenth century, may 
 reprefent an earlier piece. It 
 is defcribed among the cafts. 
 
 The reign of Louis XIV. 
 was a time of great encour- 
 48. agement for filverlmiths in 
 
 Silver-gilt Ampulla France, but the love of fize, 
 used at Coronations, 
 
 p. 340. weight, and oftentation pre- 
 
 vailed over that of elegance and beauty. The 
 government however, under the wife rule of Colbert, 
 did more than any other in Europe in its day to enfure 
 good training to artifts of all kinds. Several goldfmiths 
 were lodged in the Louvre. Labarte names Balin and De- 
 launay, the moft Ikilful artifts of the time, Labarre, two of the 
 Courtois family, Baffin, Rouffel, Vincent Petit, and Julien 
 Defontaine, renowned for his jewels. Sarazin, the fculptor 
 (1660), was employed in the fame kind of work, and made 
 a crucifix partly in gold of great beauty for the king. 63 Silver 
 fire-dogs, bafins, jugs, tables, feats, mirror frames, cabinet 
 mounts, and toilet fervices, were made on a maffive fcale. 
 Lebrun, the painter, who was at the head of the tapeftry 
 
 36105. 
 
 63 Labarte, Orfevres, ch. vii. 
 
clxxxvi IntroduSUon . 
 
 works, fuperintended this and other coftly furniture for the 
 king’s houfes. 
 
 A filver mirror frame belonging to the queen, which is 
 now in the South Kenfington mufeum, and an electrotype call: 
 of which is defcribed in thefe pages, reprefents this maffive 
 Louis quatorze filver work. It bears the cypher of Charles II. 
 Other pieces of heavy filver plate are reprefented by the calls 
 of lord Chefterfield’s wine fountain and wine cooler. Much of the 
 French plate of this period was melted down during the wars of 
 the clofe of the feventeenth century. The king ordered the 
 nobility to bring their maflive filver to the mint, fetting the 
 example. cf He melted down tables, candelabra, large feats 
 <c of maflive filver enriched with figures, baf-reliefs, and chafings 
 Cf by Balin. They had coft ten millions (of francs), and pro- 
 cc duced three.” G9 
 
 Silver Table, Windsor Castle. 
 No. ’68. ioo, p. 350. 
 
 At the reftoration of Charles II. French falhions ruled the 
 day at the Englifh court, if not in the country houfes. The 
 king’s rooms in Whitehall palace, even thofe of the maids of 
 honour, were furnifhed with filver toilet fervices ; mirror frames 
 and bafins ; and every article for ufe was of that metal. They 
 
 69 Labarte from Voltaire. 
 
IntroduSiion . 
 
 clxxxvii 
 
 were melted by William III. after the death of Mary, under 
 the fame neceflity that had caufed the deftrudtion of the lilver of 
 his mortal enemy Louis. The lilver toilet fervice, however, of 
 queen Mary Beatrice continued to be laid out for her at St. 
 Germains with four candles, as if flhe were expedted to return, 
 till the days of the French revolution. 70 A few lilver tables, 
 fire-dogs, and other pieces, are ftill among the furniture of 
 Windfor caftle. 
 
 Beautiful beaten and engraved work was produced in Eng- 
 land till the clofe of the reign of James II. This calket. 
 No. 53 (p. 212), belongs to the 
 latter part of the feventeenth cen- 
 tury. 
 
 The ftandard of lilver in Eng- 
 land was raifed during the laft 
 years of the feventeenth century Silver Casket? ^Vth Century. 
 from 11 ozs. 2 dwts. to 1 1 ozs. 10 dwts. fine in the lb. troy, 
 and plate of this ftandard was hall marked with a figure of 
 Britannia. The table plate of the reign of queen Anne is much 
 prized, it is maflive, fimple, and feems to exhauft the feeling 
 for renaiflance decoration fo long maintained and with fo much 
 propriety by the lixteenth and feventeenth century goldfmiths. 
 This bowl or falver. No. 243, p. 260, belongs to the begin- 
 ning of the eighteenth century. 
 
 Some tureens and other plate made for prince Frederic, 
 fon of George II., are kept among the royal treafure at Windfor, 
 
 70 Queens of England, x. 237. 
 
 n 2 
 
clxxxviii 
 
 Introdu&ion . 
 
 and eledtrotype calls of feveral effedlive pieces are in the South 
 Kenfington mufeum, and are defcribed in the fequel. 
 
 Tureen and Tea Kettle, Windsor Castle, pp. 357-8. 
 
 French tafte continued the law in Europe in all questions 
 of fumptuary art during the firft half of the eighteenth century. 
 German and Ruffian princes followed the ftyle both of the 
 architedture and the rich decorations of royal houfes in France. 
 Germans went beyond the French in the extravagance of orna- 
 ment called baroque , and the violation of old well-received laws 
 of propriety. Yet, it muft be admitted that many of the 
 fculptures and much of the plate and jewellery of that age are not 
 wanting in dignity and grace. Frederick William of Pruffia, 
 the plaineft and the moft fevere of kings in habits of life and 
 matters of economy, fitted up his palace at Berlin with extra- 
 ordinary fplendour, One of his reafons was economical, for 
 banks were not at hand in thofe days, and precious metals, 
 hoarded in the ffiape of furniture and decorations, came oppor- 
 tunely to hand, as we have already feen. Carlyle, in the life of 
 Frederic the great, gives a detailed account of fome of this 
 fplendour. “ A fuite of fourteen rooms, each more fplendid than 
 
IntroduElion. 
 
 clxxxix 
 
 <c the other ; luftre from the ceiling of the front room, for 
 “ example, is of folid filver, weighs, in pounds avoirdupois, I 
 tc know not what, but in filver coin c 10,000 crowns ’ ; ceiling, 
 ‘ c painted as by Correggio ; f with mirrors between each pair 
 “ ‘ of windows, are twelve feet high, and their piers ( trujjeaux ) 
 <c c are of maffive filver, in front of each mirror table can 
 “ c be laid for twelve,’ twelve ferenities may dine there enjoy- 
 
 “ ing the correggiolities, &c In the laft, or 
 
 “ fuperlative faloon, you find ‘ a luftre weighing 50,000 
 <c c crowns, the globe of it big enough to hold a child of eight 
 “ c years, and the branches ( gueridons ) of it,’ I forget how many 
 <c fathoms or feet in extent ; filver to the heart. Nay, the 
 tc mufic balcony is of filver ; wearied fiddler lays his elbow on 
 cc baluftrades of that precious metal. This of the maffes of 
 “ wrought filver, this has been done by Frederich Wilhelm 
 “ (the economical herr), reflecting that filver is filver whether 
 cc you keep it in barrels in a coined form (as he did alfo) 
 “ or work it into chandeliers, mirror frames, and mufic 
 “ balconies.” 71 Much of this was fold to fupply the fecond 
 Silefian war. “ Piece after piece of the maffive Fredrich 
 tc Wilhelm fumptuofities, efpecially that incomparable mufic 
 “ balcony upftairs, all filver, had been carried over in the 
 cc night-time to the mint,” in the fourth campaign of the 
 feven years war. 72 
 
 As the century advanced a remarkable part was played in 
 the luxurious falhions of the day by Frederic Auguftus, fur- 
 named the Strong, debtor of Saxony and king of Poland. The 
 manners of his court were diffolute ; the gay and affebted art 
 of the Meiflen porcelain, wonderfully fkilful, belonged to a time 
 of decay in art : and his goldfmiths equally threw off the laft 
 remains of claffic grace and fimplicity and adopted the ftyle 
 named “ baroque ,” from a Latin word fignifying a wen or 
 
 71 Fred., vol. ii. 264. 
 
 72 lb. 
 
cxc 
 
 Introduction. 
 
 excrefcence. 73 The collection of goldfmiths’ work ftill ftored 
 in the green vaults in Drefden, collected by or made for 
 Auguftus, is full of monftrous productions, oftrich eggs, fhells, 
 mif-ffiapen pearls forming parts of vafes, jewels, table orna- 
 ments of all forts. The aCtual goldfmiths’ work is neverthelefs 
 admirable. The artift of greateft repute in this achievement 
 was Johann Melchior Dinglinger, 1665-1731, a native of 
 Biberach, near Ulm, who ftudied at Augfburg and in France, 
 and fettled as the goldfmith of Auguftus in Drefden in 1702. 
 All tourifts have feen his model reprefentation of the court 
 of Aurungzebe : the palace, furniture, and coftumes of the 
 numerous little perfonages, and all the ceremonial had been 
 gathered from the defcriptions of Bernier. Rainoud, Falz, and 
 Thelot, fome of whofe works are in the green vaults, were 
 Augfburg artifts of the fame date. 
 
 In the courfe of the century, during the feven years’ war 
 there happened a deftruCtion of private plate and of ancient 
 ffirines in France fuch as was fcarcely furpaffed in the revolution 
 of ’93. It was at about the fame time as the meltings of 
 Frederic the great. “ Silhouette, the comptroller-general, iffued 
 <c a declaration that the king compels nobody but does invite all 
 cc and fundry of loyal mind to fend their plate (on loan, of courfe, 
 Cf and with due receipt for it) to the mint to be crowned, where- 
 cc upon the rich princes of the blood, due d’Orleans foremoft, 
 cc and official perfons. Pompadour, Belleifle, Choifeul, do make 
 <c an effort, and everybody that has plate feels uneaftly that he 
 “ cannot refift, and Nov. 5th the king’s own plate, packed 
 cc oftentatioufly in carts, went to the mint. Dauphineffe, noble 
 cc Saxon lady, had already volunteered with a ftlver toilet table 
 “ of hers, brand new and of exquihte coftly pattern.” 74 
 
 Towards the clofe of the life of Louis XV. the difeoveries 
 
 73 The “baroque” ftyle followed it was called cburriguerefque. — J. 
 the Bourbon kings into Spain, where Riaho. 
 
 7i Carlyle, Fred. v. 395. 
 
IntroduElion. 
 
 cxci 
 
 of Herculaneum and Pompeii, with the fragments of metal 
 work there found, turned the attention of artifts once more 
 towards claflical antiquity, and 
 influenced the fllverfmiths of our 
 own and other countries. The 
 French plate of Louis XVI.’s 
 reign abounds in graceful baf- 
 reliefs of wreaths, bold medal- 
 lion heads, and thofe animal legs 
 and fupports fo common in the 
 bronze utenflls of the Greco- 
 Roman artifts. 
 
 In our own country, the 
 brothers Adam threw their 
 
 56. 
 
 No. 564, p. 253. 
 Silver Vase. 
 1770. 
 
 55 - 
 
 Vase by Adam. 
 
 energies into the cultivation of this art. It was partly done 
 after the French cc Louis feize ” artifts, who pro- 
 duced fuch matchlefs furniture and gilt metal 
 work during the laft days of the French monarchy. 
 
 The vafe, No. 55, p. 254, is by one of the Adam 
 brothers. 
 
 After the death of king Louis XVI. came 
 the deluge. The greater part of the ancient 
 fhrines, chalices, reliquaries, croziers, and other 
 facred utenflls were feized by commiflioners, the 
 ftones removed, the weight of metal noted, and 
 fent off to the revolutionary mint. This deftruc- 
 tion was, unfortunately, by no means confined to France. 
 In Italy, in Spain, in Malta, wherever the armies of the 
 revolutionary government were in pofleflion, whatever could 
 not be removed or hidden was feized and fent to Paris. 
 To take a fpecial inftance, let us once more hear Mr. Riano 
 on the deftrubtion and robbery done in Spain: “In 1810 the 
 “ French fent a commiflion to the Efcorial, who took pofleflion 
 “ of the treafures there, only allowing the friars to remove 
 
 No. 561, p. 250. 
 Covered Vase. 
 
CXCli 
 
 IntroduElion. 
 
 cc from the reliquaries the relics they contained. As the 
 <c number of cafkets and jewels of rock cryftal, gold, and 
 £C enamel was almoft innumerable, it took a long time to do 
 cc this. The French broke them to pieces to fave time, and 
 “ threw the relics into bafkets which they left to the friars, and 
 tc the gold and filver and precious Hones they carried off with 
 <c a number of filver lamps and holy veffels, in ten camp 
 cc waggons, efcorted to Madrid by three hundred horfe. It is 
 “ impofiible to defcribe the wanton deftruCtion and robbery 
 “ committed in the Spanifh churches, where they deftroyed the 
 <c largeft collection of art objeCts of gold and filver workman- 
 cc fhip exifting in Europe. From the cathedral of Leon alone 
 £C they carried away more than 10,000 lbs. weight* of old 
 <c filver.” 
 
 Unfortunately Spanifh collectors have fold molt of their 
 old plate too. He fays again : <c The family of the marquis of 
 cc Moya had the privilege granted them in 1500 by Ferdinand 
 cc and Ifabella that the reigning fovereign fhould prefent them 
 “ with a gold cup on the 13th of December in remembrance 
 u of the delivery of treafure on St. Lucia’s day, when they 
 “ were proclaimed kings of Spain.” Let the reader imagine 
 an hiflorical collection of cups, in yearly fucceflion for three 
 hundred and fome odd ijths of December. They have all 
 been fent to the hammer. 
 
 The tafte of the French empire under Napoleon was a dry 
 and affeCted clafficalifm. It was without the grace of the days 
 of Louis XVI. 
 
 In this country efforts were made by George IV. to have 
 filverfmiths’ work from the hands of the belt artlfts. Flaxman 
 defigned the well-known Wellington fhield and fome vafes and 
 falvers. There are calls of plate now in the collection at 
 Windfor cattle defigned by Flaxman and Stothard, and executed 
 by Rundell and Bridge, defcribed p. 360. 
 
 The old defigns, however, gradually fell into difufe, and 
 
Introduction. 
 
 CXClll 
 
 there is not much to be faid of modern plate. The moft 
 noticeable objedts executed during this century are probably 
 the vafes and groups of figures called race cups. Many of 
 them are of excellent workmanfhip, but as to thofe which 
 are not copies or imitations, it would be out of place to offer 
 any detailed criticifm. Some good modern defigns by Englifh 
 and foreign artifts, fome ftill living, will be feen among the 
 pieces feledted from the recent national exhibitions. The names 
 of Signor Caftellani, the modern Cellini, and of his fcholars 
 belong to the hiftory of jewellers. Thofe of many gold and 
 filverfmiths, both Englifh and foreign, deferve to be recorded 
 with honour, but any detailed notice of the works of living 
 artifts would be beyond the limits of this difcuflion. 
 
 Hall Marks. 
 
 Before finiftiing this review of ancient and modern gold and 
 filver work, fomething muft be faid as to the meafures taken 
 by different kings and governments for fecuring the purity of 
 the precious metals ufed for coinage and in commerce. All 
 gold and filver in England is ftamped by the goldfmiths’ com- 
 pany, after tefting the purity of the metal, with certain marks 
 called <f hall marks” ; marks, in fa<5t, ftamped in the goldfmiths’ 
 hall. The fame practice is carried out in France and in moft 
 European countries. 
 
 Gold is too foft to be ufed for coin or for ornaments with- 
 out a certain mixture or alloy of other metal, ufually copper. 
 At an early date in the middle ages goldfmiths, both in Paris 
 and London, fold as pure gold a metal fo much alloyed as to 
 be far below the real value of gold ; and royal and parlia- 
 mentary edidts were paffed to fecure the proper purity of the 
 metal. It is fuggefted 75 that in ancient Rome there were trade 
 regulations on the fame fubjedt, and that the arch of the gold- 
 
 76 Lacroix, Livre d’or des metiers, &c. 
 
CXC1V 
 
 IntroduSiion. 
 
 fmiths ftill Handing in Rome Teems to fhow that the members 
 of the craft were collected in one quarter. It is not impro- 
 bable that they made laws for the protection of their craft - 
 and of buyers. It is certain, at any rate, that as early as the 
 thirteenth century, when the ftalls of the Paris goldfmiths were 
 collected on and clofe to the font de change (the old bridge 
 over the Seine) regulations were drawn up for a corporation 
 of jewellers and goldfmiths by Etienne Boileau, provoft of 
 Paris, 1258-69. It was called the confrerie of St. Eloi, patron 
 of the craft. 
 
 In 1303, under Philip the Fair, this confraternity was 
 recognifed as eftablilhed, and money was regularly changed at 
 the counters on this bridge. 76 Ten years later, in 1313, the fame 
 king ordered that geld Ihould be tefted and ftamped. No gold- 
 fmiths could be admitted to the corporation who had not ferved 
 an apprenticelhip in Paris. Other ftatutes were made at dif- 
 ferent periods, regulating the refponlibilities of the guilds. The 
 telling was done by the cc touche ” on a touchftone. The 
 cc touche de Paris ” was recognifed far and wide as a guarantee 
 of purity for gold, and the <f fterling ” mark of London for 
 lilver. The touchftone is an imperfeCl black jafper from mount 
 Tmolus, known as “Lydian ftone.” The touching needles in 
 this country are tipped with metal in various ftates of alloy. 
 They are twenty-four in number, anfwering to the twenty-four 
 carats or imaginary diviftons of an ounce of pure gold. One fet 
 is alloyed with lilver, another with copper. A fmall piece of 
 the gold to be tefted is cut off, and the ftreak made therewith 
 on the ftone compared with thofe made by the needles. The 
 ftreak is walked with aquafortis which dilfolves the alloy, 
 leaving only the particles of gold. In fome countries, Germany 
 for inftance, lilver is tefted by fets of lixteen needles, anfwering 
 to the lixteen cc loths,” according to which the finenefs of lilver 
 
 76 Lacroix, 4-6. 
 
Introdu&ion. 
 
 cxcv 
 
 is computed, and this number varies in different countries. 
 The Englifh affay for gold is now done by fcraping off a fmall 
 part which is accurately weighed, and digeft ed in nitric acid, which 
 dilfolves the copper, &c., and leaves the gold a black powder, 
 which is then fufed into a button of pure gold. The gold is 
 again weighed, and the difference fhows the proportion of alloy. 
 If the alloy is fiver it is thrown down by common fait ; copper 
 is precipitated by iron. 
 
 Silver is affayed by the cl cupel.” About ten to twenty 
 grains from each feparate part of a compound piece of plate 
 are fcraped off, accurately weighed, wrapped in pure leadfoil, 
 and fufed in a crucible made of bone afhes, called a cupel. 
 The melted lead and alloy are oxidifed and abforbed by the 
 cupel, leaving the fiver pure. 77 The difference of weight 
 determines the purity, as in gold. 
 
 In France government tells were ufed in other cities bef des 
 Paris: e.g ., in Limoges, Le Puy-en-Velay, Troyes, Rouen, 
 Bourges, Amiens, Nancy, and Metz, as early as the fourteenth 
 century. Each city ufed ftamp marks of its own. Lacroix 
 gives the arms and llamps of a hundred and fix French corpo- 
 rations of the middle ages, and as many as a hundred and 
 eighty-fix llamps of feparate cities in ufe up to the end of 
 the monarchy, about 1789. 78 
 
 In England affay ing is noticed as early as the year 1300, 79 
 at which time there feems to have been much falfe gold and 
 jewellery fold. Gold was ordered by the crown to be of the 
 cc touch of Paris,” and fiver to be llerling. Gold was pure 
 from the reign of Henry III. to Edward III., then of three 
 carats alloy out of the twenty-four. The prefent llandard for 
 coinage is twenty-two carats out of twenty-four of pure metal, 
 and the remaining two of alloy. A fecond llandard, ufed in 
 
 77 O. Morgan. 
 
 78 Livre d’or. 
 
 79 O. Morgan. 
 
CXCV1 
 
 IntroduElion . 
 
 manufactures, is of eighteen carats fine : wedding rings, how- 
 ever, are of twenty-two. 
 
 In the middle ages no falfe ftones were allowed to be 
 fold in gold fettings, nor real ftones in falfe metal. Articles 
 of lower ftandard than that eftablifhed were forfeit to the king. 
 Proclamations and regulations on the fubjedt were made in 
 England as early as 1180, but nothing was enadted by 
 ftatute for nearly a hundred and fifty years. The goldfmiths 
 of London were incorporated by charter in 1327, with frefh 
 recognition under Richard II. in 1394, and Henry VI., 1423. 
 York, Newcaftle, Lincoln, Norwich, Briftol, Salifbury, and 
 Coventry were authorifed to eftablifh the touch, and to 
 regulate the fale of the precious metals as in London. Thefe 
 privileges were confirmed by Edward IV. The records of the 
 goldfmiths’ company of London begin about 1331, and are 
 continuous to our own day. The pound fterling of filver has 
 often been leflened in value fince the Conqueft by diminifhing 
 the weight of it, but never during the middle ages by lofs of 
 purity. In 1543 it was lowered in purity by Henry VIII. 
 This was reftored by Elizabeth in 1576. 80 
 
 The marks called hall marks in London are as follows, 
 beginning with the earlieft : 
 
 1. The leopard’s head, from 1300, called the king’s mark 
 in 1363 ; in fa ft, the head of a lion pafiant. 
 
 2. The maker’s mark, originally a rofe, crown, or other 
 emblem, with or without initials: from 1679, with t ^ ie two 
 firft letters of the furname'; from 1739, with the initials of 
 the chriftian and furname. 
 
 3. The annual letter, following the order of the alphabet 
 from A to V, omitting J and U. The alphabet is changed 
 every twenty years. This mark, which fhows the date of plate, 
 
 80 Herbert, city companies. 
 
Introduction. 
 
 CXCVll 
 
 when it can be deciphered, is firSt noticed, in the form (l)), on 
 a cup exhibited in 1862. The fame letter appears on the 
 fC Pudfey ” fpoon left at Hornby caStle by king Henry VI. 
 after the battle of Hexham (now at Bolton Hall ?). If this 
 letter, the eighth of the alphabet, marks the year 1445 the 
 cycle of twenty letters mull have begun in 1438. This letter 
 is the earlieSt of the cycle as yet obferved. It is considered 
 by Mr. Morgan that we are poflibly indebted for our date 
 letters to Montpellier, in which town it was ordered in 1427 
 that the name of the warden of the guild Should be followed 
 by an alphabetical letter, to be added under the arms of the 
 town, and in this way to fallen the refponfibility of the purity 
 of metal on the wardens. Properly fpeaking fuch letters 
 would not anfwer to our date letters. No marks are known 
 of the cycle fucceeding that of 1438-57. The greater part 
 of the cycle 15 17-1537, Lombardic caps, has been identified. 
 The letters G . I . O . P . R . S . T . are wanting. Very few 
 letters of the fucceeding cycle are known. In 1576 Elizabeth 
 made the wardens of the London company anfwerable for 
 marks ftamped on impure metal. From her reign the cycles 
 proceed regularly down to our own time. 
 
 4. The lion paflant ; added in 1 597. 
 
 5. The lion’s head erafed, fubftituted for the crowned 
 leopard’s head. 
 
 6. A figure of Britannia fubftituted for the lion paflant. 
 Thefe laft two changes were ordered in 1697, in which year the 
 Standard was raifed from the proportion of 1 1 oz. 2 dwt. pure 
 in the lb. troy to 11 oz. 10 dwt. Plate with this mark is 
 known as fc Britannia ” plate. The old Standard was restored 
 in 1719. 
 
 7. LaStly, the head of the reigning Sovereign in profile, 
 ordered in 1784, when a frelh duty was laid on plate. 
 
CXCV111 
 
 Introdu&ion, 
 
 For the reader’s convenience the changes of annual letters 
 from the date up to which complete cycles can be traced, are 
 here added : 
 
 <9 
 
 BL. LET. sm . 1 55 S— 9. 
 BL. LET. sm . 1 559-0. 
 ROMAN caps. 1578-9, 
 LOMB. caps. 1598-9. 
 ITALICS sm . 1618-9. 
 
 COURT. i 638 - 9 . 
 
 BL. LET. caps. 1658-9. 
 BL. LET. sm. 1678-9. 
 
 COURT 1697. 
 ROMAN caps. 1716-7. 
 ROMAN sm. 1736-7. 
 BL. LET. caps. 1756-7. 
 ROMAN sm. 1776-7. 
 ROMAN caps. 1796-7. 
 
 ROMAN sm. 1816-7. 
 
 Other countries followed the example of Paris and London. 
 Amongd the German cities may be reckoned Auglburg, 
 Nuremberg, Ulm, Luneburg, Regenlburg, 81 in which gold- 
 fmiths’ guilds were edablifhed and damps ufed from an early 
 date. Mr. J, Riano names many of the cities of Spain in 
 which corporations and a trade of wide extent in gold and 
 diver fmiths’ work were carried on. Mod of thefe corpora- 
 tions ufed damps lhowing the place of manufa&ure and the 
 maker’s name. 
 
 Antwerp, Bruges, Tournay, Liege, Arras, and Brudels, had 
 corporations with datutes regulating the purity of gold and 
 diver, the latter city enjoying feparate and excludve privileges. 
 Count de Laborde 83 gives a long lid of goldfmiths belonging 
 to guilds of goldfmiths by which damps were ufed in the low 
 countries and the rich dominions of the dukes of Burgundy. 
 Two lheets of eledlrotype cads of damps ufed in Flanders 
 from 1567 to 1636 have been obtained for the South Ken- 
 dngton mufeum by Mr. Weale. Thefe contain a hundred and 
 
 81 Trautmann, Kunft und Kunftgc- 82 “Effai d’un Catalogue.” 
 werbe. 
 
IntroduSHon . 
 
 cxcix 
 
 five names of the fixteenth and eighty-one of the feventeenth 
 century. Other fheets are in courfe of preparation. 
 
 It is impoflible to give more than a Ihort fummary of this 
 interefting part of the hiftory of the art under review, but the 
 curious reader will find many details in books on the fubjedt in 
 the art library of the South Kenfington mufeum. The ftamps 
 and marks, however, of many cities and guilds all over Europe, 
 ftill require to be arranged and illuftrated. 
 
 Notwithftanding the laws palled in fo many feparate go- 
 vernments and corporations, great numbers of pieces of gold- 
 fmiths’ work in the mufeum and in other colledtions are either 
 without fyftematic ftamps, or the ftamps are no longer to be 
 recognifed. In recent times, too, frauds have been pradtifed 
 on many colledtors by joining fmall fragments of old Englilh 
 plate, on which the date and other ftamps are imprefled, to 
 forged pieces of recent make. So that the recognition of 
 genuine Englilh or other hall marks, is not always enough to 
 guarantee the genuinenefs of the plate that bears them. 
 


GOLD AND SILVER SMITHS’ WORK, 
 
 AND 
 
 OBJECTS OF ECCLESIASTICAL USE. 
 
 737* ’<M- 
 
 : filver, with handles ending in mafks and round 
 ; neck a band of animals in relief. Found at 
 ; baths of Apollo at Vicarello in Italy. Greek, 
 l century B.C, H. 4f- in., W. 3-g- in. Webb 
 
 colledtion. 54/. 
 
 This fmall vafe is fhaped like an amphora j the neck begins imme- 
 diately under the rim or lip, and expands with almoft a ftraight outline 
 to about two-thirds of the way down, where it reaches the largeft 
 diameter. It contrails again, and ends in a rim round the bottom. 
 
 The handles are rounded in feition, with beaded edges ; they rife to 
 the level of the lip, and the lower ends are united to the body with 
 mafks of children’s heads. They are embofled with two ftorks on each 
 handle, the lower walking and the upper flying. 
 
 A band of delicate embofled work runs round the neck repre- 
 fenting a pair of ftorks, each bird devouring a ferpent, with three ears of 
 Indian corn between the two. This compofition is repeated, and the 
 two make the circuit of the vafe. 
 
 The ftlver is much eaten by the acftion of fulphur and water, and 
 the vafe has been lined to keep it in form. The embofling is of the 
 utmoft delicacy of execution. The vafe is reprefented in the accom- 
 panying etching done in the Art Schools. 
 
 36105. Wt. 12080. 
 
 A 
 
2 
 
 Gold and Silver Smiths Work. 
 
 30°. ’74. 
 
 OILET Pot : filver gilt, with figures of boys carrying 
 
 game and fruit, hammered and applied. Roman. 2nd 
 century (?). H. iy 7 ^ in., diam. 1^ in. Webb collection. 50/. 
 
 The lid is wanting. The body is cylindrical, with a flout rim 
 below the portion covered by the lid. The bottom has a rim in the 
 fhape of an architectonic ogee moulding of delicate feCtion, and three 
 concentric rings within it. 
 
 Round the body are four winged genii in pairs, each pair facing in- 
 wards. The children are running or flying, with wings expanded and 
 drapery floating in the wind. One is nude. Of the four, one carries 
 a dead hare on a flick and a duck behind him ; another carries a bafket 
 on his fhoulder ; another two ears of corn and a poppy bud ; another 
 a fmall bafket and two rolls (of papyrus ?). 
 
 Thefe figures are in maffive relief, and modelled with much grace 
 and fpirit. 
 
 C RUCIFIX : of cedar covered with plates of gold and 
 filigree. The Chrift is of walrus ivory. The label over 
 the head and the four evangeliftic fymbols on the extremities 
 of the crofs are cloifonne enamel. The Immaculate Lamb 
 and the evangeliftic fymbols are beaten up on the back. 
 Byzantine. Late 10th century. H. in., W. 5^ in. Sol- 
 tikoflf collection. 145/. 
 
 The crofs is an inch and a half broad, and covered with thin plates 
 of gold of great purity and good colour. The flat gold is covered by 
 a granulated line foldered all over, forming a fcroll that rolls over the 
 
 On the four ends are roundels containing the evangeliftic fymbols in 
 cloifonne enamel of great brilliancy ; the dividing lines of gold are very 
 thin. The work is fo bright and full in colour as to have all the 
 appearance of pietra dura work. 
 
 The Chrift is of walrus ivory. The two feet are feparately fattened 
 on a broad fcabellum ; the arms are ftraight, the hair long and the head 
 
 7943. ’ 62 . 
 
 whole furface. Over the head of the Chrift is the title 
 
 IHS NAZA 
 RENVS 
 
3 
 
 Roman and Byzantine. 
 
 inclined to the right. Though the carving is rude there is much 
 expreffion and tendernefs in the head. The cinCture is a long cloth 
 gathered in many folds and knots. 
 
 On the back the gold is very thin and foft, and the decoration has 
 been much injured in confequence. The four evangeliftic fymbols in 
 roundels are dimly difcernible amongft the folds and wrinkles into which 
 the metal has been rubbed. 
 
 Few pieces of ecclefiaftical metal work in the collection have a 
 more precious appearance than this crucifix, partly from the fplendour of 
 the pure gold, partly from the fingular brilliancy of the enamel. And 
 though the ivory is archaic and conventional in treatment, it is a 
 valuable example of the dignity attainable by the old artifts, notwith- 
 ftanding their inferiority in knowledge of defign. 
 
 1 6* ’ 73 - 
 
 C RUCIFIX : copper, once gilt. German, nth or 12th 
 century. H. 5 in., W. 4 in. Collection of the bifhop 
 of Hildelheim. With 10 to 19. ’73, 145/. 15s. 2 d. 
 
 The figure only of the crucified. It is of an archaic type atten- 
 uated almoft to a fymbolic form. The two arms are horizontal, and 
 the hands turn up at the ends v/ithout pretence to any reference to 
 nature. The cin&ure forms a fkirt from under the ribs to the knees, 
 and the feet are each fattened feparately to a fcabellum or bracket. It 
 belongs to the early Rhenifh-Byzantine fchool. Such reprefentations 
 are conceived in the fpirit of architectural lines and requirements, and 
 are decorative and not without grandeur and even pathos from the great 
 fimplicity with which they are treated and the fidelity with which they 
 always embody the idea, which is thus rather fymbolifed than exprefled 
 in art. 
 
 1 61 5 * 55 - 
 
 T RIPTYCH : of gilt bronze, with figures of the Blefled 
 Virgin and Child, with two faints in relief. Byzantine, 
 iath or 13th century. H. 6f in., W. 7f in. 30/. 
 
 In the centre panel the Blefled Virgin is feated on a high-backed 
 throne, the angles of which are formed of high polls refembling a chair 
 
4 
 
 Gold and Silver Smiths Work, 
 
 of Byzantine character, of which the fupports are turned with alternate 
 neckings and collars. Similar legs are fhown in front. The feat is 
 covered with a cuftiion, and the back with a hanging drapery of diaper 
 pattern. She holds the Infant Saviour on her knees. Over this is 
 written MR . ©T. 
 
 On the right leaf is the figure of St. Gregory habited in a chafuble, 
 maniple, and alb, and the pallium , holding a book and giving benediction 
 with the right hand. On the fide are the letters : 
 
 A 
 
 0 
 
 r 
 
 0 
 
 p 
 
 e 
 
 H 
 
 0 
 
 r 
 
 A 
 
 CO 
 
 
 P 
 
 On the left fhutter is another faint, bald-headed, in dalmatic, and the 
 letters : A O 
 
 T ' s 
 
 00 I 
 
 Outfide the leaves are two crofles of the height of the leaf, with the 
 I • C 
 
 letters ^ j repeated on each leaf. From the Pulfky collection. 
 
 7650. ’61. 
 
 R ELIQUARY : bronze gilt, covered with enamel, and 
 with ivory carvings infer ted. In the form of a Byzan- 
 tine temple furmounted by a dome, with a projecting portico 
 on each of the four fides. An ivory carving is inferted in the 
 front of each portico, reprefenting the Nativity, the Magi on 
 horfeback, the Crucifixion and the RefurreCtion. Sixteen ivory 
 images of prophets ftand around the temple, and twelve ivory 
 images of Apoftles, each bearing a fcroll in his hand, furround 
 the dome. The whole refts on a bafe of copper gilt, ftanding 
 on four griffins. German (Rhenifh Byzantine). Late 12th 
 century. H. 1 ft. 9^ in., L. 1 ft. 8 in., W. 1 ft. 8 in. 
 Soltikoff collection. 2,142/. 
 
5 
 
 Rhenijh Byzantine . 
 
 The general form of this remarkable reliquary is that of a fmall 
 church of the fhape of the Greek crofs. It is covered by a dome, and 
 from each of the four fides a tranfept is brought forward. The whole 
 refts on griffins. The four projecting tranfepts have a width of about 
 two-fifths of the fides from which they iffue, and leave therefore pro- 
 jecting angles of the ftruCture between the tranfepts. They are faced 
 with arches of hammered metal, gilt, which reft on columns with fpread- 
 ing bafes and Romanefque Corinthian capitals in gilt metal, the fhafts 
 covered with embedded enamel, all being of different patterns. Above 
 are a bold cornice of acanthus work and an equally bold crefting. In 
 the pediment over each end is the head of a faint, which is folid and 
 made to turn ; they ferve as the nilts or heads of pins which fallen the 
 top to the body of the ftruCture. A bafe, with two bold mouldings, runs 
 round the whole piece, and the four griffins of gilt metal are between 
 the four tranfepts. The enamels upon the roofs, both of thefe parts and 
 of the projecting corners of the fquare, differ in defign the one from 
 the other, even the two fides of each feCtion of roof vary flightly, though 
 fo far fimilar to each other in each cafe as to ferve the requirements of 
 proper balance though not of uniformity. 
 
 The fronts of the tranfepts are enamelled, but are faced with com- 
 pofitions carved in walrus ivory that almoft hide the rich background. 
 
 Thefe ivories reprefent : 
 
 1. The three Magi on their road to Bethlehem. One is beardlefs and 
 young. All carry offerings and are on horfeback ; they iffue through a 
 portal between columns, and thefe fupport a niche covered by a conch 
 Ihell ; the niche is double ; before the riders is feen a ftar. 
 
 2. The Virgin feated, under a fimilar niche, on a throne or chair of 
 architectural character ; a veil is drawn over her and round the Holy 
 Child, whom the tenderly fupports with one hand and holds with the 
 other ; fhe leans her head affectionately againft His ; before her St. 
 Jofeph is Handing on a book, and water is flowing under and round his 
 feet ; his left hand holds his mantle, and the right points to the road 
 leading to Egypt. 
 
 3. The Crucifixion. The fcene is under a niche. SS. Mary and 
 John are on either fide ; the Saviour’s head inclines towards them. 
 This piece feems to be by a different hand from that which executed 
 the laft. 
 
 4. The RefurreCtion. An angel fits on the tomb, and on the ftone 
 are the words ECCE LOC’; he is pointing with one hand to the empty 
 fepulchre ; on the other fide are the three holy women bearing fpices. 
 This fcene is laid under a two-arched canopy. Above are fix foldiers in 
 pointed helmets, fleeping ; they have— one, a fpear, one a fword, two 
 
6 
 
 Gold and Silver Smiths Work . 
 
 Ihields, and one wears a hood of chain mail. Thefe groups are five 
 inches by three. 
 
 The fides of the tranfepts and other remaining portions of the ftruc- 
 ture contain 16 arches, under which are Handing figures of the apoftles 
 and of various faints, carved, fome in elephant, and fome in walrus ivory. 1 
 They hold fcrolls on which are the following legends, beginning on the 
 right of the Refurrecffion : — 
 
 1. The prophet Ifaias, ECCE VIRGO CONCIPIET. 
 
 2. A figure (the Saviour) PASTOR EGO .SV ELL CSM. 
 
 3. A figure, according to Mr. Malkell St. Peter, holding keys (?). 
 
 4. EX IACOB STELLA PRODIT (? reff oration). 
 
 5. TRANS MIGATIO IRE (in two lines). 
 
 6. OVARE IVDICIVM SVVM . D . SOPH. 
 
 7. TOLLE ANIMAM MEAM CAMELIO. 
 
 8. PRINCIPES TVLERVNT^MVNERA. 
 
 9. VOBIS TIMENTIBVS DM OR. 
 
 10. VIDI ROTAM IN MEDIO ROTiE. 
 
 11. Qi : TETIGERIT VOS TANGIT (.? modern). 
 
 12. CIRAT^ F\ERIS MIE MEMOR E. 
 
 13. AGGEVS. 
 
 14. COPVS VIRT III EN TAN. 
 
 15. ERO MORS TVA OT (? modern). 
 
 16. POST BIN IS INTRRIS VISVS E. 
 
 Thefe figures reprefent the prophets of the Old Teftament, and 
 fome of them are no doubt original, others feem to be modern reffora- 
 tions, and the legends have been perhaps fupplied in fome inffances on 
 conjecture, for it is not poffible to read certain of them making all 
 allowance for contractions. 
 
 The dome Hands on a drum above the roof of the main flructure. 
 It is melon-fliaped divided into lobes, each forming a canopy to a fitting 
 figure below. Thefe twelve portions are covered with enamel of the 
 fame number of different patterns. The twelve canopies cover twelve 
 figures of the apoHles feated, carved in ivory, about three inches in 
 height. They hold fcrolls, and appear to be giving the anfwer required of 
 the twelve in Matthew, xv., cc Whom fay ye that I am ? ” &c. The 
 fcrolls they hold contain the following legends, fome in green, fome in 
 red letters (the colourihg probably modern) : QVEM DIET IES 
 E • E • F VOS AVTEM Q • ALII • IOEEM BAPTISTAM • ALII 
 HELIAM • ALIIVE • VERO • HIEREMIAM AVT VNVM • EX 
 PRO . PHETIS • TV ES XRIS(TVS) FILI(VS) Dl. 
 
 1 W. Mafkell, Ivories, See., p. 32. 
 
Rhenijh Byzantine. 
 
 7 
 
 The work is Rhenilh Byzantine of the 12th century, and is fup- 
 pofed by Dr. Bock to have been made in the “ Schnurgafle ” in 
 Cologne, where many examples of enamel of the fame defcription were 
 undoubtedly executed by the lay brothers of the monaftery of S. Panta- 
 leon. The enamel is of the fineft texture and execution, and the 
 groups, as well as the figures, have much grace and are well-proportioned 
 and compofed, though in the ftiff conventional ftyle of the day. It has 
 been afcertained on good evidence that this reliquary was preferved till 
 the wars of the French revolution in a monaftery at Hoch Elten, near 
 Emmerich, on the Rhine. It was taken by one of the canonefles, a 
 countefs of Salm Reifferfcheid, and hidden in the chimney of a houfe in 
 their poflelfion in Lower Elten. It came into the poflelfion of a prieft 
 at Dornich of the name of Poel, where it had been often feen by two 
 brothers De Witt, living till recent times. This reliquary was fold to a 
 Jew named James Cohen for 75 thalers, and bought from him for 200 
 thalers by the prince Salm Salm. From him it palled for the fum of 
 3,000 thalers to a collector named Schmitz at Cologne, and from thence 
 it was purchafed by prince Soltikoff for the fum of 4,000 thalers. 
 Five or fix of the ivory images were wanting at the time of this fale, 
 having remained in the hands of Cohen, who had not the fkill to fallen 
 them in their places after they had fallen out. Thefe figures are faid to be 
 now in the mufeum at the Hague, and others have been fupplied. 
 It is uncertain what relics have been contained within ; the interior is 
 of wood without ornament, and there is nothing in the figures or in the 
 four heads that fallen the lid, and are placed in the four pediments to 
 indicate the names of the faints for whofe relics this fumptuous recep- 
 tacle has been provided. 1 * 
 
 Figured, chromolithographs of objedls in South Kenfington mu- 
 feum ; Labarte, hill, des arts induftriels, pi. xliii. 
 
 LTAR, portable : gilt metal, with champleve enamel. 
 
 On the upper furface is a reprefentation of the Cruci- 
 fixion, and on the lides half figures of the apoftles. German. 
 1 2th century (?). H. 3^ in., L. 6 f in., W. 4 in. 65/. 
 
 This altar is in the form of the Hone altars of the 12th and 13th 
 centuries in the north of Europe, but placed upon legs. The top is 
 
 4524- ’ 5 8 - 
 
 1 See report by Dr. Bock on this reliquary in the nth annual report, Science and 
 
 Art department, 1864. 
 
8 
 
 Gold and Silver Smiths Work . 
 
 fquare-edged and chamfered on the under fide. It is gilt, and covered 
 with champleve enamel, reprefenting the Crucifixion. The Saviour is 
 covered with a linen cloth round the loins falling to the knees. On 
 either fide of the crofs Hand the blefled Virgin and St. John ; to the 
 former the head of Chrift is inclined. Beyond thefe are Ecclefia and 
 Synagoga , two female figures. The church holds a chalice to catch 
 the blood pouring from the wound in the fide j the fynagogue is blind- 
 folded and turns from the Saviour in abhorrence ; two demi-figures, Sol 
 and Luna , are in the upper corners of the compofition. 
 
 On the fides are the eleven apoftles and St. Paul, the names of 
 whom are written on the fquare edge of the table. On the front are : 
 IACOB. PHILIPP. BARTHOLOME. MATHE. SYMON ; end, 
 THADDE ; back, PETRVS , PAVLVS . ANDREA . IACOBVS . 
 IOHES ; end, THOMA. The bafe has the fame edge as the 
 table, reverfed, and the legs are without ornament. 
 
 i°- ’73- 
 
 A LTAR, portable : an oblong flab of porphyry, framed 
 in wood and covered, wholly on one fide and partially 
 on the other, with plates of gilt copper ; engraved on both 
 fides with the Holy Trinity, the Saviour, the Nativity, Refur- 
 redtion, Afcenfion and Handing figures of faints with a Latin 
 legend. German. 1 2th century. L. i in., W. 9 in. Col- 
 lection of the bifhop of Hildefheim. With Nos. 11 to 19, 
 145/. 1 6s. 8 d. 
 
 The material is a flab of porphyry fet in wood, which is plated 
 over with thin gilt metal, plain on the edges, but forming on the upper 
 furface a double border of Byzantine leaf moulding. It is covered on 
 the front and round the edges of the under fide with figures and demi- 
 figures of faints. 
 
 In the centre is a crucifix, and the upper portion of it, in which the 
 head of our Lord is included, is enclofed in the circumference of a thin 
 circle, half of which is not fhown. Within this circle is a reprefen- 
 tation of the Holy Trinity, the Eternal Father fupporting the arms of 
 our Lord with the myftic Dove between. The crucified Lord has the 
 two feet nailed feparately, and refting on a block or fcabellum , and the 
 cindture forms a full fkirt of drapery round the waiflr. 
 
 On either fide of the crucifix are four full-length figures, viz., on 
 
Twelfth Century . 
 
 9 
 
 the right, St. Boniface and St. Paul, the former holding his crozier and 
 railing the other hand, the latter, with the head and beard ufually repre- 
 fented, holding a book and pointing to the crucifix. Above their heads 
 are written, S. BONIFACI and S. PAVLVS; on the left, St. Peter 
 and St. Pancratius ; St. Peter holds one key, has the right hand raifed, 
 fupporting the toga folded round him ; St. Pancratius is drefled in an 
 alb or tunic and a long mantle folded over the Ihoulders and arms 
 partly forming a fecond Ikirt, both of which are bordered with rich 
 apparelling. He holds a palm branch. S. PETRVSand PANERATI 3 
 are written over thefe two. 
 
 In two circles below are two demi-figures of faints in armour and 
 holding Ihields and fwords ; over thefe, SIPLILI and S. FAVSTIN. 
 Round the whole runs the chafed leaf moulding already noticed ; on a 
 band of plain metal between the two mouldings is the legend : HIE 
 eo^ RELIOIE QVO^ IMAGINES . SVP . L(apidem) INFRA 
 SEU(L)PTE ST ET S EO^ LAVRENTII KYLIANI GEOR- 
 GII OSWALDI SEBASTIANI MAURITII THEBEO^M 
 M(arty)RM DIONISII GREGORII NICOLAI MARTINI 
 TEELE XI MIL • V . CT’I N. 
 
 On the back the figures form a border only ; in the corners are 
 compofitions, viz., the Nativity, the blefled Virgin on a couch, with 
 St. Jofeph by her, and the Infant Saviour in a little bed befide her : the 
 Crucifixion, St. Mary and St. John Handing right and left of the crofs : 
 the Refurredtion, our Lord feated on the tomb and two Marys 
 Handing befide Him : the Afcenfion, a group of the heads of the 
 blefled Virgin and the apoflles, and the feet of our Lord vifible outfide 
 a cloud in which he is concealed. 
 
 On each fliorter fide are two half-faints in fquare compartments. 
 The figures at the back are in rows at the top, bottom and fides, all 
 the figures facing one way. 
 
 The centre figure is that of our Lord ; He holds His right hand 
 up in benedidtion, and in His left an open book, with the words, 
 PAX VOBISCVM ; round the fubjeft, PANIS QVEM EGO 
 DABO CARO MEA . 6 ; on His right, IOHANNES EV. and 
 MICHAEL ARCHANGEL; on His left two more figures, IOHIS 
 BAPTISTE and GODEHARDI . EPI . (biftrop of Hildeflieim) ; on 
 the right fide demi-figures, with the names STEPHANI and BENE- 
 DICTI ; on the left fide, VINCENTII and VITI. On the lower 
 row, MARIE MAGDAL. holding a vafe, CECILIEV . holding a 
 torch and a vafe. The blefled Virgin crowned, and the words over 
 M2ER MliE (Mater mifericordiae) ; next to her, MARGARETE 
 V. BEATRICIS V. Both thefe figures hold torches and vafes. 
 
IO 
 
 Gold and Silver Smiths Work. 
 
 ii- ’ 73 - 
 
 LTAR, portable : oblong, wood covered with plates of 
 
 lilver and gilt copper, refting on four claw feet. On 
 the top are figures of the Saviour and four faints. The 
 borders are decorated with cryftals, ftones, and glafs. Round 
 the body are ftamped bufts of faints. German. 12th century. 
 H. 4 in., L. 6-| in., W. 3-! in. Collection of the bilhop of 
 Hildelheim. With Nos. 10 to 19, 145/. 1 6s. 8 d. 
 
 In the form of a fquare-fided altar, the menfa projecting on all fides ; 
 its under fide chamfered, with a correfponding chamfered upper edge to 
 the plinth on which it Hands, which is precifely like the table reverfed. On 
 the upper furface are five figures beaten in flight relief on a filver plate. 
 Our Saviour feated on an architectural throne with a cufhion on it, the 
 right hand raifed in benediction, the left holding the book of doom, and 
 a fcabellum under the feet. At His fide are the bleffed Virgin (?) and 
 a bearded figure, St. Benedict (?), both holding the hands in Application, 
 and the male figure clothed in a large pallium , which falls in folds from 
 the elbows. Outfide thefe are two bifhops fully veiled, each holding 
 his crozier and wearing the ample oval-fhaped chafuble. On all the 
 glories, three fmall knobs of metal give the appearance of a crofs behind 
 each head, but this appearance is not intended. 
 
 The long edges have borders of fmall fquares, each filled with a 
 quatrefoil, all in delicate relief; the fhort edges have a border of 
 lozenges with quatrefoils beaten up like the others. On thefe are 
 fattened garnets, amethyfts, topazes and mother-of-pearl rudely cut and 
 fet in notched filver collets, five on the long fides, three on the fhorter, 
 and four cryftals en cabochon on the four corners; the fquare work 
 already noticed is raifed on the perpendicular edge furface, and the 
 diamond-fhaped ornament on the chamfered under edge ; the fame 
 treatment is maintained on the plinth. 
 
 Round the four fides are copper gilt plates beaten in very flight 
 relief into an arcade of twelve flat fegmental arches of Byzantine cha- 
 racter, four on the long and two on the fhort fides. Under each arch 
 is one of the twelve apoftles, to the fhoulders, fh owing the flanting line 
 of the folded toga , and one hand extended, firft on one fide of the figure 
 and then on the other in alternate arches. This work is perhaps a 
 reftoration. 
 
 The whole Hands on rude claw feet of gilt metal. There is pro- 
 bably a flab of Hone under the upper covering, and the furface feems to 
 
Twelfth Century. 
 
 1 1 
 
 have been little ufed. It may be compared for Ihape and fize with 
 No. 4524. ’58. 
 
 It is figured in the accompanying etching. 
 
 RIPTYCH : a reliquary of beaten metal, gilt and en- 
 
 crufted with enamel. The middle is a double arch, 
 under which is a fmall glazed receptacle intended to hold particles 
 of the true crofs, guarded by two angels, in high relief, with 
 two others in champleve enamel. Over all are half figures 
 of the Saviour, and angels blowing trumpets. Below, the 
 holy women at the fepulchre in enamel, fet round with gems. 
 On the wings are figures of the apoftles in gilt metal, with 
 enamelled borders. German. 1 2th century*. H. 1 ft. iof in., 
 W. 2 ft. 1 in. Soltikoff colle&ion. 342/. 
 
 The centre forms a double arch, and each fhutter one complete 
 arch fo as to coincide when clofed. The two arches touch in the 
 middle and are there fupported by an angel ifluing from the back of 
 the panel. Above the double arch and refting on the two is a third. 
 The foffit of this part Hopes inwards, and is covered with a plate of 
 gilt metal hammered up into a bold running defign of acanthus foliage, 
 with a beaded moulding within, and on the outer edge a crefting of 
 pierced acanthus ornament, the leaves being coupled in pairs ; the 
 front edge is covered by a plate of beaten work with ftars and other 
 ornaments indented on it. 
 
 In the panel fo formed is a half figure of the Eternal Father giving 
 benediction with the right hand, and an open book in the left with the 
 letters A. CO., the folds of the toga fall over the left arm. This figure 
 is gilt, and behind the head a nimbus is worked in open acanthlis 
 ftalks of bold and graceful defign, in which are fet a cryftal and a 
 pearl. Two angels fupport the fpringing of the arch, each inclining 
 one wing on the arch, and blowing a curved trumpet which leans 
 outward to make a better compofition with the arch. The toga has in 
 each cafe a decorated border. This portion is without enamel. 
 
 The middle part has Ranting fides and a flat front edge, each deco- 
 rated with the rolling acanthus and indented patterns in the top arch. 
 The arches reft, on their outer fides, on two fpiral enamelled columns 
 
 7947. *62. 
 
12 
 
 Gold and Silver Smiths Work. 
 
 with Romanefque capitals. The arches are partially filled by inner 
 fegmental arches, the fronts of which are enamelled with demi figures 
 winged, and lettered MISERICORDIA IVSTITIA. Below the 
 arches are two large figures of angels, filling up three fourths of the 
 height of the panel. They are draped in the toga, and each has a large 
 nimbus behind his head. Thefe, as well as the edges of the togas, are 
 of the fame bold ftalk fcrolls with cryftals, as the nimbus already de- 
 fcribed. One holds a lance, the other a reed with a trefoil enamelled 
 head, on which are red marks ; it reprefents the fponge. Between 
 thefe figures, and held by their inner arms and the hands of the angel 
 that fupports the central arches, is a fquare frame, once glazed with 
 cryftal, under which are two fmall croffes of gold, one in the Greek, 
 the other in the Latin form. Thefe have openings along the four 
 arms for a fmall fpace from the point of interfection, made to contain 
 relics of the crofs. The piece in the Latin crofs is about an inch in the 
 longeft dimenfion and the other lefs. The frame of the cafe is fet 
 with two cryftals and four engraved gems, but the two upper are gone. 
 The background behind the particles of wood is decorated with 
 delicate arabefque work in relief. 
 
 Below the frame, and between the two angels, is a plate of thin 
 metal, on which is a rood in beaten work with four arches round. SS. 
 Mary and John ftand on either fide of the crofs, and in the four 
 circular medallions are the fymbols of the four evangelifts. 
 
 The two angels fupporting this frame ftand on a dado covered 
 with champleve enamel. This reprefents the Holy Sepulchre, an 
 architectural facade. Three women are on the right hand with the 
 word MVLIERES, and two angels with ANGELI SEPVLCRVM 
 DNI on the left. In the middle of this facade is fet an oval cryftal 
 gem in a fetting of bold arabefque metal work, relieved by fmall pearls 
 and cryftals. The under fide of the large cryftal is engraved with a 
 rood, our Lord crucified, SS. Mary and John. 
 
 The lhutters are edged with blue enamel on which are fmall orna- 
 ments. The fides are flightly concave ; and a border of beaten work, 
 by "a different hand from that which has executed the others, is filled 
 with well modelled animals. On the panels are figures of the twelve 
 apoftles fitting on architectural thrones, draped in the toga , and holding 
 books. They have no emblems, nor can we recognize the heads of 
 St. Peter, St. Paul, or St. John, generally fo diftinCtly indicated. 
 They are in pairs, fix in each fhutter. The outfide is of wood painted 
 black, and is entirely without ornament. 
 
 Much of the defign is fpirited and graceful. The figures are com- 
 pofed with a feeling for the harmony of the whole, and the decorative 
 
Twelfth Century . 
 
 13 
 
 leaf and Halk work is of fine defign, admirably executed, and the whole 
 in good preferv.ation. It is German, probably made in Cologne during 
 the 1 2th century. 
 
 Figured, Labarte, hifloire des arts induftriels, pi. cxlv. 
 
 ROSS : of gilt metal, the furface encrufted with enamels. 
 
 In front is a crucifix of gilt metal, in full relief, and at 
 the extremities of the crofs are Scriptural fubje&s in enamel. A 
 figure of the Eternal Father, furrounded by emblems of the 
 evangelifts, is engraved on the back, with the ground enamelled. 
 German (Rhenilh-Byzantine). 12th century. H. 2 ft. 2 in., 
 W. 1 ft. 4|-in. 350/. 
 
 The crofs has fquare maffes in the centre and on the extremities, 
 and it Hands on a triangular bafe. The central line of the item and 
 arm is a broad band of champleve enamel, confifling of acanthus 
 ornament in green, blue, and red on gold with red edges. This is 
 bordered by reticulated work filled with quatrefoils. The fquare 
 maffes are each covered with a defign in enamel. 
 
 1. In the centre is figured the Immaculate Lamb with the foot 
 lifted to fupport the end of the crofled banner, and the head turned to 
 regard it. In the corner fpandrils there are ornaments of acanthus 
 
 2. On the top fquare is the patriarch Jacob giving his dying 
 benediction to the two fons of Jofeph. He fits and his hands are 
 crofled (Gen. xlviii. 14), they are laid on the heads of the youths 
 before him. More than one fcene in the Scripture narrative feems to 
 be implied, as the two youths hold bafins in the folds of their togas, 
 alluding to the benediction given by Ifaac to Jacob himfelf, and the 
 mefs of pottage. Their knees are bent and they ftoop forward in a 
 reverential attitude. A blue nimbus is behind the head of the Patriarch, 
 and the name IACOBVS; on either fide are the names BENGA- 
 MIN, MANASES. The whole of the compofition is enclofed by a 
 band of coloured enamel. 
 
 3. The lower fquare contains a compofition reprefenting the brazen 
 ferpent in the wildernefs. Mofes bearded, and with long hair, Hands on 
 the left wrapped in a toga, with a blue nimbus behind his head, and 
 holding a fcroll, on which are the words, SICVT EXALTAVIT 
 
 7234- ’60. 
 
 leaf. 
 
Gold and Silver Smiths Work. 
 
 *4 
 
 SERPENS IN ERE, and over the head of Mofes, MOYSES. Two 
 figures on the oppofite fide of the compofition reprefent the Jews. 
 One is in a fhort tunic, Greek boots and a toga, and points to the fer- 
 pent which is reared on the fquare capital of a blue column in the middle, 
 over the two figures are the letters, IVDiEL 
 
 4. Right fquare, an architedlural compofition reprefenting the 
 
 temple. It has abfidal ends, towers and domes. The top of the 
 
 tower is a gabled roof, which ferves as a delk to a tall figure, repre- 
 fenting Aaron, whofe hand writes on it. He holds a bafin containing 
 the typical blood of the vidtim, a lamb with three bleeding wounds, 
 which is partly feen in a doorway below : over the head of the Handing 
 figure are the letters AARON, 
 
 5. Left fquare, the prophet Elias and the widow of Sarepta. 
 The prophet Hands on the left wrapped in a mantle and holding a 
 fcroll, on which are the words, AVFER MICHI OBSECRO . F(ac) 
 BVCCELAM . PA(nis). The woman is in a large fleeved drefs, 
 holds two Hicks and is giving a cake to Elias. By the fide of the 
 woman are the letters : 
 
 SA • TA • 
 
 RE 
 
 P 
 
 on the fide of the prophet : 
 
 ELI 
 
 SEV 
 
 S 
 
 The letters or fyllables are arranged in perpendicular order. 
 
 The portion of the upper member of the crofs between the two ends and 
 the central fquares has been intended for the receptacle of relics. Two 
 particles of wood are fafiened with fize or glue to the'fomewhat larger 
 crofs (the particles are about an inch from top to foot, and fide to fide), 
 formed by two round quill-lhaped pieces of wood in the fhape of the 
 Greek crofs. Below this is a fmall crucifix of about the fame dimen- 
 fions, the crofs of which is in the ufual Latin form. Both of thefe have 
 been enclofed by a fmall piece of cryfial (replaced by glafs) in a metal 
 ornamental frame. 
 
 The figure of the Saviour has long hair falling to the flioulders on 
 either fide, the attitude is conventional, the arms are Hraight, a cloth 
 arranged to form a fkirt defcends from the waifi to the knees. Each of 
 the feet is faflened by a feparate nail. 
 
 In the angles, formed by the meeting of the arms of the crofs, are 
 graceful and vigorous fcrolls of metal work in the form of the conven- 
 tional acanthus, with long Hraight divifions of the leaf forming bands with 
 
i5 
 
 Twelfth Century. 
 
 pointed trefoil extremities turned and re-turned in different directions, 
 and with rounded ftalks forming members of this beautiful knot which 
 fprings from the point of jundtion of the arms, and forms a fort of 
 crown of thorns round the centre of the crofs. Acanthus leaves 
 alfo fpringing from a central nut decorate the ends of each arm of the 
 crofs, and fmaller tufts of the fame work are fet on the points of junc- 
 tion of the foot of the ftem of the crofs, where it is inferted into the 
 bottom fquare. 
 
 The bafe is a fort of triangular pyramid, the fides or faces of which 
 are decorated with arabefque fcrolls of acanthus leaf and monfters in 
 champleve enamel. A human head unites each angle of the bafe with 
 three fluted legs and feet, on which the whole refts. 
 
 The back has not fo much ornament. On the fquare blocks or 
 mafles are faucer-fhaped depreflions. In the middle fquare the Chrift 
 is reprefer.ted in majefty feated on a rainbow ; round in the four 
 corners are the four evangeliftic emblems. The depreflions on the 
 backs of the four other fquares are fmooth, gilt, and in the angles 
 round them arabefque ornaments chafed. The portions between the 
 fquares are covered with unornamented plates of gilt metal. The 
 decoration is in champleve enamel and chafing throughout and, with the 
 exception of the graceful fcroll work placed at the points of junction, 
 has the charaCteriftics of the Rhenifh-Byzantine fchool. The fcrolls are 
 probably additions of the 13th or 14th century, at which time poflibly 
 the fmall reliquary above the head of the Saviour has been added. The 
 fmall crucifix below the two particles of wood is alfo of later date than 
 that of the original Byzantine decorations and of the figure of the 
 Saviour. 
 
 Figured, chromolithographs of objects in the South Kenfington 
 mufeum. 
 
 7938. ’62. 
 
 C RUCIFIX: copper gilt, ruftic, with a trefoil bafe, 011 
 which are figures of the archangels, Gabriel, Michael, 
 and Raphael, bearing tablets with infcriptions. German. 1 2th 
 century. H. 1 ft. 3 in., W. in. SoltikofF collection. 
 
 1 09/. 
 
 The ftem and arms are a conventional reprefentation of an aCtual 
 tree, with bark and buds at intervals. The figure has the arms flraight 
 and the feet faftened with two nails to a bracket. Above each hand, 
 
i6 
 
 Gold and Silver Smiths Work . 
 
 on the top of the two arms of the crofs, are roundels of blue and green 
 champleve enamel, containing the heads of St. John and the BlelTed 
 Virgin. The title is in Roman capitals over the head. On the back, 
 over the head, is a fquare plate correfponding to the title in front, and 
 two roundels of gilt metal, having engraved on them in Roman capitals : 
 
 KARITAS 
 
 FIDES SPES. 
 
 It refts on a bofs of trefoils, pierced work, and the foot has three leaf- 
 fhaped lobes, on which are feated the archangels, named on roundels, 
 RAPHAEL, GABRIEL, MICHAEL, with invocations. 
 
 7945 , '62,. 
 
 P YX : copper gilt, the fides chafed with half figures of 
 patriarchs. German. 12th century. H. 2f- in., diam. 
 2^ in. Soltikoff colle&ion. 15/. 
 
 A round box or cafe, the top curved and furmounted by a fmall 
 knob handle. The fur face is covered with flower arabefques, amongft 
 which are four medallions containing heads of the patriarchs ABRAMS . 
 IACOB and IZAK . MELCHISADEK . Round the top are the 
 words, INTVS PORTATUR PE(r) Q(ue)M T(otus) MVNDVS 
 SALVATVR. Underneath is the Immaculate Lamb ; in this inftance 
 holding both a crofled banner and a fpear. Round this the words, 
 AGNVS D6I TOLLIS PECCATA PA NV CREDEMVS.TSO 
 The meaning of the laft three words it is not eafy to determine. 
 The gilding is much worn and the chafing, efpecially of the letters, 
 difficult to make out. 
 
 7944- ’62. 
 
 R ELIQUARY: copper, fet with uncut cryftals ; an ob- 
 long tomb furmounted by towers, with the Depofition 
 from the crofs above. German. 12th century. H. 17 in., 
 W. 4^ in., L. 10 in. Soltikoff colle&ion. 78/. 
 
 The form is that of a long farcophagus, fquare at the ends, and 
 covered with a raifed roof-fhaped top in feveral divifions. Two are 
 towers with pyramid roofs, two fmall turret canopies, and the centre 
 rifes into a fquare turret roof fupporting a crucifixion, to the item of 
 which a dragon’s mouth above the roof forms a focket. 
 
Twelfth Century. 
 
 17 
 
 On the lid, at the two ends, are two feated figures with their 
 backs againft the little turret roofs already mentioned. One wears a 
 mitre, the other feems to be an abbot or monk, both hold open books 
 on their knees. In the fide of the lower part and in the front of the 
 little towers are feven oval cryftals, four of them on the former. Thefe 
 have ferved as windows, through which relics could be partially feen 
 within. Two cryftals are alfo fet in the two ends of the lower part. 
 
 The compofition above the roof reprefents the Depofition from the 
 crofs. Two fcrolls of foliage, of Byzantine character, fpring from the 
 fides of the main ftem, and form a rich perforated ornament that ferves 
 as a pedeftal. The central ftalk runs up in a double ftem and curls 
 over forward. Two arms of double ftalks of metal form the tranfom. 
 The top and ends have cryftals fet in them. 
 
 Under the two arms of the crofs are St. Mary and St. John, on 
 whole .heads chefe extremities are refting. Two men, one in a conical 
 hat, St. Jofeph of Arimathaea and Nicodemus, are taking down the 
 Redeemer’s body. One pulls a nail from the left hand with a large 
 pair of pincers ; the other fupports the body as it falls, and one hand is 
 tenderly held by the Virgin mother. The cindture round the loins is 
 a full fkirt to the knees, and both feet are feparately fattened on a 
 bracket. 
 
 The lid is faftened with a lock, into which a hinged hafp falls, and 
 the corners are fupported on the heads and forepaws of four winged 
 dragons of Byzantine character. 
 
 The iniide is lined with filk and paper, fo that nothing can be feen 
 through the cryftal windows ; but this is a modern addition. 
 
 Seen at a little diftance the lower chafie or farcophagus feems a fort 
 of pedeftal to the group reprefented above, and the broken outline of the 
 fmall roof and turrets adds to this decorative effedt. The fcrolls that 
 fupport the group and all parts are defigned with a real knowledge of the 
 art of compofition, more fo than will be feen in later architedlural pieces 
 of metal treatment in which the architedture is imitative, and the details 
 realiftic. 
 
 7649. ’6l. 
 
 C ANDLESTICK : of bronze or bell-metal, gilt, known 
 as cc the Gloucefter Candleftick.” It has a triangular 
 bafe, round ftem with three bofles, furmounted by a deep 
 pan and pricket. The whole furface is ornamented in relief 
 with pierced foliage, figures of monfters, dragons, &c. and 
 
 36105. 
 
 B 
 
Gold and Silver Smiths Work . 
 
 1 8 
 
 bears feveral Latin infcriptions, one of which records that it 
 was given by the abbot Peter to the abbey church of St. Peter 
 at Gloucefter. Englifh. Early 1 2th century. H. i ft. 1 1 in., 
 W. of bafe, 8 in. Soltikoff collection. 651/. 
 
 The Item of this candleftick is a ftraight column, divided by three 
 round holies, one at the top, at the bottom, and one in the middle. A 
 lhort neck feparates the upper bofs from the greafe pan, and the loweft 
 Hands on a triangular bafe. The bafe again is fupported on three feet 
 formed by the neck, heads and claws of three dragons. The Item is 
 covered with elaborate ornament in fpiral bands and flat fcrolls bearing 
 Latin legends, and the outer fides of the greafe pan, the bofles, and the 
 bafe are completely covered with vegetable fcrolls, flat bands and other 
 work, as well as with figures. 
 
 The outer furface of the pan or bowl is made up of balket work, 
 formed by bands in triple lines, the ends of which are intertwined and 
 branch out in leaves and tendrils. A legend runs round the upper rim, 
 which is a plain metal band : 
 
 LVCIS ON VS VIRTVTIS OPVS DOCTRINA REFVLGENS 
 PRASDICAT VT VITIO NON TENEBRETVR HOMO. 
 
 The infide of the pan is plain, and the pricket to hold a candle is an iron 
 point. 
 
 From three fides of the pan three dragons ftretch down like three 
 difengaged handles to the upper bofs, palling over the necking between 
 thefe two upper members. The dragons’ heads are bent back and 
 attached to three loops of the balket work round the pan : their tails 
 branch out in well formed curves, which are attached to and merge into 
 the ornament of the bofs. Three figures, one centaur like, one a man 
 mounted on a bird, a third on a three-legged dragon, form eyes to 
 volutes of leaf fcroll work on this bofs, and hold on to the Items formed 
 by the dragons already defcribed. 
 
 The upper divifion of the columnar Item has two fpiral bands divid- 
 ing two bands of figure work, viz., a man and a bird, and a man and 
 dragon, worked in the round and pierced in the interlaces. 
 
 The middle bofs contains the evangeliftic fymbols in round frames 
 of dotted work. St. Matthew holds a book, the others fcrolls. Small 
 knobs of very white bronze, or of fome alloy of filver, are worked 
 between thefe images. 
 
 The fecond divifion of the Item has bands with lettered legends and 
 figures alternately. In one of the former a man holds a fcroll, ftamps 
 on an afcending dragon, and ftabs it with a broad dagger. The tail 
 
! Twelfth Century. 
 
 19 
 
 branches and ends in a fnake’s head to fill up the outline of the general 
 defign. In the fecond band a monfter, partly draped, ftruggles with a 
 dragon which ftamps on two birds. 
 
 The lower bofs has centaur-like griffins holding on to the fcroll 
 ornament of the mafs, and joining the heads of figures which fit on 
 the three angles of the bafe, and connect thefe two lower maffes 
 together. On another fide a man on an eagle-like monfter, on the 
 third there is a centaur, the monfters clawing the heads of correfponding 
 human figures. Dotted frame bands run in and out among thefe figures. 
 
 The bafe is formed by three griffin-fhaped monfters, on the backs 
 of which fit human fkeleton figures. The tails of the monfters divide, 
 curve boldly up to the boffes above, and defcend in volutes round the 
 arms of the human riders, ending in mafks and connecting the two 
 general maffes with graceful convolutions. In the middle of each of 
 the three tides of the bafe are alfo human figures grafping the necks of 
 monfters each fide of them. Other monfters at their feet form the 
 lower centres of thefe fides of the bafe, to which the wings of the 
 larger monfters that form the angles and legs of the candleftick bend 
 down. There are markings as of feathers on the wings. Stems and 
 fcrolls in relief conned the feet of the angle monfters and the central 
 knots of wings, tails and fcrolls. Scales are marked on the legs of the 
 beafts, and the feet end in mouths which again are biting the con- 
 torted fnake coils that twift about them. The eyes of both men and 
 monfters are filled in with black enamel, or have been coloured black, 
 perhaps in recent times. The three feet ftand on fmall platforms with 
 borders of dots or knobs. The entire compofition contains nine human 
 figures and 42 monfters. 
 
 The whole piece is a fingular example of the original and vigorous 
 defign of the 12th century. It has much of the character of fculpture 
 feen in many parts of Europe during that century. In Lombardy in 
 many churches ; in the cathedral of Chartres in France ; the old wooden 
 churches of Norway ; the porch of the church of Santiago, in Spain, of 
 which a plafter caft is fet up in the South Kenfington mufeum ; and, to 
 go no further, at Malmefbury abbey and Glaftonbury. The delight 
 in reprefenting gaunt bony humanity and monfter forms, which took 
 fo great a hold of the fculptors of churches in fuch diftant countries of 
 Europe, and the effort which carries out one connected compofition 
 through fuch vigorous but graceful contortions of line are feen in the 
 twifts, connecting knots and graceful interchanges of volutes in the piece 
 under difcuffion. It is well to note the connection between the defigns 
 of thefe knotted dragons and ferpents, and the elegant plaits and figures of 
 the Saxon and Celtic metallurgifts. 
 
 B 2 
 
20 
 
 Gold and Silver Smiths IV irk. 
 
 On the fpiral bands are the legends in Leonine verfe : 
 
 ABBATIS PETRI GREGIS ET DEVOTIO MITIS 
 ME DEDIT ECCLESIE SCI PETRI GLOECESTRI 
 On the infide of the greafe pan : 
 
 4- HOC CENOMANENSIS RES ECLESIE POCIENSIS 
 THOMAS DITAVIT CVM SOL ANNVM RENOVAVIT. 
 With regard to thefe names it may be faid that in the 12th century 
 Peter was abbot of the church now exiting at Gloucefter. The 
 foundation of the original houfe was made by Ethelred for women as 
 early as the year 680. It was burnt in 1087. A new church and 
 monaftery for men was dedicated in the ides of July 1 100. It was again 
 deftroyed by fire in 1101. 1 Serlo was abbot, and died 4th nones of 
 March 1104. Peter, who was prior under that dignitary, fucceeded to 
 the abbacy in Auguft 1105 or 1107, and died I 5 kal. Auguft 1113. 
 The date therefore of the candleftick mull be fixed between the years 
 1107 and xi 13. This ill-ftarred houfe was again totally deftroyed by 
 fire in 1122, the 8th of the ides of March, nothing that was perilhable 
 being faved, but a few books and three facerdotal veftments. 2 
 
 With regard to the name Pocienfis, Thomas de Poche (a manor in 
 the province of Maine), gave to the cathedral of Le Mans certain abbey 
 lands called “ Pochaeum ” or cc Potius,” from this manor of Poche, a 
 gift confirmed by charters of the early French kings. It is poffible that 
 through this Thomas of Poche the candleftick became the property of 
 the cathedral of Le Mans. 
 
 It was formerly in the collection of M. d’Efpaulart at Le Mans, and 
 was fold to the SoltikolF collection for 20,000 francs. 
 
 Figured, chromolith. of objects in South Kenfington mufeum ; 
 Cahier et Martin, melanges, &c., iv. xxxii. 
 
 99. ' 66 . 
 
 C ROSS : gilt metal, enamelled ; on the one fide the cruci- 
 ' fied Saviour, on the other the inftruments of the Paflion. 
 A filver fufpenfory bead is attached. The fetting Byzantine, 
 probably 12th century. The enamel later. 4 in. by 2-^ in. 
 4/. 
 
 '“Anno Civitas Glavonia cum principali monafterio et aliis viii. idus 
 
 “ Junii feria v. incendio conflagravit.” Simon Dunelm. ap. Dugdale, i. 532. 
 
 3 Dugdale, ut fupra. 
 
Byzantine. 
 
 21 
 
 The furface is covered with blue enamel, and on the front is painted 
 a crucifix with the Saviour’s body in white. Round this on the 
 extremities are the Blefled Virgin and St. John, bulls to the Ihoulders, 
 on the arms ; the emblematic dove above, and a Ikull below. At 
 the back are roundels on the extremities correfponding to thefe ; they 
 contain a hand, fponge, crown of thorns, chalice and nails, inftruments 
 of the Paffion. 
 
 The fetting is plain gilt metal, and the back and front open to hold 
 relics. There is a filver bead cut in facets and pierced attached to the 
 top, fo as to adapt it for ufe as an epifcopal crofs and for which it has 
 probably been made. 
 
 The character of the enamel painting is Spanilh, and not older 
 than the 17th century. 
 
 392 . ’ 72 . 
 
 C OVER of a Cup : gold, a low cone with a band fet with 
 Hones round the bafe, and with beaten and engraved 
 work. Byzantine. 1 2th century (?). H. in., diam. 4^ in. 
 80/. 
 
 A fmall ftraight-fided dome, with a gallery of delicate metal work 
 round the top, on which is feated a faint holding a tau ftaff. The fides 
 have pointed arches, out of which iflue dragons. There are eight 
 arches round the bafe, with a band round it made of eight heads in relief, 
 and eight fockets, from which precious Hones have been loft. The 
 work is admirably hammered and engraved. 
 
 4097 - ’ 57 - 
 
 T ABLET : oblong, with arched top ; the prophet Jonas 
 furrounded by foliated fcroll work, and holding an 
 infcribed label in champleve enamel. German. 12th or 13th 
 century. H. 4-| in., W. in. 12/. 
 
 The figure here reprefented is in champleve enamel, and is wrapped 
 in an ample toga, the top of which, as well as the lower edge, is decorated 
 with rich ornamental borders. The feet are in boots worn by bilhops, 
 of old Byzantine character. The head is bald, the beard curled, 
 
22 
 
 Gold and Silver Smiths Work. 
 
 and the hands hold a fcroll, bearing the words from Jonah, i. 12, 
 TOLLI'E ME 7 COITICE ME IN MIARE. Under the feet are the 
 letters IONAS PA. 
 
 Curls of triple oak leaves in various colours form a border round 
 this : the frame of moulded gilt metal is new. 
 
 ABLET : copper gilt, encrufted. with the Nativity in 
 
 enamel. German. 12th or 13th century. 4^ in. by 5 in. 
 
 The Nativity is reprefented in champleve enamel. The BlelTed 
 Virgin is on a bed covered with a rich drapery falling in abundant folds, 
 and the bed is draped with a valance in graceful lines. The four. polls 
 lift it high above the ground and rife above the figure, reprefenting a 
 ftrucfture of turned wood with ball tops. She points with one hand to 
 the Holy Child, lying in a fmall bed by her fide. His hand is raifed in 
 benedidlion 5 a eroded nimbus is behind His head. Before both beds 
 are fmall pendant funnel-fhaped glafs lamps. The heads of the ox and 
 the afs are feen beyond. St. Jofeph fits at the foot of the bed in a curule 
 chair, his chin leaning on one hand ; he is in a green tunic, with a 
 white toga, part of which is held in the left hand ; he is on a larger 
 fcale than the other figures. A dark border line furrounds the compofi- 
 tion. It is fet in a modern frame of gilt metal. 
 
 B OOK Cover: of gilt bronze, with two faints in relief, 
 partly encrufted with champleve enamel, and fet with 
 gems and cryftals. German. 12th or 13th century. H. 12^ in.. 
 
 The cover is a panel formed of metal work, gilt and fet with champ- 
 leve enamel. The outer frame is divided into panels, three on each fide 
 and two on the ends. The top and bottom panels are chequered, each 
 part filled in with circles and quatrefoil figures of blue and green, having 
 in the centres, blue, green, red and white. The fides have two panels 
 of filigree metal work, and fet round with cryftals, gems, and carnelians, 
 
 6815. ’60. 
 
 7/. IOJ. 
 
 8880. ’63. 
 
 W. 8f in. 84/. 
 
23 
 
 Thirteenth Century . 
 
 moft of the gems being antique and engraved. Between thefe parts, 
 on each fide, are fpaces filled in with circles of enamel. On the four 
 corners are four large cryftals fet in leaf metal work, and outfide all is 
 an edge of thin milled work. Within this outer border are broad 
 doping edges of plain metal, and diapered work in relief fills up the 
 upper and lower portions of the panel. The middle of the panel 
 contains the figures of SS. Peter and Paul feated. They are wrapped 
 in mantles, and the latter holds up one hand as if teaching or arguing. 
 The whole of the edge of wood binding is enclofed in gilt metal work, 
 decorated with arabefque fcrolls in low relief. It contains a MS. 
 obituary. 
 
 7955 - ’ 6 ^ 
 
 C ASKET : with allegorical figures in champleve enamel on 
 gilt metal. German (Rhenifh). 13th century. H. 2-|in., 
 L. 4 in., W. 2-| in. Soltikoff collection. 14/. 
 
 This elegant cafket is fomething of the fhape of a fmall mediaeval 
 reliquary or farcophagus, oblong fquare, with a partly gabled cover. On 
 the front are two medallions formed by bands, on which are Roman 
 letters fhowing the meaning of the compofitions within. 1. PHILO- 
 SOPHIA, a majeftic female figure, crowned and draped in an ample 
 mantle, feated on a throne ; the holds a fceptre in her right hand and 
 the globe in her left. 2. MATHEMATICA, a graceful female 
 figure, feated and holding a rod and a compafs, with which fhe traces 
 a figure on the floor ; a child fits near her whom fhe is teaching from a 
 fcroll. 3. MUSIC A, two figures, one of them a man or ftudent drefled 
 in a fleeved gown, holds what looks like a triangle with loops at the 
 angles, and on his right hand a female figure in a long gown is giving 
 inftru&ion with the right hand raifed. 4. NATVRA SCIENTIA, 
 two figures ; a woman fits on a throne, dreffed in a long robe and 
 covered by a mantle defcending in many folds ; a child is preffed to 
 her breaft, from which he is fuckled, ftretching his arms round her. 
 5. ARISMETICA . GEOMETRIA ; the firft, a female figure, fits 
 leaning her chin on her left hand, and with her right holds a pair of 
 compaffes as if about to defcribe a figure ; the fecond, a boy in a 
 fcholar’s gown, leans and ftretches both his hands towards her. The 
 upper part of the drefs of this figure is gone. 6. ASTRONOMIA 
 DIALECTICA j the firft, a female figure, of which the back is feen ; 
 fhe is in contemplation, her head turned upwards to the heavens 3 the 
 
24 
 
 Gold and Silver Smiths' W )rk. 
 
 fecond, a male figure, turns to the left and is conducting an argument, 
 the hands indicating the heads of propofitions or the reafoning of the 
 fpeaker. The top is divided into five panels filled with enamel ; the 
 ornament confifts of quatrefoils, feathers, acanthus leaves, &c. On 
 the top there is a central ring, and it has been faftened with a fmall 
 lock, but this as well as the hinges are wanting. 
 
 3090. ’55. 
 
 R ELIQUARY : copper, gilt ; a tower, with pointed roof, 
 fupported on a ftem. German. 13th century. H. 
 6 in., diam. 2\ in. Bernal collection. 2/. 6s. 
 
 In the form of a fquare turret, pierced by nine key-hole lights or 
 windows in rows of three, and furmounted by a pyramidal roof. It 
 Hands on a plain ftem with unornamented fpreading foot. 
 
 It is a conventional reprefentation of the fquare towers which rife 
 in pairs on many German-Romanefque churches, examples of which 
 occur in Cologne, on the Rhine, at Soeft, Paderborn, and other cities in 
 Weftphalia, 
 
 2,169. ’55* 
 
 R ELIQIJARY : bronze, formerly gilt, in the Ihape of 
 a bafilica. German. 13th century. H. 6 f in., 
 
 L. 6 in., W. 2 i Bernal collection. 4/. ioj - . 
 
 This reliquary confifts of a fiat cafket, oblong in form, and fup- 
 ported on legs. On the platform thus made is a complete model of a 
 church. It has two lean-to aifies, rifes into a clereftory above, with rows 
 of circular-headed cufped windows to each part and an abfidal termina- 
 tion. At the oppofite end rifes a fquare tower with a pyramidal roof. 
 About the place at which a tranfept would be built, an addition pro- 
 jects flightly beyond the lower and upper ftories. Over it is a fquare 
 lantern fhaped like a chimney. An arched crefting, out of all propor- 
 tion to the general fcale, runs along the ridge of the roof. 
 
 Rude fcrolls are chafed on the fides of the lower part. 
 
Thirteenth Century. 
 
 25 
 
 1471. ’70. 
 
 C RUET or Water Veflel : bronze and white metal, gilt. 
 
 In the fhape of a bird or harpy, with tail rolling over 
 in fcrolls to form a handle. Black enamel on the flank. 
 Rhenifh German. 13th century. H. 7§ in., L. 8|- in. 
 100/. 
 
 The general outline is that of a wyvern or dragon. The head is 
 that of a beaft, and a feries of knots of hair forms a ridge down the 
 breaft. The claws are half paws, with ftrong markings of fcales. 
 The tail divides, part turns down with a lateral fpread, and with the 
 claws forms a tripod fupport. The reft of the tail rifes and rolls over 
 to the neck, making off-fets to the back of the head and two fpiral 
 volutes, where it touches the back. This part forms the handle by 
 which it has been hung. 
 
 There are ftripes of white metal down the great curves of the breaft 
 and tail, and on the wings, which are half eredled and fet back hori- 
 zontally, are oval fhields divided lozengy, each lozenge party per fefs, 
 or and fable. 
 
 This veffel has been hung over the fmall pifcina or fink, into 
 which the water is thrown, which has been ufed to wa(h the prieft’s 
 hands at mafs, and the linen ufed by the celebrant. 
 
 6980. ’60. 
 
 C ANDLESTICK, pricket : of bronze, once gilt ; on a 
 triangular foot engraved with foliated ornament. 
 German. 13th century. H. 7^- in., W. 3f in. 8/. 
 
 The ftem is furrounded by fpiral quills, and is in two fhort lengths, 
 divided by a bold bofs incifed with fcroll floriated work of conventional 
 character. The foot is triangular, and defcends in three monfter necks 
 with indications of heads at the fpringing, and the feet turn up ; perhaps 
 this is an injury. The middles of the Tides defcend to a point, with 
 a fmall ball or bofs at the extremity, and a cup-lhaped greafe pan 
 has live fimilar points and balls ; a pricket point in the middle. The 
 bafe is chafed like the bofs. 
 
26 
 
 Gold and Silver Smiths Work . 
 
 The whole defign is akin to that of Chinefe candlefticks, both the 
 cup-like greafe pan, the bafe points, and the attenuated turned-up feet, 
 but the chafing and the monfter heads, though {lightly indicated, are of 
 Rhenifh Byzantine charadter. 
 
 I5 8 9* ’55* 
 
 C ANDLESTICK, pricket : Limoges enamel on bronze or 
 copper. French. 13th century. H. 8 in., diam. 
 5 in. 10/. 
 
 A fmall pricket candleftick for a domeftic altar. The ftem is 
 ftraight, the foot triangular, {landing on three feet ; it has a bofs or 
 knop in the middle of the ftem, and a greafe pan with fmall points on 
 its edge : all the other furfaces are decorated with acanthus ftalk and 
 leaf work in the Byzantine ftyle. 
 
 4437- ’$ 7 - 
 
 C ANDLESTICK, pricket : of bronze, once gilt, on a 
 triangular foot, with three dragons and floriated orna- 
 ment. Byzantine. 12th century (?). El. 1 if in., W. 4-| in. 
 
 5* 
 
 Of call and chilelled bronze. The ftem is a plain round ftick with 
 a knop compofed of three belts in the middle ; a plain greafe pan, an 
 expanding triangular bafe, made by three monfters with their necks, 
 heads and forepaws on the ground and wings expanded on either fide 
 till they touch the lower edge of the bafe, and the fpace round the 
 feveral parts of the defign pierced. 
 
 4 5 * 5 - ’ 58 . 
 
 F INIAL : a gilt metal bofs, furrounded by fix plates or 
 fhields encrufted with enamel. German. 13th century. 
 H. 6 f in., diam. 4 in. 30/. 
 
 The fhape is that of an architectural finial of carved foliage, and it 
 is probably part of a chajfe. The principal mafs is fix-fided, and each 
 fide faced with an oval fhield with the point uppermoft. On thefe are 
 
! Thirteenth Century. 
 
 27 
 
 encrufted enamels, making diapers of white quatrefoils, white rofettes 
 with red eyes, and quatrefoils left in the metal, the ground being green, 
 dark blue, or green and dark blue ftripes, on the different fhields. 
 One is on a ground chequered with gilt metal left from the field in 
 u taille d’epargne.” One of the fhields has loft its decoration. 
 
 In each cafe the enamels are applied, that is, though regularly fired 
 on metal plates, thefe plates have been fired feparately and inferted 
 in a fetting ; the entire compofition has not been fubmitted to the fire. 
 
 Over the points of the fhields are fmall fruits or pointed feed pods 
 covered with fmall points. Above the mafs fo formed are two courfes 
 of conventional vine or acanthus leaves one over the other, leaning 
 downwards, and another fet pointing upwards and making a neft, in 
 which is enclofed a larger mulberry-fhaped fruit. Between the courfes 
 of leaves are fmall fruits, fuch as have been defcribed. Below the 
 enamelled Lofs there is a neft of leaves, like thofe enclofing the upper 
 point, with the fame fruit, points, or knobs. The gilt metal is mounted 
 on two bent iron legs covered with gilt leaves, fhaped more decidedly 
 like thofe of the vine, and by thefe the whole piece has been made 
 part of a chaffe or reliquary, in the fhape of a farcophagus. 
 
 ROSS : of gilt bronze ; Greek fhape, with round lobes 
 
 at the extremities, and a round middle medallion, with 
 an armorial fhield in encrufted enamel ; a label over it bears a 
 mitre, alfo in enamel. French or German. Early 13th century. 
 L. in., W. 3 in. 4/. 16s. 
 
 The label is a band or bar notched on the ends as thofe of a ribbon 
 or fcroll ; on this is a mitre low in fhape, with the bands fpread on 
 each fide. The middle of the crofs, which has equal arms and each 
 end expanding in a round medallion, bears a fhield, argent, charged 
 with a lion rampant fable, differenced with a crofs crofllet, gules. The 
 fhield is oval with a pointed bafe, and is, perhaps, rather of French 
 than German character, not earlier than of the 13th century. 
 
 T RIPTYCH : of gilt metal, encrufted with enamel, and 
 having the Crucifixion, Harrowing of hell, Refurredtion, 
 and compofitions illuftrative of Old Teftament hiftory, with 
 
 8991. ’63. 
 
 4757 - 5 8 - 
 
28 
 
 Gold and Silver Smiths Work . 
 
 Leonine infcriptions engraved on the middle and fides. 
 German. 13th century. H. 14J- in., W. 18^ in. Alton 
 Towers collection. 450/. 
 
 The middle is a round arched panel, and the Ihutters, each half an 
 arch to cover the middle. 
 
 Round the middle are three mouldings, the outer a flat edge indented 
 with quatrefoil ornament, and the ground granulated ; the next, a rolling 
 acanthus moulding ; the inner gilt with a fmall ornament on it in black 
 (painted, and a reftoration). The panel is covered with defigns 
 in champleve enamel. The fpace is divided into various fquares 
 and circles, by bands of metal and of white enamel. The centre 
 fquare reprefents the Crucifixion, on blue ground, with SS. Mary and 
 John befide the crofs. Four diagonal bands of metal cut off" four 
 triangles from this fquare, the bands fold over at the angles ; the fpaces 
 are enamelled green and contain the four evangeliftic fymbols. On 
 the bands are the words, IN CRVCE XPC (Chriltus) OBIT 
 PTHO (Proto) — PLASTI DEBITA SOLVIT. 
 
 Above and below the fquare on each fide are two circles and two 
 halfcircles, in white enamel. In the upper circle is the RefurreCtion ; 
 an angel fitting on the open fepulchre ftretches his hand towards the 
 three women ; round, on a metal band, the words SIPLA DVPLA 
 (fimpla duplam ?), MORTE (mortem), PELLIT TRIDVANA 
 PHENNE (Gehenne). In the lower circle the Harrowing of hell ; the 
 Saviour transfixes a fiend with the ftaff of His crofs, and lifts out 
 Adam, Eve and others, through a doorway. On a band, the words 
 FORTIOR HIC FORTE CAPTVS SPOLIAT "PMIT 
 HOSTE. 
 
 Round the top and bottom, but not the middle of the panel, is a 
 border of double fquares, containing quatrefoils, and at intervals three 
 circular medallions. The uppermoft has a demi-figure holding a fcroll 
 with the word, KARITAS ; Tides, two weeping figures, lettered SOL 
 and LVNA ; two lower medallions, a whole male figure, holding a 
 paddle, and pouring from a vafe MARE ; a whole female figure, feen 
 from the back, holds a fpade in one hand and a branch or plant in 
 the other, TERRA ; a lower medallion contains IVSTCIA. Large 
 quatrefoils fill up the bottom corners. Each fide of the central fubjedl, 
 in two half circular bands of white enamel, are trees. 
 
 Shutters, on the right : the white femicircular bands range with thofe 
 juft defcribed ; in the top half circle a fea with two whales and two 
 fmaller fifties ; Jonah devoured by one whale and call up by the other. 
 
'Thirteenth Ce?ttury. 
 
 29 
 
 On a band the words, CEV IONAM CETVM SIC REDDIT 
 TERRA SEPVLTVM. 
 
 Central fubjedt the facrifice of Ifaac ; he kneels on the pile and 
 Abraham feizes his neck, but is flayed by an angel ; a ram is repre- 
 fented among the decorations at the fide. On a fcroll, PRO LAPSV 
 MVNDI FIT FILIVS M(H)OSTIA PATRI. 
 
 Below, the Saviour fifhing in the fea, His toga wrapped round Him. 
 On a fcroll, CARO XPI HAMVS OVOD PISCI FIT LEVIA- 
 THAN. But the verfe begins in the middle of the legend. Three 
 ftones are fet in the bafe ; one, as well as the edge moulding, feem of 
 late date, perhaps modern reftorations. 
 
 Left hand fhutter : top fubjedl, a figure half rifen from a fquare grave ; 
 two bearers aflonifhed ; and in the foreground Elifeus the prophet dead, 
 and wrapped in a toga. On a fcroll, VIVENT QVI VERI CORPVS 
 TANGVNT HELISEI. Centre, Mofes and the brazen ferpent ; a 
 a crowd Handing by; on a fcroll, OVOS SERPENS LACERAT 
 SERPENTIS IMAGO REFORMAT. 
 
 Lower fubjedl : Samfon carrying the gates of Gaza, dreffed in a (hort 
 jerkin with a fpear and pointed oval fhield ; on a fcroll the words, SIC 
 FRACTIS PORTIS OVOS AVFERT DEBITA MORTIS. 
 
 Figured, Shaw, decorations, middle ages, pi. 2. 
 
 2441. ’56. 
 
 B OOK Cover : gilt metal, with Limoges enamel. A figure 
 of Chrift in relief, furrounded with the fymbols of the 
 evangelifts. French. 13th century. L. 12^ in., W. 7^ in. 
 44/. 
 
 This is an enamelled plate only. It is furrounded by a border, of 
 which the ground is blue, with an ornament in the form of a trident 
 with a ball on the central fpike, trefoil flowers, among which are demi- 
 figures of angels of gilt metal in relief on a green ground. 
 
 In the central panel is the Saviour in majefly, Rated within a velica 
 furrounded by clouds. The figure is of gilt metal in relief. He 
 wears an alb ornamented with rich apparels, a mantle clofely folded, 
 holds a book in the left hand and raifes the right in benedidlion. Above 
 and below, on a blue ground, are the four evangeliftic fymbols of gilt 
 metal raifed in relief ; each holds an enamel fcroll, but without lettering, 
 the empty fpace is fown with coloured flowers. 
 
30 
 
 Gold and Silver Smiths Work. 
 
 34 - >• 
 
 T ABLET : Limoges champleve enamel on copper. A 
 figure of Chrift, with cruciform nimbus round the head, 
 feated, and in the a6t of beneclidtion, and enclofed in an aureole. 
 At the corners are the fymbols of the evangelifts. French. 
 13th century. L. 8-| in., W. 4§ in. 20/. 
 
 The head of the Saviour is in relief. His left hand wrapped in a 
 fold of His mantle holds a book of white enamel, on which are four 
 black fpots. The four evangeliftic fymbols are placed above and below, 
 their heads are in relief, and their claws grafp fcrolls, which bear no 
 letters. Flowers are fown over the unoccupied fpaces. 
 
 4041. ’56. 
 
 P LATE of Metal : with Limoges champleve enamel from 
 the fide of a chaffe or reliquary. The martyrdom of St. 
 Thomas of Canterbury. French. 13th century. H. 3J in.. 
 L. in. 3/. ioj. 
 
 This plate has formed the front or fide of a fmall reliquary. It 
 is covered with the fubjedt of the martyrdom of St. Thomas of Canter- 
 bury, in champleve enamel. The ground is blue ; in the left-hand corner 
 is an altar covered with a drapery, looped in folds ; on it are a chalice 
 and a candleftick. On one fide ftands St. Thomas in his epifcopal veft» 
 ments, he holds out one hand towards two figures before him. Thefe 
 reprefent two out of the three knights who come to murder him. 
 
 One ftrikes him on the neck with a fword, the other fhoulders 
 a naked fword, and feems to haften from the place. The heads are in 
 relief in gilt metal . 1 
 
 1 This fubjeft, fo common in glafs paintings and fculpture during the 13th 
 century, both in England and France, where St. Thomas had lived during his 
 banifhment under Henry I., is ufually treated in this way. To be exaft, however, 
 there was no altar in that portion of the tranfept of the cathedral of Canterbury 
 at the time ; that on which the point of the murderer’s fword was kept as a relic 
 was not erected till after the event, and was known as “ Altare ad punctum eniis.” 
 

h 
 
'Thirteenth Century . 
 
 3 1 
 
 6816, 6817. ’6o. 
 
 LAQTJES : two enamelled portions of a triptych or 
 
 fhrine. An angel is painted on each in champleve 
 enamel, with one of the Beatitudes above. French (?). 13th 
 century. 3 in. by 3^ in. 15/. 
 
 Thefe plaques are femicircles defcending into points below, which 
 have filled up the fpace between two circular panels or leaves of a 
 diptych, fuch as No. 7947. ’62. The frames which are placed round 
 the edges are modern. The furface of the plaques themfelves is gilt 
 metal with figures of angels on them in champleve enamel. Thefe 
 figures ifliie from clouds ; that on the firft plaque has a mantle of grey, 
 the half circle is blue, and the right hand is raifed in benediction. 
 
 Below are the words BEATI MITES O * I * P * TERRA. The 
 other figure points to the legend, BEATI MVNDO CORDE 
 Q • I • DE~V • V. 
 
 C ASKET : of gilt copper, crufted with enamel ; dia- 
 pered with the armorial lhields of England, Angou- 
 lefme, Valence earl of Pembroke, Dreux duke of Brittany 
 and Brabant. Englifh (?). End of the 13th century. L. 7 in., 
 W. 5 J in., H. 3f in. 1 50/. 
 
 This cafket is flat, and Hands on four legs rudely fhaped into human 
 feet ; it is of gilt metal covered with champleve enamel. The fides, 
 ends, and top are divided into lozenge-fhaped fhields touching at the 
 points, and with fmall quatrefoil ornaments at the points of interfedion. 
 The fhields have the following heraldic bearings, and they are repeated 
 throughout. 1, fable, a lion rampant, or ; 2, barry of twelve, argent 
 and azure, fix martlets, gules (Aymer de Valence) ; 3, checquy, argent 
 and fable, the fecond charged with crofles patee, or, in dexter chief a 
 canton ermine ; 4, checquy diamond wife, or and gules 5 5, or, a lion 
 rampant, gules. 
 
 The hinges are round bars fhaped at the ends into dragons’ heads, 
 and welded on over the lid and back, and the lock is a fimilar bar with 
 a hafp hinged to it, with an interior lock, locked through a keyhole. 
 
 4. ’65. 
 
32 
 
 Gold and Silver Smiths JV )rk. 
 
 Befides the fhields there is no ornament. It is not unlike the 
 Limoges enamel of the 13th century, at which period fmall utenfils 
 and ornaments for fecular ufe were exported to all parts of Europe ; 
 but work of this fame defcription, of which heraldry was the principal 
 or only ornament, was made in England during that century, and this 
 piece is probably of Englifh origin. 
 
 See the accompanying etching. 
 
 4 3°8- ’57- 
 
 M ORSE : of gilt metal, pierced and encrufted with champ- 
 leve enamel, with a defign of a man fubduing a 
 grotefque animal. German. 12th or 13th century. Diam. 
 
 3f in- 18/. 
 
 This metal brooch is convex, and the outer rim reprefents the 
 12 radiating points of a ftar, much blunted ; thefe are gilt, and filled in 
 the intervals with blue champleve enamel. On the central bofs is a 
 harpy grafped by a man in a fhort tunic, who ftrides over it and with 
 one hand holds a fcroll of arabefque work, part of the decoration. The 
 gilt metal is helped out with blue enamel, as in the border, and the outer 
 rim pierced with four holes for fewing or fattening a lining. 
 
 Figured, Etchings, South Kenfington mufeum, 5th feries. 
 
 1586. *55- 
 
 M ORSE: of gilt metal and champleve enamel, contain- 
 ing armorial fhield and pierced border of lizards. 
 French. 13th century. Diam. 4 in. 5/. 
 
 In the central bofs or medallion there is a fhield, azure, charged with 
 two bars, vair. The border is pierced, the ornament being knotted 
 dragons following each other, in blue champleve enamel and gilt metal. 
 
 158;. ’55- 
 
 M ORSE : round, of gilt metal and champleve enamel ; a 
 fhield with pierced border. French. 13th century. 
 Diam. 4 in. 5/. 
 
 This morfe is like the one laft defcribed, but the arms on the fhield 
 are different, viz., gules, a lion rampant, or. 
 
"Thirteenth Century. 
 
 33 
 
 792. ’65. 
 
 P LATES for book mounting : of gilt copper, encrufted with 
 blue and red. enamel. A rood, with the blefied Virgin 
 and St. John. Italian. 13th century (?). H. 15 Jin., W. 9 in. 
 50/. 
 
 The group confifts of a crucifix and the figures of the blefied Virgin 
 and St. John, having the character of the decoration of a book cover. 
 All the three portions are feparate. The crofs is Y-fhaped, and the 
 Saviour is reprefented hanging with the arms ftretched to the utmoft. 
 His legs bend and both feet are faftened to a block, which partly 
 fupports them, by one nail. A large drapery knotted round the middle 
 falls to the knees, but not in perpendicular folds, and a corner is 
 finifhed with a taflel. The Saviour’s face is reprefented dead, but with 
 an expreffion of extreme agony. At His head is the title IHESVS 
 XPISTVS. A fkull lies below the crofs; the blefied Virgin holds 
 her right arm up, and her head leans on the hand ; fhe points to the 
 Saviour’s body. St. John holds a book in the folds of his mantle with 
 his left hand ; the mouth turns up at the corners, and the expreffion is 
 rather grotefque than ferious. The drawing of the heads and draperies 
 is effected by incifed lines filled with red enamel, with which alfo fome 
 attempt has been made at fhading the drapery of the Saviour. The lines 
 of the defign are not fharp and thin as ufual in old work. All the 
 enamel is apparently new, and the general character of the whole 
 three pieces feems to throw doubt on their profefled date. 
 
 236. *53- 
 
 R ELIQUARY : copper, encrufted with champleve enamel ; 
 
 in the fhape of a fhrine with ridged and crefted roof 
 and medallions enclofing figures of angels on the fides. French 
 (Limoges). 13th century. H. 7f in., L. 8f in., W. 2 \ in. 
 12/. 12 s. 
 
 The form is that of a farcophagus with gabled roof ; the roof topped 
 by a bold crefting of pierced acanthus work, with three rods or finials, 
 one at each end and one in the middle. The whole of the flat furfaces 
 are covered with enamel ; the tops and fides contain on each front 
 three circular medallions with demi-figures of angels, and the ends a 
 medallion of the fame fhape on the flat part and in the gable front. 
 36105. 
 
 c 
 
34 
 
 Gold and Silver Smiths W ork. 
 
 7945 - ’ 6 ^- 
 
 R ELIQUARY : copper, encrufted with champleve enamel ; 
 
 in the form of a Ihrine, with ridged roof; on either 
 fide of the roof are five figures of faints in low relief. French 
 (Limoges). 13th century. H. 8 f in., L. 8^ in., W. 3J in. 
 Soltikoff collection. 56/. 
 
 The form is that of a farcophagus with gabled roof. The corners 
 are fupported by four feet. On the top runs a crefting of large propor- 
 tion, having three vefica-fhaped plaques of ornament in champleve 
 enamel and pierced openings between, with a rude refemblance to 
 tracery ; the centre furmounted by a ball or knop. 
 
 The fides and cover are overlaid with plates of gilt metal covered 
 with champleve enamel. Of thofe on the front, the lower plate is 
 ornamented with two rows of circles filled with quatrefoil ornament, 
 and furrounded by a thin border of quatrefoil ornament fet fquare. The 
 plate on the roof contains figures of five of the apoftles ; they are 
 under architectural arches and canopies, decorated in the intervals with 
 volutes of thin ftalk and leaf ornament. The heads are in high relief. 
 
 On the oppofite fide the figures of five apoftles are on the lower 
 plate and the circles are on the cover. Thefe might at firft fight 
 appear to have been changed at fome time, but, as ornamental plates 
 over the feet form part of the fide pieces in each cafe, it is impoffible 
 to fuppofe that there can have been any mifplacement of this kind. 
 The decoration is rich and varied and the colours refemble thofe of 
 Rhenifh-Byzantine work, of the 13th century. 
 
 2100. ’55. 
 
 P ASTORAL Staff Head : copper gilt, encrufted with 
 Limoges enamel, with the Annunciation in the whorl, 
 and lizards on the bofs. French. 13th century. L. i2-|- in. 
 Bernal collection. 46/. 
 
 The ftem is covered with blue Limoges enamel and from the 
 knop, at which the curve begins, three dragons of gilt metal llretch 
 down their tails, curling over in volutes like thofe of the capital of a 
 column. The knop is formed by two rows of dragons, one above and one 
 
Thirteenth Century. 
 
 35 
 
 below a prominent ftring or belt of metal work. Three fuch monfters 
 in each row are following one another round, and the fpace between is 
 pierced. Above the knop is a neft of acanthus foliage, and from this 
 the volute iflues. It has a fpine of gilt metal, delicately crocketed, that 
 follows the line of the curve, and where the whorl curls over, ending in a 
 dragon’s mouth, the fpine turns back and forms a junction with the 
 ftem and the knop below. It ends in a flower and leaves. 
 
 The volute enclofes two figures, that of the archangel making the 
 Annunciation and the blefled Virgin. He is ftanding, wrapped in a 
 toga, holds a lily, and gives benediction with the right hand. The 
 points of the wings, the ftem of the lily, a bar behind her back, and a 
 horizontal bar on which both the figures ftand, form connections 
 between the group and the fides of the volute. 
 
 7236. ! 6o. 
 
 P ASTORAL Staff Head : gilt copper ; with a rofette in the 
 centre of the volute. German or French. 13th century. 
 H. 9 in., W. 3J in. 1 il. 
 
 The volute is much lefs in diameter than the focket to which it is 
 joined by a rather flat knop. It is fquare in feCtion, curls over forming 
 half of a fecond inner circle, and ends in two fix-leaved acanthus flowers, 
 one each fide, with fix ftamina between. It has been gilt, but the gold 
 is worn away. 
 
 195. ’6 9. 
 
 P ASTORAL Staff Head : gilt metal, and Limoges enamel. 
 
 The Annunciation in the whorl, lizards and ferpents 
 on the outfide and focket. French. 13th century. L. 6 ft., 
 W. of whorl, 5 in. 50/. 
 
 The ftem is of gilt metal in feveral feCtions, with a fpike at the 
 foot. Between the knop, from which the volute iflfues, and the ftaff 
 there is a length of champleve enamel work, blue, with fcroll arabefques 
 of gilt and three dragons facing downwards in gilt metal. Above this is 
 
 an oCtagonal band of plain metal, bearing the letters,^ rrqRIS BA 
 
 in Roman capitals. 
 
36 Gold and Silver Smiths Work. 
 
 Above this lettering there is a large knop of gilt metal made of two 
 rows of dragons, one above and one below the central fixing, grounded 
 in blue enamel. The ftem of the volute is blue champleve enamel 
 with gilt reticulation. A fpine runs up one fide, the volute ends in a 
 dragon’s head, and the fpine curves back and forms a large flower and 
 leaves. 
 
 In the whorl is the Annunciation. The archangel holds a lily, and 
 lifts one hand in benediction. His wings join the head of the volute. 
 The blefled Virgin Hands in front of a faldltool. Thefe details con- 
 ned the figures with the fides of the circle. This objed is well pre- 
 ferved, and is one of the few examples of the paftoral ftaff in the 
 mufeum that retains the ftaff complete. 
 
 559 - S3- 
 
 P YX : copper and champleve enamel, cylindric. French 
 (Limoges). 13th century. H. 4^ in., diam. af in. 
 Bandinel collection. 
 
 This pyx is round, and has a conical top. There are loops in the 
 lid and the body, and it is hinged and fattened by pins ; the top finifhes 
 with a fmall crofs. The whole furface, including the top, is covered 
 with champleve enamel ornamented with medallions of white and green 
 alternately. On the white is the monogram IHS in red, and figures 
 of winged angels have been in the alternate medallions. It has been 
 intended for conveying the bleffed Sacrament to the fick. 
 
 186. ' 66 . 
 
 P YX : gilt metal, with champleve enamel ; fquare, with 
 conical lid, the pattern of interlaced foliage and lcroll 
 work on blue ground. German (Rhenifh-Byzantine). 13th 
 century. H. 4 in., W. 3 in. 35/. 14 s. 
 
 The Ihape is unufual, fquare, with a top rifing to a point, but with 
 a concave curvature. On the top has been a fmall crofs. It is hinged 
 with loops or hafps pinned through and fattened in the fame way. It is 
 covered with champleve enamel, the decoration being ftalks, forming a 
 feries of pairs of fcrolls or volutes, and the top is covered with the fame 
 defign. 
 
'Thirteenth Century. 
 
 37 
 
 223- ’74- 
 
 T ABLET : gilt copper, oblong, with figures in champleve 
 enamel. German. 13th century. 5 in. by 3-I in. 
 Webb collection. 30/. 
 
 St. Stephen ftands with his right hand eredt ; three bearded and 
 two young men feated before him are engaged in difputing ; two have 
 their heads covered, and are Jewifh dodtors ; two hold books with the 
 legend, REVINCEBAT IV$. DISPVTABAT CUM GRECIS. 
 
 2 , 1 . ’67. 
 
 P YX : copper gilt and champleve enamel ; cylindric, with 
 figures of angels on a dark blue and turquoife ground. 
 French. 13th century. H. 3 in., diam. 2 \ in. Marryat 
 collection. 2/. 6 s. 
 
 It is round, with a conical top ; fattened with hafps and pins, and 
 is covered with champleve enamel. The medallions, into which the 
 defign is diftributed, are hollow curves, in the bottom of which are 
 clouds ; demi-figures of angels with narrow wings, ftretching from 
 the centre to the horns of the curve, cut the background into a double 
 fet of vefica-fhaped fpaces of green enamel. The fame decoration 
 covers the top. The colours are chiefly a full ultramarine blue and 
 malachite or other copper green. Ufed for carrying the blefled 
 Sacrament to the fick. 
 
 183. ’66. 
 
 P YX : gilt metal, cylindric, with quatrefoils within circles 
 on blue champleve enamel ground. German (Rhenifh- 
 Byzantine). 13th century. H. in., diam. 2f- in. 5/. $s. 
 
 Round, with a conical top, fattened and hinged with loops and 
 pins. It is covered with champleve enamel ; fix flowers cover the 
 Tides, and four are on the top. It has been made for carrying the 
 blefled Sacrament to the Tick. 
 
3 8 Gold and Silver Smiths Work . 
 
 184. ’66. 
 
 YX : gilt copper, and champleve enamel ; cylindric. 
 
 X with flat cover ; round the drum a fcroll pattern enclofing 
 medallions. French (Limoges). About 1300. H. 3^ in., 
 diam. 3^ in. 1 1 /. oj. 6d. 
 
 The body is round, and it has a flat lid, fattened by loops and 
 pins. It is covered with champleve enamel ; round the fide are four 
 circles, each containing one of the iymbols of the evangelifts. On the 
 top is an armorial Afield bearing : azure, a tree Hemmed or, leaved 
 proper ; in chief, gules, a fleur-de-lys of the fid! between two eight- 
 pointed ftars of the fecond. 
 
 RESTING : copper gilt. A group of two men and 
 
 a dragon. German. 13th century. L. 5f in., H. 
 i\ in. 25/. 
 
 A compofition reprefenting a long two-legged and winged monfter 
 marked with fcales, and two men, one Handing, one falling on the 
 monfter. Thefe figures are intertwined amongft rolling volutes or 
 ftalk and leaf work. A bold beaded bafe runs under the whole compo- 
 fition. It is a fragment, and has perhaps been part of the crefting of a 
 cheft or reliquary of large fize. 
 
 Figured, etchings, South Kenfington mufeum, 3rd feries. 
 
 RUCIFIX : gilt metal plates on wood, fet with imita- 
 
 tion gems. The Chrift crowned ; the drapery enriched 
 with enamel. French (Limoges). 13th or 14th century. 
 H. 1 8-| in., W. 9I- in. Bernal collection. 5/. 5s. 
 
 The crofs itfelf has femicircular projections at the points of inter- 
 feCtion, towards the ends of the upper member and at the bafe ; beyond 
 
 7237. ’60. 
 
 2°93. ’55. 
 
Thirteenth Century. 
 
 39 
 
 thefe the ends are expanded but fquare at the extremities. Thefe femi- 
 circular projections are all fet with cryftals and fmall ftones, and the 
 metal with which the crofs is covered is diapered and the interfpaces 
 filled with fmall quatrefoils. The cryftals are fet on foil to give them 
 colour. 
 
 The figure of the Chrift is of archaic defign, the arms are hori- 
 zontal, the head crowned and inclined to the right to indicate death ; 
 the feet are fattened with feparate nails ; the drapery forms a fkirt to the 
 knees. The figure is only in half relief, fo as to form part of the plate 
 of metal behind it. There are remains of champleve enamel in the 
 fkirt and in the bafe. 
 
 The back is covered with fimple diaper ornament, and is fet with 
 imitation jewels in the fame way as the front. 
 
 The crofs is fet into a focket, of which the upper rim is decorated 
 with fmall battlements, and which appears to be of later date than 
 the crucifix itfelf. The focket expands below this point into a bold, 
 rather flat bofs, with fix medallions fet forward and diamond-ways 
 filled with champleve enamel, in each of which is a fleur-de-lys. 
 
 ROSS : thin filver plates on wood, with filigree orna- 
 
 ments, fet with imitation gems. Italian (?). 13th or 
 14th century. H. 8^- in., W. 6 in. Bernal collection. 
 
 This crofs is of wood ; the ends are cut into fleurs-de-lys, and 
 between thefe and the main portion of each of the members occur two 
 femicircular projections, one on each fide. All is overlaid with gilt 
 metal, and covered with delicate filigree work in rolling fcrolls of fine 
 beaded lines, which enclofe at intervals fmall gems, fet at correfponding 
 diftances in the lobes of the fleur-de-lys ; in the femicircles j round a large 
 oval bofs of cryftal in the centre (meant perhaps to cover a fmall relic) ; 
 and on the remaining furface of the crofs. There have been probably 
 gems of value on this, crofs, judging from the graceful work of the 
 metal, but all have difappeared. 
 
 The back is diapered, and is without either the filigree overlaying 
 or the gems meant to be feen on the front. 
 
 2 ° 97 - ’ 55 - 
 
 4/. 1 5-r. 
 
40 Gold and Silver Smiths W )rk. 
 
 320. ’66. 
 
 YX or Box : bronze, damafcened in filver ; with figures 
 
 reprefenting the baptifm of a king and queen, and with 
 a legend in Arabic. Spanifh, or Moorifh. 13th or 14th 
 century. H. 3 in., diam. 3J in. 21/. is. 
 
 Cylindrical in fhape and decorated, with bands of arabefque fcrolls 
 and other ornament, damafcened in filver. The upper band is a 
 repetition of a figure fhaped fomething like the ward portion of a key ; 
 the fecond has beautiful arabefques ; the loweft has dogs and beafts of 
 the chafe connefted by a running fcroll. Between the fecond and the 
 loweft is a band reprefenting a proceffion of warriors ; they are all in con- 
 ventional adtion. The heads are large and furrounded by a nimbus ; each 
 warrior grafps a fpear and has a round ftfield in the middle of his body. 
 
 The decoration is entirely oriental, and the proceffion of figures, 
 whether it reprefents martyrs or warriors, is an exceptional kind of 
 decoration. The animals are admirably defigned. 
 
 IPTYCH : filver-gilt. The Nativity and the Refurrec- 
 
 tion in tranflucent enamel infide ; St. Michael and St. 
 John the Baptift outfide. French (Limoges). 13th century. 
 2-j-i- in. by 2-f in. Webb colle&ion. 40/. 
 
 This little fhrine folds in two. It is a double arch with gable 
 above. The two fold together, and have each a fliutter on the back. 
 Each little arch is gabled and crocketed on the outer edge with foliage, 
 and the arch is cufped within. On one fide, — 1. The Nativity is painted 
 in tranflucent enamel : the blefled Virgin is on a bed with the Infant 
 Saviour undrefled ; St. Jofeph is feated behind them ; the ox and afs 
 are feen beyond. 2. The Refurre&ion : two guards are fleeping by 
 the fepulchre, out of which the Saviour rifes, holding a crofled banner 
 in His hand. A border of feeds of metal furrounds thefe compofitions. 
 The fhutters of this portion have been deftroyed. 3. On the other fide 
 the Eternal Father is creating the beafts, fignified by the figure repre- 
 fented on a roundel which He holds in His hands. 4. On the corre- 
 fponding fide is St, Michael fighting the dragon. 
 
 215. ’74. 
 
Thirteenth Century. 
 
 4i 
 
 237 - ’74 
 
 C HALICE : the bowl filver-gilt, the reft gilt copper. 
 
 The knop and foot are chafed and ornamented with 
 heads of faints in tranflucent enamel on filver. Italian. 13th 
 century. H. 8|- in., diam. of foot, 6 in. Webb collection. 
 50/. 
 
 This beautiful chalice has many medallions of different fhapes and 
 fizes coloured in tranflucent enamel. The cup is a fmall ended oval 
 with ftraight fides. The outer calix, which holds it, is finifhed with ogee- 
 headed leaves or divifions, and pointed petals between. On the former 
 are angels engraved and enamelled, and on the latter ornamental flowers 
 enamelled. 
 
 This outer calix is held in a border of delicately wrought crefting, 
 which rifes into points on the angles of the Item. 
 
 The item is fix-fided, almoft loft in the richnefs and fize of the 
 knop and bafe, but its fix fides are encrufted with embedded enamel. 
 
 The knop is large, has fix-foiled medallions on the fides and fix 
 fmall fpandril three-cornered medallions between, enamelled with flower 
 ornament left in relief on an enamel ground. The reft of the knop 
 is in bold relief of conventional flower work. The fix large medallions 
 contain : 1. Our Saviour; 2. St. Peter; 3. St. Paul; 4. St. Laurence- 
 5. St. Francis of Aflifi ; 6. St. Antony abbot (?). 
 
 Thefe medallions and their fettings ftand boldly out in relief from 
 the work round them. 
 
 The bafe is fix-foiled with points between. Each feparate foil 
 bears a fix-foiled medallion, containing enamelled paintings of the Cruci- 
 fixion ; 2. The bleffed Virgin ; 3. St. Nicolas (?) ; 4. St. Stephen 
 
 the protomartyr; 5. St. John the evangelift ; 6. St. - (?). 
 
 There are three-fided panels connecting thefe with the upper part 
 of the ftem, and fmall lozenge-fhaped panels over the points of the foot 
 that feparate the lobes. Each of thefe twelve has a fmall enamelled 
 flower ornament, all in tranflucent enamel. Rich raifed fettings, chafed 
 and wrought, furround thefe panels of the foot, and a legend runs round 
 the upper edge of the foot, containing the letters, 
 
 &?£2Pi£& mmwm mmwz saiifbm, of which i cannot 
 
 fuggeft any fatisfadfory explanation. 
 
 The outer edge of the foot is delicately worked with beaded orna- 
 ment, fine lines, and an outer flat border alfo in moulded lines and having 
 a billet moulding. 
 
 No chalice in the mufeum has fuch a number of enamelled parts 
 
42 
 
 Gold and Silver Smiths Work . 
 
 or fuch varied decoration both as to figures and foliage or flowers 
 There are bold fettings to ftiow up the enamelled medallions, and 
 equally bold relief ornament wherever it can be placed, fo as to give a 
 contraft, and to retain an importance relative to the coloured parts. It 
 may be compared with No. 235. ’74. from the Webb collection. 
 
 HALICE : the bowl ftlver, the reft giit copper ; the 
 
 knop, ftem, and foot chafed and decorated with heads 
 of faints in enamel. An infcription ftates that the chalice 
 belonged to the church of San Paolo at Pifa. North Italian. 
 13th century. H. io|- in., diam. of foot, 6|- in. Webb 
 collection. 60/. 
 
 The cup is ftraight-fided, held in an outer calix, cut into alternate 
 pointed and ogee-headed lobes. The ftem is hexagonal, and is covered 
 with quatrefoils in champleve enamel. The knop is round, covered 
 with acanthus leaf work of gilt metal in high relief, and has fix circular 
 medallions round the circumference, each filled with a figure painted in 
 tranflucent enamel. Thefe are, — 1. The Saviour bearing an orb and 
 giving benediction ; 2. the Mater Dolorofa ; 3,4. two Marys ; thefe 
 three are graceful defigns ; and Nos. 2 and 3 wrapped in long blue 
 mantles ; the Magdalen, with long golden hair ; 5. St. Paul, in red, 
 in a blue mantle, lined with green, and holding a book ; 6. St. John 
 holding a book. 
 
 The foot is fix-foiled, with angular projections between the foils 
 and fix -foiled medallions formed by a border of relief work continued 
 from one medallion to another, the lines eroding fo as to form a fet of 
 trefoil medallions above the firft deferibed, on the upper Hope of the 
 foot, thefe fmaller ones containing each a cherub in tranflucent enamel. 
 
 The fix lower medallions contain figures of — 1. the blefled 
 Virgin; 2. St. Paul; 3. a fainted bifhop ; 4. the Magdalen; 5. St. 
 Peter (?) ; 6. St. Dominic. 
 
 In the fpaces between this double fet of medallions there are lilies 
 of gilt metal in relief, one on the pointed lobe of the foot and one on the 
 upper Hope, a band pierced with round holes runs along the outer edge 
 of the foot. 
 
 Round a collar on the upper part of the foot is read, OVESTO 
 CHALICE E DI SAN PAOLO A RIPA D’ARNO DI PISA. 
 
 235 - ’ 74 - 
 
Thirteenth Century 43 
 
 288. ’74. 
 
 P ASTORAL Staff Head : gilt metal, enamelled, the 
 volute formed by the head and neck of a ferpent, within 
 the whorl of which are figures reprefenting the coronation of 
 the Virgin. On the knop and ftem are lizards. On carved 
 and gilt wood Hand. French (Limoges). 13th century. H. 
 17!- in. Webb collection. 4 5/. 
 
 The focket, from which the volute of the crozier begins, is joined to 
 the ftem by three dragons of gilt and blue enamel, the tails curving under 
 the knop, in which this part finilhes. On the backs of each are fet 
 three turquoifes. 
 
 The knop has three lizards above and three under the central ring 
 of gilt metal, with turquoifes fet in the eyes. 
 
 The volute is in the form of a dragon with a fpine down the back, 
 which runs round the volute, and parts from it where it reaches the 
 ftem and turns with a reverfed curve and ornamental finial of leaves. 
 Within the circle is the coronation of the blefled Virgin. The Re- 
 deemer is feated and holds the crown, which He is placing on her 
 head. She is feated alfo, and bends forward in veneration. 
 
 2091. ’55. 
 
 C RUCIFIX : the image of the Redeemer only, brafs. 
 French. 13th century. H. in. Bernal collection. 
 
 2/. 8.r. 
 
 This is the figure only of a crucifix. It is caft in brafs ; the arms 
 are bent at right angles from the elbows, the knees doubled forward, 
 the head reclined to the right. The drapery of the loins is in folds and 
 knots, decoratively difpofed. All the work is of the rudeft execution, 
 and is, perhaps, a calling from an old original. 
 
 21 6. ’74. 
 
 D IPTYCH, one leaf: filver. The Annunciation and the 
 death of the Virgin in enamel. French. 13th century. 
 2-j^g- in. by if in. Webb collection. 40/. 
 
44 
 
 Gold and Silver Smiths Work . 
 
 This forms one leaf of a diptych, and has paintings on both fides in 
 tranflucent enamel. On one fide is the Annunciation. The bleffed 
 Virgin is feated in a red drefs ; the archangel kneels before her, and is 
 wrapped in a green mantle. A pot of lilies is between them. The 
 whole is under a rich architectural canopy of three arches, with graceful 
 window tracery and pinnacles. 
 
 On the back is the death of the bleffed Virgin. She lies on her 
 bed covered with a blue mantle, the twelve apoftles ftand round her 
 adminftering the laft rites of religion ; one holds a candle, another a ftoup 
 of holy water and an afperfory. Our Lord appears in the background 
 receiving her foul. Two apoftles fit below, leaning their heads on their 
 hands in the attitude of deep grief. 
 
 IPTYCH : fiver-gilt, the outfide engraved and infcribed ; 
 
 the Annunciation and the Coronation of the Virgin 
 in relief upon enamel infide. French. Late 13 th century. 
 i~yq in. by if in. Webb collection. 40/. 
 
 The diptych is in two oblong fquares connected by a hinge. They 
 are both grounded in tranflucent enamel. In the right hand two fmall 
 figures of filver-gilt reprefent the Annunciation. The archangel 
 bends, and a pot of lilies executed not in relief, but on the ground in 
 enamel, is before him. The bleffed Virgin receives him ftanding, one 
 hand extended. The body is refting on one foot in the attitude common 
 to the large fculpture of France in the 14th century. The background 
 is blue, with niches for the figures in enamel. Above the niches are 
 two fmall traceried windows, and through the glafs, which is green, 
 is feen the emblematic Dove, and a pencil of rays defcends obliquely to 
 the figure of the bleffed Virgin. All this is executed in enamel, only 
 the two little figures being in filver-gilt and in high, almoft full, relief. 
 
 The fecond leaf contains the fubjeCl of the coronation of the bleffed 
 Virgin ; fhe is feated with the Redeemer on a throne, and He is putting 
 a crown on her head. The background is in blue enamel, and two 
 arches or niches are reprefented, and over them two glazed windows in 
 enamel. In thefe are two nimbed demi- figures, one apparently of the 
 bleffed Virgin in a red drefs, when on earth ; the other, alfo in red, 
 reprefents the Redeemer, but the nimbus is too fmall to allow any crofs 
 to be diftinguifhed in it. 
 
 212 . ’74. 
 
Thirteenth Century. 
 
 4 
 
 r- 
 
 D 
 
 On the outfide are two panels funk within a rather deep border or 
 frame. The enamel with which thefe have been covered has perifhed, 
 but the lines can be diftinguifhed of a female faint in one, and of St. John 
 the Baptift, a long haired and bearded figure holding a fcroll in one 
 hand. Round the edge are gothic letters, difficult to read, but which 
 read as follows : 
 
 (free ^utito Jttt0s3ue a Bfo annunnamt nomen joneo 
 box eet y?bang et beefto earo factum e 0 t et fjalmabtt in 
 nobt 0 . 
 
 It has been fitted with a ring for fufpenfion. 
 
 The fcale of the figures is fmall, not above half an inch, and thofe 
 painted in the windows, reprefented by tranllucent enamel, fcarcely more 
 than half that height. As it is now, much of the beauty of this fmall 
 object is loft by the breaking away of the enamel. Originally, however, 
 the deep frame in which the two outer plaques have been funk has been 
 carefully defigned for the protection of the friable fubftance of the 
 enamel, as completely as the fame provifion is made for the principal 
 defigns by fhutting up the leaves. 
 
 * i4- ’74- 
 
 D IPTYCH : filver-gilt ; on the outfide St. Catherine and 
 St. Agnes in tranflucent enamel ; infide, the Cruci- 
 fixion, and a faint in high relief under gothic arches. French. 
 13th century. 3 in. by i-| in. Webb collection. 40/. 
 
 The outfide is painted with two faints, St. Agnes and St. Catherine 
 of Alexandria. The latter has her ufual attributes, the former a lamb 
 fawning on her 5 trees and a background of chequered green tranflucent 
 enamel. 
 
 The infide is divided into two cufped arch headings, with complete 
 architectural details. Under one is a fmall rood, our Saviour dead upon 
 the crofs, and St. Mary and St. John on either hand. The other contains 
 a fainted queen crowned, wrapped in a mantle, and holding two fmall 
 objects, one a book, the other fomething which has perhaps been broken. 
 It can but be a matter of conjecture who is reprefented. Thefe figures 
 are in filver-gilt in relief on blue tranflucent enamel. The leaves are 
 fattened with loops and a fmall pin. 
 
 The work is of the fineft defign of the 13th or early 14th century. 
 
4.6 Gold and Silver Smiths’ W irk. 
 
 3 - ’ 74 - 
 
 D IPTYCH : filver, chafed with the Annunciation and the 
 Nativity, and the Virgin and Child and the Cruci- 
 fixion in high relief on enamel infide. Legends on the edge. 
 French. Late 13th century. 2^ in. by i-| in. Webb 
 collection. 40/. 
 
 The ftiape is an oblong fquare with the corners cut off ; when open 
 it contains two fubjeCts in relief. On the right leaf is reprefented the 
 bleffed Virgin crowned and enthroned, holding the Infant Saviour in 
 her arms. Two figures of flying angels fpread their wings fo as to 
 form an arch over this group ; the background is blue enamel. On the 
 left is the Crucifixion ; the crofs is plain, the bleffed Virgin and 
 St. John ftand on either fide, and at the foot of the crofs is the emble- 
 matic Dove. Two figures of flying angels iffue from the fides of the 
 panel, and hold chalices under the Redeemer’s arms to hold the blood 
 from his wounds. 
 
 On the back alfo two fubjeCts are reprefented, the Annunciation 
 and the Nativity. In the former the archangel kneels and holds a lily. 
 The bleffed Virgin is feated ; the archangel holds a fcroll on which are 
 the words Jttai’ia in gothic letters ; above is the Eternal Father 
 (the head and hands only). One hand holds an orb and the other is 
 raifed in benediction ; golden rays dart down from the mouth. Two 
 angels are incenfing, one on either fide. The nimbus and part of the 
 Virgin’s drefs are gold lines. 
 
 The Nativity : the bleffed Virgin and St. Jofeph kneel, and the 
 Infant Saviour lies between them. The fame emblematic reprefentation 
 of the Eternal Father is placed above, and he rays, nimbus, &c. are 
 of gold. Two angels fwinging cenfers as in the laft compofition. 
 Round the edge of the two leaves are the words in gothic letters : 
 
 £U) e fifnigne Xve ♦ Natue ex nwVivQine Horn time 
 
 nmte et J^ftte timte. duatifci Virgo jpta geitetm (Fomcutro 
 USarta ♦ ealbe regitta tmemcottota. 
 
 2,2,g-229r . '74. 
 
 N INETEEN Plaques: filver-gilt, with facred fubjeCls 
 in tranflucent enamel. Decorations of fome larger 
 objeCb. French (?). 13th century. Largeft, if in. fquare; 
 fmalleft, \ in. fquare. Webb collection. 50/. 
 
Thirteenth Century . 
 
 47 
 
 Thefe are fmall plaques of tranflucent enamel of various fhapes 
 that have formed parts of the decoration of a fhrine or reliquary, but 
 they are not a complete feries. 
 
 Four of the largeft reprefent the evangelifts. The figures are 
 firmly drawn and well put into the fpace they occupy. 
 
 Two angels kneeling (demi-figures), with their arms eroded in adora- 
 tion. A figure of the Agnus Dei holding a eroded banner ; our Lord 
 fhowing His wounds, perhaps part of a compofition reprefenting the 
 incredulity of St. Thomas. 
 
 Four lozenge-fhaped plaques with figures of angels, one, fquare, 
 covered with dower fcrolls, and pierced as if for a key. 
 
 Four fmall plaques with foliage. 
 
 An heraldic fhield, bearing gules, two lions rampant conjoined, or. 
 
 A fhield curled up, on which is a rood with the bleffed Virgin and 
 St. John on either fide minutely drawn and painted. 
 
 si 9- ’74* 
 
 M EDALLION : copper, enamelled with Herod and 
 Herodias with the head of St. John the Baptift, in a 
 filver-gilt rim. German. 13th century. Diam. 2 ^ in. Webb 
 collection. 20/. 
 
 This badge or furface of a clafp is painted in champleve enamel, with 
 two bufts, both to the waift, Herod and Herodias. He wears an 
 imperial hat, a red mantle, orange hood lined with green ; fhe wears a 
 red drefs with green fleeves, puffed and decorated with lumps in relief 
 reprefenting jewels ; a white flower is ftuck in the bofom ; fhe is veiled 
 in green and wears a crown ; in one hand fhe holds a difh containing 
 the head of St. John the Baptift, and with the other fhe is picking at 
 the eyes with a knife. 
 
 3i 7- ’74- 
 
 R ELIQUARY : filver-gilt, circular. St. John the Baptift 
 in tranflucent enamel on the front ; St. George and the 
 dragon on the back. French. 13th century. Diam. in. 
 Webb collection. 30/. 
 
48 Gold and Silver Smiths Work. 
 
 This fmall reliquary has been hung on a fhrine or has been made for 
 wear as a perfonal ornament. It forms a flat round cafe with corded 
 filver firing on the edges. On one fide is painted St. John the 
 Baptift in tranflucent enamel. He holds in his hand a round plaque, 
 on which is the Agnus Dei ; the ground is coloured blue. On the other 
 fide is St. George flaying the dragon, executed in hammered work. 
 He holds his fword over his head to {trike, is drelled in plate armour, 
 and from the fleeves of his furcoat are cords forming decorative knots. 
 The princefs is kneeling beyond. 
 
 The narrow top Aides out and is kept in place by a pin ; within 
 there is room for relics. A ring on the top enables this to be hung to 
 the collar or chain round the neck. 
 
 ELI QU ARY : filver-gilt, fquare, with architectural or- 
 
 nament and enamel, lettered. German. 13th century. 
 i\ in. by in. Webb collection. 40/. 
 
 In the form of a fquare cafe or box. On one fide is an arch fup- 
 ported by little buttreffes at the fides, and furmounted by open tracery : 
 a border of minute quatrefoil ornament furrounds the whole. On one 
 fide is reprefented a knight mounted on a cream-coloured horfe. He 
 is in plate armour, over which a red furcoat is worn ; the helmet is 
 mantled with blue. He is receiving his lance from a lady who is on a 
 battlemented bartizan, with a gateway underneath. The ground is filled 
 in with green diaper. 
 
 On the other fide a knight drefled in a pilgrim’s gown and hat is 
 riding in queft of adventures. He meets a favage man covered with 
 hair and armed with a club ; he ftrikes this enemy with his lance, 
 which is held by the middle. The knight has a heart-fhaped fhield. 
 
 The cafe is of fufficient thicknefs to have room on the fides for the 
 letters, on one, AVE MARIA 5 on the other, GRACIA PLENA, in 
 Lombard capitals. The top Aides open, and has a ring for fufpenfion ; 
 the furface of this part is diapered with chafing only. The bottom 
 is engraved with a figure of the wild man afleep. Thefe figures 
 have a moral fignificance, and are emblematic of knightly virtues and 
 the fins againft which they will have to do battle. 
 
 2l8. *74. 
 
Fourteenth Century . 
 
 49 
 
 7148. ’60. 
 
 T RIPTYCH : filver, with the bleffed Virgin and Holy 
 Child, with two angels and the twelve apoftles on the 
 wings painted in tranflucent enamel. Italian. 14th century. 
 H. 4-f in., W. 6J in. 1 10I. 
 
 The fbape is plain, like a book, opening with two ftiutters. On 
 thefe there are two armorial achievements. On the two fhields are the 
 following charges : — Right : a fifh in fefs ; helm’and creft ; three feathers 
 iffuing from the back of a fifh. Left : a lion rampant ; for a creft a 
 demi-lion rampant iffuing from a mural crown. 
 
 Infide are three arches cufped and furmounted by canopies with 
 turrets and pinnacles. On a green ground is the bleffed Virgin feated 
 on a throne, with a curtain fown with fleur-de-lys behind her. She is 
 crowned, and is draped in an ample blue mantle lined with red. She 
 holds the infant Saviour on her knees. His foot is lying on one of 
 her hands, with the other fhe fupports Him ; His hand is raifed in 
 benediction. In the fide arches ftand two angels draped in gowns ftriped 
 red, purple and gold, and they are blowing trumpets. Curtains at the 
 fides, green, fown with fleur-de-lys. 
 
 The lower portion of the middle is divided into fmall panels fur- 
 mounted by a border of quatrefoils filled with enamel. Two quatrefoil 
 panels in the centre contain each the figure of a cockatrice fighting. 
 The fpandrils are green and are filled with animals, fome of them in the 
 minuteft proportions. The largeft of thefe are two rabbits about a 
 quarter of an inch long, and four others are not more than one-eighth 
 of an inch each. 
 
 The two fpaces below the angels are panels of red enamel contain- 
 ing fix figures, with a blue fleur-de-lys and a little fquirrel in gold 
 coloured enamel fitting in each. Rows of little pointed architectural 
 windows fill up the fpace below, each painted with bright colours in 
 enamel. 
 
 The doors or ftiutters are furmounted by canopies with pinnacles 
 and turrets as well as the middle. The arch itfelf is formed by archi- 
 tectural mullions and tranfoms into a twelve-light window, fix on each 
 fide, and the lights filled by figures of the apoftles, St. Paul being 
 one ; the remainder are diftinguifhed by their appropriate emblems. 
 A little border of fmall X-fhaped ornament furrounds each part of the 
 triptych infide and out. 
 
 36105. 
 
 D 
 
50 
 
 Gold and Silver Smiths W ork. 
 
 The colours of the enamel are blended and contrafted with great 
 care, particularly in the canopies, the drelTes of the angels, apoftles, &c. 
 The little panels, fpandrils and window lights are arranged fo as to 
 break the colour in the way required by the artift, and the lines of 
 drapery, outlines of figures and forms, and all parts of the linear defign 
 are examples of the beft drawing of the period. Even the minute 
 fpaces in the fpandrils have not been negleCted, as may be gathered 
 from the defcription of the tiny animals placed in them to help to blend 
 the colours together and to enrich the general compofition. 
 
 4508. 58. 
 
 P LAQUE : tranflucent enamel on filver. Half-figure of 
 St. Paul. Italian. 14th century. H. i\ in., W. \\ in. 
 
 il. 8 j . 
 
 This has formed one of a feries. St. Paul is reprefented in half 
 figure. He is in green, with a mantle of yellow, has a green nimbus 
 behind his head, and holds a filver /word with a gold hilt over his 
 fhoulder in his right hand, and a book in a fold of his mantle in the 
 left. The expreffion of the face is earneft and even dignified. The 
 background is blue. 
 
 All the drawing is firm, careful, and fhows the fkiil of a good 
 draughtfman. Portions of the enamel have broken away. The whole 
 is enclofed in a pointed arched frame of gilt metal. 
 
 4278. ’ 57 * 
 
 G IRDLE or Belt : cloth of gold, with gilt buckle and 
 pendant, chafed, pierced and mounted with niello. 
 Italian. 14th century. L. 5 ft. i\ in., W. 2-f in. 40/. 
 
 A waift belt of red filk mounted with fine filver-gilt edges and buckle 
 The material itfelf is red woven with gold tiflue. The buckle has two 
 tongues, and the loop of it is enlarged on either fide of them. The front 
 finifhes with a blunt projecting point and a piece of delicate ornament 
 in niello : the edges are bound with corded gold twift, and the broad 
 

 Fourteenth Century . 
 
 
 plate to which the buckle is attached has had two half circles of niello 
 with the legend VIRTVS VIN. in the one remaining; the other 
 is loft. The end that pafles through the buckle is ornamented in a 
 fimilar manner with a roll of pierced foliage beaten about with much 
 grace and delicately chafed. A Afield worked in niello bears three 
 barrulets in fefs between rays of light and a plate, argent. The tongue 
 holes are formed by plates riveted through the filk and beaten into little 
 fix-foiled flowers. 
 
 7546. ’6[. 
 
 R ELIQUARY : gilt copper, hexagonal, fupported on 
 columns with a pyramidal roof, and the Item and foot 
 encrufted with enamels. Italian. 14th century. H. 1 ft. 3^ in., 
 diam. of bafe, 5 in. 50/. 
 
 An architectural ftirine, with eight Tides fupported by coupled 
 columns at the angles. The Tides are gabled with a crocketing of 
 fpikes and ball, under each gable is a trefoiled arch, and a low gallery 
 of quatrefoils on a fmall fcale from angle to angle on the bafement of 
 the ftirine. Above the columns are buttrefles which feparate the eight 
 gables. The whole is furmounted by an upper ftory. 
 
 The higher portion refts on an arcade of eight double windows, with 
 trefoil openings over each couple. Thefe, as the arches below, are 
 under gables, lying flat againft the Tides of the upper ftory, which are 
 furmounted by battlements. 
 
 The covering is a fpire of eight Tides marked with lines to reprefent 
 tiles. A floriated finial and a croTs finifti this portion. 
 
 The under fide of the ftirine is decorated with enamel : over and under 
 the knop are fquare plaques of blue tranfiucent enamel, one on each of 
 the eight Tides of the ftem ; each plaque has a quatrefoil ornament. On 
 the knop are acanthus leaves in gilt metal and eight roundels on the 
 edge, coloured with blue enamel, and with a fmall monfter on each. 
 
 The foot is in eight lobes or femicircles, with angular projections 
 between. On the furface of each lobe is a quatrefoil filled with blue 
 enamel, and a dragon. Round the edge of the foot are thin moulding 
 lines with balls or beads of metal work between them. 
 
 D 1 
 
52 
 
 Gold and Silver Smiths W ork. 
 
 5 5 8 - ’ 6 4 - 
 
 ELIQUARY : filver-gilt, oblong, with ring for fus- 
 
 penfion, lettered with titles of relics in enamels. Italian. 
 14th century. L. if in. 1 l. 12s. 
 
 The form is that of a Ihort fquare Tided bar, with a ring for fufpen- 
 fion. On the Tides are letters fhowing what the contents were 
 
 ELIQU ARY : copper gilt, and enamelled, fquare, Hand- 
 
 ing on four legs, the outfide chafed with figures of 
 faints, and with others over them in relief. On the cover 
 St. George and the dragon in enamel. Englifh. 14th century. 
 H. 5I in., L. 4I in., W. 2§ in. 30/. 
 
 This is aTmall chaffe oblong Tquare in lhape, Hands on feet, and has 
 a conical top. It is of two dates. The front has been rudely chafed 
 with a reprefentation of St. George flaying the dragon on the right, and 
 a Virgin and Holy Child to the left. She is feated on a throne, and 
 Teems to hold a lily or fceptre in her hand. Both theTe reprefen- 
 tations are to a great extent hidden by fmall figures in gilt metal in full 
 relief which Hand in front of each of them, fupported on fmall gilt 
 brackets and faftened to the fide of the reliquary. In front of St. George 
 is the figure of St. Laurence with a gridiron, and in front of the blefled 
 Virgin and Child a figure of the fame perfonage. On the Hoping roof 
 or lid is the fubjeft of St. George and the dragon over again. It is 
 rudely chafed and filled in with opaque red enamel. 
 
 On the fquare ends are two figures, on one fide a fainted queen 
 holding a model of a church, perhaps St. Helena. Above her, on 
 the hipped end of the roof, is the demi-figure of a fainted bifhop. On 
 the oppofite end is a venerable bearded figure, the head uncovered 
 and with long hair. He holds fome objedl, not diftindl, in his left hand. 
 Above, on the roof end, is a final! full-length figure of a man in an open 
 coat. 
 
 RELIQU 
 IA SCL. 
 
 LEONARDI CREMONA!. 
 
 634. ’70. 
 
Fourteenth Century. 
 
 53 
 
 At the back the fquare fide is covered with a rudely chafed ara- 
 befque ornament, and a ring flips in a loop welded to the metal work. 
 The top is without ornament. 
 
 The figures are of later date than the chafing, and are not all 
 either of one fize or by the fame hand ; that of the bifhop on one end 
 of the roof is on a larger fcale and the correfponding figure on a 
 fmaller than thofe of the lower part, the Tides or the ends 
 
 22 1. ’74. 
 
 M ORSE : painted with the Annunciation, in tranflucent 
 enamel on filver, in gilt copper mount. Italian (Siena ?). 
 14th century. Diam. 3^ in. Webb collection. 60/. 
 
 A flat plate reprefenting the Annunciation, painted in tranflucent 
 enamel. The blefled Virgin is feated under a temple, with arches fup- 
 porting a pediment. She is on a throne, is in a red drefs, wrapped over 
 with a blue mantle, wears a veil and has behind her head a yellow 
 nimbus. Before her kneels the archangel in a drefs now white, but 
 from which the red colour has perifhed : a green mantle, bordered with 
 gold and lined with pink, is difpofed in abundant and graceful folds 
 round this figure. The right hand is raifed in benediction. 
 
 Eight cufps furround the circle ornamented with red enamel and 
 gold, and the whole is enclofed by a border with granulated bofles of 
 metal on it. There remains only this outer plaque or furface from 
 which the clafp itfelf has been feparated. 
 
 244 - ’ 74 - 
 
 C ROSS, Proceflional : wood, the fides cafed in filver, the 
 back with gilt copper, chafed, and the front covered 
 with filver-gilt foliage open work fet with precious ftones. In 
 the limbs are four fmall reliquaries and miniatures. Italian (?). 
 14th or 15th century. 20-| in. by 14^ in. Webb collection. 
 100/. 
 
 The lower part of the ftem of this crofs is longer, and the arms 
 are fhorter than the upper portion. All four members finifh with fleurs- 
 de-lys. The front furface is covered with a plate of filver-gilt, over 
 which runs a vine of carefully wrought goldfmith’s work, which curves 
 and rolls over the entire furface. Each fleur-de-lys has a gem or cryftal 
 fet in each of its lobes, and a round central medallion painted on parch- 
 
54 Gold and Silver Smiths Work . 
 
 ment enclofed in a thin flice of cryftal. The fubje&s of these fmall 
 medallions begin with the left arm : — The Nativity : the blefled Virgin 
 in a bed, and the Holy Child in a fmaller cradle above, St. Jofeph 
 looking on, the ox and afs in the background. Right arm : the mother 
 and Son, the blefled Virgin, holding the Holy Child in her arms, feated 
 on a curule chair, the ends richly ornamented. Lower medallion : the 
 fcourging of our Lord ; He is bound to a pillar and two executioners 
 are fcourging Him. Upper medallion : the Refurrection ; two Marys 
 approach the holy fepulchre, which is open, an angel is feated on the 
 edge. He points to the place whence the Saviour has rifen. 
 
 The four members meet in a fquare block in the middle of the 
 crofs, on which a fmall fil ver-gilt or gold crofs is fattened ; it is 
 fmooth, has a fapphire mounted in the middle, and the front of it opens 
 with hinges. It has been fo made to contain relics. On it are the 
 letters, jj. ttl, Jj* p. (ave Maria beata Virgo ?). 
 
 On each of the four members of the crofs are two ftones, a rough 
 amethyft and a carnelian, with fpace between for a fquare cryftal fet on 
 the furface of the crofs to cover relics. Four legends in parchment, 
 in black letter, with rubricated names, contain the headings referring 
 to thefe relics : 
 
 i : Dr rap iUi0 ft ram 10. utia Sr. Pg. Hrltgm UamPFi 
 IHarri rPang. Pr 0angtr g. glrpljatti ptf), &gnrtt0 P, 3 Sar= 
 tfjolomri, xpo0t, grr. cxmliar, Pgi0. 2 : Dr 0angutnr a. 
 maitaPit Pr ligno rrurt0, Pr g, J^Prtaito, Pr g. <ftri0ttua, Pr 
 Dtoimto, Pr 0fpulrro Pr, iBattar Pttg. 3: Mrligi g. 
 UfKlippt, g. JMaurtrii, g. SJmtliT, P,, g. Swift*, g. 
 l?arPara% Pr ram,, g, Hurirr, Pg,, Pr g, gtrppano ptpomar., 
 Pr g. Ntrolar, rf. 4 : lirltguta Pr g, xtnPtra, ap0’rt., Pr 
 g, £*rgiPto, Pr g. gymonr <Hp0’o„ Pr g, fLaurrntio, Pr g. 
 P?ulPrrto rt Pr altt0 pluttm. rrltquu0. 
 
 The reverfe is covered with filver-gilt plates, all richly decorated 
 with chafing. Along the four members of the crofs runs a flowing 
 fcroll of three-leaved work, very long and narrow in the lobes, the ends 
 of which are fharply turned up. The background is grained. The 
 central fpace, correfponding to that on which a fmall crofs is fuperim- 
 pofed on the front, is engraved with a medallion, on which is Chrift 
 enthroned in majefty. In His left hand He holds a globe, and with the 
 right He gives benediction ; the figure is bearded, and has long hair. 
 In the four fleur-de-lys at the ends are four medallions, in which are 
 engraved the fymbols of the four evangelifts. At the bottom of the 
 crofs is a fpike to fit into the focket of a proceflional ftafF, 
 
Fourteenth Century . 
 
 55 
 
 4687. ’58. 
 
 R ELIQUARY : rock cryftal fupported on ftlver-gilt 
 
 columns, with pinnacles, canopy work and four figures 
 in relief. French (?). 14th century. H. in., L. 6 \ in., 
 W. 3f in. 40/. 
 
 The ends of the framework are architectural frontifpieces fupported 
 by pinnacled buttrefles, and divided into two fmall gables each. The gables 
 cover cufped arches, and under the arches are figures in gilt metal in 
 relief. Two angels are on one fide, and in the correfponding pofitions 
 figures of the blefled Virgin kneeling at a faldftool and St. Jofeph. 
 Thefe figures have probably been loofened and replaced, and the angel 
 in one inftance is intended for a compofition of the Annunciation, and 
 in the other for the warning given in the dream. The angels have 
 been placed both on one fide, and one of the other figures is in the 
 wrong place. 
 
 The arcades Hand on four fhort columns, with capitals and other 
 architectural details. They are fixed on a fquare bafe, in the middle 
 of which is a round medallion containing a blue quatrefoil figure made 
 by four interfeCting femicircles, with trefoils of white on a green ground 
 in cbampleve enamel. 
 
 The horizontal cryftal vafe is polygonal and is kept in place by two 
 mountings, one at each end. There is a horizontal band of metal 
 running from end to end above the cylinder to conneCt the ends with 
 one another, and pierced on the top with a crefting of fleur-de-lys. 
 
 2 33 - 74 * 
 
 C HALICE : fllver-gilt, the bowl plain, the knop orna- 
 mented with armorial bearings, and the foot with me- 
 dallions of the Crucifixion and the fymbols of the evangelifls 
 Italian, 14th century. H. 8f in., diam. of foot, in. 
 Webb collection. 50/. 
 
 The cup, egg-fhaped, held in an outer calix notched with round and 
 pointed foils alternately ; the Item round and chequered in lozenges, 
 covered with tranllucent enamel, now gone. 
 
 The knop has five fhields above and five below its central line. 
 They contain, 1, bendy of fix, or and argent; 2, chevrony of fix, or 
 and argent ; 3, bendy and counterbendy of fix, or and argent and 
 
 repetitions of thefe fhields. 
 
56 Gold and Silver Smiths W )rk. 
 
 The foot has a circle of angels in relief round the fpring of the 
 ftem, and circular medallions on the furface, one filled with the Cruci- 
 fixion, and the others with attributes of the four evangelifts. The 
 fpace round the crucifix is filled with arabefque ornaments, and 
 between the medallions there are fcrolls of bold filigree work in filver- 
 gilt. 
 
 The plan of the foot is round, and it has a band of milled work 
 round the edge. 
 
 234 - ’ 74 - 
 
 C HALICE ; filver-gilt, the bowl plain, the knop pierced 
 and with the name JHESVS in projecting enamelled 
 medallions, and the foot fix-lobed. Italian. 14th century. 
 H. 6 f in., diam. of foot, 5 I in. Webb collection. 40/. 
 
 An egg-fhaped cup held in a crown of delicate ftrawberry leaf orna- 
 ment. The ftem, over and under the knop, is fix-fided, with window 
 tracery panels on each face. The knop has fix medallions on the 
 circumference with the facred name JHESVS in Roman capitals, one 
 letter in each medallion, and a fet of two-light windows with three 
 circles of tracery over both, above and below, in the interfpaces 
 between the medallions. 
 
 The bottom of the ftem fits into a little tower with a battlemented 
 creft, open buttrefles on the angles, and two double-light windows with 
 pierced circles over, on each face. 
 
 The foot is fix-foiled, and has a quatrefoil ornament contained in a 
 circular medallion, chafed on one of the lobes. 
 
 The mouldings on the architectural features of the ftem are 
 unufually complete and faithful to the architectonic idea embodied in the 
 metal work. 
 
 236. ’74. 
 
 C HALICE : filver-gilt, the bowl and foot ornamented 
 with openwork, the knop with fix diamond-fhaped 
 projections. German (?). 14th century. H. 6f in., diam. 
 of foot, 4-y- in. Webb collection. 50/. 
 
 The cup itfelf is round, held in a fhallow outer calix, with pro- 
 jecting crefting of rich foliage, hammered into alternate tall and fhort 
 leaves, the taller raifed on Items as on a coronet. 
 
Fourteenth Century . 
 
 57 
 
 The Item is fix-fided ; the knop has lozenge-fhaped projections ; 
 the foot is fix-foiled, and a band of minute pierced quatrefoils in three 
 rows forms the edge. 
 
 7952. ’63. 
 
 P ASTORAL Staff (the knop and Item) : the head carved 
 in ivory, coloured and gilt, with a knop and portion 
 of the ftaff in beaten metal. French. Head 13th, metal- 
 work 14th century. H. 8|- in., W. 4 .^ in. Soltikoff collection. 
 265/. 
 
 The portion of the ftem below the knop is diapered with beaten 
 metal work, each lozenge filled with four acanthus leaves curving from 
 a centre. The knop is a fix-fided arcade, each fide buttrefled, gabled 
 and backed behind the gable with tracery. Each gable covers a canopy 
 containing the image of a faint, viz., St. Peter, St. Paul, St. Bartholomew, 
 St. James the lefs (with a fuller’s club), St. Agnes, and St. Coecilia. 
 
 The head is older in date, of ivory, and has been painted and gilt, 
 though traces only of this decoration are now difcernible. It is fix-fided 
 and crocketed all the way up and round the curve of the volute. The 
 lower reverfed curve is formed by a carved angel, kneeling on a bracket. 
 
 Infide the circle are two carvings, back to back. On one fide 
 a Crucifixion; on the oppofite fide the blefled Virgin, crowned and 
 holding the Infant Saviour, treads the dragon under her feet. 
 
 The ivory carving is defcribed by Mr. W. Mafkell, Ivories, &c., 
 South Kenfington mufeum, and it has been publifhed in chromolitho- 
 graph, full-fize, by the Department. 
 
 48. ’67. 
 
 T RIPTYCH : filver, in a frame of gilt bronze, with fcenes 
 from the life of our Lord and the blefled Virgin 
 painted on both fides in tranflucent enamel. Italian or French. 
 14th century. H. 3 in., W. 5 in. 100/. 
 
 This fmall triptych is covered with tranflucent enamel, and has both 
 infide and out a feries of defigns which cover the entire furface of the 
 metal ; it is furrounded by a border of fmall beads of filver, and the 
 
58 Gold and Silver Smiths Work . 
 
 middle part contains three fcenes from the life of the Redeemer, of which 
 the top compofition is the laft in order of hiftory. It reprefents the 
 defcent of the Holy Spirit on the day of PentecoH ; the blefled Virgin, 
 with arms fpread, is in the middle of a group formed by the twelve 
 apoftles. The fpace is formed into a broad arch by cufpings filled 
 with a fcroll ornament in the two corners. The field on which the 
 figures Hand is green, and the fpace around blue. 
 
 Below, to the right, the Crucifixion, SS. Mary and John on either 
 fide of the crofs ; they are in red, with green mantles ; a long cloth 
 cinCture is round the loins of our Lord’s body. Left : the defcent 
 from the Crofs, St. Jofeph of Arimathaea, on a ladder, holds the body 
 of the dead Saviour, Whofe left arm falls heavily over the fhoulder of 
 St: Jofeph ; Nicodemus helps the defcent from the crofs ; a third 
 figure kneels below and reverently fuflains one of the feet. This com- 
 pofition is enclofed alfo under a low arch formed by cufpings in the 
 two corners of the fpace. 
 
 On the right door is the Annunciation : The blefled Virgin fits 
 draped in blue with a red mantle ; the archangel Hands, a pot contain- 
 ing a tall lily is on the ground between the two. Lower compofition, 
 the Nativity: The blefled Virgin is in bed with a blue coverlid over 
 her, falling in rich folds of drapery ; the Child is in a fmall bed beyond 
 or above ; the ox and the afs are feen beyond, of a gold colour. 
 
 Left door : St. Anne and the infant Virgin ; the former wears a 
 pink drefs covered by a mantle of green, is veiled and has a nimbus ; 
 the blefled Virgin Hands before her holding a book ; Hie is in a long 
 clofe-fitting drefs with loofe fleeves attached. Below : St. Catherine of 
 Alexandria, wrapped in a green mantle, and holding a wheel of golden 
 colour ; befide her is St. Margaret, in white, with a mantle ; fhe holds 
 a crofs in one hand, the foot of which Hie thruHs into the mouth of a 
 dragon below. 
 
 Outfide, the back of the middle contains four compartments, the 
 lower two form but one fcene, viz., the Adoration of the Magi. The 
 blefled Virgin fits on an architectural throne, the drawing of which is 
 carefully detailed, decorated in red and gold colour and on a green 
 chequered background. She is crowned, is in a white drefs, over which 
 a blue mantle is gathered in ample folds, and on her knees Hie fupports 
 the Holy Child. In the other compartment are the three Magi ; one 
 is kneeling and offers a cup, the two others are Handing. Portions of 
 the enamel have been deHroyed in this compofition, but it can be feen 
 that the mantles have been red. 
 
 , Above this fcene is the Aflumption : the Virgin is enclofed in a 
 vefica ; fhe is crowned, wears a red mantle and her hands are folded 
 
Fourteenth Century. 
 
 59 
 
 together. Two angels in the air above wait to receive her, two ftand 
 below and a fifth kneels in the foreground. The reft of the fpace is 
 occupied by the Coronation of the Virgin. The Saviour and the Virgin 
 are feated on a throne, of which the architectural details are carefully 
 made out as in the laft inftance, though it is not above half an inch 
 in height ; both figures are crowned ; He touches His mother’s head 
 with His right hand. 
 
 Right fhutter ; lower reprefentation, the RefurreCtion ; our Lord 
 rifes out of the tomb wrapped in a red mantle, holding a crofted banner 
 and with a vermilion nimbus behind His head ; two angels kneel and 
 incenfe Him. Two guards are lying afleep befide the fepulchre,’ one 
 holding a battle-axe ; they both hold fhields, one charged with five balls 
 the other with a fret. Upper reprefentation ; the Harrowing of Hell : 
 our Lord holds a crofted banner in one hand and with the other draws 
 forth Adam from limbus. 
 
 Left fhutter, the Scourging of our Lord : He is bound to an 
 
 upright column, and two men are fcourging Him. Underneath is the 
 Saviour carrying the crofs, with two other figures, one in a hood carrying 
 three nails ; another in yellow, with a grey hood, holding a hammer and 
 pufhing our Lord forward. 
 
 This fmall piece is defigned with great fkill throughout thefe nume- 
 rous compofitions ; fmall as the fcale is, all.the figures and draperies, as 
 well as the fmall architectural details, are carefully carried out, and the 
 variety and arrangement of the colours has been maintained with equal 
 care throughout the whole. 
 
 4013. ’52. 
 
 C APITAL of a Column ; gilt bronze, probably part of 
 a tabernacle or reliquary. French. 14th century. 
 H. if in., W. 2 in. by if in. 2/. 
 
 A fpreading capital forming the angle of an arched opening. The 
 leaf work is in two tiers, the upper leaves long, and with a great fpread. 
 It has the character of the capitals of the early pointed ftyle in France. 
 
 There are two pieces of foliage attached to two corners on one fide, 
 feeming to have ferved to join the piecq by rivets to the mafs or 
 objeCt, of which it is a fragment. 
 
 It has probably formed part of a reliquary or tabernacle. 
 
6o 
 
 Gold and Silver Smiths W irk. 
 
 4903- 59- 
 
 C HALICE : filver-gilt. On the bafe are four medallions 
 containing Scripture fubje&s, with figures in hammered 
 work. French. 14th century. H. 6f in., diam. 5^ in. 
 25/. 
 
 The cup has ftraight funnel-fhaped Tides. The Item is thin, the 
 knop unufually large, being as prominent as the mouth of the cup. 
 Round the circumference of the knop are ten lozenge-fhaped pro- 
 jections. On the foot there are four circular medallions, and the 
 fpandrils between the points of contact are filled with bold acanthus 
 fcrolls in the Rhenifh* Byzantine ftyle. 
 
 In thefe medallions there are four compofitions : 1. The Annuncia- 
 tion ; both figures are Handing, the drefs of the archangel is a loofe 
 frock or tunic knotted above the ankle to fhorten the length and fhowing 
 the aCtion of wind. 2. The Nativity ; the blefied Virgin recumbent, 
 the Infant laid in a fquare manger with the ox and afs befide it, and 
 St. Jofeph kneeling by the fide. 3. The fcourging of our Lord ; He is 
 bound to a thin poft or column, and two executioners are fnown, one on 
 either fide. 4. The Crucifixion ; a rood, St. Mary and St. John demi- 
 figures, on either fide of the crofs. 
 
 3 95- ’72. 
 
 T MAGE of the bleffed Virgin : filver-gilt, holding the 
 
 Redeemer on a fix-fided bafe. French. 14th or 15th 
 century. H. 7 Jr in., L. of bafe, i\ in. Webb collection. 70/. 
 
 The blefied Virgin Heps forward on the right leg. Her drefs is 
 fattened over the breaft by a fmall jewel ; the mantle is gathered under 
 the left arm, on which the Infant Saviour is fupported. He is in a long 
 tunic, one arm is round the neck of His mother, one ftretches to a 
 fruit which is held forward to Him in her right hand. She is crowned, 
 has a veil, and flowing trefles of hair. 
 
 The bafe is fix-fided, and round the edge is an elegant moulding of 
 leaves of beaten work with fquare jewels at intervals. 
 
 The heads and draperies are gracefully compofed, and it has much 
 the character of No. 1 198. ’64. 
 
fit Li cu Arv V I M ROCK CRySTAL A NO Cl LT •COPPER . DECOR^eo with niello-work and 
 GC.M S- I + CEJNTU Ry-HA.Lr-SI?E By S CA Lt- CSCMJl&'K OFF COLL-) S*K.M IN07945>.J S-COF.PEL r EC IT . 
 
Fourteenth Century. 
 
 6 1 
 
 1198. ’6 4. 
 
 I MAGE of the blefted Virgin and Child ; filver-gilt, 
 on an hexagon bafe fet with ftones, and mounted on a 
 pedeftal, ftanding on three wyverns. French (?). 14th cen- 
 tury. 1 6th century pedeftal. H. iof in., W. 5^ in. 38/. 
 
 The mother hands on the left leg, and fupports the Holy Child on 
 her left arm. The hair is parted acrofs the forehead and flows down on 
 either fide of the face. She is crowned, and part of the head is covered 
 by a veil. She wears a mantle fattened by a cord acrofs the breaft ; 
 the folds are gathered under the left arm. In her left hand Ihe holds a 
 flower, to which the Infant Saviour ftretches out one hand, while He 
 puts the other round the neck of His mother. He is dreffed in a tunic 
 reaching to the feet. 
 
 The pedeftal is fix-flded, and in the hollow moulding of the fides 
 of it are fix fmall jewels, each fet as a flower with four leaves of beaten 
 work radiating from it. The bafe refts on three winged wyverns. 
 
 The crown is compofed of Items branching into fmall three-leaved 
 flowerets. 
 
 The pofe of the figure, as well as the delicate oval Ihape of the 
 face and the fmile on the lips, remind us of fo many French works of 
 fculpture of the late 14th and early 15th century. The attitude is con- 
 ventional, partly in accordance with well recognized rules of the fculptors 
 of the period, often graceful, if occafionally exaggerated into affectation. 
 
 The crown and leaf work are beautiful pieces of decorative gold- 
 fmith’s work. 
 
 7946. ’62. 
 
 R ELIQUARY : the bafe of copper-gilt, ftands on four 
 figures, the edges fet with thin enamel and gems, 
 the upper furface embofled with legendary fubjedts. On 
 it a femicircular glafs reliquary, and above this a church- 
 fhaped reliquary fet with filigree, niello, and gems. French (?). 
 
62 
 
 Gold and Silver Smiths Work , 
 
 14th century, H. 13^ in., W. \\ in. Soltikoff collection. 
 
 1 3°l- 
 
 It is made up of two feparate parts : firft, an architectural fhrine 
 raifed on the top of a farcophagus. The farcophagus is oblong, has 
 eight double arches along the fides, and a projecting cornice above and 
 below. The furfaces are all flat, and thofe of the cornices covered 
 with metal work beaten into fmall flowers, with curious pieces of filver 
 niello ornament laid on at intervals over the reft of the work ; two on 
 the upper and two on the lower cornice of each fide. 
 
 On the top of this is a fquare gable-topped panel, with two round 
 turrets or turret-fhaped buttrefles, one on each fide. The furface of 
 the middle part is covered with filigree work in filver, and in this are 
 fet a number of cryftals and precious ftones. The middle is filled by 
 a cafe faced with cryftal fet in a frame of gilt metal with fleur-de-lys 
 edging. This has been prepared to hold relics. 
 
 The turrets at the angles are pieces of rock cryftal fet in frames of 
 delicate metal work, making minute arcades round the top and bafe. 
 They are topped by conical roofs of metal work. 
 
 At the back of the centre panel are the Hefted Virgin and Infant 
 Saviour enthroned. 
 
 Under the farcophagus is a half circle of glafs (replacing cryftal) 
 hollowed out for relics. This is fet on a ftem covered with foliated 
 ornament. 
 
 The ftem and foot are part of another veflel. The bafe is fquare, 
 with fquare edges. Thefe edges are divided by two kinds of ornament. 
 Half of each edge has two fmall two-legged monfters on enamel 
 grounds ; half is beaten leaf work with fmall ftones in fettings on the 
 face of it. This divifion is feen on all the four edges. The furface 
 Hopes inwards in a flight concave to the ftem. On thefe four concave 
 furfaces are four compofitions not very clearly to be explained. They 
 illuftrate the legends of fome anchorite or fainted bilhop. 1. The lion 
 of St. Jerome ; 1 the faint is feated on an afs. A lion belonging to 
 the monaftery, and ufually lent out to protect the afs in his fervice to 
 and fro, having returned without his companion, which had been 
 ftolen, is made to bear the burdens of the afs by the monks. The 
 lion returns with the afs which had been ftolen by fome merchants, and 
 fhows its delight by fawning on the afs. A rider, the merchant who 
 
 1 Perhaps from Peter de Natalibus. See this ftory in Lindfay, Chrift. Art, vol. I., 
 cxlvi. 
 
Fourteenth Century. 
 
 6 3 
 
 had ftolen thej afs, is entering through the door of the monaftery. 
 2. A king throned, before him is a man kneeling and offering a reliquary. 
 Two women, ftanding, offer reliquaries, which are little architectural 
 fhrines. Three attendants bear chefts containing other offerings. 3. 
 A king is feated between two abbots at the entrance of an abbey, the 
 doors of which are feen richly fculptured with images, pinnacles, &c. A 
 bifhop or abbot draws a man out of the mouth of a well. 4. The 
 tonfure is given by a prelate to a youth (St. Auguftin ?), whofe mother 
 prefents him. Two bifhops are placing the mitre on the head of a man 
 dreffed in an alb. 
 
 One can only make conjectures as to the particular legends intended 
 in thefe compofitions. 
 
 Figured, Labarte, arts induftriels, plate XLIX. An etching of 
 it is here given. 
 
 ELIQUARY : a horizontal glafs cylinder fupported by 
 
 buttrefTes of gilt bronze, with an heraldic fhield in 
 enamel on the foot. French. 14th century. H. 1 1 in., L. 5 in., 
 W. 4 in. Bernal collection. 5/. $s. 
 
 Two flat architectural facades form the fides, with pinnacled but- 
 treffes and a gable to each. The gables are crocketed on the outfide 
 and engraved with arabefque ornament on the faces. A quatrefoil orna- 
 ment is on the plain metal, forming the principal part of each fide, and 
 in the middle is fet a fmall cryftal. To thefe centres are riveted two 
 circular plates, with fleur-de-lys rims to them, and in thefe a glafs 
 cylinder has been fupported, in which relics have been contained. 
 
 The fides which hold thefe two end fettings are connected by a plain 
 bafe ftanding on corner feet. On the middle of the bafe is placed an 
 enamelled^armorial fhield bearing : — bendy of fix, or and gules ; over all 
 a fifh in bend, or. 
 
 Above the cylinder the fides are connected by a third gable crocketed 
 and covering an opening of trefoil cufping. A horizontal crofs bar 
 fupporting a fmall crucifix that fills this centre arch has been added at 
 a later date (or may have replaced an old one). On the fummit of the 
 gable, as a finial, is a little image of St. Mary Magdalen. 
 
 2078. ’55 
 
64 Gold and Silver Smiths Work. 
 
 1148. ’64, 
 
 AX : a gilt metal tablet encrufted with champleve 
 
 enamel, in frame, fhowing on a blue ground the Holy 
 Trinity. On either fide is an armorial Ihield. French. 14th 
 century. H. 6 in., W. 3 in. 1 61 . 
 
 The colour of the enamel is blue, and on this ground is a repre- 
 entation in gilt of the Holy Trinity. A majeftic fitting figure, reprefent- 
 ing the Eternal Father, holds the crucifix, fupported by His two hands, 
 and the foot refting on His feet. Behind the head is a eroded nimbus, 
 and above are clouds of red and white enamel. -The Holy Spirit is 
 reprefented by the emblematic dove between. There are two fhields, 
 one on either fide of this compofition, bearing : to the right hand, — 
 ermine, three bars, gules : left, two coats per pale : dexter coat, the fame 
 as the laft : the finifter, quarterly, 1 and 4, the fame arms : 2 and 3, 
 gules, a crofled orb, or. 
 
 The enamel is fet in a frame fhaped as a pointed arch crocketed with 
 fharply cut leaves, and the top ending with a finial of foliage. 
 
 YX : gilt copper and champleve enamel ; cylindric. 
 
 with low domed cover, on which are butterflies and 
 dragons within circles ; round the drum are twelve faints 
 beneath canopies, upon grounds alternately blue and red, 
 diapered with gilt ftars. French. 14th century. H. 4 in., 
 diam. 4 in. 16I. 5 s. 
 
 The form is round with a fhallow covered top. The fides are 
 in twelve arched panels in enamel, alternately red and blue. Thefe 
 contain the twelve apoftles, holding fcrolls, not lettered. The top 
 is ornamented with an eight-pointed ftar of red enamel, having a 
 bull: of the Saviour in the centre, and eight cufped arches between the 
 points, each with a gilt monfter on a ground of blue enamel. Round 
 the knob of the cover are ornaments that look like a feries of fhields 
 with armorial quarterings, but this is not fo ; they are diaper work 
 only. The top is fitted with three buttons dropping into three flots in 
 
 182. ’66. 
 
dy 
 
 SKM 
 
Fourteenth Century. 
 
 65 
 
 a rim in the lower part. The bottom is enamelled with a feries of 
 circles, each containing a monfter of different fhape. A buff of the 
 Saviour is in the centre. 
 
 The enamel is coarfe and of foft confiftence. The box appears to 
 have been but little ufed, and has poffibly ferved to hold the wafers, 
 kept in a facrifty for the mafs. 
 
 P YX : gilt copper and champleve enamel ; cylindric, with 
 low domed cover, on which are dragons ; round the 
 drum are twelve faints under canopies. French. 14th century. 
 H. 4 in., diam. 3^ in. 1 . 61 . $s. 
 
 This is perhaps a box to hold altar breads or wafers for the mafs ; 
 it is round and ftands on a bafe of concentric mouldings. The top fits 
 on, and is fhaped like a flat dome. It is decorated with cloifonne 
 enamel ; the fides form a continuous arcade, each headed with a trefoil, 
 and filled alternately with a green and a white ground, ftarred ; and in 
 the arches are the twelve apoftles. They are in' metal, and are 
 defigned with much grace ; the nimbus is white in each cafe. The top 
 is alfo covered with enamel, and has four medallions, each containing a 
 griffin or dragon. 
 
 RUET : rock cryftal, with filver-gilt foot, neck, and 
 
 fpout, of 14th century defign ; the handle is partly 
 enamelled. French. 14th century. H. 8f in., W. \\ in. 
 
 The body is round, with a fquare handle. A rib or collar is left 
 round the root of the neck. The upper part of the neck is polygonal, 
 of filver gilt, and is chafed in double curves, each finifhed with a fleur- 
 de-lys. The edge is enriched with lines and a zigzag moulding, a 
 purchafe for opening ; it ends in two graceful volutes with acorn eyes, 
 and a fecond filver-gilt holding handle, ornamented with embedded 
 36105. e 
 
 183. ’66. 
 
 15. ’64, 
 
 120/. 
 
66 
 
 Gold and Silver Smiths Work. 
 
 enamel, is added above that made originally in cryftal. The fpout is a 
 fhort tube protruding from a lion’s head, of filver. 
 
 The foot is in fix round lobes, each chafed with cufpings. 
 
 The foot and upper filver work are connected by a chafed filver- 
 gilt band that fits to the furface of the cryftal. 
 
 An etching of it is here given. 
 
 106. ’65. 
 
 B OWL or Difh : filver parcel gilt, with a beaten work 
 defign of vine leaves and foliage. A dragon in 
 tranflucent enamel in the centre. French. 14th century. 
 Diam. 7^ in. 30/. 
 
 In fedtion this bowl is firft concave and towards the bottom convex, 
 but with a gentle curve in each cafe. The bottom is flightly beaten up. 
 A round medallion is fet in the middle wirh a dragon enamelled on it in 
 tranflucent enamel. Round this runs a graceful rim of vine ftern and 
 leaf, in curves rolling over on alternate fides on a rough ground. 
 
 The rim is beaten up with ftraight triangular patterns, each con- 
 taining trefoil culping, and with a fprig of three oak leaves in the outer 
 fpaces. 
 
 107. ’65. 
 
 B OWL or Difh : filver, with a pattern of trefoils and 
 foliage in beaten work, with a central medallion painted 
 in tranflucent enamel. French. 14th century. Diam. 85- in. 
 30/. 
 
 The fedlion of this piece is like that of No. 106. ’65. A medallion 
 is enamelled in the middle, in which is painted a lady leading a bear out 
 of a caftle gate. Round this, on the bottom, runs a rolling fcroll of 
 leaf work, turned firft to one, then to the oppofite direction. Round the 
 fides are fingie cufped arches in light relief with a fmall leaf ornament 
 to each arch, and a trefoil in each fpandril with a fmall fix-leaved flower 
 on either fide. There are leaf ornaments alfo to the points of the 
 arches. A very graceful and delicate piece of filver work, ufed for 
 fweetmeats. 
 
Fourteenth Century. 
 
 6 7 
 
 109. ’65. 
 
 B OWL or Difh : filver, quite plain. French. 14th 
 century. {See Bowl, No. 106. ’65.) Diam. 7J in. 
 
 ill. 
 
 The fedtion of this piece is like that of Nos. 106. ’65 and 107. ’65, 
 but there is no decoration on the furface. 
 
 108. ’65. 
 
 B OWL or Dilh : filver, with a pattern of fmall circles 
 touching. French. 14th century. Diam. 9 in. 24/. 
 
 This bowl is not the fame in fedtion as the two laft-defcribed. It 
 is a plain hollow rounded faucer in fhape, and has no ornamentation, 
 but a honeycomb pattern all over the infide, beaten in with a round- 
 headed tool. It Hands on a rim. 
 
 This piece belongs to a different period, perhaps rather earlier 
 than the date of the three juft defcribed. 
 
 1 10 to 1 13. ’65. 
 
 S POONS, Four : filver, two acorn-topped, two with hexa- 
 gonal knops. French. 14th century. L. 6\ in. and 
 7 in. 3 2/. 
 
 Nos. no, in have round-lipped bowls and fquare tapering ftems, 
 which are finifhed with monfter heads where they form the bowl, and 
 with fmall acorns at the end. 
 
 Nos. 1 12 and 1 13 have fmall knop ends. The ftems taper like 
 the two former, but there is no further decoration on thefe portions. 
 
 Thefe fpoons, with the four bowls, Nos. 106-109. ’65, and a coin 
 of Philip VI. of France, were found in an old houfe in Rouen in 1864. 
 
 4684. ’59. 
 
 T RIPTYCH : filver-gilt, with figures of our Lord 
 
 and various faints in tranflucent enamel. French. 
 14th century. H. 7J in., W. 5f in. 100/. 
 
68 Gold and Silver Smiths Work. 
 
 This fmall and elegant triptych forms an architectural fhrine, finifh- 
 ing on the outfide with a crocketed gable with two elongated buttrdTes 
 and pinnacles on the Tides, alfo crocketed like the gable. The top of 
 the crefting finifhes with a fmall bead. 
 
 The two fhutters fit clofe, and the junction is covered by a delicate 
 border of trefoil foliage. The bafe has architectural mouldings, and it 
 ftands on widely-fpreading feet ending in three acanthus leaves. In the 
 cavetto of the bafe mouldings is a row of fmall {tones and cryftals in 
 feparate fettings pinned into the metal. The doors have two pairs of 
 fmall hinges. 
 
 On the infide the fhrine is bordered by a row of fmall trefoil leaves 
 and a moulding of grains of gilt metal. The infide of the fhutters 
 has a fimilar moulding, and each fhutter has the triangle of its half gable 
 fhaped out into a lower but complete gable. The fhrine itfelf is 
 fupported by fmall architectural buttrefles. SS. Peter and Paul, with 
 appropriate emblems, are placed on pedeftals in front of the buttreffes, 
 and on the flanks are fcrolls of fine metal work. The other buttrefles 
 pafs up behind the figures into delicately crocketed pinnacles, and 
 crockets of foliage run up into a central bunch of flowers over the 
 gable. 
 
 The arch under this gable is pointed, but lo open as to be all but 
 femicircular. It is cufped, and the little fpandrils are filled with red and 
 blue tranflucent enamel. Under a canopy covered by turrets of pink 
 enamel the Saviour is feated in rnajefty ; His hands are fpread, the 
 right hand above the fhoulder ; He is in a red drefs and green mantle. 
 Below Him is an angel founding a trumpet, and the dead are rifing in 
 various attitudes, fome looking upwards in joy and others in defpair. 
 
 On the right a crowned figure of a woman, S. Helena (?), kneels 
 in adoration. She is clothed in red and has a green mantle : file is 
 fupported by an angel in a mantle of gold with many coloured wings, 
 who holds the crofs and crown of thorns. A canopy covers thefe figures, 
 ornamented with a minute filver dragon on an enamel ground. 
 
 To the left another figure is kneeling drefled in green and red, 
 behind whom an angel holds the lance and three nails. A fiend or 
 dragon fills the correfponding canopy over thefe two figures. 
 
 Few of the objeCts of this defcription equal the grace of defign 
 and the extreme care and delicacy in execution of this fmall triptych. 
 The architectural details are finifhed with accuracy, and the colours of 
 the enamel are blended harmonioufly together. The little ornamental 
 borders and mouldings are hammered, filed, pierced, and then pinned 
 and foldered in their places ; and the whole proportion of the decoration 
 is fo arranged that nothing, however minute, lofes its intended effect. 
 
Fourteenth Century. 
 
 69 
 
 7950. ’62. 
 
 C '' ROZIER : gilt metal, encrufted with tranflucent enamel 
 s and fet with gems. In the volute are reprefented a 
 bifhop kneeling before the blefled Virgin and Holy Child, in 
 gilt metal ; an angel fupports the compofition. The knop is 
 furrounded by niches containing figures of the blefled Virgin 
 and other faints. German. Dated 1351. L. i\\ in., W. 6 in. 
 Soltikoff collection. 413/. 
 
 The Item, a portion of which is attached to the head, is fix-fided, 
 and covered with metal plates painted with tranflucent enamel in a 
 diaper pattern. The enamelled Tides are covered at their points of 
 junction on the angles with rods of gilt metal ; the fmall plates, which 
 are a few inches long on each face, are alfo concealed by other 
 thin rods. 
 
 The knop is formed by fix arched panels, each covered by a 
 crocketed gable and divided by buttrefles and pinnacles. Six panels on 
 the under fide conneCt thefe arches with the Itaff. They are filled with 
 beautiful circles of fcroll work, each with a flower in the middle in 
 enamel. 
 
 Under the arches are fix figures painted over a ground diapered in 
 enamel. 1. The blefled Virgin holding the Infant Saviour in her 
 arms. 2. St. Mary Magdalen. 3. St. Elizabeth of Hungary, holding 
 a fceptre and a bunch of flowers. 4. A fainted biftiop in his veft- 
 ments, holding a crozier. 5. St. Louis of France holding the relic 
 of the crown of thorns. 6. A figure kneeling, balancing his crown on 
 one knee, and offering a chalice and Hoff with both hands. 
 
 The pieces of metal at the backs of the fmall arches are coloured 
 with green and blue enamel, and a finial is painted with gilding, half of 
 it on each colour. 
 
 The volute turns over with a fpine ornamented with leaf crockets 
 delicately beaten out ; at the point of contact with the Item it forms a 
 bracket, on which a little figure in gilt metal is kneeling and praying. 
 The inner end of the volute forms a flat bracket, on which is a 
 throne with the blefied Virgin feated and holding the infant Saviour, 
 while before Him kneels the figure of the bifhop for whom this crozier 
 has been made. 
 
 Pearls and fmall gems are fet along the curves of the head, and 
 little flowers painted in enamel on a deep blue ground fill up the inter- 
 vening fpaces. 
 
 Figured in Labarte, arts induftr., plate LL 
 
70 
 
 Gold and Silver Smiths JVorl. 
 
 249. ’74- 
 
 R ELIQUARY or Pyx: filver gilt, of Gothic architectural 
 defign, with enamelled medallions of faints and quatre- 
 foil ornaments. German. 14th century. H. 14 in., diam. of 
 bafe, 4 in. Webb collection. 40/. 
 
 In the form of a fix-fided chapel. ButtrelTes pinnacled, and with 
 foliated finials, are fattened on the angles of each face, and it is covered 
 by a light roof, riling to a crocketed fpire, marked with tiles, and 
 furmounted by an image of St. John the Baptift. 
 
 Each face of the fhrine has two double-light windows, reaching 
 half way down, and on the plain furface of the lower half a round 
 medallion. 
 
 The medallions contain figures in champleve enamel : the blefled 
 Virgin, St. Paul, St. Benedict, St. M. Magdalen, St. Catherine, and 
 another faint. The figures are much dimmed. 
 
 The ftem is plain. On the foot, which has fix ftraight fides, there 
 are quatrefoil medallions filled with ornament in champleve enamel. 
 
 P4- ’73» 
 
 P ROCESSIONAL Crofs tflilver beaten work over wood. A 
 rood on one fide, the Eternal Father on the other, together 
 with figures of faints in relief and enamelled plaques. The 
 knop chafed and enamelled. Spanifh. 14th or 15th century. 
 H. 3 ft. in., W. 19 ^ in. 160/. 
 
 The ends of the crofs expand, and are cut into cufps like thofe of a 
 Moorifh arch ; the centre is a fquare block, and between the extremities 
 and the reft of the four members of the crofs are oval plates, the two 
 on the upright members horizontal, and the two on the arms vertical. 
 The projections of the figures finifh with elegant lines of moulded 
 metal work. 
 
 The figure of the Redeemer hangs dead in the centre. Behind the 
 head is the fquare central block, partly filled with four vefica-fhaped 
 plates of enamel, and in the intervals with leaves and flowers in bold 
 relief. The flat furface between the figure and the oval medallions is 
 covered with filver-gilt beaten metal work, the decoration being a fcroll 
 of vine leaf boldly curved. 
 
Fourteenth Century. 
 
 71 
 
 The extremities are occupied ; the top by a large projecting flower, 
 the centre of which feems to have held a cryftal or gem, but it is now 
 an empty cavity : on the arm ends are two figures of angels in all 
 but entire relief; they are coarfely but effectively modelled, and are 
 holding various inftruments of the Pafllon. The lower figure is a man 
 riling from his tomb, a type of the general refurreCtion. 
 
 The four ovals contain : 1, on the arms the two thieves, the good 
 thief on the right, with the arms paffed behind the tranfom of the 
 crofs, and looking on the body of the Saviour : 2, the bad thief has the 
 arms dragged over backwards, and the head is turned down. Thefe 
 figures are under canopies of cufped work in filver, filled in with blue 
 tranflucent enamel : 3, the upper oval contains the refurreCtion : the 
 three women approach the fepulchre, on which an angel is feated ; 
 
 4, the lower fubjeCt is the Nativity. The infant Saviour is on the 
 
 ground, the bleffed Virgin and St. Jofeph kneel on either fide, the ox 
 and afs are at the empty crib on the other fide. 
 
 From the fides of the Item, below thefe parts, two bars of filver 
 work fupport rich architectural pedeftals ; they are concave, oCtagonal, 
 with crocketed mouldings up the angles, and crefted with cufped femi- 
 circles and leaf work. On thefe pedeftals are figures of the bleffed 
 
 Virgin and St. John. Thefe figures are richly draped, and Hand con- 
 
 templating the Saviour. 
 
 The edges of the crofs are plated with a fcroll band of beaten 
 foliage in filver. 
 
 The back has the fame outlines and the fame medallions and fpaces 
 for decoration as the front. On the extremities are the four evangelical 
 emblems in all but abfolute relief. In the oblong medallions are : on 
 the top, the flight into Egypt ; the Mother and Child are mounted on 
 an afs led by St. Jofeph, and a reaper with corn is behind them. Two 
 upright medallions contain the Annunciation ; the right contains the 
 Virgin; the other contains the archangel (facing the wrong way) 
 holding a lily, and kneeling on one knee. Thefe figures have pro- 
 bably been mifplaced in repairing ; to both there is a fcroll, and the 
 letters a tnarrm are diftinguifhable on both, but the enamel is 
 gone from thefe portions. In thefe medallions, as in thofe correfponding 
 on the front, there are gothic traceries. In the lower medallion is 
 the harrowing of hell ; the Saviour holds a crofted banner and draws 
 from the jaWs of a monfter Adam and Eve. Portions of green enamel 
 ftill adhere to this medallion. In the centre is the Eternal Father 
 feated, in full relief. 
 
 The bofs below the focket projects confiderably ; it is gadrooned in 
 fix lobes with deep channellings between, and all furfaces are chafeb with 
 
7 2 
 
 Gold and Silver Smiths W )rk. 
 
 flowers, &c. There are fix diamond fquares on the faces, each filled 
 with a flower. The bafe is fix-fided. 
 
 A ftamp, bearing a tower (Caftille), and the letters, — 
 
 PE 
 
 
 MAR 
 
 DRO 
 
 
 TIN 
 
 are placed on all the diftindt parts or plates which make up the furface. 
 
 The fize of the extremities enables figures of great rnaffivenefs to be 
 placed on them, and thefe parts give richnefs and enhance the delicacy 
 of the fmaller and finer ornaments which contrail: with them, notably 
 the ornamental bands of embofled work on the flat plates, and the 
 various enamelled medallions placed at intervals on the face and edges 
 of the crofs. 
 
 7939 ■ ’62. 
 
 C RUCIFIX : filler, parcel gilt. A rood crofs, fet with 
 quatrefoils of enamel and pearls. On either fide are 
 figures of the Virgin and St. John. The whole is fupported on 
 an odtagonal bafe and foliated idem. German. 14th century. 
 H. 1 ft. i\ in., W. 7 in. Soltikoff collection. 68/. 
 
 This beautiful obje£t combines fine examples of more than one 
 kind of work. The crofs itfelf is of metal chafed with reed mouldings 
 down the middle and on the edges of its furface, and to the central 
 reed the figure of the Redeemer is fattened. The ends are quatrefoils 
 with quirks at the points of junction. The quatrefoils are filled in with 
 flowers in enamel of the richeft colouring, and the title with gothic 
 letters is executed in the fame material. Each of the quatrefoils, befides 
 the enamel flower that fills up the fpace completely, has in its centre 
 a flower compofed of feven fmall pearls pierced and pinned to the fur- 
 face. The crofs thus ornamented grows on a fhort Hem of the lame 
 form, finilhing with a flower of beaten leaves. It iflues from a larger 
 flower, the leaves of which are ferrated, curled, and turned in many 
 directions. 
 
 Below this flower are two richly decorated curling leaf brackets 
 which help to fupport a ftraight tranfom of filver, on which are the two 
 figures of the blefled Virgin and St. John Handing on fmall green 
 enamelled mounds or pedeftals, which each iflue from a bloflbm of 
 beaten foliage. The figure of the blefled Virgin is veiled and wimpled, 
 and the whole perfon wrapped in an ample mantle. Her head is thrown 
 
Fourteenth Century. 
 
 73 
 
 up with a look of anguifh, and the hands are folded one over another in 
 refignation. The drefs has probably been enamelled red (the furface is 
 now of filver) and the mantle green. St. John has long hair, the 
 hands are clafped. He looks up in forrow at the crucifix. There has 
 probably been blue enamel on the drefs, but it has been broken away. 
 
 Under these figures is a bofs fluted down its furface with rows of 
 balls or beads on the projecting parts, having elegant fcrolls on the edge 
 connecting it with the bafe. Below the bofs the bafe expands in eight 
 lobes, each lobe flat but having a ftar and a fort of panel partly deco- 
 rated with flowers below. Thefe panels have been filled with enamel, 
 probably defigned as ftreams of golden light from the ftars, fet off by a 
 blue ground with green flowers. The lines may be diftinguiftied, but 
 the enamel has perifhed throughout. The lobes projeCt with eight 
 femicircles round the bottom moulding, which is not lefs elegant and 
 detailed than the reft, having a row of fmall quatrefoils with fine lines 
 of moulding round them in pierced work round the entire foot. 
 
 There are few examples of German work of the 14th century in 
 this collection fo varied in the methods of decoration. The leaf work 
 is of the fineft quality, being cut into conventional thiftle leaves, and 
 the long pointed lobes turned in graceful curves. The furfaces are all 
 kept bright, fo that the full effeCt is given to this movement of leaves, 
 and the fculpture of the larger ftanding figures ftudied from life, 
 reminding us of the later art of Adam KrafFt. Much of the fplendour 
 of the whole is loft by the deftru&ion of the enamel which is wanting in 
 fo many parts. 
 
 II72. ’64. 
 
 C RUCIFIX : gilt copper, the figure of filver parcel 
 gilt. On the trefoil-fhaped extremities of the crofs are 
 letters and, above the knop of the quatrefoil bafe, a fhield of 
 arms. In the back is a fmall chamber, probably intended to 
 hold a relic. German. 14th century. H. 11 in., W. 5 in. 
 8 /. 1 ij. 6d. 
 
 The ends form trefoils with beaded edges, and in each there is a 
 letter i * t * HI * Itt* A ducal crown and fhield are engraved below the 
 foot of the crofs, the fhield charged with a ftar between three crefcents. 
 Over the figure of the Redeemer are the letters t ft X t* i . This 
 ftands on an orb which conneCts it with the bafe, and round the 
 middle of the orb there is a belt of tiny quatrefoils. The bafe is in four 
 
74 
 
 Gold and Silver Smiths Work. 
 
 lobes. The back of the crofs opens to hold relics : a ftar in the centre 
 is the head of a fcrew, which can be removed to allow the face of 
 each member to open feparately having hinges on the extremities ; when 
 fhut down they meet in a point and are covered by the head of the 
 fcrew. 
 
 795 1 - 
 
 P ASTORAL Staff : gilt metal, partly encrufted with 
 tranflucent enamel on lilver. In the volute are the 
 
 Virgin, the Infant Saviour, and a monk. On the knop there 
 are fix medallions containing bulls of faints. Italian. 14th 
 century. L. 12^ in., W. 5 in. Soltikoff collection. 241/. 
 
 The Item is round, divided by diamond-lbaped reticulations of enamel 
 in quatrefoils laid on in feparate plates, and each figure varied in decora- 
 tion in tranflucent enamel. The knop has on the circumference fix 
 quatrefoil plaques, each filled with a demi- figure of a faint in tranflucent 
 enamel. Thefe are, — 1 . The blefled Virgin and infant Saviour, 
 St. Peter, St. Paul, St. Matthew, St. Romuald, St. Maur (?). The 
 head is four-fided in fedtion and has a delicate crefting of gilt metal on 
 the outfide, and a fine richer beaded moulding on the infide edge. It is 
 decorated with quatrefoils of ornament in tranflucent enamel, laid on in 
 feparate plates over the gilt metal ground, ancl joined at the points with 
 flowers of beaten work. The curve ends in a flat bafe or pedeftals, on 
 which is a figure of the blefled Virgin feated on an architectural 
 arcaded throne, with the infant Saviour on her knees and a monk or 
 abbot kneeling with his hands clafped before him. 
 
 45^3> 4 5 * 3 a ' ’58- 
 
 C HALICE and Paten : filver gilt, with enrichment of 
 tranflucent enamel. The ftem, knop, and foot, fur- 
 rounded with legends in enamel. On the bafe are four com- 
 pofitions in relief. German. 14th century. H. 6 f in., 
 diam. 4$ in., diam. of paten, 6f in. 55/. 
 
 The bowl is egg-fhaped and has no outer bowl. Round the two 
 portions of ftem above and below the knop are legends, viz., 
 
Fourteenth Century . 
 
 75 
 
 fHiiviii . gratia jjlnta* Round the knop, <J5ra pro 'fflixQo 
 
 ifWariart 0illl£t£ ^iCQVQ*-, with borders of twifted work. On the foot 
 there are three medallions, containing in relief : i. The Annunciation. 
 2. The Nativity. 3, The Prefentation, Simeon receiving the infant 
 Saviour. 4. The Crucifixion : a rood, St. Mary and St. John on either 
 fide, our Lord dead upon the Crofs. Thefe reliefs are bold and maflive. 
 Round the foot is the legend, CTjUltratmS tl£ tattgJUJIW 
 taltrem paraiiit ribigs ffigaiemtwrta +. The paten is without 
 engraving. 
 
 79 ° 6 - ’ 6 3 * 
 
 I NCENSE Holder : copper, engraved with two of the 
 evangel) ftic fymbols and foliage work. German. 14th 
 century. H. 2f in., W. 2-f- in. 61 . 
 
 Boat-fhaped, with a band of foliated fcroll work round the body and 
 Handing on a round foot. The lid is in two divifions, hinged in the 
 middle ; on thefe are two medallions, one filled with the fymbol of the 
 evangelift St. John, the other with the lion of St. Mark. 
 
 II49. ’64. 
 
 M EDALLION : gold, with the Bearing of the Crofs 
 in relief. German. 14th century. Diam. 2f- in. 
 30I. 
 
 The Saviour occupies the middle of an arch ; He is bending under 
 the weight of His crofs, and followed by the blefied Virgin, who is 
 veiled and wrapped in flowing drapery. A foldier walks before dragging 
 our Lord and holding the three nails in his hand. Before him walks 
 another foldier holding a hammer and other implements of the Paffion. 
 The foldier feen in full is helmeted, wears plate armour to the gauntlets, 
 and a fkirt from the middle to the knee. All the draperies, and the 
 whole modelling of the figures, are in high relief, the efFedt of which is 
 heightened by the luftre of the gold. 
 
 The medallion has probably been let in a morfe or clafp. 
 
76 Gold and Silver Smiths Work. 
 
 7544. '6 1. 
 
 ISH : filver-gilt, embofled with hunting fcenes. In the 
 
 centre is a plate of enamel reprefenting the Annuncia- 
 tion. German. Late 14th or early 15th century. Diam. 
 8-g- in. 10/. 
 
 The margin of the bafin is wide and convex, the bottom is beaten 
 up into a convex furface, with a flat medallion in the middle, furrounded 
 by a narrow edge and containing an enamel of the Annunciation on 
 filver, from which the enamel has been broken away, leaving only 
 traces of the tranflucent colouring materials. Hounds and animals of the 
 chafe in hammered work run round the convex border contained between 
 the edge of this medallion and the deepeft depreflion of the difh. 
 
 The bold outer margin is embofled with trees and figures of favage 
 men, mixed with flags, boars, hounds, hooded falcons, and other 
 attributes of foreft life in the middle ages. 
 
 OWL and Cover : filver-gilt, rounded in the body and 
 
 cover and contracted in the middle, with a handle and a 
 medallion on the cover containing the letter ifjft. German. 
 14th or 15th century. H. 2f in., W. 3^ in. 2/. 1 6s. 8 d. 
 
 The two parts together are fhaped like a gourd bottle tied in the 
 middle. The body hands on a funnel-fhaped foot, and has a flat-fided 
 loop handle projecting on one fide, on which there is an S. 
 
 The top of the lid is flat, furrounded by an upright collar of metal 
 bearing a black letter tit. The handle feems to indicate that it has 
 been ufed during the adminiftration of unCtion in the facraments. 
 
 OOK Mounts : filver, quatrefoil fhape, chafed with figures 
 
 of apoftles and a fymbolic pelican, and once filled in 
 with tranflucent enamel, which has moftly been loft. Italian. 
 14th or 15th century, if in. fquare. 5/. 
 
 1171. ’64. 
 
 549. ’75. to 554. ’72. 
 
Fourteenth Century. 
 
 77 
 
 This and the five following pieces are fquares, with cufps on 
 each fide of the fquare. Each half circle is cufped, and the fpaces 
 intervening coloured in with enamel. On a fcroll held by the figure 
 are the letters LUCA. The ufual emblem is on the right. A fmall 
 flower, worked in relief, is fet on the oppofite fide of the feat. All this 
 has been covered with coloured tranflucent enamel. A border of buds 
 runs round the whole. 
 
 2. Like the laft, with the difference of the fymbolic lion, which is 
 to the left. 
 
 3. A three-quarter figure of a female faint in a red mantle. The 
 ground coloured blue, without emblem. 
 
 4. The ground is blue. The fymbol of the Church, a pelican 
 wounding her bread for the young in her neft below. 
 
 5. The figure is three-quarters ; a red mantle, and the ground blue, 
 without emblem. 
 
 6. Three-quarter feated figure of St. Matthew ; his emblem to the 
 left. The hands raifed as in teaching. 
 
 It will be feen that three evangelifts only are reprefented, and two 
 female faints. There is not, therefore, the complete fet for both Tides 
 of a book. All the plates are of one fize, and the details (excepting 
 the figures) are alike. 
 
 RUCIFIX : gilt copper, with plates of engraved filver 
 
 on both fides; originally covered with tranflucent 
 enamel, now much defaced. Italian. 14th or 15th century. 
 i8|- in. by 10 in. 5/. 
 
 This beautiful crucifix ends in trefoils, which are three lobes of a 
 quatrefoil, long and narrow in fhape, the fourth lobe fhowing on the 
 crofs. The angles of the interfecdion are filled with the pointed projec- 
 tions of a quatrefoil panel with quirks between the foils, which is 
 developed on the back. There are large projections on the ftem 
 at the place where the feet of the crucified Redeemer touch it. There 
 are alfo the points of another quatrefoil panel which is feen entire 
 on the back. All thefe points and lobes are edged with bead mould- 
 ings, and on the outfides round medallions are added filled with raifed 
 flowers of metal and enamel work. The title over the head is 
 fet on flanting, and with the four gothic letters enamelled. The 
 
Gold and Silver Smiths Work. 
 
 nimbus is a feparate piece of metal coloured with rich blue and red 
 enamel. 
 
 In the quatrefoils on the arms are St. Mary and St. John. She 
 lifts her hands in an agony of horror, and his are clafped with a fimilar 
 aCtion. On either fide of the figures the lobes are filled with blue 
 tranllucent enamel, and there are cufped headings to give relief to 
 thefe fide portions. Above the centre is the figure of the firft martyr, 
 St. Stephen. He is young, wears a dalmatic, and holds a palm in one 
 hand and a ftone (?) in the other. At the foot is the feated figure of a 
 fainted bifhop holding his crozier in the left hand, giving benediction 
 with the right, and veiled in full pontificals, including the gloves. Thefe 
 are all demi-figures, and all the circular heads of the lobes are decorated 
 with cufping in filver. 
 
 The figure of the Redeemer is much battered. The arms are 
 higher than the fhoulders ; the feet fattened by one nail ; the cinCture 
 fmall. 
 
 The back of the crofs is as rich as the front. The centre is a 
 quatrefoil with projecting points between, on which is a young faint 
 gazing upwards ; he holds a book and has long hair, perhaps St. John 
 the evangeliflo At the top of the crofs is the Eternal Father, a 
 bearded figure, holding the right hand in benediction. To the right is 
 St. Dominic (?). He has a church befide him and is evidently the 
 founder of an order ; the hands are turned up as if denouncing the 
 horror of the fcene. The left quatrefoil contains a figure of a fainted 
 virgin, St. Margaret. She is crowned, is dreffed in drapery that falls 
 round her in abundant folds, and holds a naked fword in her hand, and 
 a monfler under one arm. 
 
 In the quatrefoil, at the back of the feet, is a feated figure of a faint 
 holding a fcroll on which there is no legend. 
 
 In the round-ended quatrefoil of the bafe, correfponding to the 
 other extremities of the crofs, is the figure of a faint. He holds a 
 book, but the enamel is broken away and the original filver plate much 
 worn, fo that it is not poffible to decide who is here reprefented. 
 
 Flowers cover the fpaces intervening between thefe figures. The 
 whole crofs, from the number of large enamelled medallions and the 
 variety of their fhape, is Angularly rich and effective. If the figures, 
 which are unfortunately denuded of the original enamel, are examined, 
 the lines which mark the folds of drapery will be found firm and 
 decided, and all compofed gracefully. In thefe refpeCts it will compare 
 with the fineft Italian and French ivories of the early 14th century, and 
 nothing in the defign of that period can furpafs the compofition of lines 
 or delicacy and completenefs of thefe draperies. 
 
Fifteenth Century. 
 
 79 
 
 23°. ’74- 
 
 T RIPTYCH : filver, parcel gilt and engraved, encloling 
 St. George and the Dragon, in relief. Englifh (?). 
 15th century. H. 2^- in., W. 2-|- in. Webb collection. 40/. 
 
 This triptych is made after an architectural model reprefenting a 
 frontifpiece fupported by buttrefles with crocketed pinnacles on each 
 fide. The centre forms a gable cufped underneath like a window, and 
 crocketed up the Hope of the gable with leaf work elegantly cut and 
 
 The flat background within is covered with a diaper pattern, on 
 which, in wrought metal and full relief, is a fmall St. George flaying 
 the Dragon. He is riding over the dragon and plunges his lance into 
 its neck. 
 
 The two little doors are hinged on the buttrefles; on the infide they 
 are engraved : on one fide is the princefs of Lybia crowned, drefled in a 
 tight bodice with long fkirt of the 1 5th century pattern, kneeling, and 
 her hands clalped in prayer for the fuccefs of her champion ; a large 
 oak leaf is above her head. On the left is feen the caftle of the king 
 of Lybia, and that monarch and his queen crowned look down from 
 the battlements on the combat. Below there is the door of the caftle, 
 and an open arch in which a porter is leaning. This figure is on a 
 much fmaller fcale than that of the perfonages above. The gate is 
 furniftied with a portcullis juft difcernible. 
 
 All the details of the architecture, the little figures, and folds of the 
 drefies are extraordinarily minute. They are ftudied as if the work had 
 been on a much larger fcale. The whole forms a devotional jewel, and 
 has probably been worn by a chain. 
 
 UP, with Cover : filver-gilt, the cover conical with a 
 
 finial of gothic foliage. The bowl has three windows 
 filled in with tranflucent enamels fet tranfparently. The 
 cover is ornamented in a fimilar manner, and at the bottom 
 
 brilliant colours. The metal furface throughout is pounced 
 
 beaten. 
 
 403. 73. 
 
 of the cup is a circular medallion of flowers and fcrolls in 
 
8o 
 
 Gold and Silver Smiths Work. 
 
 with a running pattern of birds and foliage. Burgundian or 
 Flemifh (?). Early 15th century. H. 7 in., diam. of cover, 
 4 in. 400/, 
 
 This beautiful cup is of ftlver, engraved all over with arabefque 
 work of great delicacy. It is bell-mouthed, and Hands on a rich bafe 
 formed by lines or firings of corded work, with little grains of metal 
 between the flrands. Round the middle runs a band of tranflucent 
 enamel, bordered by firings, fet with fmall leaf holies at intervals, and 
 filled in with fcroll and leaf work of green, blue, and grey enamel. 
 At four intervals there are four three-light architectural windows in this 
 band, the arches of which rife above the firings that edge the band : 
 the mouldings are continued over the arches, having a leaf bofs at the 
 fpring of each. The windows are fubdivided into lights by tracery. 
 The mullions and tracery are thin bands of metal, which enclofe plates 
 of tranflucent enamel : the windows, when held to the light, are 
 
 tranfparent. 
 
 The cover has the fame firings round it, and a finial of leaf decoration 
 at the top. The fame band of enamel runs round it, and in the band 
 are four windows filled in with green, blue, and white enamel, as in the 
 lower portion of the cup. 
 
 There is no other example at prefent in the mufeum of this peculiar 
 and exceedingly rare application of enamel, and it would not be eafy 
 to point out any jewelled cup or other piece of goldfmith’s work in 
 which the effect of colour and light proper to jewellery is produced 
 with equal richnefs, and in which the enamel unites itfelf with the 
 body of the metal work fo well. Moll jewel work has the effect of 
 furface decoration added to rather than incorporated with the metal, 
 whereas in the inflance of this cup the tranflucent coloured furfaces 
 form actual portions of the fides. 
 
 It has, perhaps, been intended for ufe as a ciborium or pyx. It is 
 of doubtful nationality, perhaps after all Limoges work. Formerly in 
 the pofTeffion of the family of De Merode. 
 
 Figured by Shaw, decorative art. 
 
 HALICE '. fllver-gilt. Figures in high relief on the 
 
 bowl, foot and knop, and thofe at the bafe of the 
 bowl on enamelled ground. German. 15th century. H. 
 iof in., diam. in. 800/. 
 
 63 1= ’68. 
 
Fifteeirth Century. 8 i 
 
 This beautiful piece of goldfmith’s work is rich with figure 
 fculpture and architectonic detail of minute but elaborate defign. The 
 bowl is filver-gilc, ftraight-fided, and rifes from a neft of three outer 
 cups. The upper of thefe reprefents a flying choir of angels in two 
 tiers, their wings crofted and fo difpofed as to form a band of the 
 decoration. The lower tier fupports the architectural canopies that 
 decorate the ftem. 
 
 The ftem is fix-fided, each fide worked into a traceried window of 
 two lights with fmall buttrefles on the angles, and with canopies over 
 the arches running up into the cups that contain the bowl. 
 
 The knop is a fmall ftirine fupported by flying buttrefles, the but- 
 trefles refting on light brackets of hammered fcroll work which ferve 
 to conned them with the reft of the ftem below. The buttrefles are 
 as light (in defign) as they can be made, being connected by fmall off- 
 fets with the angles, and not defcending to the brackets but raifed 
 above them on a light ftem. Between the buttrefles are fmall but 
 elaborate canopies, under which are images (half figures) of the Saviour, 
 the blefled Virgin, SS. Peter, John, Paul, and a graceful Saint Catherine 
 reading out of a book. 
 
 The knop contracts with architectural pendentives down to the 
 ftem. Between the pendentives are double light windows with 
 tracery. Under this portion are fix-winged angels, half lengths each, 
 fupported on a lily, which is in relief on the foot. Thefe angels uphold 
 fix quatrefoil medallions, bordered by rich foliated mouldings that break 
 into bofles at intervals. In thefe are half-length images ; i. Our 
 Saviour, half feen in the fepulchre, flhowing His wounded hands ; 
 2. A biihop holding his crozier, the fainted founder of the church 
 for which the chalice has been made ; 3. St. Romuald (or Bruno ?) 
 in the gown of the Carthufian order; 4. An abbot (St. Bernard?), 
 who holds a book and fome inftruments, now miffing; 5. A youthful 
 fainted figure, having the arms extended and the palms upwards ; 
 6. Saint ? 
 
 All the architedonic ornaments are models of aCtual architectural 
 details, fuch as niches, canopies, and windows. The buttrefles and 
 other ftruCtural details are treated decoratively. 
 
 There is remarkable fkill and much invention in the connection of 
 the flying choirs of angels along the faucer that holds the chalice round 
 the lower portion of the ftem, & c., where thefe figures are made to 
 fupport the medallions and other features belonging to the knop, the 
 foot and the ftem, which are thus decoratively as well as actually made 
 to merge one into another, a connection not often attended to in the 
 compofition of thefe beautiful and complicated examples of metal work. 
 
 36105. 
 
 F 
 
8 2 Gold and Silver Smiths TV irk. 
 
 The bafe is made up of fpreading architectural mouldings, the upper 
 pierced with a double row of cufped trefoils. 
 
 io 57 - >• 
 
 B OOK Cover : gilt metal, with plaques of pierced work, 
 the centre having the Vilitation in baf-relief, the corners 
 fet with antique gems in raifed fettings furrounded by foliated 
 bofles. Englilh. Early 1 5th century. H. io-|- in., W. *j\ in. 
 30/. 
 
 A central panel contains a baf-relief of the Vilitation. St. Eliza- 
 beth and the blelfed Virgin Handing, the latter placing her hands on 
 the Ihoulders of St. Elizabeth. Thefe figures are in high relief. 
 
 On the border there are four central plates of metal work, pierced 
 with flamboyant tracery. The corners are covered by gems, in fet- 
 tings which have leaf bofles projecting round them. They are antiques, 
 one carved with a hand in relief, two others cut in intaglio, and one 
 plain. 
 
 There is fomething of foreign character about the flamboyant tracery 
 and the leaf work ; but there is no fufficient reafon to doubt that it is 
 of Englilh workmanlhip. 
 
 2264* ’ 55 * 
 
 S POON : lilver, parcel gilt, Ihort fquare Item, chafed in 
 relief with a crowned female, from the centre of which 
 rifes a creft. German. 15th century. L. 5f in. Bernal 
 collection. 10/. 1 $s. 
 
 The Item is furmounted by a queen holding a fmall Ihrine. Over 
 her head rifes a floriated crown with a half figure of a monk above, or 
 rather in the middle of it, like an heraldic creft or device. 
 
 At the heel of the bowl there is an engraved fcroll with fquare letters, 
 which appear to mean Ml(aria) ill J(e) Ut(aria), repeated. 
 
 485 . ’ 65 . 
 
 S POON : lilver-gilt, the handle chafed with the imple- 
 ments of the Paflion ; the bowl with an incifed group 
 of the Virgin, the Infant, and St. Anne. Englilh or German. 
 1 5th century. L. 4^ in. 2,0/. 
 
83 
 
 Fifteenth Century. 
 
 The bowl is round at the lip and pointed where it joins the ftem. 
 In the infide are chafed St. Anne with the bleffed Virgin and infant 
 Redeemer. The handle is maffive, having twilled lines down it, 
 between which are fet the ladder, hammer, crofs, and other inllruments 
 of the Pallion in high relief. The top finilhes with a battlement and a 
 female head, the bleffed Virgin (?) iffues from it. 
 
 A fcroll at the back is lettered with a legend difficult to decipher, 
 and with three a’s in black letter. The infide has alfo a fcroll bearing 
 the legend S. alia (Anna) salbe? with two other words difficult to 
 decipher. Probably for altar ufe. 
 
 4 355 » ’ 57 - 
 
 D IPTYCH : gilt bronze and filver, encircled with niello. 
 
 The interior reprefents the Annunciation, the figures 
 carved in bone on a background of black horn. The borders 
 infide and out bear legends in filver letters on a gilt ground. 
 Italian. 15th century. H. 7 in., W. 6f- in. 250/. 
 
 In two panels or architectural tablets, each fquare with a broad 
 border and a decorated tympanum above. The fubjedt reprefented in 
 the panels is the Annunciation. 
 
 The archangel Gabriel kneels on the right knee. The right arm 
 is laid on his breaft, and the left hand holds a lily. The drefs is a long 
 alb looped at the waift, and gathered into an overfkirt round the loins. 
 The hair is long, and bound round the temples by a garland. 
 
 The bleffed Virgin is ’praying before a defk, carefully modelled after 
 thofe ufed in Italy in the renaiffance churches, fupported on a balufter 
 ftem planted into a claw- footed pedeftal. 
 
 In one tympanum is a demi-figure reprefenting the Eternal Father; 
 in the other the myftic dove. 
 
 Round the border is the Salutation in large but very fquare letters, 
 which run firft round the half containing the archangel, and following 
 in the fame order round the other : 
 
 gibe Jttaria gratia plena trontinus teeutn benebicta tu 
 in inulieribus et beneb ictus fructus bentrts tui ne ttnteas 
 fHatta inbenisti gratianr* 
 
 The outfide is made into two fmaller panels of filver, each contain- 
 ing a candelabrum ornament, gilt ; round this is a border of niello. 
 There are legends round the outer border of thefe, as round the other 
 fides. They follow round each panel : 
 
 galbe tabix sancta ex gua tnnniro lux est orta abe 
 regina eelorum et tromina angelorunt* 
 
84 Gold and Silver Smiths Work. 
 
 Over the tops are arched tympanums filled with chafed ornament 
 and the facred monogram. Under the bafes of each leaf ftands a 
 bracket-fhaped finial of acanthus foliage in gilt metal. Owing to the 
 regularity and fquarenefs of the letters, and as the whole legend is 
 diftributed round the ends and fides, according to the number of letters 
 and not in diftinCt words, it is not eafily read. They are, however, 
 carefully formed out of continuous ribbons of filver. 
 
 Altogether a beautiful example of filigree work. 
 
 4654 * 59 - 
 
 P LAQUE : enamelled on copper, in white and gold, on 
 tranllucent blue ground. Italian. 1 5th century. 2 \ in. 
 
 by 2 in. 2 1 . 
 
 The fubjeCt reprefented is the nailing of our Lord to the crofs. 
 The Saviour is extended on the crofs, which is on the ground, and a 
 foldier in chain mail, over which is a furcoat, is nailing one of the 
 hands. A Jewifli elder, whofe head is covered with a cloth, ftands at 
 the head of the crofs holding a fpear. 
 
 This is a plaque that has belonged to a feries fitting together, and 
 fet in a triptych or round a crucifix ; it is now enclofed in a moulded 
 gilt frame. 
 
 6lO. *64. 
 
 P LAQUE : filver, with a figure of a monk kneeling at a 
 crofs, in tranflucent enamel, infcribed <c P. Sorelli.” 
 Italian. 1 5th century. Square, W. 2-| in. 3/. 4 s. 
 
 The enamel has perifhed on a confiderable part of the furface. In 
 the centre is a crofs, befide which kneels a man in a red mantle hooded 
 with blue. He is clafping the foot of the crofs, from which the enamel 
 has been broken away. The fcene is a landfcape, of which a green 
 tree is remaining, on either fide of the crofs is the name, £&OTOUt» 
 in gothic letters. 
 
 4633- ’5 8 - 
 
 C HALICE : filver, with a Item of bronze gilt, enriched 
 with ornaments and figures in enamel. The foot has 
 alternately fix-lobed and fix-pointed projections. Italian. 
 15th century. H. 8|- in., diam. 5f in. 7/. 
 
Fifteenth Century. 
 
 85 
 
 The cup is egg-fhaped, contained in a faucer compofed of rudely 
 chafed flower lobes. The Hem is decorated with quatrefoils in enamel 
 above and below the knop, which is a large flattened fphere with 
 fix round medallions on the circumference, containing figures in 
 tranflucent enamel with a blue ground. They are: 1. Our Lord, 
 a half-figure, taken down from the crofs, with the arms opened ; 2. 
 The blefled Virgin, wrapped in a mantle, holding the infant Saviour ; 
 3. A female nimbed figure in a blue mantle ; 4. St. Jerome ; 5. St. 
 Thomas Aquinas ; 6. A nimbed figure holding a palm. The upper and 
 under intermediate furfaces are enriched with acanthus leaves in relief. 
 The foot is covered in the upper part by a plate notched into fmall 
 ogee arches, and ftretching out into fix lobes and fix points or quirks 
 alternately. The furfaces of the lobes are chafed into arched panels by 
 trefoil cufpings on the outer edges. 
 
 54i6’ ’59- 
 
 C HALICE : filver, with a bronze ftem gilt and enriched 
 with tranflucent enamel. The knop has fix medallions 
 containing figures of our Lord and faints in tranflucent 
 enamel. Italian. 15th century. H. 8^ in., diam. 5 A in. 15/. 
 
 The cup is egg-fhaped, with ftraight fides flightly expanded. The 
 ftem, which is of gilt bronze, is hexagonal, and the portions above and 
 below the knop are formed into fix fmall trefoil arches, headed in the 
 direction of the knop, and filled by falcons. 
 
 Round the circumference of a large fpherical knop are fix circular 
 medallions, each containing a figure in enamel, viz. : 1. Our Lord 
 dead in front of the fepulchre ; 2. The blefled Virgin ; 3. St. Jerome ; 
 4. St. Antony abbot; 5 and 6. Two apoftles : thefe figures have no 
 attributes. The foot is covered on the upper part by a plate overlaid, 
 finifhed with fmall battlements on its lower edge. It expands in fix 
 round lobes, with points between, and the lobes have cufps like the laft 
 defcribed round the outer edge of their furfaces. The rim of the foot is 
 made up of firings and a broad band with bead decoration. 
 
 7354 . ’6l. 
 
 C ^RUCIFIX: gilt bronze. The four arms have trefoiled 
 ^ ends furrounded by globular knobs, and bear figures 
 of faints on each fide. Around each arm is a band of champ- 
 
86 
 
 Gold and Silver Smiths W irk. 
 
 leve enamel. Italian. 15th century. H. 18 in., W. n^in. 
 9/. 3s. 
 
 The outline of this crofs is rich ; the fubftance is of maffive wood 
 covered with metal, the edges being bevelled and almoft rounded away. 
 
 The extremities are fleur-de-lys, with fharp quirks proje&ing between 
 the points of contact of the femicircles, and quirks fill up the angles at 
 the point of interfection of the arms. 
 
 On the ends in the fpace formed by the three projections are the 
 four evangeliftic fymbols in full relief ; below thefe are bands of em- 
 bedded enamel, and the fame decoration, in the form of fmall four and fix 
 lobed flowers, is placed on the flat furfaces between the arms and the 
 centre. Above the head of the Chrift is the title, alfo in enamel, I N R I 
 in Lombard capitals. 
 
 The figure of the Redeemer hangs with bent knees. The feet are 
 fattened by one nail. The figure is fmall, as there is but a fmall fpace 
 of the crofs unoccupied by the decorations defcribed, and it is com- 
 pletely filled, fhowing that it is original and has never been difturbed. 
 
 The moft ftriking feature of the ornamentation confifts of a number 
 of round balls of gilt metal, fome with a pearl or dot at the end, 
 which are fixed to the outfide in the centre of the lobes of the fleurs-de- 
 lys and the points of the quirks. They give an extraordinary jewelled 
 richnefs to the outline. 
 
 At the back is a central medallion, on which is reprefented the 
 Redeemer feated on a throne holding His right hand up in benediction 
 and the left in His lap. On the four extremities are figures of the four 
 evangelifts, each accompanied by his appropriate fymbol and writing 
 their gofpels. 
 
 The edges have bands of engraved ornament edged by delicate 
 borders. 
 
 This is Italian work, and probably from Venice. The crofs itfelf 
 is thick and maffive ; but, with the addition of the gilt balls on the edges, 
 it looks rich and coftly without heavinefs. 
 
 5;8o. ’ 59 - 
 
 C HALICE : filver, with a Item and foot in gilt bronze. 
 
 The ftem is decorated with champleve enamel, and 
 round the circumference of the knop are fix medallions con- 
 taining figures in enamel. Dated 1429 on the foot. Italian. 
 H. 8-| in., diam. in. 61 . 
 
8 7 
 
 Fifteenth Century. 
 
 The chalice, egg-fhaped, with ftraight fides, is contained in an outer 
 cup of leaves. The Item is fix-fided, and each fide has decoration in 
 enamel. The knop is fpherical, and embofled with radiating acanthus 
 leaves, fix above and fix below, with fix round medallions on the cir- 
 cumference, each bearing demi-figures in tranflucent enamel. I. Our 
 Lord; 2. The blefled Virgin ; 3. St. John the evangelift, with a 
 ferpent ; 4. St. Nicolas ; 5. St. Benedict bearing a palm ; 6. St. 
 Maur (?), nimbed. All are on blue ground. The foot is in fix lobes, 
 decorated with chafing. Round the bafe is the legend, TPSONI 
 MAURI A 3 BTIS, — MCCCCXXVIIII. 
 
 The enamel on the knop and ftem has probably replaced older work, 
 not in champleve but in tranflucent material. The engraving on the 
 heads has evidently been reftored. 
 
 6963. ’6o. 
 
 R ELIQUARY : copper gilt and filver, hexagonal, the 
 body pierced, the ftem chafed. Italian. 15th century. 
 H. 13 in., diam. 5! in. 20/. 
 
 Six-fided, the angles meeting in buttrefles, which are in two ftages, 
 the lower of equal height with the fides. The buttrefles are carried out 
 with nefts of fmaller buttrefles, bafes, offsets, &c., with Angular fidelity to 
 architedlural details. The fides are furmounted by triangular gables 
 crocketed edges and finials and circular window tracery within. 
 
 This portion is covered by a fix-fided fpire, on which are arabefques 
 of coarfe defign with gilt flowers added. 
 
 The ftem is hexagonal and the knop has fix bofles decorated with 
 leaf and flower work without enamel. The bafe has fix lobes and fix 
 projecting quirks between. The Hoping furfaces of thefe portions 
 are covered with ftrapwork of coarfe defign. 
 
 7465. ’6 1. 
 
 B ADGE : filver, with a loop, inlaid with niello ; on one 
 fide the facred monogram in gothic letters. On the 
 other a double interlaced triangle. Italian. 15th century. 
 Diam. 2§ in. Bought, 1 /. 
 
 The letters are formed by the foldings of a flat ribbon, the ends of 
 which are cut into foliage. 
 
88 
 
 Gold and Silver Smiths Work. 
 
 74 66. ’6 1. 
 
 B ADGE : filver, inlaid with niello, having on one fide the 
 blefled Virgin and infant Saviour, and the facred mono- 
 gram in gothic letters on the other. Italian. 15th century. 
 Diam. if in. 1 /. 
 
 A half figure of the mother holds the infant Saviour, giving bene- 
 diction, crowned, on a table, recalling the defign of a known picture, fo 
 compofed by Giovanni Bellini. It is of good 15th century defign; 
 and there is much expreffion on the faces, notwithftanding the fmallnefs 
 of the fcale on which they are executed. 
 
 2576. ’56. 
 
 B OSS : filver, with a crucifixion in niello work in a round 
 convex fliape. Italian or French. 15th century. 
 Diam. if in. 16s. 
 
 The ground is completely filled in with leaf ornament, leaving the 
 figure of the Redeemer relieved in the middle. 
 
 2040. ’55. 
 
 P LAQUE : the Adoration of the Magi in painted Li- 
 moges enamel, with gilding. French. 15th century. 
 6 in. by 4^ in. Bernal collection. 16/. 
 
 This plaque has been part of a feries fet in a triptych of metal 
 works. The bleffed Virgin is feated under a rim of arches and piers 
 of mafonry. She is covered by a long blue mantle, which is wrapped 
 entirely round her ; the head and neck are uncovered, and file has long 
 golden hair falling to the fhoulders ; a red nimbus is behind the head. 
 She is holding the Infant Saviour nude. One of the three Magi, in a blue 
 gown and red cloak, kneels before Him, offering a golden vafe. Another, 
 crowned, dreffed in gown and hood and a cloak of green, holds a 
 covered vafe of gold. The third is young with long hair, gilt ; he 
 wears a blue drefs and a cloak of gold. The ground is green and the 
 
89 
 
 Fifteenth Century . 
 
 upper part, reprefenting the fky, blue, with little clouds heightened 
 by hatchings of gold. The drawing and character of the perfonages 
 reprefented have all the purity and fidelity to tradition of the earlieft 
 dawn of the renaiffance. The draperies, hoods, cloaks, &c. are 
 ftudied from aCtual life. 
 
 3003 . ' 5 ?. 
 
 M ONSTRANCE : gilt copper, architectural defign, with 
 glafs cylinder on a ftem ; on either fide is a buttrefs- 
 like wing, the whole furmounted by a crocketed canopy. 
 French (?). 15th century. H. 24 in., diam. at bafe, 6^ in. 
 1 61 
 
 An architectural fhrine. The body is a cylinder of glafs held by 
 crefted and floriated fetting frames above and below, and placed between 
 two expanding wings. The inner fides of thefe are decorated with a row of 
 foliated crockets, the edges turned to the'glafs. Outfide they are fpread- 
 ing architectural buttrefles, fupported by flying buttrefles, pinnacles, and 
 with more mafiive buttrefled offsets at the bafe. The wider flanks of 
 thefe ornaments are pierced with windows filled with tracery, and on 
 their outer edges minute gurgoyles, canopies and niches are placed, 
 one containing an image of the bleffed Virgin, the other that of the 
 Baptift. 
 
 The top of the fhrine is a fix-fided lantern fpire, with crockets up 
 the angles, a finial of leaves and a crofs over the apex. 
 
 The body is connected with the ftem by crocketed pieces of flat 
 metal, curving over in volutes. The knop has buttrefs projections. 
 The bafe is fix-foiled and has a diapered edge. 
 
 54 - ’ 6 ;. 
 
 C RUCIFIX : covered with thin filver plates, chafed and 
 beaten, fet with cryftals and gems. There are four 
 emblems of the evangelifts in gilt metal on the front and in 
 filver on the back. French (?). 15th century. L. 2 ft. 7 in., 
 W. 1 5 in. 15/. 15^. 
 
 The fubftance of the crofs is of wood, emboffed with plates of filver. 
 The ends are fleur-de-lys, and each arm has two femicircles projecting, 
 
9 ° 
 
 Gold and Silver Smiths Work. 
 
 not clofe to the fleur-de-lys, but half way between thofe parts and 
 the centre, which is a fquare, into which the other members fit. 
 The metal work that is laid on is a rolling fcroll of a rofe pattern 
 with flower and leaves that completely cover the fpace. The extremities 
 are ornamented with chafing only. 
 
 On each fleur-de-lys end, in the middle of the three lobes, is a rough 
 cryftal, fet as a centre to four leaves of metal work, beaten thin and 
 curved over at the ends ; the ftones being fquare and fet as flowers 
 among the bunches of leaves. 
 
 The two femicircular projections in the middle of the arms of the 
 crofs form complete circles, each having on it a medallion frame con- 
 taining one of the evangeliftic fymbols in relief. The central fquare 
 contains a large cryftal above the head of the Saviour, and over that, 
 fet flanting, is a title in gilt metal, faftened feparately, bearing the letters 
 t tl ? i in Gothic characters. The Saviour hangs dead, and the arms 
 are much ftretched ; the feet are faftened by one nail only. The crofs 
 is fet into a focket, below which is a projecting flattifh bofs chafed 
 with gadroon ornament. 
 
 The edges are covered with filver plates, but without ornaments of 
 any kind. 
 
 The back is hammered up with fleur-de-lys which are fewn on the 
 furface, and the edges are rows of beads beaten up in the fame manner. 
 The evangeliftic fymbols engraved in roundels are fet on the four 
 members of the crofs. 
 
 2104. ’55. 
 
 R ELIQUARY : filver, fupported by buttrefles and pin- 
 nacles on a balufter ftem. French (?). 15th century. 
 H. io£ in., diam. 4f in. Bernal collection. 1 61 . 
 
 The upper portion is a cylinder of glafs fet upright, held by two 
 circular fettings with decorated edges. Thefe are fupported in a fquare 
 frame, of which the perpendiculars are buttrefles, with pinnacled tops 
 and fmall pinnacles and buttrefles growing round the bafes. The 
 centre is covered with a conical roof marked with tiling and furmounted 
 by an orb and crofs. 
 
 The ftem is balufter-fhaped, the thickeft portion uppermoft and 
 ferving in place of a knop. The foot is fix-lobed, and -up the lines of 
 junction are fleur-de-lys fp reading over the plain furfaces each fide. 
 

 
 
 
 
 
 
 
 
 
 
 
M'ONSTRANCE ffe CUSTODC IN SILYER.&1LT . SIDES ENGRAVED WITH FIGURES OF SAINTS 
 .FLEMISH OR GERMAN . I"H«LF15''CENT H. 1 FT 7 IN' S K M (NO.^S?). I. STEVENSON F-EHT. 
 
Fifteenth Century. 
 
 9 1 
 
 4689. ’58. 
 
 R ELIQUARY or Pyx: filver-gilt, fix-fided, engraved 
 
 with figures of faints, with pinnacled lantern on the 
 cover. Flemilh or German. 15th century. H. 19 in., 
 diam. 7 in. 4 5/. 
 
 In the form of a ftirine or the lantern of a church tower. It is fix- 
 fided, each fide framed between buttrefles which rife above the walls 
 that they fupport. Thefe latter are battlemented, marked by chafing 
 into cufped arches, under each of which is the figure of a faint repre- 
 fented by the fame method. Thefe are — 1. The Redeemer holding an 
 orb in one hand and giving benediction with the other. 2. St. John 
 the baptift holding the typical Lamb. 3. St. Matthew. 4. St. Cathe- 
 rine of Alexandria. 5. St. Urfula covering a multitude of virgins with 
 her mantle. 6. St. Agnes (?) without emblem. 
 
 Above the body of the velfel the roof Hopes to a central fhrine or 
 lantern, the buttrefles rife above the roof and are connected with flying 
 buttrefles to a fecond fet, which again lean in the fame way againfl: the 
 fix- arched fides of the centre. The centre is an open canopy, the fides 
 of the bafe chafed with window arches which form a pedeftal for a fmall 
 image of the blefled Virgin and infant Saviour. The canopy is on 
 arches, roofed with a fpire, crocketed up the angles, and furmounted by 
 an orb and crofs. 
 
 The knop has fix quatrefoils in lozenge plaques round the circum- 
 ference. The Item is fix-fided, and the foot expands into fix femi- 
 circular lobes. It has a moulded edge with fine leaf work upon it. 
 
 The double row of buttrefles and pinnacles with the flying buttrefles 
 connecting the two rows, and both rows with the central canopy, may 
 be compared with thofe in No. 249. ’74. 
 
 It is reprefented in the accompanying etching. 
 
 4634. '58. 
 
 C HALICE : filver-gilt, the knop having fix-leaf rofettes 
 fet forward on lozenge-fhaped bofles. German or 
 French. 15th century. H. *j\ in., diam. 51 in. 8/. 
 
 The cup is large, oval, with upper fides ftraight. The item is fix- 
 fided and in the upper and lower neckings decorated with minute panels, 
 each with a quatrefoil ornament and milled border. 
 
92 
 
 Gold and Silver Smiths’ IV irk. 
 
 The knop is in fix lobes, with fix lozenge medallions fet forward 
 on the circumference, each lozenge filled with a four-leaved flower of 
 beaten filver confiderably raifed, fo that the entire knop with thefe 
 features is unufually prominent. The foot has fix femicircular projec- 
 tions, and a fquare edge with clofe upright milled band along it. 
 
 6997. ’ 6 o . 
 
 P YX: copper gilt, hexagonal on a tall Hem, with cano- 
 pies at the lides and figures of faints. The upper 
 portion forms the cover, and the foot is engraved. German. 
 15th century. H. i6-| in., diam. 5f- in. 16/. 
 
 An architectural fhrine or lantern of fix fides. Each fide forms a 
 deprefled arch with crocketed drip-moulding over it, fupported by angle 
 buttrefles with fmall gables, pinnacles, and bafe offsets to each, and a 
 moulded parapet crefted with battlements at the back. 
 
 Under each arch are two images of two of the twelve apoftles, with 
 their appropriate emblems. A Hoping roof with crocketed ridges leads 
 up to a fmaller lantern, alfo fupported by buttrefles, and each of its fides 
 pierced by windows of two lights and a quatrefoil beading. This 
 portion is covered by a fpire with crocketed angle ridges furmounted by 
 a cock. The roof and upper portion form the cover. 
 
 The ftem is hexagonal with a projecting knop and fix lozenge 
 medallions round the circumference, on which are the letters of an invo- 
 cation, but much defaced. The foot lias fix femicircular lobes, and is 
 chafed with coarfe foliage fcrolls of more than one defign. 
 
 2093. ’ 55 - 
 
 C RUCIFIX : gilt copper, with emblems of the evangelifts 
 at the extremities of the crofs ; the edges crocketed. 
 Flemifh. 15th century. H. 15^ in., W. iof- in. Bernal 
 colledtion. 1 /. i8j. 
 
 The crofs is treated decoratively. It is made of flat bars or plates 
 with double ribs down the front. Each extremity expands into a circle 
 
93 
 
 Fifteenth Century. 
 
 in which are the lymbols of the four evangelilts in relief. On the outer 
 edge are fleurs-de-lys projecting like a lace edging. The figure is rudely 
 modelled, and the feet are fattened by a fingle nail. At the back there 
 are flowers in place of the evangeliftic fymbols in the circles, and thefe 
 have central fockets as if to hold cryftals. The gilding on this fide 
 is in good condition but it has perithed on the front. 
 
 602 . 64. 
 
 P AIL for Holy Water : brafs, with pointed arched fwing 
 handle. Flemilh or French. 15th century. H. 4f in., 
 diam. 3f in. 1 /. 8/. 
 
 Goblet-fhaped, with a wailt, and handing on a bold bafin-fhaped bafe. 
 It has a fhort cylindrical mouth and a heavy trefoil handle fwinging in 
 holes in the fides. Too fmall to be ufed at the w afperges ” before the 
 mafs, more probably for blefling houfes, &c. on occafions on which 
 holy water is required to be carried from place to place. It is of uncer- 
 tain origin, but has more of Flemilh than of French character. 
 
 38°. ’54. 
 
 R ELIQUARY : the head of a faint, a moonftone fet in the 
 forehead. Swifs or German (?). 15th (?) century. 
 H. 10 in., diam. 6 \ in. 8/. 
 
 A bearded head, the two points of the beard and the hair at the 
 back of the head forming three fupports on which it Hands. The eyes 
 are clofed in death, and an oval cryftal is fet in the middle of the fore- 
 head. The metal is copper-gilt. There is nothing to fhow whom it 
 is meant to reprefent. It is faid to have come from the monaftery of 
 St. Gall, but no authority to be relied on can be given for this attribution. 
 
 2 ° 77 - * 55 - 
 
 R ELIQUAR Y : copper gilt, hexagonal, engraved and 
 fupported on a tall ftem. German. 1 5th century. 
 
 H. 9 in., diam. 5-I in. Bernal collection, il. ioj\ 
 
 In the form of an architectural fhrine of fix fides fupported by 
 buttrefles at the angles which have their upper portions pierced through, 
 
94 
 
 Gold and Silver Smiths Work. 
 
 and unufually light in appearance ; a pierced crefting runs along the 
 top of the fix Tides ; the fides are marked by indented lines reprefenting 
 interlaced trefoil window lights, but the lights are not pierced. Under 
 the buttreffes are e/)-fhaped brackets. 
 
 The Item is ftraight and unufually thin ; the foot expands into fix 
 concave Tides. 
 
 2347 - ’ 5 6 - 
 
 R ELIQUARY : filver-gilt, round, emboffed, and chafed 
 with the Veronica image ; a fhort chain attached.. 
 German. 15th century. Diam. in., L., including chain, 
 
 8J in. il. 
 
 The middle portion is beaten up with the hammer, reprefenting the 
 folds of the napkin of St. V eronica bearing an image of the face of our 
 Lord, upheld by two angels. 
 
 On two fhort fcrolls in black letters, 3®Ib£ 3ft® JJ ti. 
 
 The legend of the fudarium or cloth offered by St. Veronica to wipe 
 the face of our Lord on His way to the crucifixion, a likenefs of Whom 
 remained on it. 
 
 A broad border runs round this middle compofition, chafed with a 
 rolling fcroll of knotted ftalk and leaf work. 
 
 On the inner fide of the border is an edging of fine corded metal, 
 and round the outer edge a Tingle twift of flat metal. 
 
 7873. ’6 1. 
 
 I NCENSE Holder: copper, boat-fhaped, on a foot and 
 with dragon handles. German. 1 5th century. H. 3f in., 
 L. 7f in. 2/. 
 
 Boat-fhaped, with deep channels or flutings from end to end along 
 the body. The top is hinged in the middle, ornamented with bold 
 fcrolls of arabefque work on the furface and with two handles to the 
 lids, fhaped like dragons on their backs. 
 
 The foot is in fix lobes, with points between. 
 
Fifteenth Century. 
 
 95 
 
 7914. ’63. 
 
 C RUET : filver, parcel gilt, with fcroll handle and 
 double-mouthed fpouts. A crefting of leaf work fur- 
 rounds the top, and a finer crefting the ftem below. German. 
 15th century. H. 11J in., W. 6 in. Soltikoff collection. 
 120/. 
 
 The neck is long and the body low, with a narrow ftemmed bate. 
 The cover is domed, and has a crown of finely beaten ftrawberry leaves 
 on the top. The narrow portion of the ftem below the body is fur- 
 rounded by a crown of leaves, with ftraigbt croff-fhaped ftems and 
 fmall flowers, each joined by a delicate rod to the next. Underneath 
 each pair is a fmall quatrefoil flower. 
 
 The foot is in fix femicircular lobes. 
 
 The handle is a long fcroll of metal, forked into two volutes where 
 it joins the body below. The fpout is a curved tube, tied back near 
 the mouth, which confifts of two ftiort tubes ifluing from the mouth of 
 an animal. 
 
 7243- 
 
 C HRISM ATORY : filver, parcel gilt, in three cylindri- 
 cal divifions, with niches and images in the intervals, 
 furmounted by a crucifix. German. 1 5th century. H. 7 in., 
 diam. in. 70/. 
 
 Three upright cylinders bound above and below with rims and lines 
 of beaded and plain metal, the upper finifhed with a crefting of foliage. 
 It ftands on three lions. 
 
 Three images under three crocketed and pinnacled canopies are fet 
 between the cylindrical divifions: 1. The blefled Virgin and infant 
 Saviour. 2. A fainted archbiftiop. 3. St. John the evangelift. 
 
 The top Hopes upwards and is in three divifions, with a long acan- 
 thus leaf gilt, covering rhe lines of junction, and four- foiled ornament 
 embofled on each divifion. 
 
 If is furmounted by a crucifix with floriated crofs, and with the title 
 repeated on the back of the crofs. 
 
 Infide there is a flat plate pierced with holes, correfponding to the 
 cylindrical divifions, and marked for the chrifms and oil. 
 
g6 Gold and Silver Smiths JVork. 
 
 181. ’66. 
 
 C RUCIFIX : filver-gilt, chafed with the evangelical fym- 
 bols ; the knop formed by faints under canopies; on 
 the bafe two fhields of arms. Three fapphires are fet at the 
 head and hands of the Redeemer. German. 15th century. 
 H. 9-I in., W. 4f in. 10/. 
 
 The ends are formed into trefoils, and on the edges there is a 
 moulding of fmall grains. On the ends are roundels, containing the 
 fymbols of the four evangelifts and fcrolls with their names. The 
 figure of the Redeemer is fmall, but carefully wrought. The head 
 inclines in death ; there is a cincture round the loins, and the feet are 
 fattened with one nail only. Each of the nails in the hands is 
 headed by a tallow cut fapphire, and a fmall facetted fapphire is fet over 
 the head. The title has ititft in gothic letters. At the bafe there 
 is a fort of arcade, headed by crocketed gables with trefoil cufpings of 
 tracery. Two wide arches are on the front and back, and two narrow 
 ones on the fides. There are fix figures under the arches, and the 
 ends are divided by tiny buttreffes from the front and back. The 
 figures are : the blefled Virgin, St. John, St. M. Magdalen, a faint 
 holding a palm branch, St. Bartholomew, and a crowned female figure 
 with a palm branch, Helena (?). 
 
 The back is plain, the centre opens for relics. It holds a fmall crofs 
 of cryftal, fplit and hollowed in the middle, fattened along the two 
 edges by a wire fewing, and the ends of the wire are fecured by the 
 official feal of authentication, but whatever was infide feems to have been 
 removed. 
 
 On the bafe, which is plain, are two coats of arms on fhields, welded 
 or pinned to the metal below. One bears : argent, a fefs gules, over 
 all a tree with three leaves, rooted proper. The other coat bears : argent, 
 an inefcutcheon fable. 
 
 The architectural arcade and figures, which form a firiking feature 
 in this crofs, may be compared with fimilar work among the chalices 
 and other veflels, e.g., No. 631. ’68. 
 
 25 Sl - 5 6 - 
 
 C ROSS : wood, covered with filver plates and mounted in 
 gilt metal. Emblems of the four evangelifts on the 
 extremities. German (?). 1 5th century. H. 23 in., W. 14^ in. 
 
 14/. Bj. 
 
Fifteenth Century. 
 
 97 
 
 The fubftance of the crofs is wood covered with thin plates of 
 filver, hammered, with a fcroll of flowers and foliage that rolls over and 
 fills the entire fpace. The ends form trefoils with four femicircular 
 projections, the angles of each meeting in a Iharp quirk, and the fame 
 form is maintained at the points of interfedtion. 
 
 Each of the trefoil ends contains a round frame fet on over the 
 furface, and with a bold raifed edge or rim. In thefe are fet the fymbols 
 of the four evangelifts. The fpace outfide thefe circles is of gilt metal, 
 engraved, not hammered like the reft of the crofs. 
 
 On the central portion is mounted a feparate crucifix. This fmaller 
 crofs is made of a round reed of gilt brafs, hollow, and with the tranfom 
 turning upwards at each extremity in a flight concave. The whole of 
 this fmaller crucifix is of ruder workmanftiip than the reft, and has been 
 a later, if not a wholly modern addition. 
 
 At the back there is a central figure reprefenting a bifhop, and on 
 the four extremities round frames like thofe in front containing carved 
 medallions of mother-of-pearl fet in notched rims. Thefe reprefent 
 fymbolical figures. On the top is the Agnus Dei, at the bafe an old 
 man in boots walking and partly covered by a cloak or large hood. 
 On the right and left two faints. Thefe fculptures are in the ftyle of 
 thofe 15th century carvings feen on medallions, cheflmen, and other 
 fin all objects of boxwood. The material has probably been brought 
 from the Holy Land, and fome of the carvings, fuch, e.g.., as the 
 Agnus Dei, may have been done at Bethlehem. 
 
 4450. ’58. 
 
 C ROSS : gilt copper (imperfect). Set with cryftals ; that 
 at the interfedtion enclofing a relic ; the reverfe fculp- 
 tured with fymbols of the four evangelifts, the Virgin and 
 Child, &c. German. 15th century. H. 6|- in., W. 9 in. 
 
 3* 
 
 The lower member of this crofs is wanting. On one fide are four 
 out of five oval cryftals : the fpaces between the cryftals are chafed 
 with portions of rolling fcroll foliage. On the top is a fixed ring, as 
 if the crofs had been fufpended above an altar. The back is covered 
 with defigns carefully executed in chafing. In the centre is a medal- 
 lion containing a figure of the blefled Virgin feated on a throne, and 
 holding the infant Saviour in her arms. In the medallions, corre- 
 
 36105. 
 
 G 
 
98 Gold and Silver Smiths Work. 
 
 fponding to the three cryftals on the other fide, are three out of four 
 evangeliffic fymbols. They are defigned in the fpirit of work of the 
 early 15th century, and are turned towards the central medallion. 
 
 The Hem and arms are chafed with bold three-lobed acanthus fcroll 
 work. 
 
 394. ’72. 
 
 M ORSE : circular, filver-gilt, with a rim of leaves and 
 feed pearls on a field diapered with blue enamel ; an 
 Adoration of the Magi under a rich canopy of architectural 
 decorations ; animals and figures below. German. 1 5th cen- 
 tury. Diam. 5 in. Webb collection. 350/. 
 
 This richly decorated brooch is furrounded by a border of filver gilt- 
 metal work, doping inwards and covered with vine Items and leaves in 
 relief, all well detailed. Among the leaves are fet eight fmall pearls, 
 and the outer rim is finifhed with a cord moulding. Within the bor- 
 der the ground is blue tranllucent enamel. On this there is an elaborate 
 architectural frontifpiece in feveral ftories. The loweft of thefe confilts 
 of an arcade of windows as of the fides of a cloifter. Two fquare 
 blocks come forward, each having three fides of an oCtagon termination. 
 The angles of this arcade are furnifhed with turrets, having battlemented 
 creftings, and the windows continue round the recefs of the central 
 portion. In this recefs is reprelented the adoration of the Magi. The 
 bleffed Virgin is feated on a throne, and holds the infant Saviour on 
 her knees. One of the Magi kneels and offers Him a cup of gold ; 
 another Hands dreffed in a fhort tunic and holding his cap ; the third in 
 a long gown Hands and takes off his hat. 
 
 Amongff the arcaded recedes behind this compofition are feen two 
 figures, perhaps St. Jofeph and an angel : one feems to be dreffed in a 
 long gown. The Child and the faces [are lefi in filver, all the reff 
 being gilt. 
 
 Above, on the right, is another architectural facade, in which a 
 doorway, or rather a paffage, leads out on the roof of the arcade juff 
 defcribed. A figure, king Herod, comes out and gives directions to a 
 fentinel who is outfide a fmall turret, holding a drawn fword over his 
 fhoulder. Herod feems to be looking down on the fcene below. 
 
 A correfponding Hory on the left of this Hage fhows a different 
 arrangement of turrets, roof, and mullioned windows. Between 
 

 MCriSE OR CLASP'. SILVER-GILT AND ENAMELLED .. 
 
 Q ERMA N IS- h CENT” TULL SIZ£ . .5. K . M .(«» 394,-72) . 
 
 JOH N . WATKIN S . FECIT 
 

 
 
 
 
 
 
 
Fifteenth Century . 
 
 99 
 
 thefe right and left hand compofitions there is a canopy {landing out 
 on cufped fupports, which overfhadows the group below. Its upper 
 furface is a fmall platform, backed by arches forming the centre of 
 this ftage. On the platform are Joachim and Anna : he holds out his 
 right hand, {he holds out both hers. 
 
 Above this there is a rich architectural finifh of pierced traceried 
 windows and dormers in the roof. They balance each other on the two 
 fides, but the defign is not repeated, the artift feeming to have taken 
 pleafure in varying this elaborate architectural front, perhaps in imitation 
 of fome aCtual buildings with which he was familiar. 
 
 Below the architecture is a bafe of green enamel intended to repre- 
 fent a Hoping mountain, with recedes in various parts of its furface. In 
 the middle is feen the Sta. Cafa of Loreto, a fmall building containing 
 one room, an arched door and narrow window befide it, a chimney in 
 the roof and another fide window, the whole height being fcarcely three- 
 quarters of an inch. Outfide, the blelfed Virgin is feated reading at a 
 defk : there are alfo a lily ; a knight holding a fhield, gules ; a dog, a 
 hare, and flowers fcattered about the recedes of this grafly hill ; all on 
 a minute fcale. 
 
 The elegance and variety fhown in the defign of this clafp are 
 aftonifhing on fo fmall a fcale. The architecture is full of quaint details, 
 which are only recognifed on a minute ftudy of the metal work. The 
 little flowers on the hill, the houfe, the figures, the dog are all carefully 
 made out. They (how how deeply the principles of the pointed archi- 
 tecture of the day had influence on all fmaller art, not only in the 
 wood work of churches, altars, and fhrines, but in chalices and other 
 metal work, more particularly that applied to ecclefiaftical ufes, fuch as 
 the morfes or brooches ufed for fattening the cope, as in this inftance. 
 Compare, e.g . , with this the chalice, No. 631. ’68 in the collection. 
 
 4635 * ’ 58 . 
 
 C HALICE : filver-gilt, fix-foil foot, lozenge-fhaped boffes 
 on the knop, each bearing a letter ; legend below the 
 bowl. German (?). 15th century. H. 7 in., diam. 5 in. 10/. 
 
 The lip flightly bell-fhaped, the containing cup finifhed with a circle 
 of rays and flame points. The Item is fix-fided ; on each face is a 
 letter of the facred name, IHESVS, and on the fides, below the knop, 
 MARIA. The knop is covered with medallions above and below the 
 
ioo Gold and Silver Smiths Work. 
 
 central line, round which are lozenge-fhaped medallions, with the 
 letters, D • MV(R?) 10 A. The foot has fix lobes. 
 
 Round the foot run the letters, DEI • MISERERE MEI • PER 
 IVRG E TABEI ANVS ANANIS • ABTA. 1 
 
 HALICE : filver-gilt, with round knop, hexagonal foot. 
 
 with a crucifix and feven heraldic fhields on the 
 furface. Round the ftem are invocations. German. 15th 
 century. H, 7^ in., diam. 6 in. Bernal collection. 17/. 
 
 The cup is ftraight-fided without ornament. The ftem is hexagonal, 
 with a battlemented collar : on the portions above and below the knop 
 are read, in Lombard letters, IHESUS and O COARIA. The knop is 
 fpherical, and has fix quatrefoil medallions round the circumference 
 filled with leaves in relief. On the upper and lower furfaces of the 
 knop are reprefentations of two light traceried windows, chafed, which 
 fit into the fpaces between the quatrefoils. 
 
 The foot is hexagonal, hollow on the upper furface, bordered by a 
 bold edge moulding reticulated, and having fmall turrets on the angles. 
 Into the upper cavity have been riveted a crucifix and eight fhields, of 
 which one is wanting. They bear : 
 
 1, three bars, the lower fides ferrated ; 2, the fame; 3, per pale, 
 argent and gules ; 4, argent, a wolf paflant proper ; 5, per pale, argent 
 and or ; 6, per pale, or and argent ; 7, as the fifth. 
 
 R ELIQUARY : filver-gilt, in form of a fhrine ; on the 
 bafe are mafonic emblems on black enamel. German. 
 15th century. H. i6f in., diam. of foot, 6 \ in. Webb 
 collection. 60/. 
 
 In the form of a circular fhrine, having projections on the two 
 flanks. The centre is a cylinder of glafs, held on its upper end in 
 a rich cufped and traceried arch head. Above this rifes a fix-fided 
 
 2103. ’55. 
 
 34 6 . ’74. 
 
 1 I cannot fuggeft the meaning of thefe legends. 
 
Fifteenth Century. 
 
 IOI 
 
 lantern with tall windows on each face, furmounted by a fhort fpire 
 crocketed with foliage and finifhed with a floriated finial. 
 
 On two fides, projecting like wings, are light buttrefles in two flights, 
 topped by crocketed pinnacles. Thefe form the frame that connects the 
 upper and lower metal fetting of the reliquary. 
 
 The bafe is a gallery of pierced work, furmounted by a battlemented 
 crefting. This gallery runs out into the wings, and on it the buttrefles 
 are bafed. On each angle of the gallery, as well as at the outfide edge 
 of the wings, there are fhort pillars that form pedeftals, each fupporting 
 a fmall angel that kneels outwards in adoration. 
 
 The reliquary falls in under the gallery, and contracts to a fix-fided 
 ftem with a projecting knop or collar, on the circumference of which 
 are the names, S • GERMANVS • S • JVSTS • S • PAVLINVS and 
 S • TICIVS. 
 
 Where the ftem joins the foot there is a fix-fided block, the middle 
 of each face open and fhowing a furface of filver, from which, pro- 
 bably, tranflucent enamel has been loft. 
 
 On the upper furface of the foot are two medallions, one in front 
 and one at the back, in which are mafonic emblems roughly embofled : 
 they probably replace plates of filver, enamelled with other devices. 
 
 The edge of the foot is fhaped in projecting lobes, alternately large 
 and fmall, the large lobes crefcent fhaped : the whole diameter is greater 
 from fide to fide than from front to back. 
 
 On the flat bracket under the decorated gallery is a ftamp, - 
 
 
 287. ’64. 
 
 M ONSTRANCE : gilt metal, with half length figures 
 of faints, a frieze of dogs and rabbits in painted 
 enamel. Italian. 15th century. H. 21^ in., W. 8i in. 
 
 45 /. 
 
 This veflel is fix-fided in the body, each fide bordered by a flat 
 pilafter fluted and with cap and bafe. Round the architrave above and 
 on a continuous pedeftal below this light lantern are infcriptions in 
 Roman capitals, gilt, on blue enamel. The upper infcription is gone 
 
102 
 
 Gold and Silver Smiths W ork. 
 
 but the lower remains uninjured, and contains part of the laft ftanza 
 of the hymn, Verbum Supernum, viz. : 
 
 O SALVTARIS HOSTIA QVI COELI PANDIS OSTIVM 
 BELLA PREMVNT HOSTILIA DA ROBVR FER AVXI- 
 LIVM. 
 
 Above the cornice are fix pairs of dolphins endorfed, and within the 
 crefting fo made rifes a roof marked into fcale-fhaped tiles, and over 
 that a fix-fided Ihrine, each angle fupported by a balufter column, and 
 each fide painted with an arabefque panel on a blue ground ; the whole 
 furmounted by a fmall dome and a crofs. 
 
 The ftem is candelabrum Ihaped, with a knop partly covered with 
 acanthus ornament. A band of painted enamel runs round the root 
 of the ftem, on which are the words : 
 
 OVI NATVS ES DE VIRGINE, 
 and another line deftroyed, from the hymn, Jefu Redemptor. 
 
 The foot is divided into fix Tides by acanthus leaf ornament, and 
 the plain furfaces covered with painted enamel which has been covered 
 with a tranfparent colourlefs coating, giving it the look of tranfparent 
 enamel on metal. 
 
 On one fide is a half-figure of the Redeemer, with the arms 
 opened to fhow His wounds ; 2. The blefled Virgin holding the 
 
 Infant Saviour ; 3. St. Auguftin ; 4. St. Ambrofe j 5. St. Jerome j 6. 
 S. Gregory, with their ufual diftindtive fymbols. 
 
 On the edge of the foot are fix narrow panels, alfo painted with 
 dogs and animals of the chafe on a very fmall fcale. Thefe panels are 
 feparated by leaf work, and the whole refts on metal feet. 
 
 Figured, chromolith. of objedts in the South Kenfington mufeum. 
 
 252 . >4. 
 
 C OVERED Vafe : cryftal, circular, mounted in filver 
 gilt, the cover ornamented with filigree and the feet 
 made of kneeling figures. French. 1 5th century. H. 31 in. 
 Webb collection. 30/. 
 
 The body of this little vafe is of cryftal or dear fluor fpar much 
 marked with crackings. It is egg-lhaped and mounted in a rim. of 
 which the edge is broken by tiny battlements. The top is domed 
 and is of filver-gilt, covered with delicate filigree gilt metal. The wire 
 is granulated and forms four large circles with fmaller circles of two 
 fizes 5 this delicate line is relieved, at intervals, by grains or drops 
 
Fifteenth Century. 
 
 103 
 
 of metal. It finifhes with three leaves and a fmall pearl above them : 
 the vafe ftands on three little images of fervants or pages ; each kneels 
 on one knee and fupports the vafe on the inner fhoulder, holding a fruit 
 in one hand. 
 
 560. ’73. 
 
 W ATER Veflel : brafs, in form of a lion, with a fpout 
 in the mouth and a ferpent handle on the back. For 
 church or facrifty ufe. German. 15th century. H. n^in., 
 L. io-| in. 25/. 
 
 The legs ftretch forward and aft. A handle is attached to the 
 head and root of the tail ; the tail hangs down and touches the right 
 hind leg. Meant for fufpenfion over the pifcina of a church. 
 
 461. ’73. 
 
 W ATER Veflel : bronze, in the form of a chimasra 
 on its haunches, with upturned head and open mouth. 
 German. 15th century. H. 8 in. 12/. icxr. 
 
 The monfter has the head and neck ftretched in a line with that of 
 the back, the mouth forming a round opening. Two goat horns 
 curl back in two fets of curves. There are rough reprefentations of a 
 hairy mane on the cheft and fhoulders, and the tail is curved over the 
 back to make a handle. Ufed to hang over a pifcina in the wall of a 
 church or facrifty. 
 
 4054. ’56. 
 
 W ATER Veflel : bronze, in the form of a lion ; 
 
 the handle is a female figure holding a fword. For 
 church or facrifty ufe. German. 15th century. H. 10 in., 
 L. 13 in. 10/. 
 
 The body is a lion ftanding, the legs all ftretched out. A fpout 
 iffiies from the mouth, and a fhort handle fwings in the nofe. The tail 
 begins with a fmall dog or other animal head downwards ; the end is 
 attached to one of the hind feet. The handle is made of a flat female 
 
1 0 -|- Gold and Silver Smiths Work . 
 
 figure craped ir. the folds or" 2 long mantle, and bending a fword acrofs 
 her knees, probably Fortitude ; the ends of this piece of metal axe 
 fattened down on each ride of the haunches of the animal, with orna- 
 mented ends at the points of junction. Conventional locks of hair, 
 fhaped like the leaves of a capital, repreient the lion’s mane. The head 
 opens with a hinged lid for pouring; water in. Ufed for fuipenlion in a 
 church or facrifty. 
 
 2434 * ’ 5 6 - 
 
 C ROSS or Pinnacle : bronze-gilt. In the form of a 
 canopy furmounted by a crofs ; probably a fragment 
 of a Ihrine or monftrance. German (?). ’15th century. 
 
 H. 7 in., W. 2 in. 2/. i6x. 
 
 A niche covered by a proie&ing canopy, with rich tracer)' in the 
 arch, furmounted by a finial, and backed by a pierced burner's with a 
 fquare canopy and crois on the top. 
 
 449, 450. ’65. 
 
 C RUETS : a pair, hirer, parcel gilt, haring granulated 
 mouldings, with the letters A and V on the lids. 
 Englifh v ?). 15th century. H. 5L in., Earn. 2 in. 3c /. 
 
 They are long-necked, with a final round body lifted on a circular 
 rather flat foot ; the mouth fp reading with a pointed lip and a hinged 
 cover. The cover, the circumference of the mouth, and a collar at the 
 root of the neck are ornamented with bead mouldings and double lines. 
 On one is the letter A and on the other V, to indicate which holds 
 wine Vinura), which water j Aqua), both in relief that can be eafily felt 
 by the ferver, to fupply the chalice during the mil's. 
 
 4260, 4261. 57. 
 
 C RUETS : a pair, amber, mounted :: 1 fiver gilt, with the 
 letters V A on the tops. Flemifh or German. Late 
 1 cth century. H. 5 in., diam. 2 in. 18.. 
 
 The bodies are of clouded amber of dark yellow colour. The 
 neck contracts fuddemlv under the mouth, which has a pointed lip. The 
 whole of the necks and items and round feet under the body are of 
 
Fifteenth Century . 
 
 !05 
 
 filver gilt. The hinge covers, handles for opening the covers, and large 
 folid handles for holding the veflels are of filver gilt. The letters A 
 and V are engraved on the tops. For the use of the mafs. 
 
 4408. ’57. 
 
 P AX : bronze, enclofing a figure of the Virgin in relief, 
 attributed to Sandro Botticelli (?) ; on the plinth are 
 three niello plaques. The mounting in chifelled bronze is 
 enriched with filver filigree work. Italian. About 1490. 
 H. io-| in., W. 6 \ in. 45/. 
 
 This berutiful pax is in the fhape of an architectural frontifpiece : a 
 fquare panel fupported by pilafters, furmounted by a deep entablature, 
 and {landing on a dado and bafe. Over the pilafters are finials made 
 of orbs topped by obelifks, and above the centre an arched pediment. 
 
 The tympanum is filled by an heraldic fhield bearing party per pale 
 of two coats : 1. A hand finifter ereCt; 2. A lion paflant. On each 
 fide of the fhield there is a round medallion of filigree work of filver. 
 The frieze, pilafter panels, and a band along the bafe are filled with 
 filigree of filver. 
 
 The principal panel contains a baf-relief reprefenting the Virgin 
 holding the Infant Saviour. She is {landing in front of a niche, 
 furmounted by a {hell coving. In this is a throne flanked by columns, 
 from the tops of which garlands are held in feftoons by angels. Angels 
 and children ftand in a femicircle on either fide of the throne, holding 
 garlands and fenced round by a baluftrade of bars or rails. 
 
 The dado of the platform on which they ftand is fronted by fmall 
 plates of niello, — one containing an image of St. Jerome in the defert ; 
 the other that of St. Francis of Aflifi receiving the ftigmata ; that in the 
 middle reprefenting the refurre&ion of the Redeemer. Two angels 
 fupport fhields on two fides, and two feated angels, facing each other, 
 uphold a central medallion, on which is a demi-figure of the Saviour 
 ftiowing His wounded hands. 
 
 The dado of the whole frontifpiece is filled with a band of filver 
 filigree work. 
 
 The pieces of niello are on a minute fcale. The compofition of 
 the Virgin and the choir of angels has the character of fimilar fubje&s 
 by Florentine painters of the 15th century. All the figures are correCl 
 in defign, and compofed with much grace. The niello and filigree work 
 is in a good ftate of prefervation. 
 
io6 
 
 Gold and Silver Smiths Work. 
 
 6 SS ■ >2. 
 
 ' f "RIPTYCH : filver-gilt, on a hexagonal pedeftal of 
 
 X architectural defign, containing a Pieta compofition in 
 the middle, with a kneeling figure and a fcroll on the fhutters. 
 German. Dated 1491. H. 3§ in. 14 1 . 
 
 This, which is perhaps the frnalleft triptych in the collection, is 
 elaborately worked throughout. It confifts of a pointed arched panel, 
 the arch formed by rich fcroll foliage refting on minute twifted columns, 
 with bafes and capitals in proportion. Under this archway is feated the 
 mother of the Redeemer, holding on her knees the dead body of her 
 Son, which lies in the traditional attitude fince made familiar in its 
 treatment by Michael Angelo. Her hands exprefs her forrow. All 
 the folds of the drefs are made out on this very minute fcale. 
 
 The two fhutters have little fubjects on them in baf-relief. On the 
 left a female figure kneeling : fhe is in a wimple, tight body and 
 fleeves, and long fkirt of the German coftume of the 15th century. 
 Her two hands are clafped together, and fhe is abforbed in the iubject 
 reprefented under the arch. On the right panel is a knotted fcroll, on 
 which can be read, ©ra . and the date 1491 (or 2) ; the laft figure 
 is partially obliterated. 
 
 On the outfide of the doors are knots of cord that flretch from the 
 middle to the top and bottom of the fpace. On the back of the centre 
 panel is an heraldic achievement. The fhield bears : a bend, thereon 
 a lion paffant : a helm, and for a creft, a demi-lion rampant. 
 
 This upper part is carried on a fpreading foliated bracket, riling 
 from a fbrine compofed of fix little buttrefles, with weathered offsets 
 and other architectural members meeting in the middle and fupporting 
 openwork arcades of the moil minute proportions. This little model 
 relembles the market croffes and other like ftructures erected in this 
 country in the 15 th century. 
 
 The careful attention to architectural details, and the fidelity to life 
 in the figure of the donor, have a clofe affinity with the times and the 
 flyle of Adam Krafft of Nuremburg. The work is anterior to any in- 
 fluence of renaiffance art, which powerfully affected metal work of all 
 kinds. 
 
 ANAP : filver-gilf, trumpet-mouthed, on a fpreading 
 
 century. H. 5f in., W. 3^ in. Soltikoff colletition. 35/. 
 
 56°. ’; 4 . 
 
 bafe Handing on three fmall lions. German. 15th 
 
Fifteenth Century . 
 
 107 
 
 The body is ftraight-fided, flightly trumpet-mouthed at the brim. 
 It ftands on a bafe fpread out with a hollow moulding, and is lifted on 
 three l'mall lions rampant, each holding a fhield, not engraved. 
 
 Round the Tides are two broad engraved bands of fcroll lines and fmall 
 leaves, round the middle a band of leaf work in high relief, and round 
 the bottom of this portion a crefling of conventional vine leaf work on 
 a corded moulding gracefully arranged. 
 
 The top of the bafe has alfo a corded moulding, and a moulding 
 below of bead and leaf work richly fretted, the points of the leaves 
 downwards. It is in the fineft character of cups of the late middle 
 ages, following the ornamentation of facred veflels but defigned for 
 fecular ufe. 
 
 56oa. >4. 
 
 H ANAP : lilver-gilt, trumpet-mouthed, on a fpreading 
 bafe Handing on three fmall lions. German. 15th 
 century. H. 5f in., W.3^ in. Soltikoff collection. 35/. 
 
 Of the fame fhape and decoration as the foregoing. 
 
 ’ 55 - 
 
 C UP : cow’s horn, mounted with bands of gilt bronze, the 
 fmall end having a perforated bofs and flower ; on the 
 mouth of the horn an infcription in gothic letters. German. 
 15th century. H. 7f in., L. 8^ in. Bernal collection. 
 12/. IOJ. 
 
 The mounts are a bold lip and bands round the middle, with three 
 feet. The metal work is roughly chafed, and the bands are connected 
 by ftraps to each other. 
 
 561 ’72. 
 
 W ATER Veflel : brafs, in form of a lion, with a 
 fpout in the mouth and lizard handle on the back. 
 For church ufe. German. 15th century. H. 6 ^ in., L. 7 in. 
 20/. 
 
i o 8 Gold and Silver Smiths IV irk. 
 
 The legs are ftretched forward and aft. The tail is turned back, 
 and forms a curved handle over the middle of the body. An opening 
 in the head, with a hinged lid, for pouring water in. Locks of hair, 
 the reprefentation of a mane, cover the neck and tops of the fhoulders. 
 
 4428. ’50. 
 
 P LAQUE : enamelled on copper, with the Salutation, 
 executed chiefly in white enamel on a tranflucent blue 
 ground. Italian. 1 5th century. H. 3 in., W. i\ in. 
 2/. 
 
 This beautiful plaque reprefents the Annunciation. The blefled 
 Virgin is kneeling before a defk formed by the wings and paws of a 
 fphinx ; on the lower part is a medallion containing a minute bull. The 
 archangel kneels before her holding a lily in the left hand, and raifing 
 the right in benediction. Above is feen the Holy Spirit defcending in 
 the form of a dove. An arch, with a red curtain above the Virgin, 
 completes this fmall but dignified compofition. 
 
 The architecture, defk and other details are of renaiflance cha- 
 racter, and recall the decorations of the cathedral of Siena. The 
 drawing is of the higheft order, but the enamel has been but imperfectly 
 vitrified, much of the colour has perifhed, and the general effeCt is 
 loft from the opacity and fading of the mafles of drapery. 
 
 83,84. ’65. 
 
 S POON and Fork : rock cryftal, mounted in filver-gilt, 
 with a figure of an angel on each lower end, and a ball 
 of enamel, furmounted by a pearl on the upper. French (?). 
 1 5th century. L., fpoon, 8 in., fork, 7 in. Pourtales collection. 
 84/. 4 s. 
 
 The handles are Items of rock cryftal, mounted in collars of filver- 
 gilt ; each has a bofs of blue enamel with a pearl mounted on the top 
 of it, and a neft of leaves to hold the balls on the upper end. 
 
 The bowl of the fpoon is cryftal in a fetting of filver-gilt. 
 
 The points of junCtion between the handle and bowl of the fpoon 
 and between the handle and prongs (two) of the fork are graceful 
 
Fifteenth Century . 
 
 109 
 
 figures of angels with wings ftretched back to the Items. Each figure 
 is of feparate defign, and that on the fpoon ends in a tallow cut 
 amethyft. 
 
 OWL and Cover : a mazer bowl, maple wood, in filver- 
 
 gilt mounting, gourd fhaped ; of two hemifpheres, one 
 containing half the liquid meafure of the other ; filver-gilt foot 
 of pierced gothic work ; the mounting of the cover is wanting ; 
 the handle, which projects from the bowl, is carved out of the 
 folid wood. Englilh. 1 5th century. H. 7 in., diam. n\ in. 
 
 The wood, quite plain, turned out of root wood. The crefting 
 from the top is loft. 
 
 OWL and Cover: a mazer bowl of two hemifpherical 
 
 pieces of maple wood, mounted in filver ; in the centre 
 of the cover is the facred monogram enamelled; a fcrolled 
 handle projects from the bowl. German. Dated 1492. 
 H. 4f in., diam. 5I in. Soltikoff collection. 46/. 
 
 The crefted rim or crown of leaf work round the top, as well as 
 the pierced gallery on which it ftands, are elegantly beaten. The handle 
 work is of rolled leaf gracefully hammered. 
 
 B OWL and Cover : a mazer bowl of two hemifpherical 
 pieces, mounted in filver-gilt ; a filver handle projects 
 from the bowl, engraved with a chequered pattern. German. 
 15th century. H. 2f in., W. 2f in. Soltikoff collection. 9/. 
 
 The cover is enamelled on the round plate with which it is 
 
 4423. ’58. 
 
 61 
 
 795 ’62- 
 
 795 8 - ’6z- 
 
 capped. 
 
iio 
 
 Gold and Silver Smiths Work . 
 
 3269. ’56. 
 
 F RAME : filver-gilt, quadrangular, chafed with fcroll orna- 
 ments and medallions of tranflucent enamel with the 
 arms of the Medici family, fpandrils at the corners of pierced 
 Gothic tracery. Italian. 15th century. H. 6-fin., W. 7-|in. 
 15/. 
 
 The fpace for the infertion of a picture is round. The corners 
 contain fine pierced flamboyant tracery and round medallions of trans- 
 lucent enamel, in which are three feathers and a diamond ring, the arms 
 and the device of the Medici family. 
 
 5415 - * 59 * 
 
 K NIFE : fteel, filver parcel gilt handle, divided into four 
 compartments on each fide, with fcriptural fubjedls 
 in low relief and fhield of arms of the Della Rovere family. 
 Attributed to Pollaiuolo. Italian. 1 5th century. L. 1 1 in. 60/. 
 
 The fubjedts on one fide reprefent David and Jonathan (?) ; David 
 and Abigail ; the judgment of Solomon ; and feparated by a gijt collar 
 the judgment of Paris. The compofitions on the other fide reprefent 
 claflical warriors. 
 
 359 ’ 6 4 . 
 
 K NIFE : the handle of filver, engraved with arabefque 
 pattern. Italian. Late 15th century. L. 8 in. 8/. 
 
 The handle has a candelabrum-fhaped arabefque decoration in 
 relief. It is poflible that the ground may have been coloured with 
 enamel. 
 
 43 ° 3 * 'S7- 
 
 K NIVES : fteel, a pair of table knives, the hilts in filver ; 
 
 decorated with trophies in niello work. Italian. 15th 
 century. L. 8-| in. 1 il. 
 
 The handles are delicately and elaborately treated with fine engraving 
 and niello, but the metal is much tarnifhed. 
 
Fifteenth Century. 
 
 in 
 
 1150. ’6 4. 
 
 I MAGE: gilt bronze; St. George and the Dragon, pro- 
 bably part of a reliquary. German. 15th century. 
 H. in. 2/. 8 s. 
 
 The faint is armed in plate, and ftands on the dragon whom he is 
 flaying with the lance. It feems to have been the finial of a fmall 
 fpire on the cover of a reliquary. 
 
 R ELIQUARY : filver-gilt, with a female head on one 
 fide in niello. Italian. 15th century. Diam. in. 1 /. 
 
 A bold corded edge ornament. The middle is made to hold fmall 
 relics. The fufpenfion ring has flower ornament. 
 
 ELIQUARY : filver-gilt, corded frame, enclofing two 
 
 plates of niello reprefenting the Annunciation on one 
 fide and the facred monogram on the other. Italian. 15 th 
 century. Diam. 1 in. 1 /. 12 s. 
 
 Similar to the laft in ornamental detail. An Annunciation, a lily 
 between the archangel and the principal figure. 
 
 ECTORAL Crofs and Chain : filver-gilt, fet in an 
 
 odtagonal medallion, the links of the chain ornamented 
 with foliage. Ruffian. 15th or 1 6th (?) century. L., chain 
 and crofs, 2 if in. 5/. 
 
 A fmall crucifix much worn, the crofs with floriated ends and the 
 Redeemer placed fquare with the tranfom. It is funk in an oblong 
 frame, of which the corners are cut off. It has a broad bevilled edge 
 covered with filigree of filver ; the back is a plate of filver. A bead at 
 
 7467. ’6 1. 
 
 6990. ’6o. 
 
 155. ’66. 
 
1 12 
 
 Gold and Silver Smiths JV irk. 
 
 the top is faced with an engraved head of the Redeemer. Two fhort 
 bars connect it with a chain of long and fhort links. The long links 
 filled with four fmall circles of filver filigree wire. 
 
 6770 , 6782. ’60. 
 
 T HIRTEEN fmall Images •. filver parcel gilt ; our Lord 
 and the apoftles, with names on the pedeftals. German. 
 15th or 1 6th century. H. 2f in. to 2 in. 24/. 
 
 Thefe reprefent our Lord and the twelve apoftles (with St. Mat- 
 thias). They carry the ufual attributes. The figure of our Lord 
 holds the right hand up in benediction and fupports an orb with a 
 floriated crofs on it, in the left. 
 
 28. ’69. 
 
 S IX Images : angels, filver-gilt ; two bear fcrolls, two 
 candlefticks, and two books. German. 15th or 16th 
 century. H. if in., if in., if in. 8/. 
 
 Four of thefe images are on a fmaller fcale than the other two. 
 They are clothed in albs, and carry fcrolls or books, out of which they 
 are finging. Two, larger than the others, hold each what is probably 
 meant for a ftiawm, a pipe with fluted and moulded ftem and expand- 
 ing mouth like the bafe of a column, with a quill in the mouthpiece. 
 Thefe and the laft defcribed have probably formed part of a fmall fhrine 
 or reliquary. 
 
 245 - * 74 - 
 
 C UP, Hanap, and Cover : gilt metal, in form of a caftle, 
 with many turrets and a winding afcent, Handing on 
 three feet. German. 15th or 1 6th century. H. 14-! in., 
 diam. 6§ in. Webb collection. 140/. 
 
 This beautiful cup is a fort of ideal model of the citadel of Nurem- 
 burg. It is round, the circumference contracting in the middle, and 
 having round the top bafe and middle three belts reprefenting fortified 
 
Fifteenth Century. 
 
 TI 3 
 
 bulwarks or galleries, and the furface of the body of the cup is beaten 
 up into rufticated courfes of afhlar work, each ftone feparately beaten 
 up. 
 
 The lower of the three zones Hands on three maffive feet, repre- 
 fenting three fortified entrances. They are however in two ftages ; 
 to the lower ftage accefs is given by an arched doorway flanked by 
 turrets, with a roof floped upwards as if to cover an afcending flair. 
 The lower {lory of thefe towers is battlemented ; a room on the fide 
 has a balconied window. 
 
 A narrow tower rifes from the lower flory. It has a fleep roof 
 and turrets on the angles. 
 
 The bafe of the cup, reprefenting that of a round donjon, flopes up 
 with two ftages of battlements, or, as they are on the cup, two galleries. 
 The fortified entrances juft defcribed lead to the lower rampart, in the 
 circuit of which there are three towers, with portcullis, doors, windows, 
 angle turrets, and high ridged roofs. Between thefe are three fmall 
 towers bracketed out on the rampart, and between each of thefe fix 
 a pepper-box turret. 
 
 The middle or waifl rampart has alfo three principal and three 
 fmaller towers and pepper-box turrets between. 
 
 All the principal towers of thefe circles are furnifhed with loopholes, 
 are battlemented, and generally defigned according to the models of 
 15th century fortifications, fuch as ftill exifl at Nuremburg. The 
 flopes or banks below the walls are enamelled green, and fo are the 
 roofs, whether copings or walls, or coverings of turrets, forts, &c., and 
 the towers are braced back to the walls below by brackets under their 
 bafes. 
 
 The upper rampart gives accefs to the platform of a miniature citadel. 
 The circuit is defended by three larger and the fame number of fmaller 
 towers and fentry boxes, and infide there is a complete citadel partially 
 reprefenting that of Nuremburg. It is a rock crefted with walls marked 
 as mafonry of the fame kind as the fide of the cup. Houfes of feveral 
 {lories, with Hoping roofs and timber ftages bracketed out, abut on thefe 
 walls in various irregular angles, as if to take advantage of the accidental 
 furfaces or flopes of a fortified rocky acropolis. 
 
 Two Hoping afcents wind round part of the enclofing wall, giving 
 accefs to a lower circle of the citadel. The road leads through the 
 interior of this part of the model to a fortified gate, from which a draw- 
 bridge fpans an open fofle contrived fo as to cut the communication 
 of the circuit at this point. 
 
 Horfemen are feen crofling the wooden bridge to enter the oppofite 
 gateway or tower, which is turreted on the angles. 
 
 36105. 
 
 H 
 
Gold and Silver Smiths W ork. 
 
 1 14 
 
 Higher up the fortrefs are feen other houfes, all mafled together, as 
 if in accordance with the conditions defcribed above, and fortified walls 
 or baftions on which they are planted. At intervals thefe portions ot 
 wall appear, and make a connected fpiral afcent to the top of the entire 
 compofition. The houfes and turrets are gracefully piled round the 
 afcent fo as to compofe a rich crown to the cup, and the whole is 
 dominated by a church and lofty octagonal tower and fpire, with four 
 tiers of look-out windows fuited to the wants of a fortrefs liable to 
 leaguer. 
 
 The green and other enamel colours are ufed in this part, as elfe- 
 where, to give diftinction to the parts. 
 
 The various models of buildings, towers, ramparts, &c. are all 
 built up of feparate pieces, firft pierced and chafed, and then foldered 
 together. While the general fhape and proportions of a covered goblet 
 are not loft fight of, and fome details, therefore, which the conftruction 
 the cup reprefents are modified into decorative features and conditions, 
 there are parts, fuch as the cover, which feem to be abfolute models of 
 exifting groups of buildings. The citadel is no doubt a modification 
 of the citadel of Nuremburg, as it was feen and drawn by the artift of 
 the goldfmiths’ guild of that city who made the piece. 
 
 2114. ’55. 
 
 H ANAP and Cover: filver-gilt, contracted in the 
 
 middle, and bell-lhaped above and below, both cup 
 and cover circled by pierced leaf work, refting on three lions : 
 a bunch of lily leaves on the top with a favage man in the 
 middle ; enamelled button infide the cover. German. 1 5th 
 or 1 6th century. H. iof in., diam. 4 % in. Bernal collection. 
 55/. 
 
 The furface is burnilhed and the fides concave, girt by a band of 
 beaten work, oak leaves and acorn, running in a rolling fcroll. Round 
 the bottom is laid a band of fmall battlements and filver ftar-lhaped 
 flowers finifhed by a corded ftring. The fupports are three fitting lions 
 on pedeftals. 
 
 The cover is coved, of burnifhed metal, furrounded by a gallery or 
 crefting of delicate beaten ftrawberry-leaf work, the fprays connected 
 by a horizontal ftring of wire. Another crefting furrounds the fpring 
 of the finial, which is a full blown lily bloflbm, the petals gracefully 
 
Fifteenth Century . 
 
 turned in a fpiral direction, covering the kneeling figure of a favage 
 man, armed with a club and fhield. 
 
 The beaten work, both the parts which Hand up and which are 
 overlaid, are in the ftyle of the bell work of the 15th century. The 
 broad, rounded furfaces of burnifhed metal are well contrafted with the 
 delicate beaten leaf work. 
 
 ALVER : filver-gilt, embofied with animals and cupids in 
 
 high relief. Portuguefe. 15th or 1 6th century. Diam. 
 14 in. 80/. 
 
 A maflive bofs in the middle with borders of animals and genii round 
 a flat engraved medallion. The deprefled part of the difk is fluted in 
 diverging rays. Round the rim runs a triumph of genii reprefenting 
 the greater gods. 
 
 UP, Hanap, and Cover : filver parcel gilt, bell-fhaped, 
 
 with a belt round the middle, and beaten flower work 
 round the top, the bafes refting on three kneeling figures. 
 The cover furmounted by flowers, and a man holding a fcroll 
 marked, H . D . G . Augfburg. 15th or 16th century. H. 
 nf in., diam. \\ in. SoltikofF collection. 122/. 
 
 The work on this cup is in great variety and of delicate execution. 
 Round the top or edge of the cover runs a crefting of bold late 15th 
 or early 16th century fcroll work, with feveral fupplementary lines of 
 decoration. When the cover is on, this feature appears to belong to the 
 general outline. Rather below the middle a band of decoration is over- 
 laid. The upper edge is battlemented with turrets at intervals, and a 
 cavetto below is filled in with a firing of metal with fmall beaten flowers 
 on it. Rich mouldings run round the bottom, and the fupports are 
 three men kneeling on pedeflals and wielding clubs with the outer arm : 
 and round the bottom runs a border of fmall pendant cufped arches, 
 ending in knobs, and held firm by a firing palling round from point to 
 point. 
 
 The top, within the crefting defcribed, rifes to a hip, where it is fur- 
 mounted by a finial of elegant beaten flowers, in the middle of which is 
 
 5°. ’ 67 . 
 
 7941. ’ 62 . 
 
1 1 6 Gold and Silver Smiths Work. 
 
 a favage man holding a fcroll, lettered H . D . G. From the fpring of 
 the bunch of flowers waved rays are chafed down to the crefting 
 that furrounds the outer edge. 
 
 The whole character of the decoration belongs to the art of the 
 15th century, which furvived in German metal work till well into the 
 16th. The band of architectonic ornament round the middle, the 
 conical roof-fhaped cover rayed downwards, and gathered into a 
 finial above, and the kneeling figures are of mediaeval rather than 
 cinquecento defign. Compare with No. 245. ’74, formerly in the col- 
 lection of Mr. Webb, which is a fanciful model of the citadel of 
 Nuremberg. 
 
 2112 . 55. 
 
 C UP, Hanap, and Cover : filver-gilt, beaten up in the 
 middle with a double row of pointed lobes on ball feet. 
 The cover is furmounted by a pine-ihaped fruit and leaves, on 
 which are two coats of arms. German. 15th or 16th century. 
 H. 8f in., diam. 2,2 i n - Bernal collection. 16/. 
 
 The upper part and the lower part, together about half of the Tides, 
 are plain, a band of double lobes, with pointed ends beaten up to a fpine, 
 runs round the middle. It contracts below with a (hallow necking, 
 expands into a broader rim again, and Hands on three ball feet. 
 
 The cover is beaten into lobes round the outer circumference, and 
 gathered above into a fluted pine fhape, with neft of elegant beaten 
 leaves round it. Two fhields, with arms enamelled on it, are placed 
 here : i,or, a boar’s bead couped within a plain treflure, gules ; and 2, 
 argent, three mill irons (?), fable. The former arms are borne by the 
 Swabian family of Reifchach. The character of 15th century work is 
 retained in the elegant leaf work of the top, but it is, perhaps, not 
 of earlier date than the beginning of the 16th. 
 
 3113 - ’ 55 * 
 
 C UP, Hanap, and Cover : filver-gilt, beaten up with fpiral 
 gadroons and lobes, and twifted Item, round which is a 
 crefting of ftrawberry leaves ; the cover furmounted by a boy 
 
Sixteenth Century . 
 
 117 
 
 holding a ftiield. German. Early 1 6th century. H. 10^ in., 
 diam. 4^ in. Bernal collection. 12/. ioj . 
 
 The body is divided into a double fet of lobes with fpiral ends, one 
 above and one, reverfed, below. Under the cup a crown of ftrawberry 
 leaves, fpread and opens downwards, the points united by a ring. The 
 Item is twilled with the fpiral roots of the lobes that are beaten up on 
 the foot. 
 
 The cover is of like form, and the roots of the lobes twine round 
 into a fpiral llalk, on which is a fmall pedeltal or bracket fupporting 
 a boy, who holds a Ihield without armorial bearing. 
 
 614. ’7^. 
 
 C UP, Hanap, and Cover : lilver-gilt, pine apple pattern ; 
 
 the cover is furrounded by a crefting of leaf work, and 
 a crown of flowers is placed round the ftem. The foot is 
 lobed, and the cover furmounted by the figure of a man-at-arms. 
 Augfburg. Early 16th century. H. i3f in., diam. 5 in. 
 85/. 
 
 The furface of the cup is beaten out into globular lobes or bolTes 
 both on the Ihoulder of the cup under the lip, which is plain, and at 
 the bottom. The ftem is beaten into the ribs of a feries of lobes, which 
 are only developed round the foot, where they form eight bolTes. From 
 the under fide of the cup fprings a crown of lily flowers, with Items 
 and leaves which fpread out trumpet-lhaped downwards, and are united 
 by a ring or wire. 
 
 Round the cover is a crefting of conventional vine leaves, each with 
 a ftem, which bends forward, forming a line moulding, out of which 
 the leaves rife. The cover is lobed like the other parts, and is fur- 
 mounted by the figure of an armed knight kneeling on one knee, holding 
 a fword and fupporting a fhield, which bears: quarterly, 1, gules and 
 argent. 
 
 It is faid to have been prefented by a member of the Fugger family 
 to the weavers’ guild of Augfburg. The arms are borne by feveral 
 German families, that of Freifing among others. 
 
 (See Sibmacher, Neu Wappenbuch, 95). 
 
1 1 8 Gold and Silver Smiths Work . 
 
 2122 . ’55. 
 
 C UP, Hanap, and Cover : filver parcel gilt, the cup beaten 
 into a double feries of lobes ; the ftem formed by 
 a man holding a halberd, the cover furmounted by an armed 
 warrior. German. 16th century. H. 19J in., diam. 5-! in. 
 Bernal collection. 31/. ioj. 
 
 The body of the cup is beaten out into bulbed lobes under a plain 
 round lip, thefe lobes contract in the middle and expand again in a 
 rather fmaller feries that make the bottom of the cup. In the fmall 
 intervening fpaces are bolfes of fruit and flowers. 
 
 The ftem is a pikeman, in German hofe, of the 16th century, and girt 
 with a fword ; holding la halberd in one hand and the other on his hip. 
 The bafe is a pedeftal for this figure, and has bold bofles of fruit 
 and flower work round it, which correfpond with the lobes and fwellings 
 of the cup ; there is a fringe of delicate beaten foliage round the upper 
 member, and a plume or wreath of delicate beaten fcrollwork which 
 fprings from the head of the figure, and fpreads up to the under fide of 
 the cup. 
 
 The cover has lobes and intervening bofles like the cup, the middle 
 rifes into a fmall pedeftal, on which ftands a warrior, in claflic armour, 
 holding a fhield and fpear, the laft is wanting. 
 
 WS' 'SS- 
 
 C UP, Hanap, and Cover : filver-gilt, chafed with ftrap- 
 work, arabefques, and landfcapes, the cover furmounted 
 by a figure of Mars. German. 16th century. H. 12 in., 
 diam. 3^- in. Bernal collection. 15/. 
 
 A bell-fhaped cup. Round the fides are arabefques, foliage, ftrap- 
 work, mafks, and fruit, and three cartouches, each containing a land- 
 fcape with hills, towns, and a diftant fea. They are all of fimilar 
 character, and a cock and a fnail are in the foreground of each, but 
 with different aCtion. 
 
 The ftem is balufter-fhaped, the knop connected with the bafe of 
 
Sixteenth Century. 
 
 1 19 
 
 the cup by s -ftiaped fcrolls. A large knop is added juft above the foot, 
 both of which members are covered with ftrapwork, fruits, and 
 leaves. 
 
 On the cover ftands a figure of Mars in a ftfirt of mail with fpear 
 and Afield, and an eagle. 
 
 502 . ’ 55 . 
 
 C UP, Hanap, and Cover : filver-gilt, on a foot, with lobes 
 beaten on the body, and leaves of filver applied on 
 the ftem, furmounted by a bunch of leaves. German. 16th 
 century. H. 15^ in., diam. 4f in. 18/. 
 
 The body contrails in the middle, and is beaten out in lobes, of 
 which the points are brought up to a fpine. The ftem is a claffic vafe, 
 with handles of beaten fcroll work, and a circle of delicate beaten leaves 
 and flowers of filver, which fpread round under the bottom of the cup. 
 
 The bafe is like the cup, reverfed, but fmaller in diameter ; round 
 the point of j unilion of the ftem runs a circle of delicate beaten leaves 
 and flowers in filver. The cover is like it in form, and with lobes 
 round its bafe ; it is furmounted by a pot or vafe filled with delicate 
 flowers of filver, and a collar of hanging leaves of the fame kind 
 finifhes off this portion. 
 
 779. ’64. 
 
 K NIFE Handle: filver parcel gilt. Italian. 16th 
 
 century. L. 4 in. 5/. 
 
 There is nothing efpecial in the handle, which has arabefques in 
 relief on the furfaces. A dog is vomiting on one fide of the butt, and 
 the legend ne suscipias (h)irundinem in domo is engraved on the 
 two edges. 
 
 7919, 791 ga. ’ 62 . 
 
 F IGURES, two : filver-gilt, chafed ; flying angels ; por- 
 tions of the mountings of fome objedl. Italian. 16th 
 century. 2\ in. bv if- in. 2I. icxt. 
 
 Gracefully defigned and chafed. 
 
12 0 Gold and Silver Smiths IV irk. 
 
 3 2 37 - ’fi 6 - 
 
 HALICE : filver bowl ; the ftem in gilt bronze, with 
 
 chifelled arabefques and medallions in niello. Italian. 
 1 6th century. H. 8|- in., diam. 5^ in. ill. 
 
 The cup, filver-gilt, is ftraight fided, held in a fmall notched faucer. 
 The ftem and foot are of gilt copper. The ftem is fix-fided ; the knop 
 large and nearly, but not quite, fpherical. Round the circumference 
 are fix round medallions, in each of which is one of the inftruments of 
 the Paffion in enamel : the crofs, fcourge, pincers, hammer, hands, 
 crown of thorns, and ladder. 
 
 On the bafe are three round medallions, containing : 1. The blefied 
 Virgin and the infant Saviour. 2. The half figure of our Lord 
 dead. 3. An heraldic ftiield charged with a lion paflant in high relief. 
 Between thefe the fpace is filled up with arabefques and ftrapwork 
 in bold chafing. 
 
 C ' HALICE : filver-gilt, chafed and beaten with architectonic 
 / ornament of the pointed ftyle. German. Early 16th 
 century. H. 8|; in., diam. of foot 6 \ in. 140/. 
 
 The cup is plain, held in a neft of eight-pointed leaves. The ftem 
 is eight-fided, and much divided by collars ; in the knop or bofs are 
 fixteen-pointed windows each of two pierced lights, eight on the upper, 
 and as many on the under furface of the bofs, the heads converging. 
 Between thefe are eight Tudor rofes in relief. The lower part of 
 the ftem has a collar fhaped like an eight-fided fhrine, with tiny but- 
 trefles on the intervening angles, and each fide pierced by fmall two- 
 light windows, ftrictly in accordance with architectural models of the 
 late pointed ftyle. 
 
 The foot is in eight lobes and bears two fhields and labels with the 
 names “Mytvelt” and “Weyborch.” 
 
 The flat bafe projects in eight foils or half-circles, and the edge of 
 this portion is worked into a pierced gallery of quatrefoils, with a leaf 
 having ribbed fibres and much play of furface in the angles at which the 
 lobes meet. 
 
 55 °’ ’ 7 4 * 
 
Sixteenth Century . 
 
 I 21 
 
 6960. ’6 o. 
 
 HALICE : of gilt bronze, chafed and engraved. The 
 
 ftem is enriched with gadroon ornament, and under the 
 foot is an infcription. Italian. Dated 1507. H. 7f in., diam. 
 
 The cup is bell-mouthed, held in a faucer edged with round 
 lobes. The ftem is fmall, the knop fpherical, and nearly as wide 
 as the cup. The foot has a bold reverted ogee fecftion ; it is gadrooned, 
 and has fix femicircular lobes on the circumference. Thefe parts are 
 chafed with rough leaf work of renaiftance charadter. 
 
 Under the foot is the legend, SANTA MARIA BOVEGNO . D 
 PLA . FECIT FIERI GHERARDINI DE SUZIL 1507. 
 
 B AS-RELIEF : filver, with a cavalry combat in high 
 relief, beaten and chafed ; probably a decoration from a 
 calket. Italian. 16th century. L. 3^ in., W. in. 4/. 
 
 The relief is high and falient, the two principal figures being almoft 
 detached from the ground. 
 
 ROSS : compofed of plates of rock cryftal, mounted in 
 
 filver-gilt, pedeftal and lhaft of filver-gilt, and enamel, 
 with engraved figure of the Redeemer, bulls of the evangelifts, 
 and of the Paflion fcenes. By Valerio Vicentino. Italian. 
 1 6th century. H. 2 ft. in., W. 10 in. 210/. 
 
 The ftand of this crofs up to the crofs itfelf is of an architectonic 
 character, and Ihaped like a three-cornered balufter. It is built up of 
 pedeftal and vafe-lhaped portions, which are conftrudled in brafs inlaid 
 with jafper and other materials (like the furface of Boulle marquetry). 
 A bofs forms the finilh to this ftand, where it joins the ftem of the crofs ; 
 the bofs has ribs or lobes of cryftal cut perpendicularly on the furface. 
 The necking and body of the vafe below are alfo cut in the fame way. 
 The bafe forms a triangular pedeftal Handing on cornice-fhaped feet, 
 
 5 in. 4/. 
 
 108. ’69. 
 
 757- ’<H- 
 
12 2 Gold and Silver Smiths JV ork. 
 
 with narrow faces on the angles. Slices of cryftal are fet on the three 
 large furfaces to fuit the fpaces that enclofe them, as well as four 
 roundels of carnelian, jafper, and other ftones. The cryftals are care- 
 fully engraved on the back. On one fide is the Entombment ; a dis- 
 tant hill, with a pathway up it, is crowned by the three crofles. In 
 the foreground is feen a lofty cave in a rock ; St. John ftands before 
 it, and St. Jofeph of Arimathea is half feen within preparing the 
 fepulchre. In front are the three Marys, bowed to the ground and 
 killing the dead body of the crucified Redeemer. 
 
 2. The Harrowing of hell : Our Lord ftands wrapped in a loofe 
 drapery, and holding a crofted banner. He takes the hand of Adam, 
 Eve, and a third figure, lifting them from a cavern, on the proftrate door 
 of which he is Handing. A fiend is feen in the air above. 
 
 3. The RefurreCtion : The open fepulchre, above which the figure 
 of the Redeemer foars into the air, railing one hand in benediction, and 
 grafping a crofted banner in the other. Two foldiers are by the 
 fepulchre, one proftrate in fleep, another kneels gazing at the riling 
 figure. 
 
 The crofs itfelf is formed of five pieces of cryftal. The extremities 
 are trefoiled, fet in metal, with balls on the end of each femicircle. In 
 thefe are demi-figures of the four evangelifts engraved on the cryftal ; 
 fimilarly the figure of our Lord is engraved on the central piece of 
 cryftal. All thefe flat furfaces are enclofed in a rim of brafs. A delicate 
 bracket, confifting of a ftalk of brafs, is carried up under the tranfom 
 to fupport the horizontal frame over it, and is finilhed with a flower 
 of beaten work. 
 
 (See Salt cellar, No. 902. ’75, p. 169.) 
 
 RUCIFIX : brafs, ftamped and chifelled, with a half 
 
 length figure on each of the arms. Italian. 16th cen- 
 tury H. 1 ft. 1 \ in., W. 9J- in. 4/. 
 
 The metal work is lomewhat unufual. Each extremity of the crofs 
 is a trefoil, having quirks between the femi-circles. On the outfide 
 edge are a feries of fcrolls of folid metal, feparately beaten, which are 
 welded at their extremities to the edge of the crofs. Thefe fcrolls meet 
 each other on the lobes of the trefoils and the arms and ftem of the 
 crofs in every part, and give a Angular richnefs to the outline. 
 
 The furface is covered with flower work of a late character. The 
 figure reprefents the Saviour dead ; and in the medallions at the extre- 
 
 77 ° 4 - ’ 55 - 
 
Sixteenth Century. 
 
 123 
 
 mities are the Eternal Father giving benediction, the blefled Virgin 
 and St. John ; and at the foot St. Mary Magdalene, holding a pot of 
 unguents and embracing the crofs. 
 
 The back is covered with flower work, chafed, but without figure 
 fubjeCts in the extremities. 
 
 The fringe along the outer edges of this crucifix requires that to 
 give it full effeCt the metal fhould be richly gilt, which has been the 
 original condition. The border has fomething of the effeCt of lace, 
 and the conffant variation of furface in fuch a method of decoration 
 gives light and play to the gilding not to be got by decoration of a more 
 fober kind. 
 
 I.205. ’54. 
 
 P AX : bronze-gilt, inlaid with lapis lazuli, with the 
 Nativity in relief. Italian. 1 6th century. H. 8 in., 
 W. \\ in. 5/. 5s. 
 
 A fquare panel raifed on a bafe, compofed of two fets of bold 
 mouldings divided by a cavetto. The Tides are bordered by pilafters 
 covered with arabefques. Above the architrave rifes a tympanum ; 
 and a fmall figure of a child reprefenting one of the virtues, and two 
 dolphins, one on each hip of the arch, furmount this portion. 
 
 It contains a baf-relief of the Nativity, with an architectural back- 
 ground in the central panel. The Mother kneels befide an altar-fhaped 
 bed in which the Child is lying; St. Jofeph leans on his ftaff", con- 
 templating the fcene. Three fhepherds, two of whom are kneeling, 
 bear bafkets and offerings. 
 
 II29, 1129a. ’64. 
 
 I NCENSE Holder : rock cryftal, mounted in filver-gilt. 
 
 Round the rim is a band of guilloche chafing fet with 
 jewels; a legend on the lid. A fpoon with a figure handle. 
 Italian. 16th century. L. 7 in., FI. 5 in. ; fpoon, L. 3 in. 
 85/. 
 
 The body is a gadrooned oval veffel of cryftal, fuperimpofed on a 
 fmall vial-fhaped cryftal vafe, which forms the Item. To this the 
 upper part is joined by fcroll handles, with grotefque figures on them, 
 and with metal collars along the line of junCtion. Along the upper 
 
124 Gold and Silver Smiths Work. 
 
 fide of the body is a metal fetting chafed with a double plait, in the 
 courfe of which are fet cryflals, two on each fide. The lid is in 
 two valves, jointed in the middle, with fatyr malks for handles. On 
 the lid are the words, ORATIO MEA DIRIGATVR SICVT 
 INCESUM. PSAL. 140. 
 
 The foot is filver-gilt, gadrooned, with a broad flat fpreading edge. 
 The fpoon is fhell-fhaped, with a terminal aged figure for a handle. 
 
 7874. ’ 6 l 
 
 H OLY Water Veflel : bronze, with beaten foliage and 
 epifcopal hat. Italian. 16th century. H. 3f- in., 
 diam. \\ in. 2 1 . 
 
 Pail-fhaped with upright fides and expanding at the mouth. The 
 fides embofled with arabefques and flrapwork beaten up. A half circle 
 of twilled metal has the two ends inferted into holes in railed portions 
 of the fides to ferve as a handle. 
 
 Ufed for blefling rooms and houfes, and other private occafions. 
 
 649. ’65. 
 
 H OLY Water Veflel : gilt bronze, and fet with carnelian, 
 lapis lazuli, and other Hones. Italian. 16th century. 
 H. 7 \ in., W. in. Soulages collection. 1 /. 
 
 The back plate has bracket-lhaped edges and four Hones fet in 
 medallions round a larger centre piece. 
 
 The front of the veflel is in five fides, defcending to a point, and 
 each contains a panel in three divifions filled in with bloodllone, lapis 
 lazuli, and carnelian. 
 
 For ufe in a domeftic oratory. 
 
 35 8 °- ’ 5 6 * 
 
 P AX : niello on filver, in gilt metal frame, with pilafters 
 at the fides, fet with reprefentations of the Nativity 
 and the Eternal Father furrounded by cherubim. Italian. 
 1 6th century. H. 8 in., W. 4f in. 100/. 
 
 An architectural panel Handing on a dado, fupported by flanking 
 brackets, which refl on the dado below. Two fide pilaflers filled with 
 
Sixteenth Century. 
 
 125 
 
 arabefque work of great delicacy fupport the entablature. The capitals 
 and moulding are in fdver-gilt. 
 
 It is furmounted by a tympanum enclofed in mouldings, and having 
 floral volutes on the top and hips of the arch. The tympanum con- 
 tains a reprefentation of the Eternal Father, a venerable bearded figure 
 crowned, and giving benediction on the fcene below. Angels fupport 
 the drapery of the arms, others look down in prayer on the lower 
 compofition, others form a circle of the heavenly choir. 
 
 A compofition in the principal panel reprefents the Nativity. The 
 blefled Virgin and St. Jofeph kneel on either fide the infant Saviour. 
 Two half figures of angels join in this aCt of veneration, and two (hep- 
 herds are diftinguifhed behind. A ruined roof and other pieces of 
 architecture make up the background. The ox and afs are repre- 
 fented adoring the Infant. 
 
 The dado is filled with light arabefque ornament, and on the enta- 
 blature is the legend, GLORIA IN EXCELSIS DEO ET IN 
 TERRA PAX. 
 
 The defign and compofition are of the character of fimilar fubjeCts 
 by Filippo Lippi, to whofe lchool the defign belongs. 
 
 See etched illuftration. 
 
 2 , 2 ,$. ’66. 
 
 M EDALLION : (the fetting) filver ; round, with fhutters, 
 (landing on an open bafe. and furmounted by a figure 
 of the Redeemer. German (r). 1 6th century. H. 3^ in., 
 
 W. 3 in. 14/. 
 
 The middle part contains a medallion with fitting and (landing 
 figures. The fetting is a fmall round (hrine with half round (hutters, 
 the fronts and the backs engraved with arabefque work. The (land is 
 oblong, pierced with open quatrefoils and architectural mouldings fpread 
 out to make a wide foot. A fcutcheon with fcroll volutes at the edges, 
 and a cherub mafk in front fupports a (landing figure of the Redeemer 
 that finifhes the top. Probably Augfburg work of the 16th century. 
 
 6977. ’6o. 
 
 P AX : gilt bronze, with the Holy Family in relief, within 
 a frontifpiece or tabernacle. Italian. 16th century. 
 H. 4f in., W. zf in. il. 
 
 The blefled Virgin feated, under a renaiflance architectural niche or 
 arch, holding the infant Saviour on her knees, St. Jofeph watching 
 
126 Gold and Silver Smiths’ Work. 
 
 on the other fide. In a pediment over the arch the Eternal Father is 
 looking down and giving benediction. Thefe fmall figures, as well as 
 the architecture, are of good 16th century defign, and are gracefully 
 compofed and carried out in all details. 
 
 401. ’72. 
 
 P AX : gold and filver-gilt ; an architectural frontifpiece 
 furmounted by anthemium ornaments, enclofing an 
 Adoration of the fhepherds chafed in gold on glafs, with fmall 
 panels of the fame in the dado. Milanefe. Early 16th cen- 
 tury. H. 1 of in., W. 7 \ in. 252/. ioj. 
 
 This beautiful piece is decorated with feveral kinds of goldfmiths’ 
 work. The form is an architectural frontifpiece or doorway. The 
 fupports are piers faced by pilafters on the fronts and Tides. They 
 are covered with candelabra compofitions of arabefques in relief of 
 beaten metal of the moft delicate workmanfhip. In front of thefe are 
 a pair of balufter-fhaped filver columns on circular bafes. The bulbs 
 of the fhafts are covered by a neft of acanthus leaves, beaten up, and 
 all edges and indentations carefully compofed and fharply cut. Thefe 
 parts are gilt. 
 
 The entablature is covered with filver filigree evenly diftributed fo 
 as not to break up the furface. Over this is a pedeftal with hollow 
 Tides and contradted top ornamented with detached fcrolls of folid metal. 
 
 The face of the pedeftal is flat and covered with bold curved acan- 
 thus fcrolls of filver-gilt, beaten up with leaves and ftalks in fine rolling 
 curves. Between them is a round medallion now filled with agate. 
 Similar work fupports a medallion filled with agate on the front of the 
 dado. 
 
 The bafes of the fide columns are brought forward, and are formed 
 into panels with the fame beautiful beaten acanthus work. 
 
 The whole frame enclofes a painting on glafs heightened with 
 hatchings of gold. It reprefents the Nativity; the blefled Virgin and 
 St. Jofeph kneel before the cradle of the Saviour, and figures of fhepherds 
 are feen behind ; an architectural ruin is overhead. The lines of the 
 defign are executed in gilding, which is enamelled on the furface of 
 the glafs. The glafs itfelf is partly enamelled in colours, partly left 
 tranfparent with red foil behind. 
 
 On the fronts of the two bafes of the columns are minute figures 
 drawn on glafs with great grace, and coloured and gilt in the fame 
 manner as the Nativity. On one fide is the archangel Gabriel, the 
 blefled Virgin kneels on the other. 
 
Sixteenth Century . 
 
 127 
 
 The beauty of the beaten acanthus foliage is furpafled by nothing 
 of its kind in the collection. The feparate leaves are full of movement. 
 They may be examined with a lens, and compared with the work of 
 the Lombardi and other mailers of arabefque architectural decoration, 
 calls of which can be referred to in the mufeum. The filigree is as 
 delicate as fuch work can be made, but the curves are regulated and 
 evenly diftributed ; the larger leaf work on the columns is cut out 
 with perfeCt knowledge of the arrangement of the lobes and notches of 
 leaf work in capital and frieze ornamentation. 
 
 This pax was brought by count Charles d’Aglie from Italy in 
 1872. 
 
 656°- ’35 to 6 S 6 9- *55* 
 
 T EN Book Mounts : niello on filver ; full-length figures 
 of faints. Italian. 16th century. 6560 to 6565, 
 elliptic, if by 1 in. ; 6566, round, in. ; the others, fquare, 
 if- in. 15/. 
 
 1. The foundrefs of a religious order; St. Catherine of Siena (?) 
 holding a palm and a book. 
 
 2. St. Catherine of Alexandria, with her attributes, a wheel and a 
 palm branch. 
 
 3. St. George flaying the dragon, in a landfcape. 
 
 4. St. Lucy, draped in a mantle holding two eyes, her attributes, 
 carefully drawn in all details. 
 
 5. St. John the Baptift in a landfcape with a crofted banner. 
 
 6. St. Francis of Afiifi, holding a crofs and Ihowing the ltigmata. 
 
 7. A flower and leaf ornament on a background, with a ladder of 
 five rounds, the bearing of the Scaligeri of Verona. 
 
 8. St. Peter, with his attribute, the keys. 
 
 9. St. Augultin or St. Nicolas, a bilhop holding a crozier and a 
 book. 
 
 10. St. Paul, a half figure holding his attribute, a fword. 
 
 7920. '62. 
 
 B OOK Mount : niello on filver ; a cherub’s head in the 
 
 fcroll work. Italian. 16th century. L. 2f in., 
 W. -§ in. 'll. 
 
 A good example of fcroll decoration on this fmall fcale. 
 
128 Gold and Silver Smiths Work. 
 
 4441 - ’ 57 - 
 
 AX : bronze, with the Virgin and Child in relief, under 
 
 a canopy, with faints. Italian. Early 16th century. 
 4^- in. by in. il. 
 
 An arched architectural panel fupported by Imall pilafters half fluted 
 and furmounted by an architrave, cornice and tympanum. Figures of 
 little children are over the tympanum and on the dado in front of the 
 bafes of the pilafters. The middles of the pilafters have minute baf- 
 reliefs of the three Graces, figures fcarcely three-eighths of an inch in 
 height. The tympanum enclofes a baf-relief reprefenting the Refurrec- 
 tion ; our Saviour rifing with a banner over the fepulchre, by which 
 fleep two foldiers. 
 
 Acrofs the architrave is hung a garland of leaves. 
 
 In a niche under the architrave is feated the bleffed Virgin on a 
 throne, on which a minute figure is raifed in relief leaning gracefully 
 againft one of the fide columns, holding the infant Saviour who ftands 
 on Her knees. Two aged men, St. Jofeph and St. Simeon, are outfide 
 the columns ftanding on the dado of the panel. 
 
 There are, as will be feen, a number of figures modelled on this 
 fmall piece of bronze of three or four different fcales, but all with much 
 exaCtnefs, and in accordance with the defigns produced by the bett 
 artifts of the i6th century. 
 
 The edges and l'urfaces are much worn, but the work has never 
 been fharply chifelled, and' it has the appearance of a caft from another 
 piece executed in more valuable material. The defign and modelling 
 are of great excellence, and the original has come from a firft rate 
 artift. 
 
 AX : filver, parcel gilt, containing the Refurredtion in 
 
 relief within an architectural frame, in the pediment of 
 which is a head of the Eternal Father. Spanifh (?). i6th 
 century. H. 8-| in., W. \\ in. 34/. 
 
 An architectural arched panel furmounted by a pediment. The 
 RefurreCtion is raifed in baf-relief in the centre panel. Our Lord has 
 rifen above the fepulchre ; fix Roman foldiers, five of whom fleep, have 
 the letters S. P. Q. R. on their fhields. The portions of the figures 
 intended to reprefent flefh are in filver. 
 
 92. ’65. 
 
JO H N .WATKI NS re L T 
 
Sixteenth Century. 
 
 i 29 
 
 43 IO - 57 - 
 
 ONSTRANCE : gilt metal ; an architectural fhrine. 
 
 in the ftyle of the Renaiflance. Spanifh. Dated 1537. H. 
 21 in., diam. 8f in. 60/. 
 
 An architectural fhrine of feveral ftories. The plan of the body is 
 triangular, and the floor or platform is curved inwards in the centre of 
 each fide, and in this curved recefs are cufpings. It is on this that the 
 fhrine is ereCted. Three terminal figures of prophets turbaned, and 
 
 holding fcrolls, on which are infcribed, ADORATE SCABELLVM 
 PEDVM EIVS OVONIAM SANCTVS EST, ftand on fquare 
 
 dado bafes covered with arabefques in relief. Behind thele figures 
 are piers of gilt metal, and little angels protrude from the fupports, 
 flying downwards, and holding cenfers, with which they incenfe the 
 Hoft below. The columns and piers are furmounted by architraves 
 and cornices, which run continuoufly round the entire piece. The flat 
 furfaces are richly decorated with arabefques, mafks, &c. 
 
 The cornice and other impofts become the floor of another temple 
 or fhrine, over the laft deferibed. The lower part of it is round, 
 marked with courfes of ftones divided into three piers faced by columns 
 and pierced by arches. Three circular femicircular niches contain three 
 images : I. The Redeemer holding an orb in one hand, and raifing the 
 other in benediction ; 2. The blefled Virgin holding the infant Saviour ; 
 and 3, St. John the Baptift. 
 
 On the piers above this ftage are three fmall figures reprefenting 
 bifhops holding ; — one a book, one a rofary, and one a heart pierced by 
 two nails ; there are rich curving metal brackets againft the columns 
 behind them. 
 
 A drum covered by a dome ftanding on fix balufters, with a crucifix 
 on the fummit, furmounts this circular fhrine. The crucifix is double, 
 facing backwards and forwards. The aCtual receptacle for the Hoft 
 is an upright cylinder of glafs, and the metal fupport is a double 
 image, reprefenting on one fide the blefled Virgin holding the Saviour, 
 with a bifhop kneeling at her feet, and on the other the Aflumption. 
 
 The ftem is ftraight, the knop projections are covered with ftrap- 
 work. The foot has three circular and three pointed projections. The 
 furface is rich with ftrapwork, and has three circular medallions and 
 three fettings for coloured paftes. In the medallions are three of the 
 four evangelifts, viz., St. Matthew, St. Luke, and St. John, with appro- 
 priate emblems and landfcape backgrounds. 
 
 See etched illuftration. 
 
 36105. 
 
 with ftrap and cartouche work, columns, arcades, & c.. 
 
 1 
 
130 Gold and Silver Smiths Work. 
 
 l 3*> 1 33' ’ 73 • 
 
 C HALICE and Paten : filver-gilt, with jewels in the ftem. 
 
 Mafks, medallions, and other ornaments in beaten and 
 chifelled metal are riveted over parts of the knop and foot. 
 Spanifh. Dated 1549. H. 10 in., W. 8 in. 100/. 
 
 The cup is ftraight-fided and expands from a fmall bafe. It is held 
 in an outer cup decorated with cherubs in thick metal, pierced, and with 
 a rim of fcallop fhells. 
 
 The ftem is candelabrum-fhaped, with feveral wide and flat collars. 
 Between the two largeft are four pairs of C-fhaped fcrolls, of which 
 the ends are volutes with rofette eyes, and between each pair is a fquare 
 cryftal encloled in a metal fetting and riveted into the furface of the 
 necking. 
 
 Another collar in the ftem is connected by open fcrolls of metal 
 work with the firft offset of the bafe, on which are riveted cherubs in 
 caft and chafed metal work. Thefe fcrolls have volutes and eyes. 
 
 The cavetto below this portion is ornamented with flowers of 
 beaten metal, and the flat portions of the bafe are encrufted with wreaths, 
 birds, harpies and mafks. 
 
 On the foot there is a fmall crofs of lapis lazuli, emerald, and other 
 precious ftones, and a fhield bearing : — within an orle of five bezants, 
 five gouttes of blood. 
 
 Round the outfide of the cup runs the legend, SANGVIS MEVP 
 VERE EST POTVS. 
 
 The paten is engraved on the under fide with an image of St. John 
 the baptift, with a circle of ftraight and flaming rays, and the legend, 
 ECCE AGNVS DEI QVI TOLLIT PECCATA M. There 
 is another infcription, SANT JVAN DE SALINAS CVRA ME 
 OFRECIO . A . 1549. 
 
 There are more of the charadteriftics of a candleftick than of a 
 chalice in the outline of this piece ; nor is this peculiarity in favour of 
 convenience for ufe. 
 
 4358 - '37- 
 
 M ONUMENTAL Tablet: gilt copper, with a fhield of 
 arms in champleve enamel. Underneath is written, 
 “ The armys of the ryght worfhlpful maefter Tonge, other 
 
Sixteenth Century. 
 
 1 3 1 
 
 wyfe callyd maifter Clarencius, and mifteris Sufan hys wyfe, 
 1554.” Englifh. 1 6th century. 6f in. by 5^- in. 3/. ioa 
 
 The material is gilt metal, and the ornament confifts of an heraldic 
 coat of arms within a wreath engraved on the metal. The arms are : 
 Per pale, baron and femme ; ift, azure, a bend cottifed between fix 
 martlets, or ; 2, or, within an orle, azure, charged with bezants, a 
 chevron, gules, between three martlets, vert. 
 
 For a motto : ESPOIR EN DIEV. 1 
 
 7648. ’6l. 
 
 M IRROR : burnifhed metal in a frame of iron, damafcened 
 with gold and filver ; the frame, which is of architec- 
 tural defign, is fupported on fcrolls and Hands on a fquare bafe. 
 The front is covered with claffical compofitions and arabefques 
 in gold and lilver ; the back, with religious fubje&s ; Venus 
 and Cupid furmount the whole. Italian. 16th century. H. 
 3 ft. 10 in. W. 25 in. by 18 in. Soltikoff collection. 
 1,281/. 
 
 This remarkable piece of damafcene work confifts of three general 
 divifions : ift. An oblong mirror of burnilhed alloyed metal fet in a 
 frame, the outlines of which are bold volutes, maffive in fedtion ; thefe, 
 are fet on the fides, fupport the niche on the top, and hang from the 
 bottom. Volutes roll over on the front furfaces of thefe parts and give 
 falient bofles in the middle of the four members of this frame. Over the 
 middle is a niche holding a graceful figure of Juno with her attributes, 
 and on each fide are two claffical perlonages playing mufical inftruments. 
 Smaller figures in two other niches on the top or pediment, above 
 thefe two, are alfo playing mufic. From the tops of thefe little upper 
 niches two graceful foliated fcrolls ftretch out in fupport of a pedeftal 
 over the middle niche, and on this pedeftal are Venus and Cupid. 
 The Hoping inner fides of the mirror and the cover, which pulls out 
 
 ! Thomas Tonge was Rouge Croix in Henry VII. ’s reign ; York herald, 
 5 Hen. VIII. (15x3-14) ; Norroy king of arms, 15225 Clarencieux in 1534. He 
 died in 1 536. — MS. notices. Her. Coll. According to Noble he was created Clarencieux 
 in the friars church, Guildford, Aug. 2, 1534, and died 1531, a date on his tomb in 
 St. Mary’s Overy, Southwark, which that writer corrects to 1534. Sufannah his 
 widow became firft lady of the bedchamber to queen Mary Tudor, She left the 
 kingdom on account of her religion, having been threatened by Elizabeth, and died 
 about 1566. — Noble, coll, of arms, 116, &c. 
 
132 Gold and Silver Smiths Work. 
 
 fideways, are damafcened with a landfcape and claffical figures. All the 
 furfaces of the fcrolls, volutes, frame, fronts, &c. are richly damafcened 
 with gold and filver. 
 
 The back of the frame has lefs relief than the front. It is framed 
 into an architectural frontifpiece, with pediment, columns, cornices, and 
 other members. The middle is a niche, lined in with divifions in per- 
 fpe&ive. The image of the Saviour on a pedeftal fills the front. On 
 either fide are angels feated, in relief. Above thefe are fquare panels 
 containing fcenes from our Lord’s Pallion. In the tympanum are the 
 Eternal Father and the fymbolic dove beneath him. The tops of the 
 niches are flat furfaces, with lines in perfpeCtive and figures of the 
 theological virtues. 
 
 2. The Item is made with a feries of bofl'es like thofe of a cup or 
 chalice ftem, but the larger parts mufhroom-lhaped, and the furfaces 
 damafcened with images of Apollo, Mars, Peace, and Plenty ; and 
 compofitions reprefenting claffical beauties at the toilet, and on the back 
 is a reprefentation of our Lord carrying His crofs. Knots of bold 
 volute work, with malks between, join the ftem to a flat foot. Ail 
 parts are richly damafcened. The flat part pulls out and can be ufed 
 as a tray. 
 
 3. The bafe or pedeftal contains a drawer: it is moulded in bold 
 architectural lines above and below, with maffive brackets on the angles, 
 and all thefe points of contaCt enriched by broad volutes : other volutes 
 under the brackets form the feet. Grotefque malks front thefe angle 
 brackets. 
 
 The middle panel is damafcened with a compofition reprefenting a 
 landfcape and the fiege of Rome by Lars Porfena. He is throned, 
 and receives the treafures of the city. Claffical warriors fill niches on 
 either fide. 
 
 The panel at the back reprefents the heroilm of Horatius Codes. 
 On the ends are the devotion of Mucius Scaevola and Marcus Curtius. 
 
 All the ornamentation is elaborately arranged and executed on 
 
 various fcales of fullnefs, and has contrails of natural forms and foliao-e 
 
 . . ^ 
 
 with conventional arabefque work. The fmaller work is hammered 
 
 into hollow fcratchings, but much line and moulding work is pinned on, 
 
 and filver pin heads are made part of the ornamentation. Portions are 
 
 filver, with mercurial gilding. 
 
 The piece was probably made in Milan, and is faid to have been 
 executed for a member of the royal family of Savoy. It was in the 
 Debruges colleClion, afterwards in that of Prince SoltikofF. 
 
 Figured in “Ancient and Modern Furniture;” Labarte, hand- 
 book, &c. (“ damafcening ”). 
 
Sixteenth Century. 
 
 133 
 
 47o;- ’59- 
 
 P LATE : iron damafcened with gold and filver, with 
 landfcape views of a feaport. Italian. 16th century. 
 21 in. by 15 in. From the mufeum of the collegio Ro- 
 mano. 
 
 The middle of the plate is filled by an oak tree, with natural foliage 
 decoratively difperfed ; a landfcape foreground, with rims right and left, 
 and an eagle under the tree. Behind the tree fpreads a large bay, with 
 hills, ports, and cities round the fhores ; a three-mafted veflel and two 
 galleys on ns waters ; and a diftant horizon of fea. 
 
 A border of oak branches and leaves, well filled up, runs round the 
 whole, and fmall holes at regular intervals fhow where filver or gold 
 pin heads have been provided as part of the decoration. 
 
 The gold has been hammered on the ground work in thin leaf, and 
 is worn away in feveral places. The plate has been mounted on 
 wood. 
 
 47°8. ’59. 
 
 P LATE : iron damafcened with gold and filver, with a 
 landfcape view of the city of Pefaro (?). Italian. 16th 
 century. 19 in. by i4f in. From the mufeum of the collegio 
 Romano. 
 
 A landfcape, with perfpeftives of porticoes, pavements, and towers 
 among trees and hills ; a warrior in claffic armour is entering a tower 
 in the middle. In the middle diftance is a harbour with boats and 
 rowers. 
 
 Round the whole compofition runs a border of arabefques, and an 
 oval medallion filled with a landfcape is fet in the middle of each of the 
 four fides of it. 
 
 Round each edge of the border rows of pin holes fhow the places in 
 which nail heads or beads of filver or gold have formed part of the 
 decoration. Two holes on one edge mark the places of hinges of a 
 calket, of which this plate has been the back or cover. 
 
134 Gold and Silver Smiths Work. 
 
 2552 ‘ 56- 
 
 LATE : iron, damafcened with gold and filver, with a 
 
 reprefen tation of the devotion of Curtius, and border of 
 arabefque work. Italian. About 1530. 3-| in. fquare. 
 
 The hero is eroding a bridge and leaping into a fiery gulf. Maflcs 
 and other ornament in damafcene work furround the compofition, as 
 well as a border of arabefques, fcutcheons, and attributes of Mars. 
 This is probably the fide of a cafket. 
 
 P LATE : iron, damafcened with gold and filver, in arabefque 
 work. Italian. 1 6th century. 1 1 in. by in. 3/. 
 
 A piece of bordering, with a defign of oak foliage, after nature, 
 gracefully difpofed about the whole fpace. The ornament is hammered 
 in gold and filver, finifhed with the graver. The end or panel of a 
 cafket or mirror. 
 
 IPTYCH : iron, with figures in relief, damafcened in 
 
 gold and filver. Italian. 16th century. H. 12 in., 
 W. 15 in. 15/. 
 
 Two architectural backgrounds reprefenting portions of houfes lined 
 out in gold, with fide columns of filver. 
 
 In the right hand leaf are figures bearing prefents. A boy is feated 
 in front, and a dog runs with the men. 
 
 The other leaf has a group of muficians playing various inftruments. 
 The dreffes of the men are elaborate reprefentations of 16th century 
 coftume, and all the lines are worked out in light hammered work and 
 in gilding. Probably parts of a marriage coffer, of which thefe were 
 the ends. 
 
 3* 
 
 3610. ’56. 
 
 3 8 ^. ’ 54 - 
 
Sixteenth Century . 
 
 135 
 
 4527* ’58. 
 
 I NKSTAND : iron, damafcened with arabefques in gold and 
 filver. Italian. 16th century. L. io|- in., W. 6f in., 
 H. 3f in. 50/. 
 
 A landfcape with broken architedure on the lid, and graceful fcroll 
 borders round it and on the fides. The infide is in compartments, the 
 lids of which are damafcened with arabefque fcroll work of fimilar 
 charader. 
 
 24. ’69. 
 
 S HOE Horn : chifelled bronze, damafcened with gold. 
 Italian. 1 6th century, L. 6-| in. 18/. 
 
 Of the modern fhape, the handle bent over into a hook and finifhing 
 with a dragon head. Down the back and front are arabefques of leaf 
 work. 
 
 Il8l. ’64. 
 
 O WL Spice Box : filver, in the form of an owl, with a 
 bell on one leg and garnets for eyes. Flemifh. 16th 
 century. H. 6 in., W. 3 in. 3/. \is. 
 
 The feathers and ornament are call and chafed up, but the execution 
 is rough. Two fmall carbuncles are fet in the eyes. The feet are on a 
 perch, and one leg belled. A model of a “ hawking ” owl kept to 
 hunt fmall birds. The head fcrews on and off. 
 
 II92. ’64. 
 
 P AX : gilt metal, of architedural defign, with filver images 
 in high relief, parcel gilt, reprefenting the Nativity. 
 Spanilh. 16th century. H. 6f in., W. 4-| in. 61 . 
 
 A fquare panel furmounted by a fmall fquare niche on columns 
 and covered by a pediment : there are two vafes on the top of the 
 architrave. The front is faced by two columns Handing on a dado 
 ornamented with anthemium and other claffic architedural foliage. 
 
136 Gold and Silver Smiths Work. 
 
 In the panel is a reprefentation of the Nativity. The blefled Virgin 
 and St. Jofeph kneel each fide of the infant Saviour, St. Jofeph holding 
 a taper : the ox and afs are feen behind. 
 
 The figures are in filver, the draperies gilt. 
 
 Under the fmall pedimented upper niche are two figures of angels 
 looking down with folded hands on the compofition below. 
 
 Several fmall filver plates of ornament laid over the bafes and por- 
 tions of frieze and dado are loft. 
 
 130. ’6 4. 
 
 P AX : filver-gilt, with the Depofition from the crofs in 
 relief ; in frame of renaiffance ftyle, fupported by female 
 terminal ftatuettes. Italian. 1 6th century. 7^ in. by 5 in. 13/. 
 
 A fquare panel fupported by terminal caryatid figures, facing right 
 and left. The upper part is a fmall fquare panel with two volutes, 
 the lower curves of which reft on the terminal figures. 
 
 The panel is filled by the Crucifixion in relief. The blefled Virgin 
 ftands wringing her hands in agony, while the Magdalen fupports her. 
 The dado is decorated with flowing fcroll foliage. 
 
 4285. ’57. 
 
 P YX : gilt copper, raifed on a ftem, gadrooned and chafed, 
 and furmounted by a pelican. Italian. 16th century. 
 H. 9^ in., diam. 4 in. il. icu. 
 
 The body opens in the middle and is in the form of a flattened 
 fphere, each half covered with bold gadroon work. On the top is the 
 fymbol of the Church. The knop of the ftem is vafe-fhaped, and the 
 foot concave, with a bold roll on the outer fide, and a torus round the 
 edge. 
 
 7872. ’6l. 
 
 C ENSER : copper, emboffed with beaten work, pierced 
 with handle and chains. Italian or German. 16th cen- 
 tury. H. 7 in., diam. 3 in. 3/. 
 
Sixteenth Century. 
 
 *37 
 
 The lower portion is gadrooned, and Hands on a foot. The cover 
 is a tall cylinder with a domed-fliaped top and fmall domed turret. Above 
 the fides of the cylinder are pierced foliated arabefques, and the top is 
 pierced in circles. 
 
 54i8. ’59- 
 
 C ENSER : bronze, fpherical, with pierced cover and 
 chains. Italian. 1 6th century. H. 6 in., diam. 4 in. 5/. 
 
 Round in flhape, with a fmall lantern top : down both halves of the 
 fphere run ridged projeftions of beaten metal, alternating with ffrips of 
 leaf work beaten and pierced. It Hands on a bell foot, and has probably 
 been gilt. 
 
 i. ’6 9. 
 
 T ABLE Top : wood, coated with ftamped filver, repre- 
 fenting mythological fubjedls after Raphael. Italian. 
 
 1 6th century. L. 4 1 in., W. 2of in. 15/. 
 
 The material is wood, worked over with a preparation of plafler or 
 cement, and covered with thick filver plating. Round the whole is a 
 border of anthemium ornament. Within this rim, in a feries of cartouches, 
 are fifteen panels of various fliapes and fizes. 1. The middle compofi- 
 tion reprefents the judgment of Paris. 2. Compofitions reprefenting 
 Jupiter, Apollo in a zodiac, and, others of the Dii Majores. 3. Two 
 panels contain the triumph of Galatea, after the well-known defign of 
 Raffaelle. 
 
 Two panels are wanting. 4. Two others, above and below the 
 middle, contain an heraldic achievement repeated, fupported by cupids 
 with cartouches, but without heraldic bearings. 
 
 Outfide thefe various compofitions, in four oblong panels, are reclin- 
 ing figures of Juno and Venus, with attributes gracefully placed ; and 
 in four fmaller panels figures reprefenting Jupiter, Mars, Mercury and 
 Venus, with appropriate attributes. It is a rather Hrange medley of 
 fine defigns, moHly from drawings by Raffaelle, put together with little 
 fenfe of general propriety of compofition. The material has been im- 
 preffed in metal matrices, and has the appearance of an experimental 
 'juxtapofition of a number of good defigns intended to be ufed on various 
 boxes or trinkets, and laid together as clofe as they could be placed as a 
 trial piece. 
 
138 Gold and Silver Smiths Work. 
 
 4096. ’57. 
 
 S ALT Cellar : gilt metal, pentagonal, with medallions 
 of the Caefars in relief, &c. Italian. 16th century. 
 H. 2-| in., W. 4-g- in. 4/. i6.f. 
 
 Pentagonal and forming an upright architectural pedeftal, on the 
 top of which is the fait balin. It hands on five ball feet, and the fides 
 are formed by mouldings into panels, each bearing a medallion in fhallow 
 relief of one of the Caefars. The fpace round the medallions is filled 
 
 with arabefque work. 
 
 1. Bull, looking to the left, and legend, IMP. CA 1 S, VESPA- 
 SIAN AVG. P. M. TR. PPP. COS. III. 
 
 2. Bull to left, CLAVDIVS C/ESAR AVG. P. M. TRI (?). 
 PPP. II. 
 
 3. To left, SER. GALBA. IMP. CfiESAR AVG. TR. P. 
 
 4. IMP. CJES. DOMIT. AVG. GERM. COS. XIIII CENS. 
 PER. PP. 
 
 5. IMP. A . VITELLIVS GERMAN . AVG. PMPP. 
 
 ALT Cellars (a pair) : gilt metal, each formed by 
 
 a male figure kneeling and fupporting a clam fhell. 
 Florentine. 16th century. H. 8|- in., L. 5f in., W. 4 in. 
 Soulages collection. 20/. 
 
 The fait cellar is a hollow fcallop fhell, which is fupported on the 
 fhoulders of a Have, kneeling on one knee. The arms are held with 
 the elbows above the head. The figure is nude and well modelled, and 
 ftands on an irregular bafe. 
 
 ALT Cellar : gilt metal ; three tritons fupporting pecten 
 
 fhells, furmounted by a ftatuette of Mars. Italian. 
 1 6th century. H. nin. Soulages collection. 10/. 
 
 For fait and fpices. Three demi-figures ending in acanthus and 
 a dragon’s tail, which curl round and form volutes under the middle : 
 
 D ' 
 
 their arms meet in the centre of each of the three fides of the compo- 
 
 62 8, 62 9. ’65. 
 
 632. ’65. 
 
Sixteenth Century. 
 
 r 39 
 
 fition. Three cockle fhells are fupported by thefe figures, and between 
 the three is the Handing figure of a warrior in claffic armour, holding 
 a lance. 
 
 630, 63 1. ’65. 
 
 S ALT Cellars (a pair) : gilt metal, each formed by nude 
 figures kneeling and fupporting clam fhells. Floren- 
 tine. 1 6th century. H. in., W. 4 in. Soulages collec- 
 tion. 10/. 
 
 Thefe are figures of nude flaves kneeling on one knee, with a fcallop 
 fhell over head, the elbows not lifted above the level of the head. 
 
 627. ’65. 
 
 S ALT Cellar : gilt metal ; a figure kneeling on a dolphin, 
 upholds a large peden fhell on his fhoulders. Italian. 
 1 6th century. H. 7 in., W. 5 in. Soulages colledion. 25/. 
 
 The nude figure of a Have (?) kneeling, with one knee on the back 
 of a dolphin, and a fcallop fhell to hold fait on the top of the head, fo 
 that the figure kneels diredly under it. The bafe has regular archi- 
 tedural mouldings. 
 
 624, 625. ’65. 
 
 S ALT Cellars (a pair) : gilt metal ; three tritons fup- 
 ported by fea-horfes, furround a central pillar ; above 
 each bowl is a ftatuette. The mafks and faces are in filver. 
 Venetian. 16th century. H. 12 in., diam. 9 in. Soulages 
 
 colledion. 50/. 
 
 Thefe large fait and fpice holders are fupported by three figures 
 of tritons, each mounted on a hippocamp. Their two arms double back 
 and fupport the outer circumference of one of the fhells, and their tails 
 end in mafks. The bafe is a platform finifhed with volutes and ftrap- 
 work of gilt metal, with a filver mafk in the middle of each of the 
 three fides. Within the volutes of the tritons on a bold balufter 
 pedeftal ftands a figure of Jupiter with the ulual attributes. 
 
140 Gold and Silver Smiths Work. 
 
 No. 625 is of the fame form and compofition as No. 624. The 
 central pedeftal fupports an image of Venus rifing out of the fea ; a 
 graceful nude figure turning to the right and holding the tail of a dolphin. 
 
 ALT Cellar : gilt metal ; four kneeling figures 
 
 upholding a farcophagus-fhaped vafe, engraved with 
 marine fubjeCts ; this is furmounted by another vafe enriched 
 with trophies. Venetian. 16th century. H. 18 in., W. 8 in. 
 Soulages collection. 20I. 
 
 A compofition containing two receptacles, and built up of feveral 
 parts or divifions. It has a fquare pedeftal, ftanding on four feet, of 
 grotefque mafks and ftrapwork. Four Atlantides, kneeling on both 
 knees, hold up each one hand to fupport a farcophagus-fhaped receptacl ,. 
 On the corners are four genii holding fruit. Within this is a bowl for 
 fait or fpice. 
 
 Above this there is a fecond receptacle fquare outfide and cupped 
 within. On the angles are four caryatid demi-figures, with attributes 
 of Mars, terminating in leg fupports. The fides of this part are deco- 
 rated with ftrapwork. 
 
 Above this fquare piece rifes a pyramid refting on four fquare pofts, 
 that lift it fo as to give accefs to the fait bowl on all fides. On the 
 fides of the pyramid are the attributes of Mars, and on the apex a globe. 
 
 The lower part is gracefully compofed, but the upper portion, 
 though part of the original work, has the appearance of an afterthought. 
 
 ALT Cellar : filver-gilt, fquare, two fides concave. 
 
 and two convex, with claflical figures in high relief, 
 fhields of arms on two of the fides ; it refts upon four lions’ 
 paws. Italian. 1 6th century. H. if in., W. 3§ in. by 3^ in. 
 Bernal collection, 51/. 
 
 Oblong, fhaped like a farcophagus, the two longer fides convex, and 
 the fhorter very flightly curving inwards. On the faces is a proceftion 
 of nymphs draped in clalfical pepla. Stationary figures are at the four 
 corners. They are compofed in the manner of thofe Roman farcophagi, 
 
 626. ’65. 
 
 2129 . ’ 55 - 
 

 
SPOON .SILVER GILT. ABOUT |600_ 
 L . 8 '/t- (BERNAL COLl-'j 
 
 ( IN ° s 22^,2 2 5q 
 
 w VNilSE . FEC IT, 
 
Sixteenth Century. 
 
 141 
 
 of which the fides are filled with figure fubjects. On the two ends thefe 
 little figures fupport two fhields, one of which bears two gloves or hands, 
 opened with the thumbs touching each other. 
 
 57 2 7 ’ 59 ’ 
 
 P ERFUME Burner: gilt bronze. Italian. 16th cen- 
 tury. H. 1 of in,, W. 3§ in. Soulages collection, il. 
 
 The lower part is fquare, with a round bowl for perfume. It Hands 
 on four winged terminal figures with fcrcll ends. A pyramid of pierced 
 arabefque work, fpringing from a terminal figure on each fide, is placed 
 over the bowl, and is fupported on four metal fcrolls. 
 
 An infant Bacchus Hands on the apex of the pyramid. 
 
 5593 > 5594 - ’ 59 - 
 
 S POON and Fork : filver-gilt, fluted ftem, a mafk and a 
 terminal fatyr on the end of the handle. Italian. 16th 
 century. L. 6§ in. Soulages collection. 2/. 
 
 The handles are reeded with an elegant curve from bowl to butt. 
 
 2252. ’55- 
 
 S POON : fllver-gilt, embodied with birds, the Hem deco- 
 rated with cartouche work, furmounted by the figure 
 of a faint. Italian. 16th century (?). L. 8-| in. Bernal 
 collection. 3/. 15^. 
 
 The bowl is full of birds emboffed and chafed with foliage. The 
 Hem is engraved in chevron lines, and the image of St. Thomas, with 
 his emblem, furmounts the top. The work of the bowl is rich, but 
 not effective. 
 
 2266. ’53. 
 
 E ^ POON : filver-gilt, engraved with the Refurrection, and 
 the Virgin and Child, with legend on the back, a cluf- 
 tered knop on the handle. Flemifh. 16th century. L. in. 
 Bernal collection. 10/. $s. 
 
142 Gold and Silver Smiths Work . 
 
 The Refurrection is engraved in the bowl, and the Mother and 
 Holy Child on the back. Round this runs the legend in Roman 
 capitals: VIRGO GLORIOSA CCELI JUBAR, MUNDI ROSA 
 CCELIBATUS LILIUM c • m \ The top of the handle finifhes 
 with a foliated knob. 
 
 POON : filver-gilt bowl and mountings, handle formed 
 
 by a branch of red coral ; a Ihield of arms, with a 
 coronet and initials engraved on the bowl. South Italian (?). 
 1 6th century. L. 7J in. Bernal collection. 4/. ioj. 
 
 The handle is a branch of natural pink coral, the bowl fattened to 
 it with foliage work, with a border of fcroll work round the infide of the 
 bowl. 
 
 S POON : the bowl formed of the fegment of a large cowrie 
 fhell ; filver-gilt handle, a fhield on the end. German. 
 1 6th century. L. 5 in. Bernal collection. 15s. 
 
 The metal work is in plain reeded lines ; a bold flat butt, bearing a 
 fhield charged : — gules, a demi-horfe paflant, or. 
 
 S POON : the bowl of boxwood, the handle filver-gilt, 
 furmounted by a female terminal figure, with a fhield of 
 arms. German. 16th century. L. 6f in. Bernal collec- 
 tion. 3/. 
 
 The metal work is a nett of leaves with a female term. 
 
 TYLUS or Pencil : gilt metal, with ornamental Hem and 
 
 grooved filver point. Italian. 16th century. L. 5 in. 
 Soulages collection. 5/. 
 
 226 8. ’35. 
 
 2345 * ’ 55 * 
 
 2342- ’55. 
 
 648. ’65. 
 
SKM 
 
 Us) 
 
 KNIFE WITH SILVER GILT HILT BERNAL COLL: S.W.M (M.2255) FORK WITH SILVER GILT HILTS, 
 
 GERMAN 16'- CEnL . SERNAL COU .S-K M ( No 23 17 ) . GERMAN I6 1 ^ CEN - ■ 'S.K-Nl (No23ITa^ 
 
 W, E.MACKANE5S FECIT 
 
Sixteenth Century. 
 
 I 43 
 
 The ftem is gilt, engraved, with a fmall knop at the end, and a 
 grooved filver point. It was ufed for the prepared paper which was 
 made for fketching and occafional ftudies by the Florentine matters of 
 the i 6th century. 
 
 2256. '$$. 
 
 F ORK : filver, jointed, chafed, furmounted by a kneeling 
 ftatuette ; two fides fet with garnets ; on the ftem a fmall 
 group of St. George and the dragon. Italian. 16th century. 
 L. 6 \ in. Bernal colledion. 15/. io.r. 
 
 The curve of the prongs is fharp ; the ftem fluted and carefully 
 chafed. A figure reprefenting the princefs of Xybia is kneeling down, 
 and there is a tiny reprefentation of St. George fighting the dragon in 
 complete relief on the broad furface of the handle. Small garnets are 
 fet over the hip of the prongs and on the handle. 
 
 It is reprefented in the accompanying etching. 
 
 255. ’6 4. 
 
 S POON : filver ; the handle of red coral, the bowl en- 
 graved with an armorial fhield. South Italian (?). 
 1 6th century. L. 8|- in. 61 . 
 
 The ftem is a piece of light red Neapolitan coral, and the bowl 
 joined to it by a fquare block with a fmall rofette on it. The filver 
 is of the plaineft workmanftiip, 
 
 59 9* ’64- 
 
 C RUCIFIX : dark red jafper, with gilt metal ftrapwork, 
 on a gilt metal pedeftal engraved with armorial fhields. 
 French. 16th century. H. 13 in., W. 6-| in. 8/. 
 
 This crofs is cut from a mafs of blood-coloured jafper bound round 
 with flat thin bands of chafed metal work. The extremities of the 
 crofs are fleurs-de-lys. The metal bands bind the ftone below the 
 fleur-de-lys at the points of interfedtion and down the middle line, 
 ending in a fleur-de-lys finial on the furface of the ftone. 
 
144 Gold and Silver Smiths IVork. 
 
 The crofs ftands on a fquare bafe or pedeftal of gilt metal, on the 
 concave upper furfaces of which are four heraldic fhields : — I, within 
 a collar of an order (St. Michel of France ?) : argent, two towers proper. 
 2. Per pale, — ift, gules, two circular orles or borders, one within the 
 other, argent j 2nd, barry of fix, argent and gules. 3. Per pale, — ift, 
 or, a caftle with turrets ifluing therefrom ; 2, or, a circular orle or ring, 
 gules. 
 
 The fourth fiiield is a repetition of the firft. 
 
 OOK Cover : tranflucent enamel on gold, in relief ; 
 
 the creation of Eve on the fides, and other fubjedls ; 
 the edges ornamented with tranflucent champleve enamel. 
 Stated to have belonged to Henrietta Maria, Queen of Charles I. 
 French or Italian. 16th century. H. in., W. 3-^ in. 700/. 
 
 The fides and back are elaborately ornamented with beaten work. 
 On the front the middle is filled by an oval medallion of green bay 
 leaves lined with gold, interrupted by four cinquefoil flowers of white 
 and gold. In the field, which is green, Adam lies afleep, Eve is half 
 iflued from his fide, her hands are in adoration, as in Michel Angelo’s 
 compofition. The heaven is gold with dark green clouds. Round 
 about are trees and flowers with various animals, fome fcarcely an eighth 
 of an inch in height ; amongft thefe are a camel, lion, hare, hound, cat, 
 heron, and a diftant flag grazing in the foreflr. 
 
 Outfide the oval are four feated female figures gathering fruits, and 
 drefled in green. Rich fcrolls and whorls of beaten gold enamelled with 
 flowers and gems unite thefe figures and the corner fpaces into a frame, 
 which fills up the remaining fpace. Round the whole is a very 
 minute border of red, feparated by dots of white. 
 
 The back is divided by bands into four divifions, as in the binding of 
 a book. Each divifion has a bunch of conventional leaf work ; they 
 differ in the four divifions. 
 
 The other fide has no medallion. A fountain ftands in the middle, 
 gadrooned in dark blue with a fquare pedeftal in it, on which ftands 
 Fame, a minute gold perfonage with two trumpets. Round about is a 
 green field, woods and trees, palms, & c. A youth in a green coat and 
 red bufkins, a gold bafket on one arm and a bunch of fruit on the other, 
 is nearing the bafin in which two nymphs, half draped in green, are 
 wafhing their hair. Below, a recumbent queen, crowned, in a gold 
 
 73 6 - ’64- 
 
Sixteenth Century. 
 
 145 
 
 gown lined with crimfon, gathers growing fruit ; and a maid, in dark 
 green, heaps flowers before her. 
 
 Round the outfide of this compofition two gods and two goddefles 
 in green and blue draperies recline, holding horns of abundance and 
 fwords. Rich fcroll work and flower liars, all in high relief and ena- 
 melled in various colours, complete the outflde arrangement of this 
 compofition. It is bordered as the front is. The plates reprefenting 
 the edges of book leaves are of gold enamelled ; a fleur-de-lys finilhes 
 the back where thefe fide plates meet it. 
 
 The clafps are two fcrolls richly enamelled ; and two loops, one in 
 the middle of each fide, richly fcrolled and enamelled in feveral colours, 
 are contrived for hanging to a chain. 
 
 The gold is very thin, fo thin that in the beating it has come into 
 holes, not observable from the front. 
 
 The work bears the clofeft examination, and comes from the fchool 
 of Benvenuto Cellini. No finer work in enamelled gold is to be feen in 
 the Mufeum collections at prefent, nor any figure work on fo fmall a 
 fcale worked out with fo much completenefs, unlefs it be the necklace 
 containing the Paflion of our Lord in fmall compofitions, one in each 
 medallion of which the necklace is compofed, belonging to lady Mount 
 Charles, and now (1875) exhibited in the South Kenfington mufeum. 
 
 487. ’73. 
 
 B OOK of Prayers : in lilver-gilt, ornamental binding, with 
 clafps inlaid with dices of lapis lazuli. French. 16th 
 century. 2 -/-g- in. by 1 in. Webb collection. 35/. 
 
 The boards of this binding are two flices of lapis lazuli, very fine 
 in colour, one on each fide, and three fmaller on the back. They are 
 mounted in rims of filver reprefenting the cords, edge tooling, &c. that 
 are ufed in actual leather binding. The outer border is a rich moulding 
 of hanging garlands in hammered work. 
 
 555 - ’ 74 * 
 
 C UP (Tazza) : lilver-gilt ; the ftem formed by terminal 
 bulls and malks, the bowl repoufle with figures repre- 
 fenting the virtues, malks, and ftrapwork. German (Nurem- 
 
 36105. 
 
 K 
 
1 46 Gold and Silver Smiths Work . 
 
 berg). 1 6th century. H. 6§ in., diam. 7! in. Bond 
 colle&ion. 1 80/. 
 
 The whole of the cup is filled with fix medallions formed by bands 
 of ftrapwork, containing, in the middle, Charity ; in the other fix the 
 theological and cardinal virtues ; fruit between. Three terminal female 
 bulls with malks and ftrapwork make up the Item. 
 
 HALICE and Paten : gilt bronze, the chalice with lilver 
 
 bowl, the foot engraved with medallions of the four 
 doctors of the church, the Refurrection, and the Entombment. 
 German. 1 6th century. H. 6f in., diam. 5 in. Paten, diam. 
 6f in. 3/. \s. 
 
 The cup is oval, ftraight fided, the under cup a neft of acanthus 
 chafing. The Item is fix-fided, the knop nearly as wide as the mouth 
 of the cup. The foot is fix-lobed. On the upper furface of the foot 
 there are fix chafed medallions, containing : 1 . The Entombment, the 
 Saviour is buried in His fepulchre by five figures ; 2. The Refur- 
 rediion, our Lord feated on the fepulchre holding a crofted banner in 
 His left hand, with two foldiers befide the tomb, one afleep ; 3. St. 
 Ambrofe ; 4. St. Auftin ; 5. St. Gregory; 6. St. Jerome. 
 
 The paten is plain, deprefled in the centre with a wide rim. 
 
 HALICE : filver-gilt ; the Item and foot candelabrum' 
 
 lhaped, with ftrapwork decoration in relief. German. 
 1 6th century. H. in., diam. 4I in. 8/. 
 
 The cup bell-mouthed, mounted on a compofite Item, of which the 
 upper part is in the form of a vafe, with three handles or S-lhaped fcrolls. 
 A bafe intervenes between the knop and the foot ; the foot is convex 
 with feveral bold bordering mouldings. Thefe parts are covered with 
 ftrapwork and arabefque in relief. 
 
 6971. ’6 1. 
 
 394 - ’ 53 - 
 
 207. ’74. 
 
 ANKARD : the drum ivory, carved in low relief with 
 a Bacchic proceflion, the mounting filver-gilt. The 
 
Sixteenth Century. 
 
 *47 
 
 carving Italian. 1 6th century. German mounting. H. 6^ in., 
 bafe, 5 in. by 5 in. Webb collection. 50/. 
 
 The drum reprefents a proceflion of genii or boys in honour of 
 Bacchus. 
 
 The lid piece is a dog curled round afleep ; this part is probably 
 German. 
 
 The lip is plain filver-gilt, and is part of the lining ; the fetting to the 
 ivory above and below is notched and chafed ; a bold torus of beaten 
 flower work makes a frame which balances the relief of the ivory, and 
 the fame kind of work goes round the lid. The outer edges of the lid 
 and the foot are flat metal fiightly waved. The handle is a C-fhaped 
 loop connected by two counter curves with the lid and the fetting of 
 the foot. A xfnall terminal female figure forms the hip of the handle, and 
 a floriated fatyr malk the purchafe of the lid. 
 
 538. ’74. 
 
 T ANKARD : filver-gilt, engraved and repoufle, with an 
 enamelled fhield of arms within the lid. German 
 (Auglburg). 1 6th century. H. 6^-in., diam. at bottom, 4f in. 
 Webb collection. 40/. 
 
 Plain fides, with two borders, one of ftrapwork and one of fine 
 engraving, an unufual method of decoration. 
 
 The arms infide the lid are : — quarterly of four ; ift and 3rd, gules, 
 a wind expanded, argent : 2nd and 4th, the fame, counterchanged. On 
 an inefcutcheon, or, the letter C furmounted by a crofs, azure. On a 
 fcroll M. EUPHEMIA . Ceberg. 
 
 239 . ’ 74 - 
 
 T ANKARD : filver-gilt, the handle is in form of a demi- 
 figure ; the lid is a fhield of arms repoufle. German. 
 1 6th century. H. 6^ in., diam. at bafe, 4-! in. Webb col- 
 lection. 35/. 
 
 Smooth fides, the arms are embofled and chafed in bold relief on an 
 achievement: the bearings are, a crefcent moon in fefs between two 
 ftars. 
 
 For a crell, a demi- figure holding the armorial charges defcribed. 
 
148 Gold and Silver Smiths Work. 
 
 54. ’ 6 g . 
 
 B AND : filver, with medallions containing the feafons in 
 low relief, and openwork arabefque medallions. Ger- 
 man. 1 6th century. H. 1 in., diam. 3§ in. 10/. 
 
 A rim, or fetting, perhaps for a glafs veffel. It is of very thin 
 metal, beaten up into arabefque work, enclofing four graceful recumbent 
 female figures, typifying the feafons ; and two medallions containing 
 winged grotefque animals with a pierced background. 
 
 4298. ’57. 
 
 S ALT Cellar : diver-gilt, circular, refting on three ara- 
 befque fcrolls. German (Augfburg). 16th century. 
 H. i|- in., diam. 3f in. 3/. 
 
 The form is that of a bofs hollowed in the middle to contain fait. 
 The convex frame or border is hammered up with bold arabefque orna- 
 ment, and the whole hands on three light feet of beaten metal. The 
 feet reprefent mermaids, the tails curling into circles and the bodies 
 bent backward againft the convex mafs. 
 
 ! 259 - ’ 55 - 
 
 S ALT Cellar : filver-gilt, triangular, chafed and refting on 
 cherub heads. German. 16th century. H. i|- in., 
 W. 4 }in. 3I. 
 
 The furface is a triangle with three femicircles on the fides. The 
 edge is finiftied with moulding firings and lines, and the furface embofled 
 with arabefques. Cherub heads fill up the three fmall triangles, and the 
 centre has a circular bowl to contain fait. 
 
 2110. ’55. 
 
 S ALT Cellar : filver-gilt, triangular, fupported by three 
 lions, pearled border round the fides. German. 1 6th 
 century. H. i-| in., W. 4f in. Bernal colledtion, 10/. 15^. 
 
Sixteenth Century . 
 
 T 49 
 
 Triangular on the furface with femicircular bowl for fait. The lur- 
 faces are embolTed with arabefques, with emblematic heads in the three 
 angles. It is fupported on three legs formed by fmall lions rampant, 
 of flat metal. 
 
 3109. 55. 
 
 S ALT Cellar : filver-gilt, triangular, refting on balls ; with 
 three funk pools. German. 1 6th century. H. in. 
 W. 4f in. Bernal collection. 5/. ioj. 
 
 Triangular in plan; the edges have firing mouldings and a band of 
 leaf work between. Three cups are funk as fpice holders, and three 
 ball feet are under the corners. The upper furface is covered with 
 arabefques chafed in delicate lines. 
 
 7244. ’6l. 
 
 S ALT Cellar*: filver-gilt, circular, on three terminal 
 figures ; a triangular handle in the centre, furmounted 
 by a man holding a flag ; three loofe cups hold the fait. 
 German (Mayence). Hall mark of the year 1561. H. 4 f 
 diam. in. Diam. of three cups, i-| in. i'll. 
 
 Round in plan, fupported on three feet formed by female figures 
 backed by cartouches. The furface is covered with arabefques in delicate 
 chafing. In the three funken receptacles are three cups that fit into 
 holes, and can be removed. The handle in the middle is a fmall tur- 
 baned figure in Oriental coflume, holding a banner. 
 
 2124- 55 - 
 
 S ALT Cellar : filver-gilt, circular, embofled and chafed, 
 refting on three feet of mafks and cartouches. German 
 1 6th century. H. ij in., diam. 3^- in. Bernal collection. 
 3/. i 5 j. 
 
 Round in plan, with a bold convex band round the fait bafin. This 
 is embofled with cartouches on the furfaces and ftrapwork on the 
 edges ; it refls on three feet made of mafks, with ftrapwork backing. 
 
Gold and Silver Smiths JV irk. 
 
 150 
 
 2127. ’55. 
 
 Q ALT Cellar : filver-gilt, triangular, chafed on the top ; 
 
 with perforated lides, and three arabefque fcrolls as 
 fupports. German. 16th century. H. if in., W. in. 
 Bernal collection. 27/. 
 
 Triangular on plan, with half-circles projecting on the tides. The 
 edge forms a continuous arcade of cufped arches, and the fupports are 
 three S-fhaped fcrolls of metal with demi-figures on the hips of the 
 outer curves. 
 
 The furface is covered with embofled ornament, three mafks in 
 the angles and three animals, two dogs and a hare, in the half circles. 
 
 2H1- ’55. 
 
 S ALT Cellar : filver-gilt, round, with cupids and fhields. 
 
 German. 1 6th century. H. in., diam. 3^ in. Bernal 
 collection. 13/. 1 $s. 
 
 Round in plan, fupported on three cherubs for feet. The furface 
 round the cup is flat, and chafed with figures. There are three pairs 
 of cupids feated on horns of abundance, and fupporting three armorial 
 fhields. 
 
 212 8. ’55. 
 
 S ALT Cellar : filver-gilt, triangular, chafed, and retting on 
 three ball feet. German. 16th century. H. 1 in., 
 W. 3f in. Bernal collection. 27/. 10/. 
 
 Triangular in plan, with three half-circles projecting on the fides ; 
 one receptacle for fait. Monfter mafks and arabefque flowers are 
 hammered on the furface in fharp relief. 
 
 4053 - 56 - 
 
 M EDALLION : filver: obverfe, the Holy Trinity with 
 legend ; text from the Athanafian Creed on the reverfe. 
 German. Dated 1569. With monogram of Heinrich Ritz, 
 Leipzig. Diam. 4^ in. 25/. 
 
Sixteenth Century . 
 
 151 
 
 The reprefentation of the Holy Trinity. A venerable figure on 
 a richly carved throne, fupported by pilafters carved with renaif- 
 fance arabefque work, reprefents the Eternal Father. He is drefled 
 in a royal mantle, and an imperial crown, holding an orb and 
 fceptre. The Holy Spirit is typified by the fymbolic dove, and the 
 Crucifixion is below, the Saviour’s body hanging dead upon the crofs, 
 with title. 
 
 Two angels are befide the throne and four cherubs over it. The 
 compofition finifhes with clouds. 
 
 Round the medallion is a border of leaf work, and the legend, 
 PROPTER SCELVS POPVLI MEI PERCVSSI EVM ESAIA 1 
 LIII. 
 
 On the reverfe, two angels, draped, uphold a tablet, on which is the 
 legend : HAsC EST FIDES CATHOLICA VT VNVM DEVM 
 IN TRINITATE ET TRINITATEM IN UNITATE VENE- 
 REMVR ALIA EST PERSONA PATRIS, ALIA FILII, 
 ALIA SPIRITVS SANCTI SED PATRIS ET FILII ET 
 SPIRITVS SANCTI VNA EST DIVINITAS iEOVALIS 
 GLORIA COETERNA MAJESTAS. O VENERANDA 
 VNITAS, O ADORANDA TRINITAS PER TE SVMVS 
 CREATI VERA iETERNITAS PER TE SVMVS REDEMPTI 
 SVMMA TV CHARITAS TE ADORAMVS OMNIPOTENS 
 TIBI CANIMVS TIBI LAVS ET GLORIA. 
 
 Round, within a rich floriated edge in relief: GROSSUM HUNC 
 LIPSLE HR CUDEBAT ANNO M-D-L-XVIIII. MENSE 
 JANV. REGNANTE • D • AUGUSTO D. G. DUCE 
 SAXONIiE IZC. With the arms of Drefden and Saxony. 
 
 This was Auguftus I., eledlor of Saxony, builder of Auguftenburg, 
 called the Saxon Juftinian, a champion of the Lutheran opinions. He 
 fucceeded in 1553, and died in 1586. 
 
 Heinrich Ritz was a well-known medallift of Leipzig. The mono- 
 gram IR, however, is not confined to himfelf. 
 
 428;. ’57. 
 
 M EDALLION : filver-gilt, with chain for fufpenfion. 
 
 Obv., the Adoration of the Magi ; rev., Mofes and 
 the burning bulh, with legends in Latin. Infcribed H. R. 
 (Heinrich Ritz, of Leipzig ?). German. 1 6th century. Diam. 
 2f in. 3/. 
 
152 
 
 Gold and Silver Smiths' W irk. 
 
 On the obverfe the adoration of the Magi ; the bleffed Virgin, 
 with the infant Saviour, feated under an open roof or pediment ; behind 
 her ftands St. Jofeph, holding a candle ; the Magi are before them ; 
 one kneels, two ftand, the laft and youngeft, hat in hand ; they make 
 offerings. In the background appears the gate of a long building 
 with a tower and belfry. Under are the words, INVENERUNT 
 PUERUM • CVM MARIA ADORAVERVNT ET OB- 
 TVLERVNT. MVNERA AVRVM THYS • ET MIRRA. 
 MAT. II. 
 
 Reverfe, Mofes at the burning bufh. His Ihoes are off; fheep, a 
 dog, and aferpent are befide him. The fiery bufh appears on a flowery 
 mound; a landfcape background. Below a legend reads: DOMINVS 
 MOYSE DE RVBO LOOVITVR ET IN EGIPTVM 
 MITTIT ID. PHARONEM, Exod. III. A leaf work border. 
 
 9075 - ’ 63 • 
 
 M EDALLION, with ring : lilver-gilt. Obverfe, the Offer- 
 ing of the Magi ; reverfe, Mofes and the burning 
 bufh. Signed H. R, (Heinrich Ritz of Leipzig ? ) German. 
 Dated 1601. Diam. 2f in. il. 10s. 
 
 Subftantially a repetition of the laft named. A peacock is feen 
 over the gateway on the obverfe. 
 
 Angels kneel behind St. Jofeph, and at the back of the fcene the ox 
 and afs are feen with a manger, on which is the monogram HI + and 
 date 1601. 
 
 2X88. ’55. 
 
 D AGGER : fteel, in gilt metal fheath, engraved with the 
 ftory of Virginia; with a knife and fork in the 
 fheath. German. Dated 1563. L. 16 in. Bernal colledion. 
 
 8 /. 
 
 The fheath is of flat pierced metal, on which is reprefented 
 Virginius holding his daughter, whom he is about to ftab with a fword 
 he holds. The defigns are finifhed with the graver. 
 
 The fame ftory is repeated in the following number, in which the 
 defign is more eafily feen. 
 

 
 
 * 
 
I 
 
 I 
 
 
 cup , silver , the work of Wenzel Jamnitzcr .of Nuremberg. 
 
 (g : 1506. Dl 1585.). DRAWN 3 ^ SIZE . S • K - M*. 
 
 
 
 
 N‘( 1.50 
 
Sixteenth Century . 
 
 153 
 
 150. ’72. 
 
 UP : filver, the lid cufped in fix divifions that are con- 
 
 tinued down the bowl, with fix lobes alternating with 
 fix others reverfed. Thefe parts are decorated in repoufle 
 with ftrapwork, arabefques, and figures of Diana, Lucretia, 
 and Judith. The knop of the Item is lhaped like a three-fided 
 column capital, and the bafe is trefoil- lhaped, with three deco- 
 rated bofles. Nuremburg, attributed to Jamnitzer. About 
 1560. H. 8J- in., W. \\ in. 150/. 
 
 This cup is chalice-lhaped, and ftands on a balufter ftem. The 
 bowl is cufped at the lip in fix lobes, which defcend in points, and the 
 intervals are filled by fix lobes that afcend till the points are loft between 
 the cufpings of the lip. The upper lobes expand again below their 
 points under the cup, and their fix lefler lobes are embofted with fruall 
 fubjedts in repoufle work. One has three fifties, the next a lizard, the 
 next a frog, the next a prawn, the next a dolphin, the next a fnail. 
 The furfaces of the larger lobes are covered with ftrapwork and car- 
 touches, three containing graceful figures of Diana, Judith, and Lucretia. 
 Diana holds a bow, Judith, a fword and the head of Holofernes, and 
 Lucretia ftabs herfelf with a dagger. Three vafes intervene. The 
 upper parts of the fix lower lobes have fimilar ornaments ; the alter- 
 nate [cartouches contained three demi-figures, winged, armed, and 
 crowned, and three arabefque ornaments. Thefe fix lobes have malks, 
 a woman, Mars, a cherub, and three monfters. Under the cufps of 
 the lip are alternately mafks and arabefque work, but the lip edge for 
 an inch down is plain. The ground work of the ornament is punched 
 and indented with fine lines and points. 
 
 The bowl connects itfelf by fix delicate acanthus brackets with 
 the top of the ftem. The ftem is hexagonal and divided by a number 
 of horizontal collars and neckings. The knop in the middle refembles 
 the capital of a renaiflance column, with three rams’ heads, three bunches 
 of fruit, and volutes. It ftands on a round bafket, and the bafket is 
 connefted by three dolphin-lhaped brackets with the bafe. The bafe 
 is trefoil- lhaped, with a bold half torus ; it has a deep necking, and 
 three ornamented -patera rifing into three bofles of mafk and leaf work 
 that fill up the intervals between the three dolphins. 
 
 The edges of the lip, of the ftrapwork, and of all parts of the cup 
 are perfectly flat, lharp, and frelh, as of a piece of work recently finilhed 
 
154 Gold and Silver Smiths Work. 
 
 and the lip edge is more fquare in feCtion than would be confiftent with 
 its aflumed hiftory, unlefs it has been kept unufed from the date affigned 
 to its aCtual execution. There is no chafing on the upper lips of the 
 cup, nor on the torus forming the loweft member of the bafe. Thefe 
 portions are faid to be unfinifhed. The various parts of the cup are 
 connected by fcrews. 
 
 There are two other cups of fimilar workmanfhip belonging to the 
 municipal collection in Nuremburg, and exhibited in the town hall. 
 One was purchafed from the collection of Mr. Hertel, and is engraved 
 in “ Deutfche renaiflance, A. Ortwein.” 1 A fecond was prefented by 
 the goldfmiths’ company, and the third, that under difcuflion, was fold ' 
 to a collector (M. Pickert), from whom it has been bought for the 
 department. It is faid that the two laft were “ pickled,” and palled 
 through the furnace by the company on the occafion of a royal vilit to 
 Nuremburg and before the prefentation to the city. This was to give 
 them the appearance of new work. The three cups have been ex- 
 hibited together at Nuremburg on the occafion of the 400th anniverfary 
 of the birth of A. Diirer, in 1871, 
 
 Sir M. Digby Wyatt examined the three together, and was given 
 to underftand that the Berlin mufeum was prepared to purchafe the 
 cup in the mufeum. He was fatisfied with the genuinenefs of the cup. 
 The workmanfhip is careful and exaCt. The ftrapwork is extremely 
 flat, and its edges are mechanically fquare in feCtion. The various 
 defigns embofled on the furface are of the fame character as thofe on 
 the cups in the Nuremburg collection. The little figures are modelled 
 after the ideal of the fchool of Diirer, and the cup bears a confiderable 
 refemblance to the one in the Britifh mufeum collection attributed to 
 Cellini (in the print room), a call of which is defcribed further on. 
 
 Wenzel Jamnitzer was infcribed among the goldfmiths of Nuremburg 
 in 1534, and worked there for fifty years. The cup may be dated after 
 the middle of the century. 
 
 See etched illuftration. 
 
 UP and Cover : green Terpentine, fet in lilver parcel gilt 
 
 bands, engraved with hunting fcenes, and ornament in 
 relief. The cover is furmounted by a cupid ; inlide the cover 
 is a medallion engraved with the arms of Chr. Willadin. 
 
 486. ’73. 
 
 1 No. 1, pi. 2.. 
 
Sixteenth Century . 155 
 
 German. 16th century. H. ii^in., diam. 3f in. Webb 
 collection. 40/. 
 
 The upper and lower edges of the cup and cover are fet in elegant 
 fettings cut into leaves and chafed. Round the mouth is a deeper band 
 engraved with hunting fcenes. Three fatyr heads, with grotefque 
 ornamentation, are fet round the lip, and a broad engraved belt round 
 the bottom of the body of the cup has three knots of elegant fcroll work 
 of beaten filver. The knop of the Item is of ferpentine, and the foot, 
 which is filver, is engraved, and has a rim of leaf work on its outer 
 moulding. The cover is furmounted by a figure of cupid blowing a 
 horn. Infide the cover is a medallion, on' which is the name Chr. 
 Willadin, the owner, and his armorial bearings. 
 
 485- ’73- 
 
 C UP : filver-gilt, the body a flattened fphere and a cylin- 
 drical mouth inferted into the middle, a {mailer body 
 below ; hammered and chafed with foliage, human heads, and 
 grotefques. Augfburg. 1 6th century. H. 7 § in., diam. 4! in. 
 Webb collection. 130/. 
 
 The mouth is cylindrical, and its diameter is confiderably within 
 that of the body, which is acorn-fhaped, with the wideft part uppermoft. 
 Round the circumference are oval medallions, three of which contain 
 heads, two being female, and finely defigned. 
 
 The ftem has a knop, and is rooted into the foot in a bold collar. 
 The furfaces of the ftem and knop are beaten ’ and chafed with 
 arabefques, mafks, and grotefques ; and the wide furface of the foot 
 is decorated with ftrapwork and arabefques. 
 
 Much fplendour is given to the cup by the judicious diftribution of 
 the oval medallions, moft of which remain polifhed and luminous in 
 contraft with the delicate reliefs and lines of the reft of the decoration. 
 
 The fhape and pofition of the cylindrical mouth indicate that this 
 cup has been double, and that the two mouths have fitted one into the 
 other. 
 
 4297- ’57* 
 
 T ANKARD : filver parcel gilt, cylindrical, with a band 
 of heads and fcrolls engraved on the body, and terminal 
 female figure on the handle. German. Dated 1567. H. 
 4-| in., W. 4 in. 12/. 
 
i5 6 Gold and Silver Smiths Work. 
 
 The bafe is wider than the lip, and the cover is coved with a 
 central medallion furrounded by a collar. A band of engraving fur- 
 rounds the middle of the body ; it is made up of four circles, in which 
 are heads after the antique, defigned with great fpirit, and fcroll work 
 round. 
 
 The handle is a bold fcroll, with a female terminal figure on the 
 hip, and a volute finifti at the point of junction. 
 
 The purchafe is a fyren with two tails rolled over. 
 
 On the medallion of the cover two coats of arms and two names 
 and the date are engraved. The arms are — i. A kingfifher in bend 
 (no tinftures). 2. Per pale, argent and or, a demi-eagle of the fecond. 
 Two furnames, REPPIN and KINIGVT, and the date, 1567, 
 furround thefe two coats. 
 
 The bands and all the wrought portions are gilt; the reft is filver. 
 
 UP, Tazza : filver-gilt, with wide circular difih, engraved 
 
 with a compofition reprefenting Jofeph entertaining 
 his brothers, and an infcription outfide in German characters. 
 Nuremburg. 16th century. H. 9-I in., diam. 7^ in. 15/. 
 
 The difti is a fegment of a globe ; the ftem is balufter-fhaped, 
 fmooth on the furface, and ftands on a round pedeftal bafe with 
 fpreading foot. 
 
 The decoration confifts in an engraved compofition in the bottom 
 of the difti, reprefenting the entertainment of his brethren by the 
 patriarch Jofeph. The compofition is like thofe of Paolo Veronefe. 
 The brothers are feated at a long table, and Jofeph, with his back to the 
 fpecftator, is feated by himfelf. Attendants with wine jars are ferving 
 on the other fide of the fcene ; a large room with arched windows looking 
 on a public fquare. 
 
 In this background are two fides of one of the principal fquares of 
 a German capital. A fquare dome-roofed tower ends one fide, and a 
 building, reprefenting fomething like a town hall, with flights of fteps 
 leading to a doorway, fome height up, is diftinguifhable on another ; 
 a fountain is fhown in the middle. 
 
 Under the bowl, juft below the lip, a legend in German letters runs 
 as follows : 
 
 Scarp*) arin iSruirrtu rtn ntal)l)rtt ga6: edit Iki*) ju 
 offttcn cs rtn attlali mar: rut grerfjtr tnss ISatr totr tfjunir 
 Hat rrtcfjrn cur!) Ijcrr gytattfjaltrr yarn ?lirIir<s=Zirtr!)ru. 
 
 627. ’72. 
 

w 
 
 S KM 
 
 ( 22 ) 
 
 SILVER GILT VASE WITH CAMEOS CERMAN CM CA 1^30 
 S.K.M. ( 319 ) W.M.M'CIU. EECIT 
 
Sixteenth Century. 
 
 1 57 
 
 i.e ., As the feaft of Jofeph to his brethren was an occafion that opened 
 his heart, fo has been this gift of a bath or fountain. Whether this 
 refers to the cup or to the fountain reprefented in the engraving is 
 doubtful. 
 
 3 I 9 - ’ 54 - 
 
 C UP and Cover : filver-gilt, chafed with arabefques, and 
 mounted with onyx cameos. German. 16th century. 
 H. 6J in., diam. 2-| in. 50/. 
 
 It is a model on a fmall fcale of a large crater or claflical vafe. The 
 bottom is gadrooned, and thefe members make it wider^than the portion 
 above, which has a bold fpreading lip or margin. It Hands on a vafe- 
 Ihaped Hem with three fcroll handles. The foot is convex, and round 
 it are fet four round onyx cameo claffic heads. The cover is fur- 
 mounted by a tiny vafe furnifhed, like the Hem, with handle fcrolls 
 attached. Round the upper body of the cup and round the outer mould 
 of the cover are fet onyx cameo heads. Between the cameos on the 
 body the fpace is beaten up with cupids, fcrollwork, and arabefques of 
 excellent defign and execution. 
 
 The fcale of this piece, as will be feen by the meafurements, is fmall, 
 and the details are proportionate, but all of the moft careful execution. 
 See etched illuftration. 
 
 4395 * 57 - 
 
 C UP : filver parcel gilt, with engraved bands of foliage 
 and refting on three hawks’ bells. German. 16th 
 century. H. 5 in., diam. 3§ in. 8/. 
 
 It is bell-fhaped, contracts in a fhallow necking under the cup, and 
 expands with a flat, torus moulded, bafe. There are bands of engraved 
 foliage under the lip and round the middle, and chafed leaf work in relief 
 on the foot. Thefe parts are gilt. The feet below are three hawk 
 bells connected with the reft by fcrolls or fpirals of metal. 
 
 4688. ’58. 
 
 C UP : filver, engraved with ftrapwork and bufts, and with 
 rows of bulbs on the lower part. German. 16th 
 century. H. 3f in., diam. 3^ in. 61 . 10s. 
 
158 Gold and Silver Smiths' IV )rk. 
 
 The mouth is flightly belled ; under the lip there is engraving col- 
 lected in mafles of ftrapwork, with heads introduced, and leaving 
 much of the furface plain. The lower half is made up in rows of round 
 growing feeds pierced by a point j a row of balls round the bottom rim. 
 
 UP : filver parcel gilt, embofled and engraved with ftrap 
 
 ornament. German. 1 6th century. H. 4^ in., diam. 
 
 Bell-fhaped, the upper tides plain, with ftrapwork in fpaces, coming 
 down at intervals on the burnifhed furface. The lower part is embofled 
 with bud-fhaped lumps beaten up, and a fret rudely chafed runs round 
 a projecting foot-moulding. The engraved and chafed bands are gilt. 
 
 UP and Cover : filver-gilt, chafed, on balufter ftem, with 
 
 brackets attached. Inlide the lid is an armorial fhield 
 with a monogram. German. 16th century. H. 8 in., diam. 
 2-| in. 36/. 
 
 The cup is of a reverfed acorn fhape, the lower part much reduced. 
 It ftands on a vafe-fhaped ftem, with three fcroll handles and a bold 
 convex fpreading foot. The cover is wide and then narrower, to 
 anfwer to the two diameters of the body, and ftiort fcrolls are attached 
 to the two principal divifions, with a knob on the top. 
 
 The larger furfaces have beaten and chafed fcrolls, fruit, mafks, 
 and ftrapwork, and the ground is ftippled with the point. 
 
 C UP and Cover : filver-gilt, chafed with ftrapwork. Ger- 
 man. 16th century. H. nf in., diam. 4 in. 15/. 
 
 The body is trumpet-mouthed, the ftem quite ftraight, round, with 
 fpiral lines, a bold flat collar half way down, and a foot in two convex 
 mafles. The fides are chafed with interlaced ftrapwork gathered into 
 
 8494. ’63. 
 
 3i in - S l - 
 
 6581. 5 59 . 
 
Sixteenth Century . 159 
 
 fpaces that come down in long points on the furface, which is otherwife 
 plain. 
 
 The cover is convex, and has a knob of beaten filver work on the 
 
 top. 
 
 623. ’65. 
 
 C UP, Tazza : filver-gilt, beaten and chafed. In the bowl is 
 a reprefentation of the Deluge, with the ark in a central 
 bofs ; the ftem and foot are chafed with fyrens and fea-monfters. 
 Augfburg. 1 6th century. H. 5 in., diam. 7§ in. Soulages 
 
 collection. 40/. 
 
 The difh is flat, and the upper portion without ornament. The 
 Deluge is reprefented by waves in confecutive circles forming a broad 
 band that fills the bottom. In thefe are feen tops of rocks, a rider 
 fwimming, a father trying to reach a dry peak, a mother with a drowned 
 child on her knees fits defpairing. The ark fwims on through the 
 general deftruction. Round the waves is a band of clouds, fhowing 
 lightning and ftorms, lines that fall diagonally on the lower belt of 
 waves. In the middle of the difh a raifed medallion contains a further 
 reprefentation of the ark, with waves and ftorms all around. Thefe 
 decorations are all beaten up and chafed with the point. 
 
 The ftem is a balufter ftanding on a round pedeftal that curves out, 
 fpreading into a round concave foot. On the former are fyrens, two 
 tailed, and ranged decoratively round the knop. Below, whales, hippo- 
 camps, and various monfters are careering through a belt of waves. 
 Thefe are beaten up and chafed. The decorations on the ftem are 
 chafed, and are in confiderable relief. 
 
 4636. ’58. 
 
 C HALICE and Paten : filver, goblet-fhaped, on a ftem and 
 foot. The paten ferves as a cover to the cup, has a 
 flat top engraved with a rofe, and round the cup is a band of 
 engraved work. Englifh. 16th century. H. 7f in., diam. 
 3f in. 10/. 
 
 The chalice is (lightly bell-fhaped, plain, except a band of engraved 
 leaf work. Similar work furrounds the outer rim of the paten, which 
 
160 Gold and Silver Smiths Work. 
 
 fits like a lid to the mouth of the cup ; it has a foot which ferves as a 
 handle when on the chalice. On the flat furface is engraved a Tudor 
 rofe. Of the time of queen Elizabeth. 
 
 UGAR Carter : filver-gilt, chafed with figures of virtues, 
 
 furmounted by a figure of St. George and a legend. 
 Englifh. 1 6th century. H. 6 i in., diam. 3^ i n * 3 °^ 
 
 Cylindrical in outline, with a flat top, flightly fmaller than the reft of 
 the piece : it ftands on a fpreading bafe, to which are joined three feet 
 fpreading outwards. 
 
 The Tides are divided into two horizontal bands. Round the upper 
 are lozenge-fhaped cartouches of ftrapwork, with cherubs in the middle 
 and pierced heart-fhaped holes in the intervals. The lower divifion has 
 three cartouches of ftrapwork and arabefque foliage, richly compofed, 
 and figures of the theological virtues, Faith, Hope, and Charity, in 
 the middle of each. 
 
 Below thefe two divifions are three cherubs, and the three feet 
 already alluded to are compofitions of beaten work, cupids furrounded 
 by fcrolls. 
 
 On the top is the figure of St. George flaying the dragon, and the 
 legend: EN HONNEVR DU SOUVERAIN DU TRES 
 NOBLE ORDRE DE LA JARTIERE. 
 
 The fcroll compofitions on the principal band or circle are in thick 
 relief and admirably defigned. The outline of the whole piece is 
 nearly fuch as will be met with in fugar carters of a later date. 
 
 HALICE : filver-gilt, with foliated fcroll work and half 
 
 figures of faints, beaten and chifelled. Spanirti. 
 1 6th century. H. 9J in., W. 6 f in. 25/. 13^. 
 
 The lip is bell-fhaped, and it is held in a faucer with four fets of 
 loops on the crefting, making the cup vafe-fliaped, and Ihowing that it 
 has had a cover ftrapped to it fupporting a monftrance. The ftem is 
 candelabrum-fhaped, and has various projections, of which the moft 
 
 55 !• ’ 74 - 
 
 302. ’66. 
 
Sixteenth Century. 
 
 161 
 
 prominent can hardly be defcribed as a knop. Four pairs of detached 
 fcrolls of metal fill up the largeft necking, the ends curling over in 
 flower leaves. Mafks, ftrapwork, and cherub heads in high relief are 
 placed on the Ihoulder of the vafe-lhaped cup and on part of the knop. 
 A broad collar above the foot is covered with maflive ftrapwork, and 
 the foot is worked over with decoration of the fame kind, riveted on. 
 In this there are four cartouches containing demi-figures in baf-reliefs : 
 i. Our Lord carrying His crofs ; 2. The blefled Virgin; 3. St. John 
 the baptift ; 4. St. Francis of Aflifi. The fpace round is filled with 
 mafks, pendant draperies, and fruit. 
 
 The emboffing on the faucer of the cup, and on the collars and 
 bafe, is of the moft maflive defcription, and ftands up in high relief, but 
 thefe parts are not leparare pieces riveted on as in the inftance of 
 No. 132. ’73. 
 
 This chalice is attributed by Mr. Riano to Alonfo Duenas of 
 Salamanca. 
 
 2103- ’55. 
 
 C HALICE : lilver-gilt, with rofettes of enamel on the knop 
 and foot. Italian. 16th century (?). H. 7^ in., 
 diam. 4-f in. Bernal collection. 17/. 
 
 Bell-lhaped at the lip ; a crefting of fmall curves and flowers round 
 the faucer that holds the cup. The ftem is ftraight. The knop has fix 
 fix-foiled projections on the circumference, each ornamented with a fmall 
 flower compofed of feven beads of enamel. The foot has fix medallions 
 of the fame kind. An elegant pierced border runs round the foot, 
 which gives a peculiar delicacy to th.e finilhing of this portion. 
 
 3 1 4 - ’64- 
 
 P AX : lilver-gilt, of architectural defign ; in the centre is 
 a group in full relief of the Virgin giving the chafuble to 
 St. Ildefonfo. Spanilh (Salamanca ?). 16th century. io| in. 
 by 5-^ in. 73/. 13s. 8 d. 
 
 An architectural frontifpiece confifting of an arch under an archi- 
 trave fupported by candelabrum-lhaped columns Handing on a projecting 
 dado. It is furmounted by a pediment. 
 
 36105. 
 
 L 
 
162 
 
 Gold and Silver S?niths IV ork. 
 
 Finials made up of a chalice and paten Hand over the extremities 
 of the corona. Over the pediment is a detached anthemium orna- 
 ment ; infide is a baf- relief of the Eternal Father, fupported by two 
 cherubs. The frieze is made up with architectural ornament. 
 
 The central panel is framed in by pilafters, and the piers that form 
 its fides are covered by fcrolls of foliage, with heraldic fhields in the 
 two upper angles. The dado has a central projection, forming a circular 
 pedeftal, the two flanks curving back again. On the fronts of thefe 
 portions, and of the projecting dados of the fide fupports, are fcrolls 
 of foliage, and fhields. A radiating fun in fllver gilt is fet on the 
 pedeftal, and on the rays the fymbolic Lamb. Immediately overhead, 
 projecting from the middle of the entablature, is a circular plate or hood, 
 to which three cherub heads in flight relief aCt as fupports. The 
 upper furface is a pedeftal for an image of a fainted monk. 
 
 In the panel there is a beautiful compofition in relief reprefenting 
 St. Ildefonfus, clothed with the veftments of the mafs. The faint kneels 
 before the bleffed Virgin, his hands clafped in devotion. She bends 
 forward, her mantle fupported by cherubs, by whom fhe is borne. She 
 lifts the chafuble which fhe puts to her lips ; an angel holds the other 
 end of the veftment which they are about to pafs over the head of the 
 faint, who is veiled in an alb and maniple. Another angel Hands 
 behind her. 
 
 The head, hands, and all portions of the flefh throughout are in 
 fllver. 
 
 The central compofition is well modelled, and reprefents the fchool 
 of religious goldfmiths fo widely eflablifhed in Spain during the 16th 
 and 17th centuries. The decorations of the architecture, and the 
 mixture of fllver and gold, give both richnefs and delicacy to the entire 
 compofition. Mr. Riano attributes this piece to Alonfo Duefias of 
 Salamanca. 
 
 3 ° 5 - ’ 66 - 
 
 C ROSS : for proceflional ufe ; fllver parcel gilt, orna- 
 mented with foliage, ftatuettes of faints and the 
 evangelifts, with their emblems. Spanifh. 16th century. 
 H. 3 ft. i\ in., W. 1 ft. 8 in. 2.10/. ioj . 5^. 
 
 This rich example of 16th century metal work is full of detail, 
 more effective for the diflance at which it would be feen when ufed in 
 proceffions than when examined more clofely. 
 
Sixteenth Century. 
 
 163 
 
 To begin with the bafe : this is a round fhrine or temple {landing 
 on a bold projecting bracket, under which is a 'collar with mafks and 
 ftrapwork, and again a fmaller bracket or neft of leaf work. A portion 
 of ftem, round and with projecting ribs or quills on it, joins thefe brackets 
 to a flat collar into which the wooden flaff has been originally inferted. 
 
 The round fhrine has fix pairs of coupled Roman Doric columns 
 on the face, which divide it into the fame number of fpaces, each con- 
 taining a niche. The niches are covered by femi-domes, and under 
 them are fix Handing figures of faints in filver gilt. They are not all 
 very exactly defined by emblems. The faints reprefented are : St. Peter, 
 St. Paul, St. Andrew, St. Clare (holding a pyx or ciborium) ; a military 
 figure, probably the good Centurion, and a female figure holding the 
 ftem of a tree in one hand and a dilh in the other, perhaps St. Mary 
 Magdalen. 
 
 Above this portion is a cornice on which are fix brackets corre- 
 fponding to the coupled columns below. The brackets have the fhape 
 of an elongated S, with a mafk on the convex furface of the ftem and 
 architectural pinnacles in front, which give them the character of fmall 
 flying buttrefles, fupporting a fmaller architectural drum divided like the 
 circular portion below. In the fix fmaller niches on this part there 
 are, as in the lower circle, fix fmall figures of filver-gilt : St. Margaret, 
 St. Lucy, St. Sebaftian, St. Auftin, St. Anthony, and St. Nicolas. 
 There is a flat bofs ornamented with ftrapwork over this drum, and 
 fix round knobs on the edge of it mark the places of the fix buttrefles 
 below. On this bofs is a fquare focket, into which the crofs is dropped, 
 and where it can be fattened or removed by means of a pin. 
 
 The crofs ends with four round frames or medallions, one on 
 each arm, and there is a fifth larger round frame at the point of inter- 
 fedlion ; thefe are filled with decoration. The centre frame contains 
 a landfcape with Calvary and the three crofles on one fide, mountains 
 on the other, on points of which are fteeples, towers, obelifks, and in 
 the centre a man on the walls and towers of Jerufalem: and in the 
 foreground, highly relieved from thefe diftant features, are a line of 
 walls, towers, and gates of the outer circuit of the city. The fun 
 and moon are in high relief in the fky above. Round this central 
 medallion, between the four arms of the crofs, are’ finials compofed of 
 four bracket-fhaped pieces of gilt metal meeting in a collar-like metal 
 finilh. The circles, at the ends of the arms of the crofs, contain 
 figures ; the top circle, Ecclefia, a pelican feeding her young with her 
 blood ; right arm, a kneeling figure, perhaps one of the Marys ; the 
 left arm, the circle has loft the figure belonging to it ; circle at the foot, 
 St. Mary Magdalen holding a veflel of unguents. Round each circle are 
 
164 Gold and Silver Smiths Work . 
 
 three cherubs with expanded wings, forming bold bands of ornament at 
 the extremities of the crofs. Between the circles and the centre are 
 oval cartouches, containing demi-figures, the four doCtors, — St. Gregory, 
 who looks out of the frame ; St. Ambrofe holding a church in his hand ; 
 (St. Auftin loft), and below St. Jerome, holding a book and a paftoral 
 ftaff, and with a lion by his fide. 
 
 On either fide of thefe cartouche medallions are the attributes of 
 death. All the edges of the crofs are round fcroll work occafionally 
 rolling over and forming fmall projections on the outline in addition to 
 the more important ornaments already named. 
 
 The image of the Saviour is in filver gilt ; the arms are ftrained 
 quite ftraight, and the knees much bent : the eyes are clofed in death. 
 
 On the back there are circles correfponding to thofe in front, and 
 the outer projections, cartouches, & c. are the fame. In the central 
 medallion is the Affumption ; the bleffed Virgin afcends on clouds 
 fupported by cherubs ; two angels uphold her waift, and two crown 
 her head above. The four circles on the extremities are filled by the 
 four evangelifts, and the intervening cartouches by demi-figures of 
 St. Peter, St. Paul, St, Andrew, and a fourth drefled in a gown, and 
 with a cap on his head, perhaps the artift. 
 
 In the places where the attributes of death are ftiown on the front 
 there are flying or Handing angeis with clouds, &c., fome holding 
 emblems of the Paflion. 
 
 This piece like the laft is attributed by Mr. Riano to Alonfo 
 Duenas. 
 
 All the figures are gilt. 
 
 The effeCt of the architectonic details and ornaments is rich, though 
 much of the work is rough and florid. The figures and baf-reliefs 
 are fomewhat exaggerated in the pofe and movement given to the 
 draperies ; nor do they exhibit much care in defign or execution ; but 
 the whole piece is well calculated to fhow at a diftance, and the varia- 
 tions of outline and furface, the contrail of the white filver and the 
 gilt figures and ornaments tell, as they are intended to do, amidft the 
 movement and colours of long ceremonial proceflions. 
 
 178. ’64. 
 
 I MAGE of St. Chriftopher : filver parcel gilt, part of a 
 facred veflel or reliquary. Spanilh. 16th century. 
 H. 3^ in., W. if in. 1 /. 17J. 10 d. 
 
Sixtee?tth Century. 
 
 i6 5 
 
 The faint is clothed in a tunic girt round the waift, with the legs 
 and arms nude, has a toga over the ftioulders, and fupports himfelf by a 
 tree. The Holy Child is leated on his fhoulder. Something of the 
 violence of adtion common in north German and Flemifii art of the 
 14th century is feen in the difpofition of the figure, but it is full of life 
 and fpirit. 
 
 179. ’6 4. 
 
 I MAGE of St. George, with the dragon : filver-gilt, part 
 of a facred vefiTel. Spanifh. 16th century. H. 3 in., 
 W. i-| in. 1 /. 17J. 10 d. 
 
 The faint is armed in a claffic helmet, cuirafs fhaped to the body ; 
 fkirt of leather thongs, greaves, and Afield in the fiiape of a malk. He 
 is transfixing the dragon with a fpear, that monfter having its tail round 
 the legs of St. George. 
 
 293. ’66. 
 
 C ROSS : of gilt bronze, with double tranfoms and pierced 
 for hanging, engraved and infcribed on both fides. 
 Spanifh. 16th century. L. 4 in., W. 2 in. io.r. 
 
 The ends are fpread out ; there are a Aiorter and a longer tranfom, 
 and the foot is finifiied as the ends of the other members arc. On the 
 front is the Redeemer dying on the crofs, delicately engraved, and the 
 legend, fomewhat contradted, DOMINE MEMENTO MEI. 
 
 On the reverfe is the image of the bleffed Virgin, with the legend, 
 SINE PECCADO ORIGINAL, engraved in the fame way as on 
 the front. It has a piercing above for hanging but no receptacle for 
 relics. It is of the beginning of the 16th century, if not of earlier date 
 by fome years. 
 
 190. ’66. 
 
 M ONSTRANCE: gilt metal; a triangular Ihrine fup- 
 ported on dwarf columns with kneeling angels, above 
 which is a fmaller Ihrine furmounted by a crucifix Handing on 
 
1 66 Gold and Silver Smiths Work. 
 
 an ornamented ftem. Spanifh. 16th century. H. 19^ in., 
 W. 8-g- in. 81 . 
 
 In two ftages. The lower Hands on a flat triangular bafe, each of 
 the three Tides having a femicircular projection. Two fmall crofles on 
 this flat form indicate which fide is the front. Three holes Ihow that 
 a glafs cylinder has been fattened into the middle. On each angle is a 
 balufter-fhaped column which fupports the top of this lower ftage. 
 Two demi-figures of angels held on pieces of metal are carried out 
 on the flanks of the front. 
 
 The columns have polls or finials ornamented with fcroll metal 
 work on the upper ftage, and thefe are connected by double volutes of 
 acanthus Item, with a fmall circular canopy on three balufter-fhaped 
 columns covered by a dome. 
 
 The Item is round ; the knop ornamented with cherubs’ heads round 
 the circumference. The foot triangular with half circles projecting 
 on the Tides. 
 
 Il66. ’7 1. 
 
 R ELIQUARY : brafs, and enamel ; a crowned monogram 
 in the middle. Spanifh (Cordova). Late 16th cen- 
 tury. H. in., W. i\ in. $s. 
 
 A fquare frame, richly pierced and decorated at the back. The 
 frame is furrounded by a pierced cufped edging, covered with thick 
 enamel on the upper furfaces of the metal. Palm branches and the 
 monogram of the blefled Virgin are placed in the middle ; this work 
 pierced and enamelled in the fame way as the edge. 
 
 153. ’66. 
 
 I MAGE of the blelfed Virgin and Eloly Child : gilt bronze. 
 Spanifh. Late 16th century. H. 8-f in. 2I. 3s. id. 
 
 The Virgin is crowned with a coronet of broad points or notches, 
 the hair is divided over the forehead, and partly hidden by a ftriped veil 
 or fcarf. She wraps in her mantle the infant Saviour, whofe head leans 
 againft her cheek. He is without a tunic. 
 
 The pofe and aCtion are thofe of the Madonna della feggiola of 
 Raftaelle. The work is boldly but rudely executed. 
 
Sixteenth Century . 
 
 167 
 
 154. ’66. 
 
 I MAGE of St. Jofeph : gilt bronze. Spanifh. Late 16th 
 century. H. 8J- in. 1 /. is. 
 
 The faint wears a claffic tunic and a toga with a fiinge like thofe 
 of Raffaelle’s apoftles. The toga is wrapped round the upper part of 
 the body as well as a ftriped fcarf. The legs are clothed in bufkins 
 and the feet in fandals. In one hand he grafps a fquare bar looking 
 like the hilt of a claffic fcimitar. This would make it doubtful whether 
 the image was not that of St. Paul. It is, however, fo like the laft 
 defcribed in charadter that it is probably intended for St. Jofeph, and 
 has been part of a compofition. 
 
 I MAGE : in gilt bronze, partly coloured, of St. Anne, the 
 blefled Virgin and infant Chrift. Spanifh, afcribed to 
 Pompeo Leoni. 16th century. H. i2-| in., W. h j\ in. 8/. 
 
 St. Anne, a tall upright figure, with a very fhort waift, is feated to 
 the left ; fhe is veiled, and her feet are fupported on a clofed book 
 as a footftool. To her right fits the blefled Virgin, round whofe neck 
 her right arm is thrown. The Virgin has loofe hair parted acrofs the 
 forehead. Her gown flows loofe, and a mantle is round her, gathered 
 under the arms and flowing from the waifl: in radiating folds to the ground. 
 The infant Saviour is feated in her lap, and the left hand of St. Anne 
 refts on her knee, making the upper circle of the compofition complete. 
 The flefh has been coloured. 
 
 OWL : filver, parcel gilt ; the bottom boded and orna- 
 
 mented with foliage in beaten work. In the centre is 
 a medallion of the Veronica, with legend. Spanifh or 
 Portuguefe (?). 16th century. H. 2-f in., diam. 8f in. 
 8/. is. 6 d. 
 
 The fedtion is that of a plain round faucer, with a bofs in the middle. 
 It Hands on a bafe beaten out into a rim of fine gadroon work. The 
 
 I09. ’64. 
 
 213. 66. 
 
1 68 Gold and Silver Smiths Work. 
 
 infide is beaten up into a border of leaves of Gothic character with 
 conventional fruit and a border of fmall bofles. 
 
 The central medallion contains a Veronica cloth and image in relief. 
 Round this is a gilt border of the fame kind of gadroon work as runs 
 round the foot. The legend is Salve Sancta Facies. 
 
 The leaf work is like that of the 15th century, but the piece is pro- 
 bably not older than the beginning of the 16th. 
 
 214. ' 66 . 
 
 B OWL : filver, parcel gilt ; the bottom boiled and orna- 
 mented with ftrap and foliage beaten work. Spanifh 
 or Portuguefe (?). 16th century. H. Q.\ in., diam. 8-| in. 
 8/. is. 6 d. 
 
 This bowl is like the laft in fedfion, and, like it, Hands on a rim or 
 foot, beaten up with the fame delicate gadroon border. 
 
 In the middle, which is rather lefs convex than that of the laft, are 
 five circles of twined ftrapwork, in which and in the intervals there 
 runs a rolling arabefque defign in rather bold relief. 
 
 3641. ’56. 
 
 C UP and Cover : agate, mounted in filver-gilt. German. 
 1 6th century. H. if in., W. 3 in. 3/. 
 
 Two flat fcroll handles and delicately worked rims enclofe this 
 beautiful little vafe. 
 
 1056. ’;i. 
 
 C UP : cryftal, carved in form of a fhell with fcroll orna- 
 ment, with a dolphin at the back ridden by a young 
 filver-gilt and enamelled triton ; the ftem formed by a three- 
 headed filver-gilt and enamelled dragon holding a fhield ; the 
 bafe cryftal with filver rim, gilt and enamelled. German. The 
 cup and bafe probably 14th century ; the dolphin, fhield, and 
 
Sixteenth Century. 
 
 169 
 
 mounting, 16th or 17th century. H. 9-g- in., L. of cup, 8J in., 
 W. of cup, 6^ in. 80/. 
 
 The mounts are bold in defign and enamelled with fine work in 
 fcrolls ; much is white. It is poflibly of later date than the beginning 
 of the 17th century. 
 
 16. '66 
 
 R ELIQUARY : rock cryftal, oval, with fcroll ornaments 
 of filver, and a ring. Portuguefe. 16th century. 
 H. 4f in., W. 3 in. 1 /. in. 
 
 It is in the form of an oval locket with flattened fides. Two pieces 
 of cryftal, one outfide the other, follow the outline of the central part. 
 They are bound at intervals with leaves and bold double co tn fhaped 
 fcrolls of filver, beaten into thin plate. Thefe pairs meet in a flower at 
 the ends and fides, and four balls or pearls of the fame metal intervene 
 between the pairs. It has a ring for fufpenfion. 
 
 902. ’75. 
 
 S ALT Cellar : in Ihape of a font ; filver- gilt, hexagonal, 
 with flowers in tranflucent enamel. In the fides are 
 medallions of lapis lazuli and agate ; the knop is formed of 
 cryftal : the foot and the lower part of the body are orna- 
 mented with applied ftrapwork. Florentine. 16th century. 
 H. 4§ in., diam. i\ in. 18/. 
 
 This piece of filverfmiths’ work originally formed part of the altar 
 crofs, No. 757. ’64 (fee p. 121). It has been recently fet in its 
 prefent Ihape. 
 
 38. ’67. 
 
 C UP : agate, mounted in filver-gilt, the ftem with mafks 
 and animals in relief. Englifh. Hall mark, 1567. 
 H. 7| in., diam. 3f in. 350/. 
 
170 Gold and Silver Smiths Work. 
 
 A vafe-fhaped ftem fupports a bofs that holds the cup. The foot 
 ftands on four dolphins 5 fnails and other objects are boldly embofled on 
 the ftem and foot. 
 
 M ONSTRANCE : filver-gilt, beaten up with the in- 
 ftruments of the Paftion, and furmounted by a 
 crofs. Portuguefe. 16th century. H. 16^ in., W. 6-| in. 
 ill. 17 s. 10 d. 
 
 The monftrance is of glafs, round,, and is fupported by two balufter 
 fhaped columnar uprights. An horizontal bar, with two co fhaped 
 brackets under it, fupport this balufter and conne£t the frame they form 
 with the ftem. Bold cm fhaped fcroll brackets, with leaf work on 
 the central fhank, touch the uprights, the circle containing the mon- 
 ftrance, and a knob and crofs, which furmount the whole. Little bells 
 are hung under the lower brackets that connedf the fquare frame with 
 the ftem. 
 
 The cryftal cafe is fet in a fleur-de-lys rim of metal work. 
 
 The foot fpreads at the bafe and is richly ornamented in beaten 
 work. Three compofttions reprefent the crown of thorns, pillar of 
 fcourging, and the three nails of the crofs : three vafes intervene. 
 The ftem is ftraight, and a large knop, with perpendicular flutings, is 
 placed for convenience of holding juft under the lower member of the 
 fuperftrudture. 
 
 UP : cocoa nut, mounted in filver, and with filver cover. 
 
 The cocoa nut minutely carved with eight fcriptural 
 fubje&s ; the cover chafed with mafks and cartouches, fur- 
 mounted by a female figure. Englifh. The cocoa nut bears 
 the initials G. H., and the date 1576. H. 13 in., diam. 4^ in. 
 
 The carving is exceedingly delicate and well defigned. Balufter 
 fhaped ftem and knops, four bands of bold embofled work to hold the 
 cup, and bold embofled ornament on the foot and other mounts. 
 
 4 ^ 93 ' 5 8 - 
 
 80/. 
 
Sixteenth Century . 
 
 2119- ’55. 
 
 J UG : ftoneware, mounted in filver, with three terminal 
 figures, and the conteft of Hercules and Cerberus on the 
 lid. German. 16th century. H. 6 \ in., W. 5f in. 
 Bernal colledion. 30/. 
 
 The cover, purchafe, and mountings are richly embofled. The 
 combat of Hercules and Cerberus is embofled on the cover. Round 
 the compofition runs the legend, 
 
 Hercules ut vicit monstroso corpore Cerbrum 
 Tartareas Christus fauces sic morte subegit. 
 
 RIPTYCH : (the cafe) filver-gilt, with fcenes from the 
 
 Paffion carved in wood. Spanilh or Portuguefe. 16th 
 century. H. 3! in., W. 3! in. 8/. 
 
 The triptych is of boxwood, fet in a cafing of metal gilt and chafed 
 with large damafk defign. The top is fhaped into a trefoil, the intervals 
 between the three curves being concave, not meeting in a point. The 
 central fubjedt reprefented is the Defcent from the Crofs. 
 
 At the foot is feen a group, the Marys and St. John, the blefled 
 Virgin lies fainting on the ground while they tend her. 
 
 On the right fhutter (fpedfator’s left) is the Scourging of our Lord. 
 Below is the carrying of the crofs. 
 
 On the left fhutter is the addrefs to the women of Jerufalem. 
 Below is the mocking of our Lord in the hall of the praetorium. 
 
 The fpace between the figures is cut away, fo that they form a com- 
 pofition and the background is green enamel. The dimenfions of 
 the many figures are minute ; the lmall figures being fcarcely half an 
 inch in height. The architectural and other details are proportioned to 
 the fcale of the figures. 
 
 M AZER Bowl: wood, with filver-gilt mounting. Infide 
 is a raifed bofs containing a medallion engraved with 
 the holy Rood, once enamelled, around which is the infcription. 
 
 226 . ’66. 
 
 45 - ’ 74 - 
 
172 Gold and Silver Smiths JV irk. 
 
 “ Robert Walker . . . Ihefus ” (College ?). The bottom is 
 incifed with a liar, the letters P.P.T.R., and the date 1578. 
 Englifh. 1 6th century. H. 2-| in., diam. in. 15/. 
 
 Of turned maple, much worn. The rim is of plain metal. The 
 medallion on the bowl is boiled up on fpreading mouldings, chafed with 
 plain patterns. 
 
 604. ’64. 
 
 M OUNT of a Scabbard : lilver, hammered with foliage, 
 and two medallion bulls of F. BarbarolTa and John 
 of Leyden. German. 1 6th century. L. 5 in,, W. i-|in. 
 5/. 
 
 Rudely boiled up, but of bold defign. 
 
 4869. ’58. 
 
 C UP : nautilus Ihell, with fcrolls carved in relief in front ; 
 
 mounted in lilver-gilt, on a circular Hem and foot, 
 chafed with fifh in medallions, fruit between, three projecting 
 fcrolls on the Hem, and pendants between each ; on the top is 
 a figure of Neptune holding a trident. Dutch. About 1580. 
 H. 12 in., W. 7 in. by 4^- in. 40/. 
 
 It Hands on a vafe-lhaped fupport, with three fcroll handles and 
 three rings. The top of the Ihell is mounted with a plate of metal 
 reprefenting a bearded malk, on which is a figure of Neptune. 
 
 * ll 7- ’ 55 - 
 
 C UP and Cover: cocoa nut, in filver mounting, carved in 
 three panels, with legend of Diana and Actaeon, and 
 other claffical fubje&s ; the mounting chafed with cartouche 
 work, malks, and fruit, furmounted by a llatuette. Dutch. 
 About 1580. H. 12-g- in., diam. 3^ in. Bernal collection. 
 
 1 9/. ICXf. 
 
Sixteenth Century . 
 
 173 
 
 The ftem baufter-fhaped. The filver mountings are all boldly 
 beaten up with arabefque and flower work. The top is furmounted by 
 a warrior in claflic armour, with fhield bearing a ring. 
 
 J UG : Chinefe porcelain, oCtagonal, white and blue ; 
 mounted in filver-gilt chafed work. Englifh. Hall 
 mark., 1585. H. 10 in., W. 6f in. by 4^ in. 75/. 
 
 The jug is elegant in fhape ; an upright fpout is connected with the 
 body by a fcroll of the fame material. The mounds on the neck, lid, 
 purchafe, and foot are fruit and flower work boldly embofled ; a fmall 
 angel forms the purchafe. 
 
 d 1590. H. i of- in., W. 8-| in. by 4^ in. 
 
 The cover is convex, chafed with an heraldic fhield ; two coats 
 impaled on a lozenge, but much worn : r. barry, argent and fable ; 
 
 2. a lion rampant ; two marks feem to be hall marks. 
 
 AGGER : broad blade, in a {heath of gilt and chafed 
 
 metal, embofled with the ftory of Virginia ; with 
 places for a knife and fork. German. Dated 1592. L. 17 in. 
 Bernal collection, T2 /. 
 
 The {heath, which is all that is here treated of, is of gilt metal 
 pierced, and contains a compofition of warriors in bold relief. Vir- 
 ginius, a bearded man, holds his daughter Virginia, with one hand, 
 and is about to pierce her with a long fword he holds in the other. A 
 fitting king, on whofe throne is written APPIVS CLAVDIVS, 
 ftretches out his fceptre to fave her ; warriors are fighting all round 
 
 VIRGINIUS, VIRGINIA, APPIUS CLAUDIUS, on fcrolls, 
 
 indicate the war cries of the combatants. All wear claflical armour 
 and drefles. 
 
 79 J 5- ’62. 
 
 84 67- ’63- 
 
 ware, cream colour, mounted in filver. 
 
 33 l - 
 
 2187 . ’55. 
 
174 Gold and Silver Smiths Work. 
 
 2^58- ’ 55 - 
 
 POON and Fork: filver, jointed, the ftera furmounted by 
 
 kS) a man with a beard reaching to his knees, infcription 
 ftating that Claes Jooft ordered this fpoon to be made at 
 Genoa in 1592. Italian. 16th century. L. 6 \ in. Bernal 
 collection. 61 . 
 
 The fpoon has loops to hold the prongs of the fork ; the fork is 
 hinged, but has a piece which can be held on the item by the loop con- 
 trived for that purpofe. The figure that finifhes the handle draws out 
 of it, and the tail becomes a tooth pick. On the fix narrow fides of 
 the handle is the legend in black letter : 
 
 Clare Eooet * S&trffnr Soon * Sout man Ijrreter 4 
 latrn malm it 4 in ita limit tot 4 Crnoua 1592 4 
 
 EDALLION : elliptic, filver-gilt, with open icroll 
 
 work, and fufpenfory chain. Obverfe, bull: of John 
 Philip, billiop of Bamberg. Reverfe, the arms of the fee and 
 of the bifhop. German. Dated 1601. L. i\ in., W. if in. 
 Trofs collection. 7/. 4J. 
 
 The buft is looking to the right, dreffed in a ruff, and wearing 
 a mouftache. Round it are the words, Joan Philip, Epis. Bam- 
 berg, iETAT 44. The edges are enriched with open fcrolls of metal 
 and chains for fufpenfion. 
 
 On the reverfe are the crown, imperial crofs, and crozier in faltire, 
 and two fhields : 1. A lion rampant, over all a bar finifter ; 2, a goat’s 
 head cufped ; no indications of tinCture. 
 
 C UP, Tazza : filver-gilt, chafed in relief, with a compo- 
 fition reprefenting Lot and his daughters, furrounded 
 by a pierced border, fet with turquoifes. The Item is a 
 
 66. ’67. 
 
 3 j 8 . 54 - 
 
Seventeenth Century, 
 
 1 75 
 
 nude female figure befide a tree. German. Dated 1604. 
 H. 6f- in., diam. 5-^ in. 35/. 
 
 The difh contains a landfcape full of detail, in the middle of which 
 the drunkennefs of Lot is reprefented. He is embracing one of the 
 two female figures ; another holds a claffic vafe in her hand. 
 
 The edge of the difh is flat, of thick metal pierced ; a fcroll, rather 
 heavy for the delicacy of the reliefs, with fmall turquoifes fet at 
 intervals. 
 
 The Item is a nude female figure in filver. She is well propor- 
 tioned, and leans gracefully againft the Hem of a tree ; hands on a 
 pedeftal formed by coved plates top and bottom ; a round fupport, and 
 five light fcrolls of folid metal, conned! the upper and lower portions. 
 
 In the figure of the fupporting nymph, and thofe of the patriarch 
 and his daughter, there is much of the grace of old Italian defign. This 
 is particularly the cafe with the figure in the round that forms the 
 ftem. It lacks, however, the vigour and fimplicity of work on this 
 fcale belonging to the befl: time. 
 
 4860. ’58. 
 
 T ANKARD : filver-gilt, cylindrical, chafed with medal- 
 lions containing clafilcal deities furrounded by fcrolls and 
 mafks ; the cover furmounted by a cock fupporting an armorial 
 fhield. German. Dated 1605. H. 13 in., diam. 8^ in. 115/. 
 
 . The body is wider at the bottom than the top ; the cover bulges 
 round over the circumference of the lip. The handle is a large curved 
 fcroll, attached to the bottom with a fmall volute. Down the outer 
 fide this part is ornamented with a row of gilt balls. The pur- 
 chafe is a double volute of metal. Round the body, in medallions, 
 are baf-reliefs reprefenting : 1. Venus, with attributes of Mercury, 
 and holding a flaming heart in one hand ; 2. Diana, helmeted, and 
 with her ufual attributes ; and 3. Plenty or Peace holding a palm, 
 while {he fuckles an infant, and another holds a flaming heart and 
 reaches up to her. Canopies and arabefques, the ends of which form 
 medallions, fill up the intervening fpaces. 
 
 On the cover is placed a cock fupporting an heraldic fhield charged ; 
 or, on a fefs, purpure, a demi-wolf rampant ; and infcribed S. H. 1605. 
 
176 Gold and Silver Smiths JV irk. 
 
 847. ’70. 
 
 M ACE : ftlver, parcel-gilt, the top mufhroom Ihaped, 
 furrounded by a crefting, and containing in the cup 
 the royal arms of the three kingdoms. Englilh. About 1610. 
 L. 15I- in., diam. top, in, 35/. 
 
 The ftem is plain with two belts of reed lines, and one at each of 
 the ends. The head fpreads out in a flat faucer-Ihape, and is furrounded 
 by a crown of interlaced half-circles with trefoils on the points. In 
 the hollow of the cup are the arms of England and France quarterly 
 with Scotland and Ireland, gilt. The reverfe end has eight plates 
 Handing out edgewife (like the military mace of the middle ages) and a 
 ring for fufpenfion. It is faid to have belonged to the corporation of 
 Chichefter. 
 
 2267. ’55. 
 
 S POO NT : filver parcel gilt, fpirally twifted ftem, pomiform 
 knob, the bowl engraved with a ftar and date 1611. 
 French. L. 6 in. Bernal collection. 4/. ioj. 
 
 The lower part of the ftem is fquare, the upper twifted, the bowl 
 large. 
 
 5964- 59 - 
 
 C UP and Cover : ftlver gilt, with bands of fcroll work in 
 high relief, and of engraving on a burnifhed furface. 
 On the ftem are two fets of fcrolls. Englifh. Hall mark of 
 1611. H. i8-| in., diam. 6f in, 260/. 
 
 This beautiful cup is egg-fhaped in the body. The furface of that 
 part is divided into bands. Three of thefe are covered with delicate 
 relieved fcrolls formed by round wire foldered to the furface. The 
 fcrolls are in pairs, turning downwards in two volutes. They fpring 
 from upright lines, are met at the junctions by others, and the bottom 
 of the band has a line of ftiort curves touching and joining the uprights. 
 Pairs of fmall volutes are placed at the junction of thefe curves under 
 thofe firft defcribed. Pearl beads are placed on the uprights, in the 
 
Seventeenth Century. 
 
 1 77 
 
 eyes of volutes, and at other intervals, giving a peculiar richnefs and 
 brilliancy to this part of the ornament. 
 
 The plain bands between thefe are delicately engraved with hunting 
 fubjedls. On the uppermoft are reprefented a flag, hunters, and a 
 landfcape : on the lower boars, hounds, and huntfmen hallooing and 
 cheering their dogs, and armed with boar fpears. 
 
 The ftem defcends with neckings and collars to a foot with feveral 
 moulded bands. The chief feature of the former is a claflical vafe 
 with- fluted neck and ftem. It is the knop of the ftem ; the fcroll 
 work defcribed already is again worked on the body ; and over the 
 neck three detached metal fcrolls, with dragons on their hips and 
 volutes at either end, complete the claflical outline of the vafe. This 
 again ftands on a bafe, forming the upper line of adtual bafe of the 
 cup. This bafe is a feries of bold torus offfets of plain metal, with 
 flutings and other ornament in the hollows and intervening zones. 
 Three handle-fhaped fcrolls like thofe defcribed, but fmaller, ftretch 
 over the necking between the upper and lower zones of the bafe. On 
 the firft plain offfet delicate flowers and leaves are engraved, and on 
 the loweft and largeft the fcroll wire ornament of the upper parts is 
 repeated. 
 
 The plain furfaces are engraved with fuch delicacy that their value 
 as ftiining metal is not impaired, and the fcroll work is complicated, but 
 with regular recurrence ; fpots of light are obtained at orderly intervals 
 by the beads, and the unity of the entire piece is well preferved by the 
 recurrence in zones of the fame clafs of furface ornament throughout 
 the body, ftem, and foot. The precious nature of the material is kept 
 in remembrance by the finenefs of the impofed ornament, the delicacy 
 of the engraving, and the frequent difplay of burniflied furface. The 
 workmanftiip is good throughout. 
 
 Figured, chromolithographs of objedts in South Kenfington mufeum. 
 
 1 26. ’65. 
 
 M EDALLION : elliptic ; the obverfe chafed in lilver, 
 with bulls of James I. and his queen, and Charles 
 prince of Wales ; the reverfe is chafed with heraldic Ihields 
 and infcriptions. Englilh. About 1615. in. by 2 in. 10/. 
 
 King James, a three-quarter face, looking to the left, and the queen 
 to the right. He is in a ruff and ftiff doublet, wears a high caftor hat 
 and feather looped up with a jewel. She wears a ruff and pearl earrings 
 
 36105. 
 
 M 
 
178 Gold and Silver Smiths Work. 
 
 and necklace. Prince Charles between and below the two heads. His 
 hair is combed back and he wears a fmall ruff. 
 
 The engraving of the portraits is carefully executed and they are 
 good likeneffes. 
 
 On the reverfe are two fhields bearing the arms of England and 
 Denmark and the badge of the principality of Wales and JACOBUS. 
 D.G. Mag. Britt, et Hib. rex et Serenifs. Anna D.G. Mag. Britt, 
 regina una cum Will. Pr. Carolo M. Britt. Princ. potentifs. 
 
 On two fcrolls below, Beati Pacifici. La mia grandezza fa ecceffo. 
 
 225 o . ’ 55 * 
 
 S UGAR Tongs : filver, with trefoil fpring and leaf ends. 
 
 Englifh (?). Dated 1616. L. 5-I in. Bernal collec- 
 tion. 1 /. 8 j. 
 
 A thin bar of filver bent into a bold trefoil head from which the 
 ends fpring apart, and with vine leaves half way down and on the ends 
 of each member. It is difficult to decide whether the tongs are Englifh 
 or foreign. 
 
 163. ’ 66 . 
 
 P YX : filver-gilt, a flattened fphere, with ornament in relief 
 and deep chafing, a crofs on the cover. Portuguefe. 
 17th century. H. 13J in., diam. 6 \ in. 19/. 
 
 A flattened fpherical body, furmounted by a crofs with balufter-fhaped 
 members, decorated with bands of ftrapwork of large and rather coarfe 
 execution. Cherubs are reprefented on the circumference among the 
 ftrapwork and arabefque flowers. The ftem is round, the knop vafe- 
 fhaped, and the foot has a large torus moulding round it ; all thefe parts 
 are covered with bands of ftrapwork and foliage, like the cover and 
 body. 
 
 6558- 59- 
 
 C UP : filver, parcel gilt. Round the top and bottom of 
 the fides are bands of engraving, and an infcription in 
 German. German. Early 17th century. H. 3f- in., diam. 
 fit in. 1 5/. 
 
Seventeenth Century. 
 
 179 
 
 Straight Tides, Tightly belled at the lip, and without foot, balls, or 
 other fupports. The gilt parts are bends of engraved fcroll work running 
 round immediately under the lip and above the bottom of the cup. 
 Cartouches in thefe bands contain figure compofitions of humorous 
 kitchen fcenes with backgrounds. 
 
 On the upper band is the following legend : 
 
 “ Im Jenner drinck Ich gutten weinn 
 
 Brauch koftlich Speifs zur wolluft mein.” 
 
 524. ’73. 
 
 A LTAR Piece: a painting on marble fet in a gilt frame, 
 with figures in relief, lettered, P . I . C . V . P . 
 Italian. 17th century. H. 19! in., W. iof in. 10/. ioj. 
 
 A frame compofed of open fcroll work and architectonic ornament 
 round a fquare painted panel. 
 
 The panel is a plaque of agate, on which is a “ Ripofo,” or noon- 
 tide reft of the Holy Family during the flight into Egypt. A land- 
 fcape is partly painted, partly exprelfed by the white and grey lines of 
 the material itfelf. The blefled Virgin is feated in the foreground under 
 the ftiadow of a rock, fuckling the Infant Saviour, and St. Jofeph reclines 
 on the ground watching them. 
 
 On each fide the frame are rich balufter-lhaped columns ; in the 
 capitals, bafes, and centres of which are fet fmall precious ftones and 
 cryftals. 
 
 The decoration round is a mixture of mythological and facred fub- 
 jeCts difperfed in groups amongft the fcrolls of metal work. On the 
 panel is an arched tympanum, wherein is Vulcan working at his forge, 
 Venus and Cupid ftanding by. Thefe figures are in gilt metal, and 
 with them are two daify-fhaped flowers in thin metal enamelled green. 
 Red flowers are placed under the horizontal member or cornice. 
 
 On each fide are two-arched doorways, with figures of Mars and 
 Jupiter; minute infants or angels furmount the arches. The arches 
 reft on balufter columns fet with fmall cryftals and jewels ; the fame 
 enrichment is placed on the pedeftals of the ftatues. 
 
 The fide arches are fupported beneath by bold fcrolls of beaten 
 work, with the heads of horfes at their outfet. 
 
 The top of the tympanum is finifhed with fymmetrical fcroll work 
 and a vafe with flowers. 
 
 The bafe of the panel frame has dailies of coloured enamel alter- 
 nating with fquare ftones, and the metal work below delcends in a com- 
 
 M 2 
 
Gold and Silver Smiths' W irk. 
 
 l 80 
 
 plicated tail piece, containing in the middle a piece of green enamel, on 
 which is the judgment of Paris ; Juno feated, Minerva in the middle; 
 Paris feated, with his dog beiide him, ftretches the apple to Venus, who 
 Hands in front of him. Under this plaque are the letters, P . I . C . 
 V. P . in Roman capitals. In the fcroll work that furrounds this group 
 and contrails to a central point, gems and cryftals are fet at intervals, as 
 well as red and green enamelled dailies. 
 
 The whole is placed in a frame covered with filk fo as to make it 
 convenient to carry about as a devotional tablet. The character, how- 
 ever, of the fetting and of the groups and figures make it more probable 
 that the painting has been an introduction or adaptation, and that the 
 frame has been made to hold a portrait or mirror. 
 
 * 708. ’68. 
 
 B OX : filver, cylindric, with head of king Charles I. on 
 the lid, and that of queen Henrietta Maria on the bafe. 
 Enclofed are thirty-five filver counters engraved with the effigies 
 and arms of the royal families of England. Engliffi(?). 17th 
 century. H. 1^- in., diam. i|- in. 61 . 5 s. 
 
 Perhaps of French workmanfhip. 
 
 T 5 I 3- ’55- 
 
 B OX : filver filigree, elliptic, with pierced fcrolls ; the 
 centre of the cover gilt. Dutch (?). 17th century. 
 H. i-jj in., W. 3 in. by in. il. $s. 
 
 Filigree work in two layers, the outer thicker than the inner. 
 
 6767. ’6o. 
 
 B OX : filver, for a fet of counters ; the lid is pierced and 
 has a profile portrait of Charles I. Englifh. 17th 
 century. Diam. 1 J- in. 1 5 s. 
 
 A good portrait beaten up and pierced round. 
 
Seventeenth Century. 
 
 1 8 1 
 
 520. ’68. 
 
 T RIPTYCH : in a frame and pediment of carved ebony, 
 containing four baf-reliefs beaten up in gilt bronze, 
 reprefenting fcenes of the Paffion of Our Lord. Italian. 17th 
 century. H. 1 ft. 4 in., L. 2 ft. 4^ in. 13/. 
 
 The outer cafe is of ebony, with two round-headed panels on the 
 middle and one on each leaf. Over the middle in a pediment two 
 infant angels fupport a crofs ; this compolition is carved in relief. 
 
 The gilt baf-reliefs are beaten up and chafed. In the middle 
 panels: — 1. Our Lord bound to the pillar and fcourged by two exe- 
 cutioners with rods ; an architectural background. 2. Our Lord brought 
 from Pilate before Herod ; one foldier holds Him by the girdle round 
 the loins, another removes His purple robe ; Herod, holding a fceptre, 
 leans againft a fquare altar ; an architectural background. 3. Compofi- 
 tion on the right, the Agony in the garden ; our Lord kneels with an 
 angel holding the chalice of His agony. 4. The crucifixion ; St. Mary 
 Magdalen embraces the feet of our Lord. The defign follows the 
 well-known crucifixion of Michelangelo. 
 
 The modelling is correCtly ftudied from nature throughout. 
 
 395- 'S3- 
 
 V ASE : nautilus fhells in filver-gilt fetting. Amphora 
 fhaped ; the fetting of beaten work reprefenting 
 grapes and birds, a caryatid figure on the back and front, 
 two arabefque dragon-fhaped handles. Dutch. 17th century. 
 H. 13 in., W. 8f in. by 4^ in. 35/. 
 
 The fhell is held by two dragon handles attached to a rim of beaten 
 work. Two figures on the fides, of thin hammered work, appear to 
 reprefent the facrament of penance. 
 
 i55 6 - 5 6 - 
 
 A LTAR Piece : of Florentine pietra dura mofaic in an 
 ebony frame, inlaid with filver. Painted in the middle 
 with the Flight into Egypt on a flab of lapis lazuli. Florentine. 
 17th century. FI. 1 ft. 8 in., W. 1 ft. 18/. 
 
182 
 
 Gold and Silver Smiths Work . 
 
 A claffical architectural frontifpiece, confifting of a broken pediment 
 and cornice of ebony inlaid with filver, fupported on columns made of 
 root of amethyft, with gilt caps and bafes, and retting on a dado. The 
 fpaces are divided into panels, in which are fet blood-ttone, tortoifefhell, 
 jafper and pieces of marble. 
 
 The middle is filled by a flab of grey lapis lazuli, on which is painted 
 a Flight into Egypt in oil colour. The blefled Virgin carrying the 
 Infant Saviour is borne on an afs led by St. Jofeph, with angels lighting 
 them on the way. The lapis lazuli is left for a background. 
 
 INNER Service : agate, mounted with tilver-gilt filigree ; 
 
 confifting of three salt cellars, 12 knives, 12 forks, 
 and 1 2 fpoons ; the fait cellars formed each of four pieces of 
 hollowed agate ; agate handles to the knives, forks, and fpoons. 
 Italian. 17th century. Salt cellars, H. i-| in. fquare, W. 
 3f in. Knives, L. 7 in. Forks, L. 6 in. Spoons, L. 5^ in. 
 
 The fait and fpice holders have each four cups funk in four feparate 
 pieces of polithed grey agate. They are fet in a convex frame of filigree 
 filver-gilt, and four balls of the fame work fupport it at the corners. A 
 fmall ball flower of filigree is fet in the centre between the four agate 
 cups for a handle. 
 
 There is nothing worthy of fpecial remark about the knives, forks, 
 and fpoons. 
 
 POON : filver parcel gilt ; the knob quadrangular with 
 
 leaves and loofe rings; fhort ftem. German or 
 Norwegian. 17th century. L. 6 in. Bernal collection 
 
 The bowl is round, the handle flat, and the knob like the capital of 
 a column. 
 
 1323- ’ 54 - 
 
 30I. 
 
 2263. ’55. 
 
 I /. I OJ. 
 
Seventeenth Century. 
 
 183 
 
 zrfS- ' 55 - 
 
 S POON : filver parcel gilt, the bowl engraved with a large 
 Maltefe crofs ; at the end of handle a large fquare 
 pommel ; on the fummit of each fide is a trefoil, five filver 
 rings attached. German or Norwegian. 17th century. 
 L. 5f- in. Bernal collection. 3/. icxr. 
 
 Very fimilar in character to the foregoing. 
 
 48. ’64. 
 
 S POON : filver ; the bowl circular, the Item of twilled 
 work, the handle ornamented with four trefoils. Nor- 
 wegian. 17th century. L. 5 in. Given by G. Moffatt, Efq., 
 
 M.P. 
 
 Like the two former fpoons, but fhorter. 
 
 542. ' 68 . 
 
 C RUCIFIX : rock cryftal, with crucifix and mount of 
 filver gilt. French (?). 17th century. 4^ in. by 
 2§ in. 4/. 1 is. 
 
 This crofs is cut out of a fingle piece of cryftal. It has a fmall 
 figure of Our Lord on the front, and the crown of thorns in the centre 
 at the back. The ends are fet in filver-gilt cafings, which are decorated 
 with fmall anthemium ornament in relief. It has a ring on the top for 
 fufpenfion. 
 
 25 !• ’ 74 - 
 
 B OOK Cover : filver ; (the book is an office of our 
 Lady, Paris, 1635). French. i\ in. by if in. Webb 
 collection. 16/. 
 
 The binding is covered with a plate of hammered filver with 
 acanthus work, and a cherub head in the middle. 
 
184 Gold and Silver Smiths JVork . 
 
 S*- ' 6 S- 
 
 C UP and Cover : filver, two-handled. The bowls partly 
 covered with leaf work, and the handles with terminal 
 figures on their outer curves. Englifh. Hall mark, 1638. 
 H. 5-f in., diam. \\ in. 29/. 
 
 The body bulges out at the bottom. This round furface is ham- 
 mered and chafed with tulips and conventional leaves. The cover is 
 coved, and beaten and chafed with the fame foliage. Two bold handles, 
 with demi-figures Handing out in full relief on their fhoulders, are fet on 
 each fide. They Hart from the lip of the cup, and defcribe a full circle 
 before they divide into two fcrolls, which join the bulging bafe. 
 
 On the cover is a bold round double knob. 
 
 113. ’64. 
 
 B ASIN : filver, with flat openwork handle ; for heating 
 liquids over a lamp. Englifh. Hall mark, 1638. 
 H. 1^ in., W. 5^ in. 3/. 19s. 6d. 
 
 The handle is wide, of a Angle thicknefs, but fpreading into three 
 loops or hollow foils, with a circle between pierced with a trefoil. 
 
 285. ’ 74 - 
 
 S ALT' Cellar : toy vafe ; beaten filver, the cup fix-lobed, 
 the ftem open, and the foot hexagonal. Englifh (?). 
 17th century. H. 2§ in., diam. 2 \ in. Webb colle&ion. 
 8 /. 
 
 The cup is beaten out fomething in the manner of 16th century 
 German work, with fmall flowers made with a punch on each lobe ; 
 a Hem in three fcrolls and a convex foot with a rim of fmall knobs. 
 Perhaps Englilh. 
 
Seventeenth Century. 
 
 185 
 
 1132. ’64. 
 
 B OX : filver ; polygonal, with fourteen fides chafed with 
 foliage and figures in the manner of J. Callot. French. 
 17 th century. H. i-J in., diam. i-| in. 20/. 
 
 This box has 14 fides, fix fmaller than the other eight. The 
 larger fides are engraved with figures in the manner of Jacques Callot, 
 each furrounded by decorative foliage fcrolls which form frames for the 
 figures. The latter are carefully defigned after the gallants of the day, 
 and wear full hofe tied at the knee, ftockings, doublets, ftiort cloaks, 
 and broad brimmed hats. One fide reprefents a gentleman in very 
 clofe converfation with a lady. She is in a drefs with a high collar. 
 Two others are fingle figures playing violins, and the other five poftur- 
 ing in the attitudes common in the fmall engravings of Callot. 
 
 The fmaller facets or fides are covered with graceful volutes of 
 foliage. One fide opens with a hinge and fnap fattening. 
 
 9094. ’63. 
 
 B OX : filver, circular, engraved with facred allegories and 
 legends in Dutch. 17 th century. Diam. 2^ in. 
 Given by J. M. Lockyer, Efq. 
 
 A flat circular box, as if made to hold a feal or medal. On one 
 fide are the four cardinal and the three theological virtues. 
 
 On the other is the meeting of the Lord, Who tramples death under 
 His feet, with the Bride of the Canticles j and an infcription from Cant, 
 viii. 6. 
 
 36. ’66. 
 
 F RAME: elliptic, of hammered filver. French (?). 17th 
 century. 8-|- in. by 7^ in. 8/. 
 
 The border is compofed of bold acanthus fcrolls with lilies and rofes 
 alternately in the volutes, a narrow inner border of claflical foliated 
 ornament, and a corded outfide edge, with a corded knot or bow by 
 which to hang it up. 
 
1 86 Gold and Silver Smiths Work. 
 
 336 1. ’55. 
 
 S POON : cryftal bowl, engraved with the facred monogram, 
 furrounded by rays, filver-gilt quadrangular ftem, with 
 champleve enamel fcrolls, pomiform knob ; a cherub’s head 
 near the bowl, Italian. 17th century, L. 6f in. Bernal 
 collection. 8/. 15J. 
 
 The bowl egg-fhaped 5 the ftem elegantly chafed. 
 
 F RAME: elliptic, of hammered filver. French (P). 17th 
 century. 8-| in. by 7I in. 8/. 
 
 Like the laft deferibed, but with the tulip, lily, and funflower, fome 
 of which do not follow the curves of the compofition, but are fet in 
 reverfe order. 
 
 RUET Stand for two Bottles : filver, the ftoppers chained 
 
 to the handle. French. 17th century. H. 9^ in., 
 L. 8 in., W. 4f in. Given by the truftees of Soulages collection. 
 
 The frames that hold two bottles and two fmall fait and pepper callers 
 are rings, the larger with five tides of an octagon on the outer fide ; the 
 fides having double ogee curves. 
 
 They are held by fcroll terminal pilafters to a bottom plate, and join 
 an upright handle in the middle. 
 
 S POON : filver ; with oval bowl and a figure on the 
 handle. Flemifh. 17th century. L. 6 \ in. 3/. 
 
 The bowl is rounded at the outer edge and contracted where it joins 
 the ftem or handle, which is worked into architectural ornament like a 
 
 492. ’75. 
 
Seventeenth Century. 
 
 187 
 
 bracket fupport, and furmounted by a figure in claflical armour and 
 fkirt, holding a fword and a book ; perhaps Jurifprudence. The work is 
 bold and effective on this fmall fcale. 
 
 491 - ’ 75 - 
 
 C OVERED Tankard : of beaten filver, hammered with a 
 landfcape and figures of children. Flemifh or German. 
 17th century. H. 7-! in., diam. of bafe 5f in. 20/. 
 
 Broadeft at the bafe, the upper part of the handle rounded, and 
 inferted half way down the fide. The lid is coved, furmounted by a 
 knob, and has a projecting waved edge. Round the fides are the 
 feafons : two children gathering flowers from an open vafe, fpring ; 
 two tying wheatfheaves, fummer ; two pouring wine into a vat, autumn ; 
 two cowering over a brazier with fire, winter : trees in high relief in 
 the background. The work is coarfe in execution, but the children are 
 gracefully defigned. 
 
 2817. ’56. 
 
 P LATE of filver : beaten up with a compofition of our 
 
 Lord attended by angels. Flemifh. 17th century. 
 H. 4 | in., W. 3 in. 3/. 12 s. 
 
 Our Lord Hands with His arms fpread and hands open. Two 
 angels are clothing Him with a mantle, and hold the crofs, fponge, and 
 other implements of the Paflion ; clouds and the heads of cherubs are 
 feen above. 
 
 The relief is flight, all the defign graceful and the details corredt. 
 
 293. ’6 4. 
 
 H OLY Water VefTel: filver, embofled with fubjedts from 
 the life of our Lord. Flemifh. 17th century. 
 H. 6^ in., W. 5^ in. 20/. 
 
 Embofled with cartouches and flower work, beaten up ; the former 
 reprefent three compofitions from the Via Crucis ; X. our Lord fallen and 
 
1 8 8 Gold and Silver Smiths' W irk. 
 
 dragged forward by a Roman foldier ; the two Marys and the Cyrenian 
 are behind ; the roofs of Jerufalem in the diftance. 2. The mocking 
 of our Lord. 3. The fcourging. 
 
 The fupport under the bowl is a cherub with wings expanded. On 
 the lid is reprefented the baptifm of our Lord. 
 
 2816. ’56. 
 
 P LATE of filver : with a compofition in relief reprefenting 
 our Lord after the Flagellation, feated and tended by 
 angels; the inftruments of the Paflion behind. Flemifh. 17th 
 century. 4J in. by 3 in. 3/. 12 s. 
 
 In the background is feen the column to which fcourges and rods 
 are tied. In the foreground the Redeemer is feated exhaufted with 
 fuffering. Two angels minifter to Him; wrap a mantle round His 
 limbs, and fupport His body. 
 
 The defign is compofed with propriety and well drawn in all details. 
 
 469. ’6 9. 
 
 C ROSS : rock cryftal ; the ends mounted in gold, on 
 ebony pedeftal, fet with ftones. German. 17th cen- 
 tury. FI., including pedeftal, 6-| in., W. 2f in. 1 5/. 
 
 The fubftance of this crofs is cryftal, the ends being fet in gold 
 covered with enamel very delicately wrought in fcrolls, and the edges 
 beaded with fmall pearls of white enamel. A ring on the top for 
 fufpenfion. 
 
 1283. ’55. 
 
 S POON : jointed, plain filver bowl, the handle of fteel, 
 damafeened with gold and filver in fcrolls, flowers and 
 birds. Italian. 17th century. L. 7-f in. il. 16s. $d. 
 
 Shaped like a modern fpoon, and when opened held firm by a 
 loop. 
 
Seventeenth Century. 
 
 189 
 
 3248, 224877. ’55. 
 
 S POON and Fork : filver-gilt, the ftems ornamented with 
 filigree work leaves and flowers, and enamelled. Italian. 
 17th century. L. 7 in. Bernal collection. 4/. 
 
 Thin Items ; the handles of the lighted: filigree work. 
 
 S POON and Fork : filver, jointed, the bowl engraved 
 infide with Hebe and floriated ornaments, the handle 
 chafed with minute arabefques, furmounted by a goat’s head ; 
 with contemporary gilt leather cafe. Italian. Beginning of 
 17th century. L. in. Bernal collection, 7/. 7 s. 
 
 Both fit on one handle, A filver tooth-pick fcrews into the 
 
 POON and Fork : in one; cowrie fhell, with filver mount 
 
 and enamel. German. 17th century. L. 5f in. 
 Bernal collection. 1 /. 
 
 The metal Item is jointed, and joins the bowl with a wide plate of 
 metal enamelled black, with lines of filigree metal in it. 
 
 POON : filver gilt, engraved with flowers and the initials 
 
 H.K. . . A.B. ; female terminal figure on the handle. 
 German. 17 th century. L. 6f in. 1/. 5^. 
 
 The engraving is delicate, but bold, and the initials HK . AB . are 
 dotted on below two fruits. 
 
 2251- ' 55 - 
 
 Item. 
 
 2346 . ’ 55 - 
 
 449- ’73- 
 
Gold and Silver Smiths IV ork. 
 
 190 
 
 4442, 4443 - ’ 5 8 - 
 
 S POONS, two : filver-gilt ; ftraight, fluted, and beaded 
 handles, each furmounted by an acorn. German. 17th 
 century. L. in. 1 8 s. 
 
 The ftalks and bowls entirely plain. 
 
 2374 - ’ 55 - 
 
 S POON : filver, the handle formed of ebony, with amber 
 bull: at the end. German. 17th century. L. 7 in. 
 Bernal collection. 14J. 
 
 The bowl quite plain. 
 
 274. ’66. 
 
 M EDALLION : gilt metal in relief. Leopold, prince 
 archbilhop of Salzburg : with pierced border mounted 
 on red velvet. German. 17th century. H. 8 in., W. 7 in. 
 5/. 1 S s. 
 
 Round ; obverfe, with a buft in the middle, looking to the left, of a man 
 in middle life. He wears long hair, tonfure, bands, and the caflock 
 and cape of an ecclefiaftic : round the neck is hung the crofs of an 
 order of knighthood. An infcription in Roman capitals runs round the 
 circle : LEOPOLD. D. G. ARCH. PR. SAL. S. S. A. L(egatus) 
 C, P. R. 
 
 Round the rim are loops and fcrolls of flat beaten work tied in pairs 
 and with balls between. 
 
 On the reverfe are the arms of the archbilhop, quartered with thofe 
 of the fee of Salzburg, viz. : 1. Lion paflant to finifter. 2. A fefs ; 
 3. Three bars invecked. 4. A branch of lily ; 5 as 3 ; 6 as 4. 7. In 
 an inefcutcheon a demi-queen royally crowned. The work is pierced, 
 and both fides are mounted on “a pad of velvet. 
 
Seventeenth Century . 
 
 191 
 
 1916. ’55. 
 
 ' I ' ANKARD : Terpentine gilt metal cover, with letters T, S. 
 
 X and heraldry. Augfburg. 17th century. H. 5-f in. } 
 W. 5^ in. by 4% in. 10/. 
 
 Plain on the furface. The metal work coarfely emboffed ; on the 
 top is a fhield bearing an arm grafping a javelin. 
 
 UP and Cover : cocoa nut, mounted in filver ; the bafe 
 
 ornamented with fruit in beaten work ; the necking 
 chafed in guilloche pattern with armorial fhields ; on the cover 
 is a three-fided obelifk. Flemifh (?). 17th century. H. 
 1 5f in., diam. 4^ in. 50/. 
 
 The Item is curioufly fhaped like a ftraight-fided vial with three 
 fcrolls from it to the bafe of the nut. A fhield on the neck bears a 
 fefs raguled between three balls. 
 
 OX for Sweetmeats : gilt metal ; on the lid, under cryftal. 
 
 is a gilt equeftrian figure applied upon tortoifefhell. 
 French. 17th century. L. 2^ in., W. 2 in. 2 1 . 2s. 
 
 The Tides and a rim round the tortoifefhell centre are delicately 
 engraved in arabefque work. 
 
 B OX and Cover : filver filigree work ; circular. Italian. 
 17th century. H. f in., diam. 2-^ in. 4/. ioj. 
 
 The defign is elegant, fprays of flower work radiating fpirally from a 
 centre with hair lines below. 
 
 168. ’65. 
 
 31. ’67. 
 
 404. ’54. 
 
Gold and Silver Smiths W )rk. 
 
 192 
 
 4506. ’58. 
 
 B OX : filver ; heart-fhaped ; pierced filigree icrolls, having 
 in the centre a plaque of cryftal. Italian (?). 17th 
 century. H. 1 in., L. 2-f- in., W. 2-| in. 1 /. 4J. 
 
 A mixture of coarfe and fine work well compofed. 
 
 7936. ’6l. 
 
 B OX : green porphyry, with convex red jafper cover, 
 cylindrical, mounted in gilt metal. Italian. 17th 
 century. H. 2 in., diam. 2-| in. 1 6s. 
 
 The mountings have quite plain moulded lines. 
 
 297. ’66. 
 
 B OX : elliptic ; filver-gilt beaten work ; with enamel 
 plaques of flowers on white ground. Spanifli. 17th 
 century. H. 1 in., L. 2-|- in., W. 2 in. 4/. 
 
 The enamel is in fmall fettings with light hammered arabefque work 
 between, 
 
 48. >0. 
 
 C UP : a trochus fhell, mounted in filver ; the ftem in form 
 of a dolphin. Dutch. 17th century. H. 8^- in., 
 L. 8 in. Given by the Rev. Arthur Hubbard. 
 
 A dolphin of heavy workmanfhip on a plate waved to reprefent fea 
 fupports the fhell. 
 
 The mouth of the cup has a curving lip of filver, and this part is 
 mounted with maffive metal work. 
 
Seventeenth Century. 
 
 1 9 3 
 
 
 35 °> 35 ° a - ’ 7 °- 
 
 B ELLS of the Mantle of the Law Scroll : (No. 349. ’70 
 in Divifion 15, Textiles): a pair; filver filigree open- 
 work, each in form of a fphere refting upon leaves, crowned, 
 and furmounted by a fleur-de-lys, with filver gilt bells attached. 
 Spanifh. 17th century. H. 17 in. and \'j\ in. 30/. 
 
 Thefe are in the fhape of globes of filigree work with fix bells in 
 Imall holes or openings, fix fmall bells hanging to leaves underneath 
 and fleurs-de-lys with five points, all of filigree worked on the round. 
 
 4865. ’58. 
 
 T WO Spoons, Fork and Knife : filver-gilt ; engraved with 
 wreaths and fruit. German (Augfburg). 17th century. 
 L. of fpoons, 7f in. : knife, \\ in. : fork, 6f in. 3/. 
 
 The heads of the Hems are cut into the fhape of pointed plane 
 leaves not eafy to handle* The general form is like that of modern 
 fpoons. 
 
 4 ^ 93 - ’ 57 - 
 
 C UP : cocoa nut, mounted in filver-gilt, the nut carved 
 with reprefentations of the Annunciation, the meet- 
 ing with Elizabeth, and the Nativity. German or Flemifh, 
 about 1500. Setting, 17th century. H. 6^ in., diam. 2^ in.,, 
 7/. ioj. 
 
 The mounting rudely executed. 
 
 521. 
 
 C UP, Tazza : the bowl cryftal, engraved with fmall land- 
 fcapes, vafes of flowers, birds, fcrollwork, and a double 
 fLield of arms under a ducal coronet ; the ftem and foot filver, 
 in form of a triton ftrangling a fnake, and fpouting water from 
 
 32l3f. N 
 
194 Gold and Silver Smiths Work. 
 
 his mouth; the figure enamelled. German. 17th century. 
 H. 7 * in., L. of bowl, \\ in. 8/. 
 
 A fpirited compofition reprefenting a triton fpouting a jet of water 
 from his mouth, on the creft of which, as on the top of a fountain, the 
 cryftal cup is poifed. 
 
 24°- ’74- 
 
 S ALT Cellar : filver-gilt, triangular, chafed, Handing on 
 cherub heads. German. 17th century. L. 3-^ in. 
 Webb collection. 15/. 
 
 Flat on the furface, with chafed fcrollwork, and a cup-fhaped 
 depreflion for fait. The edge is pierced. 
 
 241. ’74- 
 
 S ALT Cellar : filver-gilt, triangular, chafed, and on mafic 
 feet. German. 17th century. L. 3 % in. Webb 
 collection. 1 o /. • 
 
 This fait cellar is triangular. The centre of the furface is hollowed 
 to contain fait. The fpaces round are flat, covered with arabefque leaf 
 work. The edge is covered with diaper pattern. The feet are beaten 
 metal in broken S-fhaped fcrolls, faced on the upper part with three 
 fmall mafks. 
 
 440. >3. 
 
 S POON : filver-gilt, the bowl round, containing a figure 
 beaten up fitting under a tree and birds bearing food. 
 The handle has a crefted fhaped head piece, with figures of 
 children on it in relief, the end pierced. German. 17th 
 century. Diam. in. ioj. 
 
 The bowl is round and the beaten work reprefents a fitting perfon- 
 age, to whom birds bring food ; perhaps the feeding of Elias by ravens. 
 III. Kings, xvii. 4. 
 
 The handle curves over with fine fcrolls, and has an almond-ftiaped 
 plate on the flat end of it, on which are little figures of children and 
 beaten ornament. The intervals are pierced. 
 
Seventeenth Century. 
 
 195 
 
 4 5 1 - ’65. 
 
 B OTTLE or Flalk : with fufpenfory chain and flattened 
 fides ; filver, with embofled ftrap and cartouche work. 
 German. 17th century. H. 4f in. 10/. 
 
 The body is flattened, and a cartouche, enclofed in lines or ftraps in 
 thick relief along with fruit and leaves, covers each fide. Two loops 
 on the fhoulder give hold to a filver chain. It has a thin neck and a 
 ftopper. It bears a creft engraved, viz., a griffin’s head erafed, or. 
 
 It has a Hem expanding into a round foot with flutings down it. 
 
 745 - ’ 75 - 
 
 T ANKARD : filver parcel gilt ; ftrapwork in low relief 
 round the fide. German. 17th century. H. 7 in., 
 diam. 4|-in. 21/. io.r. 6d. 
 
 The work isjn low relief all over the body, and the ground punched 
 in various patterns. 
 
 33°. ’64. 
 
 C ROSS : rock cryftal, mounted with filigree gold. Spanifii. 
 17th century. in. by 2f in. 28/. 
 
 The crofs is of cryftal. On the top and ends are filigree and gold 
 cafings, enamelled, and of great delicacy. Along the ftem and arm 
 are fix fmall oval openings glazed over and containing relics. The 
 fame fix openings Ihow behind, having other relics] and glazed as thofe 
 in front. 
 
 167. ' 66 . 
 
 R ELIQUARY : enamelled brafs, with a crown and mono- 
 gram on the back. Spanifii. 17 th century. H. 2^-in., 
 W. 2i in. 1 /. 
 
196 Gold and Silver Smiths’ IV irk. 
 
 Square, with the back pierced and enamelled. It has a cufped 
 edging and a crowned monogram in the middle, the letters indicating 
 the words, SANCTA MARIA. 
 
 The metal work is coarfe, though effective, and the enamel thinly 
 painted on with one firing, fo that the cavities prepared for its reception 
 have never been filed or rubbed down to a furface. 
 
 ONSTRANCE : filver-gilt, hammered and chafed. 
 
 The foot reprefents the Transfiguration, the evangelifts 
 and doctors of the Church ; the Item is decorated with cherubs : 
 the body, which is fianked by angels, is emboffed with fcenes 
 from Scripture hiftory, and furmounted by a jewelled crown 
 and crofs guarded by bifhops. Spanifh. 17th century. H. 3 ft. 
 4 in., W. 1 7^ in. 500/. 
 
 This monftrance is boat fhaped, covered by a canopy fupported on 
 four columns. The fronts of the top and bottom of this part are em- 
 boffed with compofitions in hammered work. The lower reprefent : 
 1, the tithes given by Abraham to Melchifadek. 2, the gathering 
 of manna in the wildernefs. The upper : 3, the prophet Elias 
 
 awakened in the wildernefs by an angel. 4, the laft fupper. 
 
 Coarfe floriated projections on either fide form pedeftals for two angels, 
 who uphold fide projections on the top or canopy. The canopy has 
 a fort of pierced dome over it, and again an imperial clofed crown, 
 ornamented with pearls and crofs over that. A bifhop holds a church 
 and a paftoral ftaff on one fide, and an archbifhop holds a crofs and a 
 book pierced by a fword on the other. Two fmall angels kneel outfide. 
 
 The ftem is balufter fhaped. 
 
 The bafe reprefents the transfiguration, on a mount with flowers on 
 it, and the three apoftles in high relief reclining round the fides. 
 
 Below the mount there is a ftand with hollow fides. In this 
 hollow are the lymbols of the four evangelifts in high relief, and medal- 
 lions containing the four doctors, St. Ambrofe, St. Auftin, St. Gregory, 
 and St. Jerome in low relief. The fpace between is pierced. 
 
 The whole piece is of fuch a fize as to be ufed only in a large 
 building. All the work, excepting that of the flat medallions, is coarfe 
 in defign and execution. 
 
 3 ° 3 * ’ 74 - 
 
Seventeenth Century . 
 
 A 97 
 
 318. ’64. 
 
 D ISH : octagonal ; plaques of rock cry Hal, fet in gilt 
 metal, embofled and chafed. Spanifh. 17 th century. 
 
 Diam. 18 in. 20/. 
 
 The difh is compofed of quatrefoil, heart, and other fhaped pieces 
 fet in bold ftrapwork, embofled and gilt. 
 
 481. ’75. 
 
 C HALICE : filver-gik, chafed and beaten in relief, and 
 with tranflucent enamel behind a row of figures on 
 the knop. Spanifh. 17th century. H. iof in., diam. 6 \ in. 
 60/. 
 
 The mouth of the cup is belled, and is held in an outer calix, 
 crefted round the top with leaf work, like that of late pointed archi- 
 tecture, divided into five panels, each filled with emblems of the paflion, 
 and military attributes alternately. 
 
 The item, where it is feen, is ten-fided, but the fpaces between the 
 cup and the knop, and the knop and bafe, are fwelled by richly wrought 
 collars, fo that the ftem fcarcely fhows but as a number of neckings. 
 
 The knop is divided into ten niches by balufter columns, and each is 
 Jheaded by a fretted gable, containing an image of an apoflde in relief 
 on blue ground. The upper and lower furfaces are deeply chafed. 
 
 The foot is fhaped in eight lobes, on the tops of which are cherubs 
 in relief, but the round fpace within is beaten up into five medallions, 
 containing ; — one the crucifixion, and the other four the fymbols of the 
 four evangelifts, with cherub heads between ; and, on one fide, a fhield 
 bearing a heart and crown of thorns engraved on the furface. 
 
 The work is coarfe, and the confufion of emblems does not add to 
 the ornamental effect. It fhows a curious combination of the old and 
 modern forms. 
 
 298. ' 66 . 
 
 C ROSS : gold filigree ; Handing on circular bafe of the 
 fame material, within is a crucifix of ivory. Spanifh. 
 17th century. 4^ in. by 1 % in. 7/. 
 
198 Gold and Silver Smiths Work. 
 
 The entire crofs is of gold filigree work, fquare, with flowers 
 added, and a fan-fhaped foot. It opens at the fquare end of the bafe, 
 Ihowing within a crucifix in enamel. The crofs is a thin {talk with 
 a minute image upon it, alfo in enamel, which is painted up to life in 
 the Spanifh manner, the wounds being carefully coloured. 
 
 236. ’64. 
 
 I MAGE of St. Bernard : filver-gilt, on a pedeftal made for 
 relics. Spanifh. 17th century. H. i\ in., W. 1 in. 
 8 j. $d. 
 
 The drefs is the Ciftercian gown, with the hood, but not thrown 
 over the head. The left leg ftands forward, the right hand holds a 
 paftoral ftaff, from which the head is broken, and the left holds a 
 book. He is Handing on a fquare block, with glafs in front and at the 
 ends, made to hold relics. 
 
 49. ’67. 
 
 C UP : rock cryftal, boat fliaped, engraved with figures of 
 Neptune, Amalthea, and a phoenix, in filver-gilt mount- 
 ing, delicately engraved. Italian. 17th century. H. 8|- in., 
 W. 3% in., L. 7 in. 1 50/. 
 
 The veflel has a figure head of a fwan ; a winged monfter with 
 bold mafk below it. The Item is acorn fhaped, of cryftal, with four 
 delicate fcrolls of metal. All the mounts are engraved with delicate 
 ornament. 
 
 855 - * 73 - 
 
 D ISH *. filver, nearly oval, beaten up with fruit, eagles, 
 flowers, and foliage. Spanifh (Toledo). 17th century. 
 14^ in., by 11 in. ill. 15J. 
 
 The work is hammered up in high relief. 
 
 3 I 7 - 64. 
 
 D ISH : filver, round, hammered with cherub heads and 
 fcrolls. Spanifh. 17th century. Diam. 1 if in. 1 61 . 
 i6j. lod. 
 
Seventeenth Century. 
 
 199 
 
 The middle Jlightly bofled up ; the edge is broad and alfo {lightly 
 convex. In the middle are rofettes of acanthus, with birds pecking 
 at fruit. Outfide thefe are fix half circles of beads, from the ends 
 of which fpring fprays, which make eight compofitions, with flowers, 
 cherubs, &c. The ground is punched, and the edge thickened, to give 
 a look of fubftance to the filver, and waved. The work is not of the 
 higheft quality, and the general effect of the ornament is wiry. 
 
 3 1 5 • ’ 6 4 - 
 
 D ISH : filver openwork. Spanifh. 17th century. Diam. 
 i6§ in. 12/. os. 6 d. 
 
 Star-fhaped, the middle pierced with fan-fhaped lobes and quatrefoils, 
 which meet others that join the central mafs of ornament to the rim, 
 leaving the interfaces between thefe patterns, as lozenge-fhaped open- 
 ings. The rim is broad and flat, and has ornament of the fame kind 
 as the middle. A flat wavy ribbon on each fide the rim gives fome 
 character to this feature. Altogether a peculiar kind of ornament for 
 the plate to which it is applied, and elaborate rather than rich as a piece 
 of worked metal. 
 
 8 . ’ 66 . 
 
 S ALVER : filver ; circular, with pattern of flowers, fcrolls, 
 and animals in beaten work ; in the centre a winged 
 dragon. Portuguefe. 17th century. Diam. 15 in. 12/. 
 
 The rim divided into twelve compartments with coarfe flower work, 
 fpiral gadroon work, and borders, round a medallion in the middle in 
 which is a winged dragon. 
 
 165. ’66. 
 
 S ALVER : filver ; circular, embofled with fcroll work, 
 fhells and grotefque animal ; on the central medallion is a 
 a bird. Portuguefe. 17th century. Diam. 8-| in. 2/. ioj. 
 
 A bird in the middle, which is raifed and furrounded by borders. 
 The rim is convex, the edge waved, the furface embofled with flowers, 
 animals, and fhells. 
 
200 Gold and Silver Smiths JVork. 
 
 317 . ’ 67 . 
 
 B OWL : formed of a gourd, with rim, handles, bands, and 
 lion feet, of filver. Below the bafe is a plate engraved 
 with a coat of arms. The bowl fuppofed to be Mexican, 
 the mounting is European of the 17th century. H. 4-! in., 
 W. 13! in. 9/. 
 
 A fhield contains four arms, clafped in fquare. 
 
 7 . ’ 66 . 
 
 S ALVER : filver, on a foot with fpiral lobes, hammered 
 up, alternately plain and embofied. Portuguefe. Late 
 17th century. Diam. 1 1 in., H. \\ in. 7/. ioj. 
 
 The infide of the difh has a fix-foiled middle flower delicately beaten 
 up in low relief. Round this are arranged twelve fpiral lobes, hollowed 
 out : fix of them contain flowers, the tulip and marlhmallow, in their 
 hollows ; the others are plain. Thefe twine round, enlarging as they 
 reach the circumference of the plate. All the lobes are edged with a 
 fine line beaten up from the back. The tone of the filver is very 
 white, and the brilliancy of the metal admirably fhown off by the 
 alternate broad plain furfaces, fine lines, hollows, and the play of light 
 and reflected colour caufed by the fpiral curls of the ornament. 
 
 S 3 - ’ 66 - 
 
 D ISH : odtagonal, of filver, hammered and chafed, in the 
 middle, a figure on a tiger, with foliage. Indo-Portu- 
 guefe. 17 th century. 14^ in. by 10 in. 14/. 
 
 Oblong, with a deep funk middle and central bofs quatrefoil-fhaped, 
 and having a man in a wide hat, a dog, and a lion ; a hunting compofi- 
 tion in a foreft. The rim has bold arabefque work, beaten up from 
 four centres, and an edging of fmall flowers. It is maflively embofied, 
 and the main lines in the leaf work are well maintained. The corners 
 are cut off", an ungraceful peculiarity. 
 
Seventeenth Century. 
 
 201 
 
 3636. 56. 
 
 C UP : filver, engraved with fcrolls and figures in medal- 
 lions, with armorial fhields between. German. Dated 
 1648. H. 55- in., diam. 4 in. 5/. 
 
 It is bell-mouthed, ftands on a bafe, which is a belt of zig-zag lines 
 and dots between two firing mouldings. On the furface are two medal- 
 lions containing coftume figures of the time, and two armorial fhields. 
 
 36 . ’ 65 . 
 
 T ANKARD : filver, with inched figures and a fcutcheon. 
 Englilh. Hall mark, 1650. H. 5^ in., diam. 5 in. 28/. 
 
 Straight fided, and wider at the bottom than above. The lid is 
 hollow, with a wide flat margin, opened by a large curved purchafe. 
 The handle is maffive, and turns back below the point of junction with 
 the body. 
 
 On the lid is an Indian or Turk in a ftiort tunic, dancing on a ball. 
 On the fides are two figures in the fame drefs, one a juggler with a 
 tamed fnake, the other with a peacock. Palm trees, branches, and 
 ftirubs are added but thinly, and all the defigns are lightly traced with 
 a fingle line hammered with a point. 
 
 On the fide oppofite the handle is an efcutcheon with leaf work 
 round, and the arms : argent, a lion rampant regardant dexter, over all 
 a bend (no tincfiure) charged with three crofllets, vert. For a creft, 
 a bear’s paw couped, eredt, holding a crofflet, vert. 
 
 180. ’72. 
 
 S POON : filver-gilt, the handle terminating in a figure of 
 Cupid holding a fhield, the bowl broad, and engraved 
 at back with flowers and with angels holding a garland, within 
 which are fcratched the initials M. S. and the date 1658. 
 German (Nuremberg). L. 5|- in., W. if in. 2/. 
 
 Boldly, but well modelled on the handle. 
 
202 Gold and Silver Smiths W~ or k> 
 
 181. ’73. 
 
 S POON : the bowl and focket filver, the handle ivory, 
 carved with a feated male figure playing a pipe. German. 
 17th century. L. 6fjn., W. if in. 1 /. ior. 
 
 The filver is quite plain. 
 
 182. ’73. 
 
 S POON : the bowl of maple wood, the handle filver, 
 widening towards the top, which is fliield-fhaped and 
 embofled with a gilt coat of arms. German. 17th century. 
 L. 6f in., W. 2 in. 16^. 
 
 The filver is quite plain. 
 
 7243. ’6l. 
 
 C UP and Cover : filver-gilt, plain neck, the lower part of 
 the body beaten with leaf work ; fcroll handles and a 
 cover with flat top engraved with a coat of arms. Englilh. 
 Hall mark, 1660. H. 6f in., W. 7f in. 25/. 
 
 The upper part or neck is plain, the lower portion of the body 
 bulges and is beaten up with tulip flowers and leaves. 
 
 The handles join the rim of the neck and the bulging furface of the 
 lower part of the body. The handles are light bold fcrolls of folid 
 metal, with terminal heads on the upper curves 5 curves at the upper 
 point or junction, and light double volutes at the lower. 
 
 The cover bulges and is hammered up with the fame tulip flower as 
 the body. It is topped by a flat handle, which, when reverfed, ftands as 
 a foot, and this portion is then ufed as a fmall falver or waiter. On this 
 flat furface is an heraldic fliield bearing, per pale, argent and azure, a 
 crofs faltire engrailed, ermine. 
 
Seventeenth Century. 
 
 203 
 
 549- ’74- 
 
 S ALVER : filver, mounted on a ftem, ornamented with 
 flowers and animals in beaten work. Englifh. 1664-5. 
 Diam. 14^ in., H. 3 in. 50/. 
 
 The ornament is made up of a large tulip, pink and rofe, in the 
 character of the work in ufe on Englifh plate of the 17th century. 
 Amongft thefe are a bull, bear, camel and lion. The work is thinly 
 beaten, and the various figures bordered with rudely punched lines. 
 On the furface is an impaled coat of arms ; the firft bearing a chevron 
 between three ravens ; a mullet in fefs for a difference : fecond, three 
 chevronels interlaced, in chief, three mullets ; there is no indication 
 of tindlures. 
 
 5 1 - ’69- 
 
 B EAKER : fllver, with ribs and flowers hammered up 
 on the lower part. Englifli. Hall mark, 1664. H. 
 6§ in., diam. of lip, 4-| in. 25/. 
 
 The lip is very flightly belled and the body contracts to the bottom. 
 Round the lower half are ribbed lines and bold flower work in a fpiral 
 direction, but with only a flight curve. 
 
 The flowers are tulips, as in moft of the plate of the fame period, 
 and the edges and lines Amply defigned with a pointed tool. 
 
 1332 and 1 332 ( 1 . ’71. 
 
 C ANDLESTICKS, a pair : filver, with fquare ftems, 
 plinths, and nozzles. Auftrian (?). 17th century. H. 
 9J in., W. 5f in. 100/. 
 
 The ftems are fquare maffes, of three roughly- fhaped ribs on each 
 face, with a fquare greafe pan, a fquare rib or belt acrofs the middle 
 and between the ftem and foot, which is alfo fquare. 
 
 Down the ftem and on the foot are heart-fhaped holes at intervals. 
 On the corners of the bafe are bold fprays beaten up and burnifhed, with 
 a dead ground immediately about them. 
 
 In the middle of each fide of the bafes is a pattern of curves and 
 leaves, all pierced on the burnifhed furface. 
 
204 Gold and Silver Smiths’ Work. 
 
 490. ’75. 
 
 OVERED Tankard: filver-gilt, beaten with flowers and 
 
 ftrapwork. Auglburg. 17th century. H. 9 in., diam. 
 5 in. Bond collection. 20/. 
 
 The Tides are ftraight, the cover coved, and the bafe a bold convex 
 moulding. It contracts at the top. The furface is embofled with 
 fcutcheon fcrolls. The handle is a curve, with curling ends to the 
 branches of the purchafe. On the top and round the bafe are flowers 
 coarfely embofled . 
 
 ANKARD : filver-gilt, ornamented with ftrapwork and 
 
 medallions of beafts and landfcapes in beaten work. 
 Auglburg. 17th century. H. 6f in., diam. 4^ in. 25/. 
 
 The bafe fpreads out widely. The lid is coved, and has a fmall 
 pointed knob. The handle retreats to an angle, and is ornamented with 
 bold knobs or balls at the point and at intervals on either fide of it. 
 The purchafe rifes high, and is furmounted by a lion. Round the 
 drum are three large ftrapwork medallions containing figures of a ftag, 
 an unicorn, and a camel ; cherubs and flowers in the intervals of the 
 medallions. 
 
 UP, Tazza : filver-gilt, the ftem formed by three 
 
 female Hermes figures, the bowl ornamented outfide 
 with ftrapwork, mafks, and fruits in chafed and beaten work ; 
 infide, with the fubject of Diana and Actason. German 
 (Nuremberg ?). 17th century. H. in., diam. 8 in. Bond 
 collection. 200/. 
 
 The difh is flat and made of two plates of metal. The infide is 
 beaten up into a reprefentation of Diana bathing with her nymphs in a 
 landfcape, and the metamorphofis of Actaeon into a ftag. 
 
 Under this, on the reverfe, are fix funk medallions filled with 
 bunches of fruit. The ftem bulges above, with three terminal female 
 
 552 - ’ 74 - 
 
 553 • > 4 - 
 
Seventeenth Century. 
 
 205 
 
 torfo figures, finiftied with drapery below. The bafe is flat topped, 
 and expands firft with a bold cavetto, then finifhes with an ovolo mould- 
 ing, with ftrapwork round it in relief. The Item is unufually finall at 
 the point of jun&ion, and the flat furface of the foot is wanting in eafy 
 gradation at this point. It has fome appearance of having been a late 
 addition, but more probably the piece has been fo made from the 
 firft. 
 
 5 QI - ’ 75 - 
 
 T ANKARD : filver-gilt, beaten work, the cover furmounted 
 with figure of an Indian and fmaller figures playing 
 inftruments. Flemifh (?). 17th century. H. 8^- in., diam. 
 4f in.' Bond collection. 25/. 
 
 The bottom is larger than the top, and the cover is hinged on a 
 large D-fhaped handle, ornamented with a row of balls or beads down 
 the back. The fide is divided by bold ftrapwork, that reaches from the 
 bottom to the rim, into cartouches which contain figures of an elephant, 
 a rhinoceros, and an unicorn. 
 
 On the lid a negro, with a feather on his head and a kilt of the fame 
 material, like thofe ufed as figns for tobacco {hops, bangs a pair of 
 fymbols ; and three negro boys, {landing on balls, blow trumpets round 
 him. 
 
 9016. ’63. 
 
 C UP : filver, with leaves beaten up on the fides, and three 
 fmall plates attached by rings. German. 17th cen- 
 tury. H. 4f in., diam. in. 1 /. 12 s. 
 
 The cover is convex, but flightly fo. It is overlaid with fcroll 
 ornament The handle is a vafe, fuch as that forming the knop of 
 the Item, with a tall bunch of flowers out of the neck. It has the 
 fame fcrollwork as the reft. 
 
 The cup is trumpet-mouthed, and fimilarly fhaped below, with a 
 fpreading convex foot : a torus-fhaped belt round the waift, and a rim of 
 the fame fhape a fhort way below the lip. The upper band has an orna- 
 ment of dotted lines in a feries of femi-circles ; the next divifion above 
 the waift has rude fcroll work of leaves beaten up, and from the upper 
 belt three fmall, loofe, gilt, faucer-fhaped plates are hung by links. 
 
206 Gold and Silver Smiths Work. 
 
 393 - 33 ’ 
 
 C UP, Tazza : filver-gilt, the bowl and ftem hammered ; 
 
 in the bowl the ftory of Meleager. French. 17th 
 century. H. 6§ in., diam. 8|- in. 36/. 
 
 The bowl is rounded, chafed, and embofled on the under fide ; the 
 ftem is candelabrum-ftiaped, with rams’ heads on the largeft knop, and 
 fruit and leaves in relief. The foot is covered with acanthus leaves 
 pointed downwards, and has a border of fcroll work rifing into points 
 at intervals. 
 
 The bowl is decorated with a claffic compofition, beaten up in relief, 
 reprefenting the death of Meleager, killed after the deftruftion of his 
 uncles. He is fupported by an aged man, and the figures of women, 
 his filters, the Meleagrides, are weeping on the oppofite fide of the 
 compofition. 
 
 IOO. ’73. 
 
 C UP : filver-gilt, hammered with flower work, Handing on 
 the three balls. German. 17th century. H. 3^ in., 
 diam. 3^ in. 1 /. ioj. 
 
 It is bell-lhaped, and ftands on three balls ; large tulip flowers, fuch 
 as are common enough in Englilh work of the fecond half of the 17th 
 century, are beaten up on the fides. 
 
 4393 . ’ 37 - 
 
 C UP and Cover : filver-gilt, gadrooned and engraved, the 
 cover furmounted by a fluted knob. German. 17th 
 century. H. 4f in., diam. 3^ in. 5/. ioj. 
 
 The upper part below the lip is ribbed with gadroon work beaten 
 up, and the lower third part of the fide as well. The bottom is 
 narrower than the lip, and the cover coved up. The cover and the 
 parts of the fides not occupied by ribbed lines are engraved. The foot 
 fpreads and is ribbed, and the knob of the cover is fluted. 
 
Seventeenth Century. 
 
 2 07 
 
 43. ’64. 
 
 C UP and Cover : filver parcel gilt, with heads in medal- 
 lions beaten up, refting on ball feet. On the cover are 
 landfcapes and a running flag. South German. 17th century. 
 H. 7\ in., diam. 4 in. 8/. 8j. 6 d. 
 
 The body has three round medallions in leaf borders, each contain- 
 ing a bull; of one of the Casfars beaten up in relief. Between thefe are 
 hanging garlands of fruit and leaves. The feet are three balls. 
 
 The cover has a rounded torus edge, on which are oval medallions, 
 in filver, containing landfcapes of beaten work. On the top is a 
 running hart fpringing outwards, and Handing on a circle of cut and 
 beaten fcrolls curled up like leaves and petals, and hanging down from 
 the centre. The Hag is well modelled in folid filver. 
 
 164. ’66. 
 
 F LAGON : filver, embofled and chafed with bands of 
 fcroll work. Portuguefe. 17th century. H. 9 in., 
 diam. 3^ in. 8/. 
 
 The body is jug-lhaped, ftands on a foot, and is provided with a 
 fpout covered by a correfponding plate on the lid. It has a raifed lid 
 with flat top. On the fides large fquare fpaces are left bright, and the 
 reft is decorated with a few Ample broad fcroll fhapes chafed out, 
 running up and down and horizontally round the lower part. Thefe 
 are left bright on a frofted ground. 
 
 The filver itfelf preferves a fplendid whitenefs and luftre from the 
 great purity of the metal, as may be remarked in other Portuguefe filver 
 plate, e.g ., No. 7. ’66, p. 200. 
 
 8458. ’63. 
 
 C UP : double, filver ; between the two cups is a hollow 
 fphere furmounted by a fatyr fupporting the fmaller 
 cup. Dutch. 17th century. H. 8-J in., diam. 3-f in. 25/, 
 
 The larger cup is bell-fhaped, furrounded by a double firing belt, in 
 which are three lions’ heads : the furface is delicately engraved with 
 leaf work. 
 
20 8 Gold and Silver Smiths Work. 
 
 Between the cups there is a item with a knop, a fphere with lati- 
 tudinal lines and equatorial belt, pierced and containing a fmall bell ; on 
 this is feated a grotefque figure whole arms hold on to a Twinging cord 
 of metal. The ends of the cord hang to the upper cup, which is, to 
 fpeak exadfly, fwung in this femicircular frame. 
 
 C UP: filver, o&agonal, with flat handles, engraved bowl. 
 Dutch. 17th century? H. i\ in., diam. 4^ in. 
 
 The Tides are flat, and connedled by a fhort Item to a foot much 
 lefs in diameter than the mouth of the cup itfelf. On four fides are 
 figures reprefenting the cardinal virtues, and ftrapwork on thofe inter- 
 vening, and flower work and cherub heads embofled on two flat handles 
 that project half an inch below the rim, with heraldic fhields and the 
 initials L. O. and S. E. 
 
 UP and Cover : filver parcel gilt, two handled ; cylindri- 
 
 cal, with three claw feet. Embofled and chafed with 
 foliage and birds. Englifh. Hall mark, 1669. H. 7 in.. 
 
 The fides are ftraight and covered with fcrolls of foliage evenly 
 diftributed, pierced in the intervals, and fhowing an inner fkin of gilt 
 filver. The work has in confequence a greater apparent amount of 
 relief. An eagle on one fide and a peacock on the other are centres to 
 this decoration. The handles are in three curves, rolling over at the 
 junctions into volutes, and bearing heads of terminal figures on the 
 outer hips. 
 
 The cover is in two thicknefles, and covered by pierced and 
 embofled foliage as the body is. 
 
 Three claw feet, grafping three balls, protrude angle ways from 
 the outer circumference of the bafe. 
 
 568. ’74- 
 
 12I. 
 
 290. ’54. 
 
 W. 8§ in. 34/. 
 
a Seventeenth Century . 
 
 209 
 
 31,31a. ’65. 
 
 C UP and Cover : filver, two-handled, with beaten foliage ; 
 
 the cover is furmounted by a melon in leaves. The 
 handles are S fhaped. Englifh. Hallmark, 1676. H. 6f in., 
 W. C)\ in. 40/. 
 
 The body is egg-fhaped, contracting with a nec king below and a 
 fpreading foot. Round the lower part of the bafe and the outer circum- 
 ference of the cover leaves of acanthus are beaten up. The top 
 centres in a round melon clothed with a neft of acanthus leaves. The 
 handles are in two curves, the long fhanks of which meet as in the 
 centre of a long S. The ends curl over with rich acanthus beaten 
 leaves. 
 
 All the edges and lines of the leaves are elegantly defigned and 
 carefully worked out. 
 
 The greateft part of the furface of the cup is left in plain filver, and 
 much of the handles and cover are without other ornament than a 
 polifhed furface. 
 
 151, 151 a. 70. 
 
 S NUFFERS *. filver, with a fhaped plate on the handle 
 bearing a cypher. The tray is fhaped to fit the fnuffers. 
 Englifh. Hall mark, 1677-78. L. of fnuffers, 6|- in., of 
 tray, 9I- in. 20/. 
 
 The handles have a leaf-fhaped plate, which palfes between and 
 beyond the loops, and on it is the cypher J. L., in Italian letter, and. 
 doubled. 
 
 223 9 - ’33- 
 
 Q POON : mother-of-pearl, mounted in filver, ftrapwork 
 >0 pattern, jointed. Dutch. 17th century. L. 7 in. 
 Bernal collection. jl.ns.6d. 
 
 Compare with other jointed fpoons. 
 36105. o 
 
210 
 
 Gold and Silver Smiths Work. 
 
 hi. ’64. 
 
 B ASIN : filver, with flat openwork handle ; for heating 
 liquids over a lamp. Englifh. Hall mark, 1677. 
 H. if in., W. 7f in. 3/. 19^. 6 d. 
 
 The bafm is without ornament. The handle is a flat piece of metal 
 cut into three loops arranged in trefoil. 
 
 3 6 3 8 - ’5 6 '* 
 
 C UP : filver-gilt, odtagonal, with flat embofled and pierced 
 handle, and the fides engraved with emblematic figures. 
 German. Dated 1677. H. 3^- in., diam. 4^ in. 61 . 6 s. 
 
 The fides are ftraight, contradfed to a circular necking below, and 
 have a round foot with beaten ftrapwork on a convex moulding 
 running round the outer circumference. Two handles projedf from 
 the lip, are flat, in thick filigree pierced work, with malks embofled 
 in the middle of each. 
 
 On the eight fides, in flightly indented lines of engraving, are figures 
 indifferently defigned, illuftrating the five fenfes, — of fight, hearing, 
 touch, fmell, and tafte ; the virtues of faith and hope ; and the virtue 
 of prudence. 
 
 1580. ’73. 
 
 C UP : filver, bell-mouthed, with ornament in relief, and 
 the owner’s name on the bottom. German. With a 
 date 1679. i\ in., diam. in. 1 /. ior. 
 
 This cup is furrounded by a rolling fcroll of acanthus leaf beaten 
 up in graceful curves. The lip is fomewhat fmaller in diameter ; it is 
 plain and bell-mouthed. Under the bottom the owner’s name is 
 engraved, “ Francifcus Jofeph. Antonius, a Burgaunatus 14 Xbris anno 
 
 i6 7 9-” 
 
Seventeenth Century. 
 
 21 1 
 
 II 2 . ’64. 
 
 B ASIN : filver, with flat fcroll cut handle ; for heating 
 liquids over a lamp. Englifh. 17th century. H. 
 1^ in., W. 6 in. 3/. 1 9s. 6d. 
 
 A wide flat handle cut into a flrrapwork pattern of 17 th century 
 defign, and bears the letters S.I.E. 
 
 55 * 5 . ’ 7 4 - 
 
 C OVERED Cup : filver, beaten work. Englifli. Hall 
 mark, 1679 an d *683. H. in., diam. 5-^ in. 
 
 40/. 
 
 A half globe in fhape. The top is nearly flat, with ball handle. 
 From this and from the under fide of the cup fpring fpiral acanthus 
 leaves alternately with plain leaves finely beaten and chifelled. All the 
 edges and points are clean and true, without being (harp or fpoiling 
 the furface brightnefs of polifhed filver. Creft, a demi-pegafus ere£t, 
 and letters (S 33* 
 
 115, 115a. ’6 1. 
 
 S NUFFERS: filver, the handles flat and pierced. The 
 tray plain. Englifli. Hall mark, 1682—83. L. 
 fnufrers, y\ in., of tray, 9 in. 2 9/. 17 s. 6d. 
 
 The handle opens with two loops. On the heads of the loops are 
 flat plates of metal cut into cufpings on the edges, and pierced with a 
 quatrefoil. The point has wings of fimilar work. The tray is oblong, 
 with pierced handle. 
 
 67. ’6;. 
 
 M EDALLION : filver-gilt ; obv., figures of a bifhop and 
 four faints with legend ; rev., a fhield with the arms of 
 an archbifhop of Salzburg and legend. German. Dated 1682, 
 Diam. i^- in. Trofs collection. 3/. 12 s. 
 
2 12 Gold and Silver Smiths IV irk. 
 
 On the obverfe five faints ftanding in a row, whofe names are given 
 below, viz., S. MARTIN, EP. VINCENTI, H : HERMES M: 
 CHRYSANT H, ET DARIAM M : TRANSLATE 
 
 On the reverfe a triangle, in the middle, DEO, and on the Tides 
 FUNDATORI . AUCTORI . CONSERVATORI . PRO 
 GRATIA GRATLE 1682. I ARCHIEPTUS SALIS . UN- 
 DECIMO SdECULO . FUNDATI. 
 
 Round the margin, A MAX • GAND . EXCOMIT . DE 
 KVENBVRG ARCHIEP. ET PR. SAL . SED . AP. LE. GER. 
 PRIM. 
 
 T ANKARD : filver, with a drinking bout in beaten work 
 on the furface. Englifh. Hall mark, 1683-4. H. 
 5|- in., diam. 4^- in. 25/. 
 
 Wider at the bottom than the lip, with plain B-fliaped handle and 
 curling purchafe. On the furface a compofition is beaten up 
 reprefenting four ruftics drinking, while a fifth draws beer from a cafk. 
 
 ASKET : filver, elliptic, on four feet, with hinged lid 
 
 faftened with a hafp and ferpent handle ; on the body 
 are engraved oriental figures. Englifh. Hall mark, 1683. 
 H. 4f in., diam. 8 in. 40/. 
 
 The body is a flattened oval, having a fhallow raifed neck within 
 the line of circumference, and a flightly convex lid, which is hinged 
 and faftened in front with a hafp and ftaple. The lid is provided with 
 a ring handle made by a fnake partly lying along and faftened on the 
 lid. It ftands on four feet made of plain pieces of metal, the ends of 
 which are curled forward in volutes. 
 
 On the body and lid Oriental or fancy Chinefe and Tartar figures, 
 birds, and branches are engraved. This work is executed with a Tingle 
 line rapidly chafed. The work fhould be compared with that on 36. ’65, 
 p. 201. 
 
 569. ’74. 
 
Seventeenth Century. 
 
 213 
 
 9015. ’63. 
 
 UP : filver, belled at the mouth, engraved with fcroPs 
 
 and medallions in the lower part, furrounded by a bdt 
 of notched work. German. Dated 1685. H. 8 in., dial 1. 
 5 in. 7/. iij. 8 d. 
 
 The fhape is conical, the furface burnifhed, excepting a band of 
 ftrapwork enclofing medallions with coftume figures in them ; this 
 defcends at intervals in long points. There is an ogee moulded foot, 
 perhaps a later addition, rudely ornamented with the point. Round the 
 lower portion runs a belt of maffive notched metal of architectonic 
 character. 
 
 ASIN : filver, with fcroll work handle, and rofe repoufle 
 
 in the infide. On the outfide is an infcription dated 
 1686. Englifh. Hall mark, 1684-5. H. in., diam. 4^ in. 
 
 The bottom is beaten up into a four-leaved Tudor rofe in high relief. 
 The handle is in graceful pierced curves richly difpofed. Round the 
 fide is the infcription in court hand of the day : Ex dono Annae Aris 
 virg : charifs : forori Eliz. Efton, 1686. It has been probably ufed for 
 heating liquids. 
 
 S ALT Cellar : filver-gilt, triangular, beaten up in relief. 
 
 Underneath a coronet and creft, with SVH 1691. 
 German. 17th century. L. in. Webb collection. 
 
 This fait cellar is triangular, with convex cufps on the three fides. 
 The centre is hollowed for fait. In each angle of the furface is a mafk 
 and ftrapwork, in the three femicircles two dogs couching, and a hare. 
 Thefe figures are hammered up. The rim is covered with flat chafing, 
 and the fupports are of metal in broken S-fhaped fcrolls. 
 
 469. ’64. 
 
 4/. 4 s. 
 
 242- > 4 - 
 
 10/. 
 
214 
 
 Gold and Silver Smiths Work. 
 
 3 8 5 > 3 $ 5 a - ’ 7 1 ' 
 
 S NUFFERS and Stand : lilver, upright Hand with gadroon 
 borders and odtagonal plinth. Englilh. Hall mark, 
 1 695 . H. 6|- in., W. 341 in. 5 /. ioj. 
 
 The ftand is made to hold the fnuffers upright, and is a frame fitted 
 to the fnuffers when in that pofition. The cafe has beaded borders top 
 and bottom, and a ftem, knop and fpreading foot. 
 
 A fmall loop outfide will hold the point of the fnuffers when too 
 greafy to be put into the cafe. A folid round loop handle with purchafe 
 is attached to the back of the cafe. The fnuffers are plain. 
 
 5992' ’58. 
 
 S POON : lilver-gilt, and engraved with foliage ; the handle 
 forming a marrow fcoop. Englilh. Hall mark, 1695. 
 L. 5f in. 
 
 In the modern lhape, but not larger than a teafpoon. 
 
 SI. ’ 69 . 
 
 M ACE : lilver, with a crown royal, and a feries of Ihields 
 of arms on the head, and a knop on the ftaff, on 
 which are the cardinal virtues in relief. Englilh (?). Dated 
 1696. L. 3 ft. 1 in., W. (crown) 4f in. 73/. ioj - . 
 
 The ftem is twilled and the bafe a flattened cone, bearing the arms 
 of the city of Cork, a Ihip entering a port between two towers, full 
 fail. 
 
 The knop in the middle of the ftem is a ball, on which are figures 
 in relief, reprefenting Temperance, Fortitude, Juftice, and Prudence. 
 
 The head is a crown fupported by a rounded bracket that grows out 
 of the ftern. Round this portion are eight Ihields, apparently of 
 different companies or corporations connedled with the one to which 
 this mace belonged. Thefe bear : — 
 
 1. Quarterly of four ; I and 4, a leopard’s head caboffed; 2 and 3, 
 a covered cup, no tindlure. Fora creft or device, the fcales of juftice. 
 Underneath, the motto, “ To God only he all glory.” 
 
Seventeenth Century. 
 
 21 5 
 
 2. On a chevron, three cinquefoils between three grates. For a 
 device, two arms upraifed holding a difh. Underneath, the motto, 
 “ In God is all my trujl ” 
 
 3. A covered cup between two candlefticks. For a device, two 
 hands ifTuing from a cloud, holding pincers. 
 
 4. A chevron between three faddles. For a device, a horfe, 
 pafTant. Underneath, the motto, cc Our trujl is in God.” 
 
 5. Two fcrew purchafes in faltire ; in dexter chief, a demi-lion, 
 paffant ; for fupporters, two nude women, holding torches. For a 
 device, a lion’s head erafed and winged. 
 
 6. On a chevron, between three tents, three cinquefoils. For a 
 device, a tent head. For fupporters, two boys. 
 
 7. A chevron between three water bougets (?). For a device, 
 an orb, royally crowned ; for fupporters, two ferving men. Under- 
 neath, the motto, “ United in love.” 
 
 8. A tobacco plant in full bloflom, proper. For a device, a demi- 
 man, with arms extended holding a pipe and a cake of tobacco ; for 
 fupporters, two favage men, cinCtured with leaves. 
 
 On the crown is a hall mark |RC,a caltle and flagftaff, a galleon. 
 
 On the head is the following legend : — 
 
 This mace was made at the charge of the whole Safety of Gouldfmiths y 
 
 Robert Goble, M tr . W u ' . Hughet y W u '. Harvey , Ward ns y 1696. 
 
 UG : ftoneware, with filver mounts. Englifh. 17th 
 
 century. H. ioj in., diam. \\ in. Bernal collection. 
 
 Richly embofled mounts round the neck and on the cover. Two 
 acorns gracefully curved on the roll of the purchafe, and a feated lion 
 on the lid. 
 
 S ACK Bottle or Jug : ftoneware with handle, the foot, neck 
 and hinged lid of lilver parcel gilt, embofled with malks 
 and foliage. Englifh. Hall mark, 1697. H. 11 in., W. 
 
 Similar in character of work on the mountings to the foregoing. 
 
 zizo. ’ 55 . 
 
 22 /. 
 
 2 IS. ’69. 
 
 Si in - 7 S 1 ' 
 
2 1 6 Gold and Silver Smiths IGt irk. 
 
 "S3- ’53- 
 
 S ALYER or Dilh : filver-gilt, round, with border of re- 
 poufle work. On the back is. infcribed, “ Catherina 
 Eliefabeth von der Schloot, 1698.” Flemilh. Diam. 13^ in. 
 14/. 3s. 3d. 
 
 Rich rolling acanthus ftalk, leaf, and flower run all round the rim. 
 The legend runs under this portion. 
 
 1 14. ’64. 
 
 B ASIN : filver, with flat openwork handle for heating 
 liquids over a lamp. Englifh. Hall mark, 1698. 
 H. 1 in., W. 3 \ in. 3/. 19*. 6d. 
 
 Plain and fmall. The handle is "of one thicknefs, with pierced 
 loops. 
 
 2 . 74- 
 
 B ASIN : filver, with flat openwork handle, for heating 
 liquids. On the handle is an heraldic Ihield. (Said to 
 have been ufed for Oliver Cromwell as an infant). Englilh. 
 17th century. Given by Mrs. L. S. Jarman. Diam. 3 \ in. 
 
 The handle has three open loops, and a Ihield bearing a lion ram- 
 pant regardant, dexter. 
 
 It is of the fame fhape as the laft two, and probably later in date 
 than the infancy of O. Cromwell. 
 
 2115 . '35- 
 
 S POON : fllver parcel gilt, the ftem bearing an infcription 
 in German, furmounted by a plume of three feathers 
 with an efcutcheon of arms on the lower part. - German. 17th 
 century. L. 6f in. Bernal colledlion. 9/. 
 
Seve?tteenth Century . 
 
 217 
 
 314. ’69. 
 
 ACK Bottle or Jug: ftoneware with handle, the foot, 
 kJ) neck, and hinged lid of lilver, embofled and engraved ; 
 on the neck a fhield bearing initials. Englilh. 17th century. 
 H. 12J- in., W. 7 in. 75/. 
 
 The mounts are of fimple defign. 
 
 ASE with Cover : the body wood, in Ihape of a cocoa 
 
 nut, painted with a lady on one fide and a hen on the 
 other ; the mounting filver, the foot being pierced and chafed, 
 and the cover hammered and furmounted by a bird. Spanifh 
 (Seville). 17th century. H. 6^ in., W. at foot, 3 in. 
 1 /. 17J. 6 d. 
 
 The filver foot and mounts are coarfely caft and chafed, but of 
 elegant defign. 
 
 UREEN : filver-gilt, on dragons’ head feet, the furface 
 
 overlaid with vine leave and curled fcroll work of 
 filver. Heraldic lhields are engraved on the cover, and two 
 eagles form the handle. German. Dated 1698. Probably 
 modern. H. 9^ in., L. I3f in., W. 8 in. 81/. is. 
 
 The furface is fmooth filver gilt. Over this the decoration is laid. 
 It is a branch of vine leaf, fruit, and tendril in thick relief, call and 
 chafed up in imitation of nature. The handles are two cupids flying 
 from the ends ; one blows a long horn, the other holds a branch of flowers. 
 The handle of the cover is a pair of eagles fighting. All thefe flowers 
 and animals are modelled from nature, caft and chafed up. The vine 
 work forms an edging, and covers rather loofely the upper part of the 
 body and the lower circumference of the cover. The middle of the 
 cove round the two eagles is completely occupied by cut and curled 
 fc rolls of thin flat filver of all lengths. 
 
 1219. ’71. 
 
 44. ’64. 
 
2 1 8 Gold and Silver Smiths Work. 
 
 Eighteen armorial fhields are engraved on the outer circumference of 
 the cover. Thofe on the ends bear alike, viz. : party per pale ; the firft, 
 fable, half of the imperial eagle difplayed, or ; fecond, argent, a crofs, fable 
 (Memmingen). 2. Party per fefs, fable and or, in each a bugle of the 
 firft and fecond refpedtively counter changed. 3. Sable, a bend between 
 a fleur-de-lys and a rofe of fix-foils, or. 4. Party per pale, two coats ; 
 the firft, or, two bars, fable ; the fecond, fable, half the imperial eagle 
 difplayed, or. 5. Party per fefs embattled, fable and or ; in chief three 
 bezants ; in bafe a trunk of a tree knotted, barways of the firft. 6. 
 The ftiield on the end bears as No. 1. 7. Azure, on a bend, or, three 
 fleur-de-lys of the firft (Giigel of Nuremburg). 8. Or, a wall embattled 
 proper; in chief, vert, two rofes of five leaves, or. 9. In chief a demi- 
 lion rampant, or ; in bafe half a mill wheel of the fecond (Mannlich 
 of Augfburg). 10 Five lozenges in bend finifter between two mullets, 
 or. 
 
 Eight fhields are engraved on the body. They are furmounted by 
 helmets and mantlings, and all bear the fame, viz., a three-mafted fhip 
 in full fail. 
 
 The feet are eagles’ or dragons’ heads holding balls in their beaks 
 and Hope outwards. 
 
 The arms are thofe of towns and families of different ftates in 
 Germany, 1 many of which I cannot identify. 
 
 The leaves and fruit, as well as the birds and figures, are entirely 
 naturaliftic, and are laid over a fhining gilt furface with little knowledge 
 of the old treatment of thefe fubjedfs in metal, particularly in table plate, 
 for which the quantity of points, edges, and feams make fuch a treat- 
 ment peculiarly undatable, efpecially for a foup tureen. It would be 
 difficult ever to keep fuch a veffel clean. It cannot be accepted as 
 ancient. The date, which is written on it, is probably the modern 
 addition of a dealer. 
 
 2639- 55 - 
 
 B OOK Cover : filver-gilt ; arabefque open work. Dutch. 
 Late 17 th century. in. by 8§ in. 10/. 
 
 The whole cover is of pierced, caft, and chafed filver. 
 
 1 Sibmachen, Neu Wappenbuch. 
 
Seventeenth Century. 
 
 219 
 
 S 2 > 53- ’ 6 9- 
 
 ASES, a pair : fllver, two-handled, ornamented with floral 
 
 work chafed in funk outlines ; grotefque terms on the 
 handles. Englifh. Hall mark, 1699-1700. H. in., 
 diam. (lip) 3f in. 50/. 
 
 Each body has two bulges, a necking and fpreading lip above, and a 
 narrower necking and plain round foot below. 
 
 The chafing is delicate. It confills of rofe leaves and other foliage 
 not very clofely or artificially arranged, tooled with a dotted outline only, 
 and without embolling or lines to reprefent fhading or divifions. 
 
 ISH : fllver, elliptic, with figures beaten in the centre 
 
 reprefenting the legend of St. Jerome, with a border 
 of foliage. German. Late 17th or early 18th century. L. 
 i8f in., W. 13J in. 41I. 
 
 The faint is reprefented in a cave in the defert. He is in a tunic 
 of hair cloth, and is taking from the foot of a large lion a thorn the 
 fize of a modern tenpenny nail. The lion feems to defire the relief 
 offered him. 
 
 A border of beaten leaf of large poppy heads with four medallions 
 containing heads, one bearded and three young. 
 
 B OOK Cover : fllver, perforated and chafed with cartouches 
 and fcrolls. German (Nuremburg). 17th century. 
 H. 7 in., W. 1 i\ in. 5/. 
 
 Broad ftrap bands, with leaf work at intervals. 
 
 B OOK Clafp : fllver-gilt, enriched with filigree work, and 
 with three fmall plaques of champleve enamel in niello 
 
 9°3 I • ’63* 
 
 ’ 55 - 
 
 35 8 3- ’53- 
 
220 
 
 Gold and Silver Smiths IV irk. 
 
 ornament. French (?). 17th century. in. by i\ in. 
 
 3 ?- 
 
 The clafps are of elegant Perfian flower defign, niello centre. 
 
 9084. ’63. 
 
 B OOK Clafp : in five pieces, filver-gilt filigree, enamelled 
 and fet with garnets. German. 17th century. L. 4 m. 
 1 /. icxr. 
 
 Plaques of enamel within borders Branding out on a filigree ground. 
 
 99. ’72. 
 
 B OOK Clafp : filver, open ftrapwork ornament. German. 
 17th century. 7 in. by 2§ in. 1 /. io.f. 
 
 Laid out in open fcrolls. 
 
 47. ’64. 
 
 C UP : filver-gilt, the lower part beaten up in fihell pattern, 
 the upper engraved with an armorial fiiield and names. 
 German. 17th century. H. 3^ in., diam. 3^ in. Given by 
 G. Moffatt, Efq., M.P. 
 
 It is flightly bell-mouthed, and the furface is plain to half way down, 
 with a border of engraved fcroll work. The lower half is beaten up 
 with a belt of rings filled with leaf buds in relief, and a gadroon edge 
 fpreading below to make a foot. 
 
 A fhield on the upper half bears : A flag courant, palling a tree, 
 and the following fignature : 
 
 E C 
 
 IENS IACOBSEN. 
 
 Below in larger letters : 
 
 RIBER. 
 
Seventeenth Ce?itury. 
 
 221 
 
 3 1 ;- ’ 54 - 
 
 T ANKARD : fllver parcel gilt, with pierced medallions 
 and borders, {croll handles, and a cover furmounted by a 
 cockatrice. German (Augfburg). 17th century. H. 7^ in., 
 diam. 5^ in. 50/. 
 
 The'body is gilt and decorated with oval medallions of filver beaten 
 up and pierced. They contain a cupid with fruit and a peacock. The 
 fame figures are repeated in all three medallions. The reft of the 
 furface is emboffed with cupids’ heads, fcarves, and wreaths. 
 
 On the cover, which is gilt like the body, are placed three rofettes 
 of filver. The handle is a bold fcroll, with terminal child’s head in 
 filver on the top, a rich double fcroll for purchafe, with a crown 
 and round badge above. On the top of the lid is a cockatrice fupport- 
 ing a fhield, arg., charged with a lion rampant, fable : arms of a 
 Imhoffs of Augfburg. 
 
 4861. ’58. 
 
 C UP and Cover : fllver-gilt, divided into lobes above and 
 gadrooned and chafed below, with bracket fcrolls on 
 the ftem, and a bunch of flowers on the cover. German. 
 17th century. H. 13 in., diam. 4.^ in. 10/. 
 
 The upper half of the cup is larger than the lower, and beaten out 
 into fix femicircular lobes. Below thefe the cup is contra&ed and 
 chafed with ftrapwork and flowers coarfely executed. The ftem is a 
 fmall claflic vafe with fcroll handles, and ftands on a rounded mafs, 
 which furmounts a flatter foot ; thefe latter features are covered with 
 cartouche and gadroon work, coarfe, like thofe defcribed, and with a 
 band of fcroll work. 
 
 The cover is lobed like the upper half of the cup, and gathered 
 above into a point, furmounted by a bunch of flowers of good beaten 
 work. This is further fet off by a collar of fleurs-de-lys in folid wire 
 work, the heads downwards, and the flowers ftrengthened by a wire 
 running through them. 
 
222 
 
 Gold and Silver Smiths Work. 
 
 320 . ’54. 
 
 C UP, Tazza : filver parcel gilt, on raifed Item and foot, 
 chafed and with open fcroll knop on the ftem. The 
 bowl is beaten up with a compofition of Tobit and the angel. 
 German. 17th century. H. 6 \ in., diam. 5f in. 15/. 
 
 The bowl is a fegment of a globe, th e upper part of the outfide in 
 plain metal. The moil ftriking part of the ornament is the ftem, of 
 which the central knop is formed by four curling fcrolls of folid metal 
 alternately with four light flowers. The point of junction of the ftem 
 and bowl is alfo covered by a crown of light flat flower work, curled 
 over in lobes and leaves. The foot is of pedeftal form and beaten up 
 with arabefque flowers and ftrapwork. 
 
 The infide of the bowl is beaten up with a compofition of figures. 
 Tobit carrying a fifh, accompanied by the archangel and his dog, in a 
 landfcape. 
 
 The execution is fomewhat coarfe, and the fcrolls and flowers of 
 the knop look like caftings ; they are effective in oudine and arrange- 
 ment however, and the fine beaten leaf work round the junction of the 
 ftem and bowl is light and graceful. 
 
 See etched illuftration. 
 
 C UP, Tazza : filver, with balufter ftem, embofled with 
 fcutcheons, malks, and fruit ; chafed fcrolls on the foot. 
 In the bowl is a compofition of the judgment of Solomon, 
 in relief. German. 17th century. H. 6|- in., diam. 8 in. 
 Bernal collection. 4 5/. io.r. 
 
 The difh is in two divifions or bands, the upper plain. In the 
 bottom part is the judgment of Solomon. He is throned in a wide 
 hall ; galleries with columns and corridors run round it, and figures are 
 feen converfing or watching the proceedings. Round the throne are 
 gathered fages and divines in fquare caps, long academic robes, and 
 various coftumes. The two women are at the feet of the throne, and 
 a foldier, in a claffic cuirafs, helmet, and fandals, holds the infant up by 
 one leg, and a fcimitar in his other hand. The compofition has a border 
 of bracket-fhaped fcrolls round it. 
 
 The ftem is a maflive balufter, with prominent malks and bunches 
 of foliage on four Tides. Chafed malks and fcrolls decorate the bafe. 
 
w 
 
 SKM 
 
 09 *) 
 
 Si Lvtp PARCEL-C I LT TAZX/H . 
 
 DUTCH OR GERMAN. 
 
 id I N ABOUT i6od. S-K.M. (no J20) h'J f.jy'p /LL 
 
 r 
 
Seventeenth Century. 
 
 223 
 
 153. ’70. 
 
 C '"' OBLET : fllver, with cylindrical Hem, beaten up with 
 bands of flowers. Englifh. 17th century. H. 9J in., 
 diam. at top, 4-! in. 20/. 
 
 It is in the form of a double cup, the upper egg-fhaped with a lip 
 flightly belled, and the lower funnel-fhaped. Between the top and the 
 hand, and at the bafe, there are two bold torus bands. On both cup 
 and ftand bold flower work is beaten up, and finifhed carefully, though 
 not minutely, with the point, Thefe are of the fame large character 
 as the tulip work fo common on plate of the 17th century, but fome- 
 what lighter and with more decorative difpofition. 
 
 UP : fllver-gilt, with ftem and foot, and the lip beaten 
 
 out into femicircular curves. German (Augfburg). 
 17th century. H. 6 §• in., diam. 2-| in. 5/. 
 
 The body is quaint, but not graceful in fhape, and beaten out into 
 fix flutes or cufpings to about half way down, when it contracts to the 
 diameter from which thefe enlargements fpring, and this lower half is 
 gadrocned to the bottom. The ftem is balufter-fhaped, ftanding on a 
 rounded pedeftal and rounded foot, bordered with gadroon ornament. 
 The upper lobes or cufpings are ftippled over entirely on the outfide. 
 
 UP : filver parcel gilt, beaten up and chafed on a fhort 
 
 ftem and footrefting on three pomegranates. German. 
 17th century. H. 4 in., diam. 3 in. 5/. 
 
 The upper half is cylindrical and plain, excepting a border of 
 engraved ftrapwork, gilt under the lip. The lower part bulges like an 
 acorn cup, and is beaten up in coarfe gadroon ribs indented in the 
 broader part ; a fhort ftraight ftem has beaten fcrolls fattened round it. 
 The foot is a projecting half torus beaten in gadroons, each rib indented. 
 
 4294. ’57. 
 
 6821. ’6c. 
 
224 Gold and Silver Smiths Work . 
 
 The intervals between all the ribs are chafed with rough horizontal 
 lines. 
 
 It refts on three pomegranates, with leaves boldly beaten up and 
 attached to the foot. 
 
 ANKARD : filver parcel gilt, plain drum, with chafed 
 
 borders, the cover furmounted by a ball and with fcroll 
 handle. Augfburg. 17th century. H. 6 in., diam. 5^- in. 
 Bernal colle&ion. 10/. 
 
 The drum is barrel-fhaped and plain, with wide-fpreadlng bafe rim, 
 and the cover rounded up and fpreading over the lip. Round the bafe, 
 and juft above it, run bands of ftrapwork in relief, and the fame orna- 
 ment is laid round the convex of the lid. Round the middle of the 
 drum and on the flat parts of the cover are bands of engraved arabefques. 
 All thefe are gilt. 
 
 The handle is large, in feveral curves, and at the points of contail 
 with the body rolls over into feveral volutes. It has a prominent curled 
 purchafe. 
 
 ANKARD : filver-gilt, in a diamond pattern, with plain 
 
 handle and knob on the cover. German (Augfburg). 
 17th century. H. 5f in., W. 5 in. 9/. 
 
 The body contrails at the top, the fides are ftraight. The whole 
 is beaten up into diamond fquares, with a raifed line between each. The 
 handle is quite plain, but the purchafe is brought over at the top in two 
 well-graduated volutes. 
 
 T ANKARD : lilver-gilt, chafed with fcrolls, furmounted 
 by a knob. German (Augfburg). 17th century. H. 
 6 \ in., diam. 5^- in. 14/. icxt. 
 
 The body ftands on a bold plinth-lhaped bafe. The lid is coved 
 up, has a flat centre and bold knob on the top. The bafe, a band 
 
 iS 1 *- ’ 55 - 
 
 287. ’54. 
 
 397 - ’ 54 - 
 
Seventeenth Century. 
 
 225 
 
 immediately over, and the coved part of the top have gadrooned orna- 
 ment round them, the bands Hoping in oppofite directions. The handle 
 protrudes ftraight, then curves in a quadrant, and is returned from the 
 outer point by a long curve back to the bottom, and rolls back after 
 the point of junction with a volute. It is completed by a bold fcroll 
 purchafe to lift the lid ; arabefques of flowers and ftrapwork are chafed 
 on the flat furfaces of the body. 
 
 T ANKARD : fllver-gilt, with tides flat in the middle, and 
 embofled with flowers above and below, fcroll handle, 
 and beaten leaf work over the cover. Niiremburg. 17th cen- 
 tury. H. 7-| in., W. 6 in. 12/. 12 s. 
 
 The fides make fmooth panels cut into points by embofled lobes 
 above and below. Thefe portions are engraved with flowers and leaves ; 
 bold lobes are beaten up on the cover ; gadroon borders circle round 
 the bottom. The centre of the cover is furmounted by a bold handle 
 or knob compofed of diftinCf fcrolls of metal united in a flower. From 
 it are laid delicate curled fcrolls of metal, one in the direCfion of each of 
 the lobes on the lid. 
 
 The handle is decorated with a row of balls, and furmounted by a 
 purchafe in double volutes richly decorated with maflcs. The two 
 parts of the handle together make a bold and effective feature. The 
 falient mafles of the lobes of the cover, and of thofe furrounding the 
 lip and bafe, are well proportioned to the gadrooned borders and balls, 
 which make up three fcales of embofled ornament. Thefe bold features 
 are balanced by the fize of the handle and its volutes, which are again 
 fet off by the delicate beaten work on the lid. 
 
 ANKARD : filver-gilt, embofled with bulbs dividing the 
 
 drum into flx flat panels, engraved with fruit and birds, 
 and with fimilar ornament on the cover. Niiremburg. 17 th 
 century. H. 5% in., diam. 3§- in. 7/. 
 
 The fhape is like that of the laft defcribed, but the parts are lefs 
 rich in ornament. 7 he fides are fix flat furfaces engraved with fruit 
 36105. p 
 
 363/ • ’ 5 6 - 
 
 291. ’5 4- 
 
226 
 
 Gold and Silver Smiths Work . 
 
 and foliage, and pointed above and below, the tops and bottoms being 
 divided by embolTed lobes. The handle is furmounted by a purchafe, 
 and the cover by a plain balufter-fhaped knob, which is a modern 
 reftoration. 
 
 1058. ’53. 
 
 D ISH : filver, elliptic. In the middle, and in medallions 
 round the border, are fix figures reprefenting the vir- 
 tues. Dutch. 17th century. 19^ in. by 11 in. 9/. 6 s. 7 d. 
 
 The middle is flat, furrounded by a broad flat border with a waved 
 edge. This portion is hammered up with acanthus leaf that does not 
 fpring from the infide. It contains fix medallions. In the middle is a 
 lady feated and furrounded by children, wearing the loofe drefs of 
 Kneller’s portraits as, Charity. Above, Temperance and Hope, with 
 proper emblems. On the lower fide Mercy with a lamb; Fortitude 
 holding an olive branch. On the ends, Prudence and Juftice. 
 
 144. ’65. 
 
 C UP or Beaker : filver, parcel gilt, covered with imbricated 
 fcales, and with chafed foliage and legend round the lip. 
 Ruffian. 17th century. H. iof in., diam. 5^ in. 25/. 
 
 In the ftiape of a tall beaker or drinking horn, the fides boldly 
 chafed with fcales throughout. A gilt border round the lip contains a 
 legend in old Cyrillian letters. 
 
 435 - ’ 73 - 
 
 T riptych : in a filver-gilt frame, with encrufted imbri- 
 cated enclofures of enamel. The middle panel reprefents 
 our Lord enthroned, and the leaves, two faints, carved in wood. 
 Ruffian or Greek. 17th century. H. 4 in., W. io| in. 
 24/. 
 
 The frame is imbricated with filigree wire, the fpaces being coloured 
 with opaque enamel burnt to a glaze, but not filled up to a full height 
 
Seventeenth Century . 
 
 227 
 
 and ground down as in old work. The panels are three in number, 
 and reprefent a nimbed figure of a bifhop or abbot wearing a chafuble 
 and the pall of a metropolitan. He is feated on a wide throne, the 
 legs and backs carved, the extremities of the latter turning over at 
 the arms in large volutes, and is placed under a trefoiled canopy. On 
 either fide are figures of a crowned emperor and emprefs. They 
 ftand with the hands in the attitude of fupplication. The canopies 
 or niches over thefe figures are trefoiled arches fupported on curious 
 rude balufter-fhaped columns. 
 
 The enamelled backs are loft. They have been covered with work 
 like that on the edges. 
 
 176. ’74. 
 
 T RIPTYCH: of brafs, probably once cafed with filigree 
 metal work and enamel, originally, containing three 
 fcenes from the Gofpel. Ruffian. 17th century. H. 4 f in -> 
 W. 1 of in. Given by Mr. W. Wright. 
 
 The three paintings are on wood, each bordered with a framework 
 of very thin brafs beaten up into rolling fcrolls, and reprefenting the 
 Annunciation and the decapitation of St. John the Baptift. In the 
 background the Baptift rebuking Herodias. On the left is the raifing 
 of Lazarus, who is not bound, wears the tunic, and has the lower 
 extremities of the legs ftill in the grave. It is a treatment diftinct from 
 that ufual among Italian defigners. Mary embraces the feet of our 
 Lord, the apoftles ftand round, and the towers of Jerufalem are feen in 
 the diftance. Thefe fubjefts have got out of place. 
 
 The cafe is of brafs pierced for fquare panels of mofaic or painting, 
 and the angles are of flat pierced fcroll work without engraving or orna- 
 ment of any other kind. 
 
 1 77 - ’ 53 - 
 
 T RIPTYCH : enamelled on brafs. Ruffian. 17th cen- 
 tury. Picked up on the field of battle at Drefden. 
 1813. H. if- in., W. if- in. Given by Prof. Semper. 
 
 In three fquare folds, the middle containing a feated figure of the 
 bleffed Virgin holding the infant Saviour and each fide leaf the figure 
 
228 Gold and Silver Smiths JVorh 
 
 of a fainted prieft habited for the mafs. It is made to be hung round 
 the neck, and is of extremely minute dimenfions. It is probably not 
 older than the laft century. 
 
 434 - 73 - 
 
 P OLYPTYCH : in a fil ver-gilt cafe, with enamels in filigree 
 imbrications. Painted and gilt with fubjecfts of the 
 Refurredtion and vifions of faints. Ruffian or Greek. 17th 
 century. H. 4 in., W. (open) 9! in. 24/. 
 
 The various parts of this tablet fold together like the leaves of a 
 book. On one furface a figure ftands in contemplation ; he is drefled 
 in a Ihort tunic with the hands folded. It is probably St. John the 
 evangelift in the Idle of Patmos, before him is a fea of fire in waves, with 
 flame coloured crefts. In the background is the heavenly Jerufalem, a 
 collection of towers, and in an upper corner a vifion of the Saviour, 
 with the apoftles round Him, furrounded by clouds. 
 
 On the other fide is the fame apoftle, or one of the defert faints, clad 
 in fackcloth partly covered by a long toga, a yellow fea is before him, 
 and the crefts of the waves are partly tipped with flame colour. The 
 fame airy vifion is feen in this as in the laft plaque. 
 
 In the centre are feveral compofitions. The moft prominent is 
 the Refurrection. Another fubject on the fame plaque is the har- 
 rowing of hell, reprefented by the open mouth of a monfter : an angel 
 ftands keeping it ftretched while the fouls detained in it are fummoned 
 forth. On the left cf this fubjecft is the baptifm of our Lord, Who 
 ftands in the ftream of the Jordan. Above this He is feen ftanding on 
 ,lhe fepulchre, while a Jewifh prieft leans over the entrance fealing it. 
 Another fubjecft feems to be the Ecce Homo, two aged figures with the 
 Saviour. 
 
 The whole is faftened with loops and pins with enamel heads and 
 imbricated fcales filled in with cloifonne enamel. 
 
 Oval plaques that have been faftened on the outfide are now 
 wanting. The enamel is painted on copper with opaque colours. The 
 cafe is covered with an imbricated pattern made of filigree lines or 
 enclofures of metal for enamels in different colours, which are but 
 partially filled, have been only once fired, and left with a glazed 
 furface. On the outfide are portions, fuch as the pins, executed in 
 fimilar enamel. The figures are elongated after the Greek type, the 
 drawing wiry and dry, and the colours tawny. 
 
S KM 
 
Seventeenth Century . 
 
 229 
 
 98. ' 66 . 
 
 C ROSS : pedtoral, of filver, fet with precious ftones and 
 enamelled. Ruffian. 17th century. 4^- in. by 3f- in. 
 
 1 /. 
 
 A pectoral crofs. The front is covered with arabefque ornament in 
 relief filled in with enamel. The ends expand and on each is fet a 
 turquoife with a garnet in the centre. A bead above is cut in facets 
 covered with enamel and pierced for fufpenfion. 
 
 104. ’66. 
 
 C RUCIFIX : filver-gilt, with a Chrift on one fide fet 
 round with enamel and precious ftones in the centre. 
 Ruffian. 17th century, in. by 2§ in. 4/. 
 
 The face is covered with filigree ornament and enamel in various 
 colours. A fmall figure of our Lord is fattened on the front, and four 
 garnets are fet in the centres of the fleur-de-lys on the extremities. 
 
 109. [ 66 . 
 
 C ROSS : filver, of perforated fcroll work, with knobs of 
 metal. Ruffian. 17th century. 2-f in. by if- in. 
 'll. 
 
 The crofs is of filver. The ends expand in double curves, and on 
 the edges, and the ornaments that iflue from the points of interfection, 
 are knobs of metal. 
 
 See etched illuftration. 
 
 105. ’66. 
 
 C ROSS : enamel on filver ; on one fide the ends are blue, 
 with infcriptions, and a funk crofs in the centre of 
 various colours. Ruflian. 17th century. 2-f in. by if- in. 
 2/. 
 
230 
 
 Gold and Silver Smiths Work. 
 
 A pectoral crofs. The ends are expanded and covered with enamel 
 of various kinds on both tides, a circle, with projecting points, joins the 
 four limbs of the crofs. The facred monograms and names in Cyril- 
 lian characters in plaques on the extremities. 
 
 See etched illuftration. 
 
 io 6. ’66. 
 
 C ROSS : enamelled on ffiver, with infcriptions. Ruffian. 
 17th century. i\ in. by if in. 2/. 
 
 The ends are trefoil. A circle joins the limbs. The front is 
 enamelled with green, and has facred names and monograms in Cyrillian 
 characters. The enamel on the ends is green and white. 
 
 107. ’66. 
 
 C ROSS : peCtoral, ffiver, enamelled, with infcriptions. 
 
 Ruffian. 17th century. 2 in. by if- in. 1 /. 
 
 The crofs has four rays ifluing from the point of interfeCtion, and 
 covered with blue, green, yellow, and white enamel. 
 
 103. ’66. 
 
 C ROSS : peCtoral, of ffiver, enamelled in various colours. 
 Ruffian. 17th century. i\ in. by if- in. 2/. 
 
 The centre has a circle, the ends fet with fmall turquoifes and 
 mounted with a ring for fufpenfion. 
 
 hi. ’66. 
 
 C ROSS : peCtoral, ffiver, decorated with knobs and 
 
 bearing infcriptions. Ruffian. 17th century (?). 2f in. 
 by 2 in. 2/. 
 
 The ends of the crofs are curved round in anchor thape, and balls 
 of metal are fet on the edges. Monograms on the furface in Cyril- 
 lian characters. 
 
S event eejith Century. 
 
 231 
 
 508. ’69. 
 
 C ROSS : ffiver, decorated with ftuds and bearing infcrip- 
 tions. Ruffian. 17th century. 2f in. by 2§ in. 
 
 1 /. IOJ - . 
 
 A crofs with the ends curved over, anchor-fhaped, and touching at 
 he points. There are balls of metal as on the laft-named, and mono- 
 grams on the face. 
 
 509. ’ 6 9 . 
 
 C ROSS : pedtoral, filver-gilt, with infcriptions. Ruffian. 
 17th or 1 8th century. 2§ in. by if in. 1 /. ior. 
 
 Sacred monograms are placed upon the ends. On the front is a 
 plain crofs, with the title, and a bracket for the feet. 
 
 510. ’69. 
 
 C ROSS : ffiver, with infcriptions, the ends in fleur-de-lys. 
 Ruffian. 17th century. 2 f in. by i\ in. 2/. 5 s. 
 
 The ends fhaped as flat fleurs-de-lys. Monograms in raifed 
 Cyrillian letters in fquare panels on the ends. The back is plain. 
 
 5 11 * 69* 
 
 C ROSS : filver, with infcriptions on both fides. Ruffian. 
 17th' century. i\ in. by 2 in. 2/. $s. 
 
 Open fcrolls and knobs on the edges, with a ring for fufpenfion. 
 
 513. ’69. 
 
 ROSS : lilver, with infcriptions on the fronts. Ruffian. 
 s 17th century. 2f in. by if in. 1 /. 41-. 
 
 Round trefoils on the ends and between the limbs, with monograms 
 and legends engraved on the front in RulTo-Greek characters. 
 
232 
 
 Gold and Silver Smiths W ork. 
 
 5 r 3- ’ 6 9 • 
 
 C ROSS: filver-gilt, with fufpending ring. Ruffian. 17th 
 century. in. by 1^ in. 3/. 15^. 
 
 The limbs expand at the ends. 
 
 ROSS : filver partially oxydifed with infcriptions on one 
 
 fide and the facred monogram on the other. Ruffian. 
 17th century. H. if in., W. in. il. $s. 
 
 The limbs are joined by a circle. 
 
 HALICE : filver-gilt ; the bafe, ftem, and lower part of 
 
 the bowl ornamented with hammered work. Portu- 
 guefe. Early 18th century. H. 95- in., diam. 6 in. 7/. 
 
 ' The lip is bell-fhaped, the knop larger and flatter at the top than 
 below. The bafe has three cartouches, containing : 1. The Veronica 
 face ; 2. the feamlefs coat ; 3. the pitcher of vinegar, rudely executed 
 in relief. 
 
 The character of the work is maflive, giving the various parts 
 a greater appearance of folidity and weight of metal than they really 
 have. 
 
 ASE and Cover : filver, of claffic outline, with delicate 
 
 fcrolls and flowers round the lip, foot, and cover. Eng- 
 lish (?). Early 1 8th century. H. 8-J in., diam. in. 14/. 14J. 
 
 The fhape is a long half oval, the handles rife ftraight, as in an old 
 Greek vafe. Round the lip runs a broad belt of chafed fcroll and leaf 
 work ; borders of fimilar chara&er run round the cover and foot. A 
 neft of acanthus leaves falls from the knob of the cover, which is rather 
 poor and fmall. The flat part of the body is laid out in perpendicular 
 ftripes, alternately notched and burniftied. 
 
 514. ’6 9. 
 
 1 62. ’66. 
 
 461. ’75. 
 
Eighteenth Century. 
 
 233 
 
 4288. ’57. 
 
 U RN : for hot water, gilt metal, hexagonal, mounted on 
 three fcroll feet with three taps. Dutch. 17th or 1 8th 
 century. H. 13 % in. Diam. 8 in. 3/. 
 
 It has fix cylindrical projections round the fides, and the lower por- 
 tion is decorated with fine leaf work chafed in relief ; the upper part 
 fmooth. There are three fpouts with taps for drawing off the liquor ; 
 the top is bofled and finifhed with a knob. It is lifted on three fcroll 
 legs high enough to allow cups to ftand under the fpouts. 
 
 654. ’70. 
 
 T ANKARD and Cover : lilver parcel gilt, the drum beaten 
 up with a compolition of ruftic figures. A garland 
 of flowers furrounds the bafe, and fimilar ornament the cover, 
 on which is a medallion. Dutch. 17th or early 18th century. 
 H. 8f in., W. 6f in. 60/. 
 
 The gilt parts are fome of the horizontal divifions of the piece. 
 The drum is filver and reprefents Dutch peafants dancing, while a 
 fiddler and bagpiper play to them. Other figures fit and caroufe, one 
 man fmokes, one holds a jug, and an old woman ferves them. 
 
 The defign is in the manner of Oftade. The women wear caps, 
 jackets, heavy fhoes, and have pincufhions and bundles of keys hanging 
 at their waifts. The figures are in high relief. 
 
 On the lid is a medallion with a compofition in relief, a boor fitting 
 drunk on a barrel. Round the lower bulge of the lid runs a band of 
 bold gilt leaf work. A band of gilt leaf work runs round the large 
 torus that forms the bafe. 
 
 The handle is of folid metal beaten, and in broken rolls and fcrolls. 
 
 II9I. ’64. 
 
 B ELL : filver, with a fhield and prelate’s hat engraved on 
 the furface. Flemifh. Late 17th or 18th century. 
 H. 4 in., diam. 2f in. 2/. 
 
 The bell is plain, and is engraved with a fhield bearing : vaire, 
 a bifhop’s hat and cords above. For ufe at the mafs. 
 
234 Gold and Silver Smiths Work. 
 
 5 - ’ 6 7 - 
 
 C UP and Cover : diver, two-handled, with dolphins on the 
 cover, and beaten work on the body. French. Early 
 1 8th century. H. 7 in., diam. 3-^ in. 30/. 
 
 The outline has much variety. The body is vafe-ihaped, on a 
 fluted item and round foot ; the tides are covered by bold foliage 
 in the rococo ftyle ; round the lip is a reeded belt. Scutcheons, but 
 without arms, are placed amongit the ornament, and two dolphins 
 amongil rococo curved ornament furmount the cover. 
 
 809. ’6 4. 
 
 C UP: diver, two-handled, the lower part gadrooned. 
 
 Engliih. Early 18th century. H. ij in., W. 2f in. 
 Given by the Rev. R. Brooke. 
 
 It is very fmall, and for toy ufe, or perhaps for tailing fpirits. The 
 metal is thin, but beaten up carefully, and made like a full flze cup. 
 
 41, 41 a. 'J 2 . 
 
 B OOK Mount, one of a pair : diver dligree openwork. 
 
 German. 1 8th century. 9I in. by 1 in, 1 /. 13J. 4 d. 
 the pair. 
 
 Graceful rofettes of filver wire, graduated in flze with much 
 elegance. 
 
 9019, 901 ga . ’63. 
 
 B OOK Clafps, a pair : chafed diver, heart-ihaped ends. 
 German. 18th century. L. of each, 2-| in. iu. 8 d. 
 Carefully chafed. 
 
Eighteenth Century. 
 
 235 
 
 90 2,6. ’63. 
 
 B OOK Mounts or Corner Plates : a fet of eight, lilver 
 chafed and pierced fcroll work. German. 18th century. 
 L. of each, |- in. 8 j. 9^. 
 
 A feries of fmall plates. 
 
 8lO. ’64. 
 
 D ISH : lilver, two-handled, repoufle work in patterns. 
 
 Englifh. 1 8th century, W. i\ in. Given by the 
 Rev. R. Brooke. 
 
 The work is beaten up into fimple arrangements of four fmall 
 bofles, with a blunt point. Ufed probably for tobacco allies. 
 
 40 . ’ 72 . 
 
 B OOK Mounts: lilver pierced work. German (Auglburg). 
 1 8th century. 9I in. by 4! in. 2/. 
 
 Strapwork and arabefques, with piercings. 
 
 8ll. ’64. 
 
 N UTMEG G rater : in cylindric lilver cafe, chafed with 
 fhield and monogram. Englifh. 1 8th century. L. 3§ in. 
 Given by the Rev. R. Brooke. 
 
 Quite unornamented. 
 
 558 . ’ 74 - 
 
 C OVERED Tankard: lilver, with beaten ornament. 
 
 Englifh. Hall mark, 1703-4. H. 7^ in., diam. 5! in. 
 25/. 
 
 Plain in outline. Strapwork ornament on the drum, with malks ; a 
 fcutcheon on the lid carries the crell, a demi pegafus eredt, and letters 
 
236 Gold and Silver Smiths Work , 
 
 3 6 33 - ’ 55 - 
 
 M EDALLION : fiver, embofled with three cupids in 
 high relief, who uphold a trophy of fhields, with 
 Latin infcriptions and battle pieces in baf-relief. Signed J. B. 
 Eben me fecit ; dated 1705. German. Diam. 8|- in. 30/. 
 
 The principal relief is a cupid occupying the middle of the circle. 
 Two others are circling round, and fupport between them a trophy of 
 fhields, round which are guns, trumpets, arms, &c. The fhields are 
 of feveral forms, oval, and in various claffic curves. On one is a 
 battle piece, with horfe and foot charging, and the words — 
 
 VICTORIA AD SALATEND XIX MART MDCCIII. 
 On another the words — 
 
 VICTORIA AD IACOBSTADT DIE XXVI, IVLII, 
 MDCCIV. 
 
 On another, the large!!, are the words — 
 
 VICTORIA VILTZNICA PROPE GEMANURTHOF 
 DEI XVI, IVLII, MDCCV. 
 
 Another has the reprefentation of a fiege, and — 
 
 EXPUGNATIO ARCIS B1RSJE DIE XIV SEPTEMB. 
 MDCCIV. 
 
 Round the breech of a gun is — 
 
 I. G. EBEN ME FECIT 1705. RICH. 
 
 Round the margin of the medallion are the words — 
 
 VICTORIA NULLA CLARIOR AUT HOMINUM 
 VOTIS OPTATIOR UNOUAM 
 CONTIGIT . INGENTES GEMINANT DISCRIMINA 
 MAGNA TRIUMPHOS 
 
 OVAM CERTA FUERE GAUDIA CVM TOTAS VIC- 
 TORIA PANDERET ALAS 
 CUNCTIS INOPINA RELUXIT, TE VICTORE, 
 SALUS. 
 
 To which of thefe adlions the lines refer it is not eafy to decide. 
 Medals of the fame kind on a fmaller fcale commemorate mod of the 
 vi&ories and a&ions fought during wars of the firft years of the 18th 
 century. 
 
 293 ’ ’ 5 4 - 
 
 P LATE of fiver : fquare, with femicircular head, and 
 compofition in repoufle work of the triumph of Galatea 
 Dutch. Early 1 8th century. 3f in. by 2§ in. 1 /. in 
 
Eighteenth Century , 
 
 237 
 
 The nymph reclines on the back of a dolphin, and cupids and dol- 
 phins bear her company over the fea. Two cupids fly overhead lighting 
 the way : a border of flowers. Over the circular head is an ornamental 
 edging of fhell with two dolphins. 
 
 3635 • ’ 5 6 - 
 
 C UP : filver, two-handled ; a corded belt runs round 
 the top with ftamped borders, with a fcutcheon and 
 infcription, “ The Company of Porters.” Engliffi. Hall 
 mark, 1705. H. 4-! in., W. 8f in. 7/. 
 
 Bell-fhaped, with a necking under the body, and an expanding foot 
 gadrooned rcund the edge. A belt of cord and fine ftamped rofettes, 
 runs round each fide under the lip. The lower part is in flanting 
 flutings and quills, ending in rofettes. 
 
 The handles curve back after contadl with the lower body. A 
 fcutcheon on the fide, bordered by leaf work of Ample defign, contains 
 the infcription. 
 
 Il6. ’64. 
 
 C UP and Cover : filver-gilt, with reeded ornament ; en- 
 graved with the arms of the officers of a guild, to which 
 it has belonged. Around the bowl hang twelve emblematic 
 fhields, and on the cover is a figure in Roman coftume, with 
 ffiield and ftandard. German. Dated 1706. H. 23 in., 
 diam. 6^ in. 99/. 155. 
 
 This cup has been much repaired, cleaned, and thickly gilt. It is 
 cylindrical in the body, ribbed with fmall perpendicular lines expand- 
 ing into a {hallow cup below, and with a deep bell-fhaped lip above. 
 Between the lip, which is plain, and the ribbed part, a round collar 
 fupports twelve fanciful fhields, which hang by links from as many 
 lions’ mouths, round this member. 
 
 The ftem is high, and has a round knop for the hand, and expands 
 with one or two collars to a round bafe. 
 
 A claflic warrior on the lid holds a banner and fhield ; on the latter 
 is an hour-glafs, with an emblem of death above, and the legend : 
 
 Hin geht die zeit, her Komt der Todt 
 O menfch thii recht und fiirchte Gott. 
 
238 Gold and Silver Smiths' Work, 
 
 On the banner is a bier covered with a pall, and a crucifix laid over 
 it, Rofes are engraved in the corners of the flag, and under it — 
 
 1706. 
 
 Johan : Heinrich : Schrader. 
 
 On the r reverfe, emblems of death. A fkull, tulip flowers over it, 
 a pipe and foap bubbles, a candle burning out, an open book, and 
 therein : 
 
 Ecce quid eft mundus quid mundana, omnia vana. 
 and a female head, with the word Vanitas under it. 
 
 Below the whole — 
 
 Mors ultima linea rerum eft. — Horat. 
 
 Round the bafe are the following infcriptions : — 
 
 Setzt an die frifchen Lippen ! 
 
 An dieflen Silber bordt, 
 
 Baldt tragt man eiier Rippen. 
 
 Hin zu der Toaes Pfordt. 
 
 Drum freut euch fo ihr Briider ! 
 
 Dafs des Gott nich feij Zu wider. 
 
 Anno 1717 , ift die Griinenhagifche Briiderfchafft zufammen 
 gewefen und ift beliebet worden diefen Wilckom machen zu laflen, 
 und feind das Jahr die vorfteher gewefen Hr. Frantz Wiedeman, Hr. 
 Johann Heinrich Schrader, und Hr. Baltzer Roft als Regiftrator, und 
 wieget am gewight 15. 3. loht. Gott fegne diefe Briiderfchaft ! Bis 
 er zerftor des todes macht ! 
 
 Round the flat part of the lip are the names of the members of a 
 fociety. 
 
 The fhields round contain devices, not arms, and are as follows : — 
 
 A farcophagus hung with garlands. Two flaming torches on the 
 fides. A motto, Das ift die Letzte Ehre. A pot containing a plant, 
 and a hand watering it from a rofe waterpot ; Leid und Hoffe ; 
 a death’s head and bones on the ground, above it a trumpet ; 
 Stehet auf ihr todten ; a fquare pedeftal or altar and a tree planted 
 thereon, with a rayed fun fhining in the heaven ; Todte ohne dich. 
 An open grave with a dead corpfe befide it ; hier mus er, bleiben. 
 A church in a graveyard, with a crane on its neft on the tower ; Hier 
 ift ficher wohnen. A farcophagus and a ftar over the head ; Gliicklich 
 im Todt. A vine planted in a vineyard, with a broken ftem, and liquid 
 flowing therefrom ; Auf die Thranen folgen die friichte. A grave- 
 ftone and a dog befide it ; Las die todten ruhen. A garden gate with 
 hedges of flowers, Cupid {landing in the open gateway ; Es fteht fur 
 
Eighteenth Century . 
 
 239 
 
 freund iind nicht vor feinde offen. An open fea and rocky coaft, an 
 eagle flying towards the fun Zu Gott hinaiif. 
 
 A garden enclofed in a low border, and a breeze blowing from a 
 cloud to it ; Sovergehen die Schontle dinge. 
 
 398 . * 54 * 
 
 B EAKER, covered : filver-gilt, with beaten and chafed 
 fhells and fcroll work, and an infcription round the 
 top. German. Dated 1708. H. 9! in., diam. 5 in. 10/. 
 
 The Tides are covered with large leaf work beaten up and with fpiral 
 flutings, fhells, and a border of beads or balls round the bottom. It 
 Hands on a moulded bafe, the outer moulding being covered with fhell 
 and leaf work. Round the cover is the legend, — 
 
 JACOB MARTENS JACOBS SOHN IN HAMBURG 
 DEN^\. JBr. 1708. 
 
 293. ’ 54 * 
 
 C UP : filver parcel gilt ; fluted in the lower part, refting 
 on three ball feet, and bearing a monogram. German. 
 Dated 1710. H. 3-f in. diam. 3f in. il. io.t. 
 
 The lower half has fpiral gadrooned ribs and hollows alternately, 
 the hollows, with three fmall leaves in relief. On the upper fmooth 
 fur face is a fiiield, coronet, monogram A.T.G. doubled, and date. 
 
 557 - ’ 74 - 
 
 C OVERED Tankard: fllver, embofledwith flowers beaten 
 up. Englilh. Hallmark, 1714. H. 8f in., diam. 
 Si in* 3 S l • 
 
 A plain cylindrical body beaten up with the tulips and fruit common 
 on Dutch and Englifh work of the Reftoration ; a band of vine leaf 
 runs round the bottom. It has a concave expanding bafe. The 
 top is flat, with a band of vine leaf round it, and a bunch of fruit 
 for a knob ; plain handle. Creft, demi-pegafus, lettered $ (S- $3, 
 
Gold and Silver Smiths Work. 
 
 24.0 
 
 ■ 
 
 260. ’64. 
 
 C UP: covered, filver-gilt, fet with medals in commemora- 
 tion of the Lutheran Reformation and of the bicentenary 
 of Martin Luther. German. Dated 1717. H. 7 in., diam. 
 4 in. 31/. 
 
 The oudine is bell-fhaped, the top and bottom, as well as the cover, 
 are chafed with borders of foliage. Two medals are fet in the upper 
 part, one on the bottom and another on the cover, the reverfe fides 
 of each fhowing through on the infide. They commemorate events 
 in the life of Martin Luther, which ended in the eftablifliment of the 
 Lutheran Proteftantifm. 1. The dodtor, in the frock of an Auguftinian 
 friar, nailing his 95 thefes on indulgences to the door of the church at 
 Wittenburg': round it is the legend : 
 
 Aperite portas, 31 Oct. 1517. Initium reform ationis. 
 
 Reverfe, the bull: of the dodtor, and legend : 
 
 MartInVs LVtherVs theoLogI.® DoCtor. 
 
 The rubricated letters make MDCLL’VVVII, 171 7, the bicentenary 
 date. 
 
 2. An altar, the dodtor on one fide and an angel the other hold a 
 cover over, or lift it from, a candle ; the facred name is written in 
 Hebrew above, and round, Fulgeat iEternum, 1717. 
 
 On the lid a medallion of the dodtor is the fame as No. 1, and the 
 legend, Verbum Domini manet in TEternum. 
 
 Reverfe, Religion, holding a cup and crofs, kneeling at a broken 
 pillar with an open book, and legend ; Ad legem et teftimonium ; holy 
 name above : round ; Hoc non erit eis matutina lux fi non dixerint 
 juxta verbum. 
 
 On the obverfe of the medal, in the bottom, which is infide, there 
 is a fea, in it a rock fuftaining an open book marked biblia over a 
 fun, and the emblem of the facred Trinity; round it the legend 
 domine conserva nobis lumen EVANGELii. On the obverfe the 
 legend, In memoriam fecundi jubilaei evangelici, anno feculari 1717, 
 die 31 Odd. Celebrari fenat. Francofurt. F.F I. I. F. 
 
 693. ’68. 
 
 C UP : filver, two-handled, the upper part circled with a 
 band of cord and ftamped work, and the lower ga- 
 
Eighteenth Century. 241 
 
 drooned. Englifh. Hall mark, 1719-20. H. 4|- in., diam. 
 4f in. 8/. 
 
 The gadroon and corded ornament, ftamped borders, &c. are 
 common in cups of this date. An efcutcheon on the fide is without 
 letters or arms. 
 
 692. ’68. 
 
 S ALVER : filver, with gadroon work in the middle. 
 Englifh, 1719-20. Diam. 9 in. 8/. 
 
 Spiral gadrooning in the middle, and other punch marks round. 
 A bold embodied rope moulding infide the rim and edge which is thin, 
 and undulated. 
 
 577 » 577 a • ’74- 
 
 T WO Sauce Boats, a pair : filver, with feftoons on the 
 bodies. Englifh. Hall mark of 1720. H. 7f in., 
 W. 9^- in. 30/. 
 
 Each boat-fhaped, with handles in the fhape of brackets that end in 
 volutes turned downwards, acanthus edge borders, feftoons in two loops 
 or fweeps hanging from oval medallions midway on the body ; a thin 
 ftem and plain foot ; beaded edges to the lip, foot, and rim of the cover. 
 The knob over the cover is urn-fhaped. Creft, as the laft. 
 
 54- ’65- 
 
 S TAND : filver ; a hollow frame of pierced and beaten 
 fcroll work, with concave fides. Irifh. About 1730. 
 H. 3^ in., diam. 8-g- in. 13/. 134. 
 
 The fides are fcrolls and flowers pierced between, and ftrengthened 
 by upper and lower frames. Made for table ufe to hold a bowl as a 
 centre piece. 
 
 36105. 
 
 S 
 
242 
 
 Gold and Silver Smiths Work . 
 
 197. ’72. 
 
 B ADGE : filver-gilt, emboffed with a double heraldic 
 lhield in beaten work. German. Dated 1731. 4^-in. 
 by 3f in. 1 /. ioj. 
 
 The Ihields, which are the chief ornament, are fet fide by fide, and 
 fupported by bears holding pennons. The dexter lhield bears, party per 
 fefs ; in chief an eagle, difplayed and crowned ; in bafe a half tower, 
 embattled, with two fceptres crofied in faltire ; helm and mantling, 
 ducally crowned ; for a creft an eagle difplayed. The finifter lhield 
 bears, a ftar in fefs and a crefcentreverfed. There are no indications of 
 tin&ure. For a creft to the fecond lhield a fool’s head, capped. 
 
 ADGE : lilver ; formerly worn by the Admiralty barge- 
 
 men. In the centre a gilt anchor and cable on red 
 ground, furrounded by large lilver fcrolls and dolphins, mari- 
 time trophies, and mathematical inftruments. Englilh. Hall 
 mark for the year 1736. 10 in. by i\ in. Given by the lords 
 
 commifiioners of the Admiralty. 
 
 The Admiralty device is in high relief on a red enamelled ground ; 
 an anchor with a large cable knotted on and curved round. The top 
 is crefted with a curled fea ftiell and dolphins on the fides. Round 
 this is a maffive fcutcheon of filver beaten up, compofed of dolphins on 
 the fides, a (hell above, and trophies of guns and arms, of quadrants* 
 theodolites, compafles, and other attributes of nautical fcience. This 
 badge was worn on the full-drefs livery of the crew of the Admiralty 
 barge. 
 
 T ANKARD : Drefden porcelain, with lilver-gilt mount 
 fet with coins. German. Dated 173 8. H. 8 in., diam. 
 
 4a in - 3 °?- 
 
 8879. ’63. 
 
 484. ’75. 
 
Eighteenth Century . 
 
 243 
 
 The porcelain is fet with a convex cover made up of a medallion 
 of Auguftus duke of Brunfwick and Luneburg, furrounded by ten 
 battered coins. 
 
 D ISH : filver, oval ; beaten up with figures and a landfcape. 
 
 A border of pierced fcroll work and a gadrooned 
 edge; handles of acanthus, gilt. German. About 1740. 
 16^ in. by in. 8/. 
 
 The centre is furrounded by a border of vine and broken wood- 
 work, all hammered in the metal. The edge is broad, with arabefque 
 work ; the intervals pierced. An outer rim of bold gadroons. 
 
 In the bottom of the difh there is a landfcape, in which a lady and 
 gentleman are walking. She is in high head-drefs, hoops, looped fkirt, 
 and high heels ; he in wide-fkirted coat, long waiftcoat, flockings rolled 
 over the knee, high heels and buckles. The drefs of about 1740-50. 
 
 The two handles are thin beaten plates, with fine acanthus 
 ornament of better ftyle and execution, and apparently of earlier work- 
 manfhip. 
 
 UP and Cover : filver parcel gilt, with beaten foliage, and 
 
 a fhield on the cover fupported by a lion. It bears the 
 name of the members of a guild. German. Dated 1747. 
 H. i6f in., diam. 5-f in. 23/. is. 
 
 The outline is without grace. A high fhoulder under the lip is the 
 widefl: part of the .cup, and it falls in fharply, and is boiled out again 
 near the bottom. The Item has two knops, and the foot two round 
 bands of fantaftic ornament enclofed in broken curves of Perfian pattern. 
 
 Round the body of the cup, the knops of the ftem, and round the 
 cover which is coved, cartouches of coarfe flower and ftrapwork are 
 beaten up in filver, leaving the plain parts gilt. A lion on the fummit 
 fupports a fhield without heraldry ; and round the flat rim of the cover, 
 and in fmall cartouches round the covings, are written the names of 
 various members of a guild. 
 
 453 !• ’ 5 8 - 
 
 45. ’64. 
 
244 Gold and Silver Smiths Work. 
 
 504 , ’ 75 - 
 
 WO fmall Vafes : a pair, filver, with acanthus leaf and 
 
 X gadroon ornament. Englifh. Hall mark, 1748-9. 
 H. 5|- in., diam. 31 in. 30/. 
 
 Thefe are goblet-fhaped with acanthus leaves riling in a ring under 
 the bottom ; narrow neck and foot ; gadrooned ribs, and a cover 
 furmounted by a knob in the lhape of a bunch of fruit, with acanthus 
 leaves with the points reverfed covering the furface. 
 
 TATUETTE : lilver ; Cupid holding a lamp in one 
 
 hand, and a rod, on which are two butterflies, in the 
 other. Italian. Hall mark, of the Papal States. 18th 
 century. H. 16 in. 4 5/. 
 
 The figure is balanced on one leg ; the head leans flightly for- 
 ward, a quiver is hung by a band over the right Ihoulder. He holds in 
 the right hand the bafe of a fmall lamp, with half oval dilh of plain 
 metal, bordered by a row of beaded work. On the two fides are three 
 claflic goats’ heads in relief. Two fmall doves, looking up and flapping 
 their wings Hand on the bafe. 
 
 EA Pot : filver, odlagonal, with fquare fpout and cano- 
 
 pied lid, deeply chafed with fcrolls and flowers, with 
 fcutcheons and boy fupporters on each wide fide, and harpy 
 feet. French. Early 18th century. H. 6 in., L. 3^ in., 
 W. i\ in. 40/. 
 
 The fides are deeply chafed with arabefque ornament, having a 
 fcutcheon, furmounted by a ducal crown, and fupported by grotefque 
 boys in the middle ; the corners are cut off fquare. The fpout is fquare, 
 the handle of black wood, and it Hands on fcroll harpy feet. The lid 
 is coved up in two ftages, and decorated like the body. 
 
 436. ’65. 
 
 1330. >1. 
 
Eighteeitth Century. 
 
 245 
 
 455 8 - ’ 5 8 - 
 
 T EA Canifter: filver, oviform, on ftand, fluted body and 
 round top. Dutch. Early 18th century. H. 5 in., 
 diam. 2-| in. 
 
 The upper part of the body, as well as the lower, are covered with 
 leaf work above and below a fluted centre ; the top is bulb-fhaped 
 and fluted. On the back is a double monogram of the letters T. P. 
 Part of the fame fervice as the laft defcribed. 
 
 1 33 1 - 7 1 ' 
 
 M ILK Jug : filver, oCtagon, with hammered decorations 
 in relief. Dutch. 18th century. H. 4 ^ in., L. 3J in. 
 10/. 
 
 Square-fided, flat with narrower collar and fpout ; curved handle ; 
 the Tides are covered with arabefque ornament in high relief, chafed. 
 On the ends are terminal grotefque figures. On the fides are grotefques 
 and boys fupporting a ducal crown and fhield without heraldic bearings. 
 
 3 1 - 55 - 
 
 T EA Caddy : filver, quadrangular, with floriated work 
 and heraldic fhield. Dutch. 1 8th century. H. 5 -fin., 
 W. 3 in. Bernal collection. 4/. ioj. 
 
 The work is in thick relief. Two fhields furmounted by a vifcount’s 
 coronet, bearing quarterly of four : 1, a tree proper ; 2 and 3, trefoil ; 4, 
 a mallard. On the end is the name B. Riinck. 
 
 35 4 - > 5 . 
 
 F RAME : filver, oval with a border of hammered work,. 
 
 in glazed cafe, Italian. 1 8th century. Cafe, 19 in. 
 by 14-! in. 25/. 
 
 Oval, with a border of broad twilled cording, with a narrower edging 
 of corded work From it fpring fprays of rofe, acanthus, pinks, and 
 other flowers of thin metal beaten up. Probably Genoefe work. 
 
246 Gold and Silver Smiths Work. 
 
 993 • ’ 72 . 
 
 F ISH Slice : filver, thin blade of fcroll outline, with diapers 
 and leaves, the centre pierced in form of a vafe with 
 flowers ; the handle embofled on both fldes with a bird, and 
 with fcrolls within medallions. Englifh. 18th century. 
 L. iof in., W. 3§ in. 1 /. $s. 
 
 The blade is embofled with fharp relief carefully executed ; not 
 well arranged for ufe. 
 
 8499. ’63. 
 
 B UST : filver, deeply chafed and decorated with flowers 
 and drapery, apparently the head of a cane. French. 
 1 8th century. H. 2f in. 7 1 . 
 
 The head is bound round with hair carefully drefled ; round the 
 throat is a chemifette frilled in the faftiion of the earlier part of the laft 
 century. The lower part is finifhed with broken rococo curves. 
 
 522. ’68. 
 
 H EAD of a Cane : gold, with malk and fcroll work, 
 beaten and chafed. French. 18th century. H. 
 if in., diam. 1 in. 3/. 4 s. 
 
 It is a knob, rounded, rather flat on the top, and dying into the 
 dimenfion of a focket to fit on a cane. The whole furface is chafed 
 deeply into the metal with foliage ornament in thick relief. 
 
 1 1 7. '6 4. 
 
 M USTARD Pot : filver, parcel gilt, with gadroon orna- 
 ment. German (?). 18th century. H. 5-^ in., W. 
 4 in. 61 . 1 8 s. 6 d. 
 
 The upper part trumpet-mouthed, with flvapwork edging ; bulbous 
 gadroons below ; a volute handle, flat vine leaf purchafe, and an upright 
 crefting of leaves round the knob of the cover. 
 
Right eenth Century. 
 
 247 
 
 439 - ’ 73 - 
 
 UGAR Sifter : filver, pierced and embofled, with curved 
 
 handle, and the figure of a bird at the end. German* 
 1 8 th century. Diam. i\ in. icxr. 
 
 The bowl is a fegment of a globe, and has a flat rim added, on 
 which is an embofled border with pierced intervals. The handle curves 
 up fo as to make with the outline of bowl an S, and finilhes with a 
 
 T EA Pot : filver-gilt, fluted and embofled with feftoons. 
 French. 18th century. H. 5-f in., W. 7-f in. 15/. 
 
 Parts alternately fquare and bow-fhaped project flightly down the 
 front and on the lid. On the furface are embofled garlands. The 
 fpout is S-fhaped, large, and ending with the mouth of an animal. The 
 handle is of black wood, j 
 
 UGAR Bafin, covered: filver-gilt, embofled with foliage. 
 
 and with a knob on the cover compofed of fliells. 
 French. 1 8 th century. H. in., diam. 4-I in. 11L 
 
 The body is flat fided, contracting into a necking round the lip, 
 and the cover is firfl: concave and then convex. On the top is a 
 knob or handle, made up of fliells. The lip, edge of the cover, 
 and the foot have fine reeded borders. Hanging garlands are embofled 
 on the fides and round the covers. The under fide is beaten into 
 fhallow perpendicular lobes at intervals, both on the bafin and the 
 cover. 
 
 A HOLY Water Veflel : of gilt copper, for fufpenfion. 
 
 On the back is a crucifix, with a bronze Chrifl:. 
 French. 1 8th century. H. io-| in., W. 6 in. 3/. 10^ 
 
 bird. 
 
 4 37 1 - ’ 37 - 
 
 4246. ’36. 
 
 1201. ’6 4. 
 
248 Gold and Silver Smiths Work. 
 
 The edge of the back plate is in broken rococo curves, with embofled 
 wreaths and other ornament. In the middle is a crucifix, the Chrift of 
 which is in bronze, with rays round and a ferpent at the foot. The 
 plate is fhaped in broken curves. The whole is decorated with fcroll 
 work of the Louis XV. period. For bed-room ufe. 
 
 573 - ’ 74 - 
 
 E WER : filver, with ebony handle, beaten with feftoons 
 of flowers, &c. German (?). 1 8th century. H.7-I in., 
 
 diam. 3^ in. Bought, 10/. 
 
 A fmali veflel for hot milk, globe-fhaped body, with a band of quatre- 
 foil leaves in fquare compartments round its upper edge, and pointed 
 acanthus leaf work under it. The neck is fhort and fpreads wide at 
 the lip. The cover has reverfed acanthus leaves round it. The foot 
 is concave, and high for the fize of the body, with a row of beads 
 round the foot. The handle is fquare above, and of wood, ftained 
 black. 
 
 559 - ’ 74 - 
 
 ELL : filver parcel gilt, with medallions and ftrapwork. 
 Ruffian. 1 8th century (?). H. in., diam. 4^- in. 
 
 20/. 
 
 It rifes to a point. The furface ornamented with ftrapwork em- 
 bofled and chafed. This is gathered round two medallions, in one of 
 which Hercules is reprefented ftruggling with Antaeus, in the other 
 flaying the Hydra; filver on gilt ground. Lions in pairs, mafks, &c. 
 are between thefe medallions, and the imperial heraldic eagle above. 
 
 565, 5650. >4. 
 
 S UGAR Cafters, a pair : filver beaten work, with medal- 
 lion bufts. French. 1 8th century. H. 8f in., diam. 
 3-| in. Bond collection. 50/. 
 
 Both thefe pieces are of the fame fhape, coved at the top, a long 
 concave fide with four ftripes of flower work down it ; the lower part 
 
Eighteenth Century. 
 
 249 
 
 of the body wider, with a flat band of maflive work containing four 
 heads in medallions and a ribbed convex bottom joined by a narrow 
 fhort Item to a fquare bafe. The cover is coved, with bold ftrap 
 ornament round it and a knob of flowers. 
 
 The character is maflive, almoft heavy, and feems to have followed 
 the conditions of a model in ftone work from aCtual architecture. 
 
 ALT Cellars, a pair : filver, with garlands in relief. 
 
 French. 18th century. Given by the truftees of 
 Soulages collection. H. 45- in., W. 3^- in., L. $£ in. 
 
 A pair of oval fait and pepper holders. The Tides of the frames 
 are upright, and of open work ; cupids blowing trumpets and holding 
 fhields in the outer centre of each, and garlands between. The two 
 cafes join in the middle, and a two-handled vafe forms a handle. The 
 whole is lifted on fcroll feet. The work is caft and chafed up. There 
 are blue glafs cups fitted to the filver cafes to hold fait and pepper. 
 
 WER: filver, with ivory handle, embofied with feftoons. 
 
 medallions. &c. Dutch or French. 1 8 th century. 
 H. 7f in., diam. 3 in. 12/. 
 
 The body is a half globe, the neck contracts quickly and fp reads 
 with a ftraightened curve to the lip. The cover rifes in a concave 
 line, is hinged, flat-topped, and furmounted by a knob ftiaped like a 
 tiny vafe, with acorn knob and garlands round the Tides. The Turface 
 of the neck is ornamented with looped garlands, and has two fmall 
 medallions, — one containing a cupid bending his bow, the other a Teated 
 figure holding a horn of abundance. 
 
 C OVERED Cup: of beaten filver. Dutch (?). 18th 
 century. H. 4^ in., diam. 4 in. 5/. 
 
 It is globe-fhaped, the cover furmounted by a flower of beaten 
 work, a thin Item and convex foot. Round the body are feftoons of 
 
 33 and 34- ’68. 
 
 57 2 - y 4- 
 
 489- ’75- 
 
250 Gold and Silver Smiths JV irk. 
 
 beaten and chifelled work, with heads in medallions ; a band of the 
 fame decoration with medallions containing heads and cups alternately 
 winds round the cover, and feftoons are embofled round the foot. 
 There are two triangular fwinging loop handles. Creft, a demi-pegafus 
 ere<ft, and letters Iff 0 93 . Thin metal and coarfe ornament. 
 
 C UP : filver, enamelled, with open worked handle. Ruffian. 
 1 8th century. H. i-| in., diam. 2-| in. 7/. 
 
 Difh-fhaped in the bowl, with a ftar of ten points in the middle, 
 encrufted with enamel in black, white, and blue. The handle is 
 pierced in fcroll work, covered with coloured enamels. The vitrified 
 material is laid in in one thicknefs, and has been fubmitted only to one 
 procefs of firing. It has not been filled up to a level with the edges 
 of metal that hold it, nor ground to a furface. 
 
 OVERED jjVafes, two : filver, with gadroon ornament. 
 
 Englifh. Hall mark, 1753-4. H. 7 ^ in., diam. 
 3^ in. The two 30/. 
 
 Urn-fhaped, with ftem and foot ; long and fhort gadroon ribs ifluing 
 fpirally from the root of the cup and downwards from the bafe of the 
 top knob. Four handles, loops of rounded filver rods or bars gracefully 
 raifed and curved and fpringing from fcallop fhells, form the moft notice- 
 able features of this piece. 
 
 OVERED Vafe : filver, with gadroon ornament, and 
 
 four raifed handles. Englifh. Hall mark of 1753-4. 
 H. 8|- in., diam. 3f- in. 22/. ioj. 
 
 This vafe is larger, than the pair juft defcribed, but the work on it 
 is the fame, except that the gadroons or ribs that rife from the root of 
 the calix and fall from the knob are perpendicular. The knob is a 
 fmall vafe with pointed cover, wreaths round the fides, &c. 
 
 554 - ’ 74 - 
 
 561, 561a. ’74. 
 
 564. *74. 
 
Eighteenth Century . 
 
 25 1 
 
 690, 691. ’68. 
 
 S ALYERS, Two : filver, fquare in the middle, with border 
 hammered and chafed. Irifh. Dated 1754. Border, 
 dated 1784-5. W. 8-| in. 50/. 
 
 The borders are compofed of bold acanthus arabefque work with demi- 
 figures of boys carefling animals, in flat relief, and of very good defign. 
 
 S 6 3 • ’74- 
 
 V ASE: lilver. Englilh. Hall mark of 1756-7. H. 
 9 in., diam. 3-I in. 22/. ioj. 
 
 A rounded body with a concave neck, domed cover furmounted by 
 a tiny but complete covered vafe as a knob. Round the bafe of the 
 top, and round the foot on which the piece hands, are fmall Hoping 
 gadroon ribs ; ribs of a fimilar kind, alternately long and fhort, finifh 
 the under part of the body, and four pairs of light reed handles iffuing 
 from fhell ornaments rife above the upper edge of the body. The 
 work is finely executed, and the various ribs and reeds of filver running 
 in different directions, but not violently contrafted, are very effective. 
 
 393- ’<H- 
 
 C OFFEE Pot : filver, hammered work, with fpiral ribs and 
 curves and foliage. Ivory handle. Englifh. Hall 
 mark, 1759-60. H. 1 1^ in., W. 8-| in. 35/. 
 
 The lower part of the body is round and beaten up into fpiral quills, 
 with ftalk and leaves over a portion of it. The upper part of the body 
 has fimilar work. A fcutcheon on the centre, which is plain filver, is 
 without heraldic bearings. A third part of the body is left plain to 
 fhow off the beauty of the metal. The top rifes to a knop handle, 
 and the fpout is in broken feCtions of rococo ftiape. The handle from 
 the top to the middle of the body is of ivory. 
 
 The outline of the veffel is graceful and agreeable. 
 
 The value of the polifhed furface of filver is well underftood in this 
 piece, and the moft is made of it in the diftribution of the ornament. 
 
2^2 
 
 Gold and Silver Smiths Work. 
 
 494 - ’ 75 - 
 
 C OFFEE Pot: Fiver. Englilh. Hall mark 1762-3. 
 H. 1 8^ in., diam. in. Bond collection. too/. 
 
 The general Chape is bulged like that of an acorn. The leg or 
 Item has fpiral flutings. The lid is beaten up in two convex mall'es. 
 The fpout is large, and both this and the body covered with coarfe 
 flower work much thrown about. The handle is of black wood. It 
 is coarfe in ornament and gracelefs in outline. 
 
 384 to 3846. '71. 
 
 V x 4 SES and Covers : a fet of three ; Fiver, two-handled, 
 with fpiral Futings and gadroon borders on covers and 
 feet. EngliFi. Hall marked, 1767. H. 7f in., W. 4-i in. ; 
 a. and b., H. 6^- in., W. 4-|- in. 75/. 
 
 Thefe vafes are egg-fhaped, contracted by a neck above the wideft 
 part or fhoulder, and again expanding with hips. The convex covers 
 have a flight deprellion round the middle of their furfaces. A flame- 
 fhaped knob finifhes them above. Two handles of folid metal work, 
 loops with fcroll ornament, rife from the broadeft edge or fhoulder. On 
 the other fides two anthemion ornaments fpread downwards. The 
 lower part of the body has fpiral gadrooning. 
 
 It Hands on a round pedeftal necking, gadrooned torus and bafe. 
 The effective arrangement of the polifhed furface and of the fpiral 
 flutings of the gadroon ornament is well worth notice. The whole of 
 thefe pieces are defigned to make as much as poflible out of the beautiful 
 polifhed furface of the metal ; they are intended for table ufe. 
 
 46. 46#. ’64. 
 
 V ASE and Cover : Fiver-gilt, two-handled, beaten up with 
 branches of Fowers and engraved with arms and fup- 
 porters. Englilh. Hall mark, 1769. H., with cover, 
 
 17-L in., W. 14 in. 125/. 
 
 Slightly bell-mouthed, and bulging gently below in two courfes. 
 Contracted necking, and broad foot below. On the furface are boughs 
 
Eighteenth Century. 253 
 
 or branches of rofes, tied together, the foliage trailing over the larger 
 furface of the body. 
 
 The handles are maffive, and come from the lip to the utmoft 
 projection of the body. The top contracts, and ends in a flame-fhaped 
 point. The outer edge of the cover and of the bafe are enriched with 
 a rim of fliort gadroons. 
 
 On one fide of the body, immediately under the lip, a complete 
 heraldic achievement is engraved. The fhield bears : argent, three 
 unicorns’ heads couped ; an efcutcheon navally crowned charged with 
 a faltire, gules. 
 
 For fupporters, two lions rampant. On a fcroll below, the motto, 
 Praefto et praeftem. 
 
 502. '7$. 
 
 B ASIN : with cover, fllver, with floral feftoons and beaded 
 ornament. Englifh. Hall mark, 1770. H. 4! in., 
 diam. 5 in. 25/. 
 
 The top is flat and without creft or arms. The upper rim is a 
 row of balls, and the lower part of the body, which is wider than the 
 upper, is ornamented with a garland of leaf work hung up in long 
 loops at intervals, fo as to trail over the whole fpace. 
 
 564. >4. 
 
 C OVERED Vafe: fllver, with rofettes and garlands em- 
 bofled on the furface. Englifh. Hall mark, 1770. 
 H. 9 in., diam. 4f- in. 18/. 
 
 Finely beaten and chafed, in the fhape of a claffical urn, the ftem 
 finiftiing with an acanthus leaf calix ; handles curved upwards, con- 
 trading with a deep graceful hollow to a bold lip, and covered with a 
 flattened bell top, finifhed with a fmall acorn having a fall of pointed 
 acanthus leaves below it. On the furface are maffive leaf feftoons and 
 two medallions filled with bold fpiral leaf work. Round the rim is an 
 architectural beaded moulding, and one of acanthus leaf round the foot. 
 Creft, a demi-pegafus ereCt, and letters gj (jj 25. 
 
254 Gold and Silver Smiths JVork . 
 
 55> 55 a • ’ 6 S- 
 
 V ASE and Cover : filver-gilt, egg-fhaped, ribbed, with 
 fatyr’s head at the handles, the cover furmounted by an 
 image of a cupid. Englifh. By James or Robert Adam. 
 Hall mark, 1772. H. io£ in., W. 4^ in. 59/. 17^. 
 
 The whole, when put together, is egg-fhaped, with a border of 
 garlands of drapery and ties. The handles are fatyr mafks carefully 
 chifelled. There is a narrow Item and a foot and fquare pedeftal below, 
 with knots and other ornament on its fides. The body and cover are 
 ribbed with ftripes in flight relief and burnifhed. 
 
 On the cover is the image of a cupid dancing. A fquare hole is 
 made for a fugarfpoon in the cover. 
 
 The decoration, as well as the claflical outline, and the fine execution 
 of the ornament, leave no doubt of the juftice of the attribution to the 
 excellent fchool of workmen, Italian and Englifh, who were at the 
 difpofal of the brothers Adam. This defign and workmanlhip fhould 
 be compared with the fmall fculpture found in chimney-pieces, and to 
 the Wedgwood defigns ufed in thofe ftrudtures, of which two examples 
 are on loan in the mufeum. 
 
 ALVER : filver-gilt beaten work ; in the centre a convex 
 
 medallion, engraved with a coat of arms and two crefts ; 
 round this are four medallions of clafiical warriors on horfe- 
 back, with a rococo fcroll border. Englifh. Hall mark, 1772. 
 26 in. by a 1 in. 130/. 
 
 The fpace is divided by ridges into four, with a railed centre, and 
 the four fpaces round occupied by figures of cavaliers in Roman armour. 
 The execution is coarfe, and the effedt heavy. 
 
 7341. ’6l. 
 
Eighteenth Century. 
 
 255 
 
 57°- ’74- 
 
 UP : filver, parcel gilt, with feftoons and knots beaten 
 
 up. Englifh. Hall mark, 1773. H. 4 in., diam. 
 4a in - 1 S l - 
 
 It is acorn-fhaped, with flower garlands beaten up in filver on a 
 gilt ground, and rude acanthus leaves round the foot. 
 
 OVERED Vafe : filver, with linen and leafwork. Eng- 
 
 lifii. Hall mark, 1774 - 5 . H. i6f in., diam. 7l in- 
 
 In the ftyle of the vafes of the Adam period. The body is oval, 
 going down to a point, from which rifes a circle of leaves. Round the 
 upper and wideft part of the body is a band of pateras and upright 
 fluting alternately ; below this are linen fcarves fattened to fatyr heads 
 and hanging in points, not curves. The cover rifes with a bold hollow 
 curve finifhed with a row of pointed leaves fet downwards, and the knop 
 is a tiny vafe with garlands, &c. round it. The handles are bold, 
 maffive, and S-fhaped, with ornamental ribs and collars. 
 
 WO Covered Vafes, a pair : filver, beaten up with gar- 
 
 lands of lines, and ram’s head handles. Englifh. Hall 
 mark, 1776 - 77 . H. 7 f in., Diam. 4 in. 35 /. is. 
 
 Shaped like funeral urns, the fides rather ftraight at the upper part, 
 with acanthus leaf under the bottom, a fhort ftem, a round foot, with 
 acanthus mould round the edge. Two handles and rings fwing from 
 rams’ heads, and linen garlands are feftooned from them to two ovals 
 containing heads. The top coves over, and contrails to a concave 
 neck, which again expands to a wider lip. Acanthus moulding round 
 the fhoulder. The covers are flat, bell-fhaped, with a fall of acanthus 
 round the fpring of the knob, which is acorn-fhaped. Creft, a demi- 
 pegafus eredt, and letters, gj <*£ 13. Part of a fet. 
 
 493' ’75* 
 
 60 /. 
 
 575 > 57 5 a • ’74- 
 
256 Gold and Silver Smiths' Work. 
 
 57 6 - ’ 7 4 - 
 
 OVERED Vafe : fllver, with flowers and feftoons beaten 
 
 up on the furface, and lion head handles. Englilh. 
 Hall mark, 1776-7. H. 7-| in., Diam. 3-! in. 10/. 
 
 The fhape is oval ; under the body, and hanging from the top of 
 the low bell-lhaped cover, are acanthus leaves. The knob is an acorn, 
 the ftem is thin, the foot plain and fet on a fquare bafe. 
 
 Two ring handles hang from lion heads, and mallive garlands of 
 flowers are hung from thefe and from four oval medallions containing 
 flowers. Creft, as the laft. 
 
 ANDLESTICKS : a pair, fllver-gilt, formed by a man 
 
 and woman holding flowers, Handing on chafed bafes 
 decorated with fcrolls of flowers. Engliflt. Hall mark, 177 6. 
 H. 7 \ in., W. 4f in. 17/. ioj-. 
 
 The figures are in the fancy ruftic drefs of the day. The man 
 wears a Ikirt and coat over, and a three-cornered hat ; fhe a bodice, 
 Ikirt, and ftraw hat ; with a pattern worked on the petticoat. They each 
 hold one arm aloft, clafping a foliated nozzle. The leaves are heavy 
 rococo {hells and flowers. 
 
 HOCOLATE Pot: fllver, mounted in a ftand and fup- 
 
 ported by three legs. Leaf and fcroll work in relief. 
 Englifh. Hall mark, 1777. H. i‘2f in., diam. in. 
 109/. 8 j. 
 
 The body egg-fhaped, well proportioned neck and lip, pointed leaf 
 work and fcroll ornament ; perhaps deiigned by one of the Adams’, 
 whofe ftyle it reprefents admirably. 
 
 388, 388#. ’71. 
 
 46°. ’75. 
 
Eighteenth Century . 
 
 257 
 
 5 ° 3 * ’ 75 - 
 
 C OVERED Vafe : filver, hammered with feftoons of 
 flowers and acanthus leaves, and lion-head handles. 
 Englilh. Hall mark, 1778-9. H. 9^ in., diam. 4^ in. 15/. 
 
 A graceful egg-fhaped urn, contracted above the upper fhoulder to 
 a necking, which finifhes with a collar to receive a bell-fhaped cover, 
 this latter being furmounted by a pine with leaves, and a fall of acanthus 
 leaves covering the furface. The body is ornamented with garlands 
 hung from oval rofettes ; the lower part has a neft of pointed leaf work 
 with acanthus leaf round the rim of the foot. Two ring handles hang 
 from lion heads on each fide. 
 
 38;. ’71. 
 
 C ANDLESTICK : filver, with fluted capital, chafed fhaft 
 and fquare plinth, with beaded ornament. Englifh 
 (Sheffield). Hall mark, 1778 (?). H. 6f in., W. 2-| in. 61 . 
 
 The ftem is terminal and in lines. The bafe expands in feveral 
 {hallow fteps, the laft and wideft concave on the fides. Two edges are 
 filled with bead work; a fluted urn above, of which the mouth (without 
 necking) forms the greafe pan. 
 
 57 1 - ’ 74 - 
 
 C UP : with handles, fllver, parcel-gilt, with feftoons and 
 flowers beaten up. Englifh. Hall mark, 1779. 
 
 \\ in., diam. 45- in. 20/. 
 
 A two-handled cup on a foot, with poor beaten work of flower 
 garlands, in the manner of the laft defcribed, round the body. The 
 handles are plain curved pieces of metal. 
 
 574 - ’ 74 - 
 
 C OVERED Vafe : filver, with handles, beaten up with 
 feftoons of flowers and acanthus leaves. Englifh. Hall 
 mark, 1779-80. H. in., diam. 3^ in. 10/. 
 
 36105. 
 
 R 
 
258 Gold and Silver Smiths JVork . 
 
 The body is oval, with acanthus leaf work under it 3 a thin ftem 
 and convex mould round the foot. The neck recedes in a hollow 
 curve, and round the lip, as well as the upper edge of the body, are 
 beaded rims ; two handles protrude and curve gracefully upwards, ending 
 in fmall volutes. The cover has a fkirt of leaf work with points down- 
 wards, and the knob is a fmall covered vafe ; round the neck are 
 garlands in relief. 
 
 4 7 *> 473- ’ 6 4- 
 
 T UREENS : a pair, filver, with covers and linings reeded 
 and ornamented with oak foliage laid over. Englilh. 
 Hall mark, 1779-80. H. 7 § in., W. io|- in. 51/. is. 
 
 The body of each is divided into upright ftripes or flutings, very 
 {hallow, but {howing a feries of ridges or edges. Over thefe are laid 
 branches of oak leaf and acorn, which grow upwards from the four 
 feet. The handles are folid loops, with fhells and leaf work at the 
 points of junction. The cover is bulged with the edges reeded ; it is 
 ribbed as the body. A ring of oak branch and leaf forms the handle ; 
 acanthus and {hell work partially cover the furface. Compare with 
 thefe two tureens made for Frederic prince of Wales, now in the 
 royal collection, calls of which are defcribed hereafter. 
 
 578- >4- 
 
 S AUCE Boats : a pair, fllver, with feftoons and medallions 
 on the body. Englilh. Hall mark, 1788-9. H. 
 
 5f in -> L - 7 % in * 2 5 Z - 
 
 In general Ihape like the foregoing. The medallions, from which 
 the feftoons are hung, contain bulls ; the handles are rings in lion heads ; 
 the top much hollowed, but plain. 
 
 386, 386a. ’71. 
 
 C ANDLESTICKS : a pair, fllver, fluted columns, enriched 
 with chafings of foliage and garlands, on fquare plinths. 
 Englilh (Sheffield). Hall mark, 1791 (?). H. 8-§- in., W. 
 3fin. 15/. 
 
 The Items are fquare at the top and terminal below. They 
 expand again on a fquare-topped pedeftal with hollow fides. On the 
 
Eighteenth Century. 
 
 259 
 
 Tides are wreaths of drapery, with ties at the angles, and beaded edge 
 round the bottom. The nozzles are oval-bodied vafes, with wide lips, 
 narrow Items, and wreaths on the body. 
 
 363. >5. 
 
 C UP : filver-gilt, engraved with figures, vafes, and feftoons, 
 and nielloed. Ruffian (Tula). Dated 1792. H. 2 \ in., 
 diam. 2 \ in. Given by the baronefs de Kaulla. 
 
 The ground is chequered with chafed lines and gilt. The niello 
 work is in figure medallions and feftoons on this ground. 
 
 I IO. ' 64 . 
 
 T ANKARD : filver-gilt, niello ground, with flowers and 
 foliage enclofing medallions containing the hiftories of 
 Jofeph, Samfon, and Judith. On the lid is the Judgment of 
 Solomon. Ruffian. 18th century. H. in., W. in. 
 45/. iij-. 
 
 The furface of the body is divided into round medallions, and the 
 intervening fpace filled up with birds, flowers, and foliage. Each 
 medallion is fet in a frame of rich fcroll work, and the fubje&s are 
 worked out in niello. A fuitable legend is written over each com- 
 pofition. 
 
 The top is flat • in the middle, and has a flightly coved or convex 
 border round, and with the fame ornament as the Tides. The round 
 central medallion contains the Judgment of Solomon. 
 
 1 3 1 - ’ 6 4 - 
 
 C UP : filver-gilt, beaten up with ftrapwork, malks, and 
 medallions containing figures reprefenting the feafons 
 of the fruits, and with a Ruffian legend round the lip. Ruffian. 
 1 8th century. H. 7^ in., diam. 5^ in. 50/. 
 
 The beaten work forms three principal compofitions, reprefenting 
 boys holding emblems of the feafons during which the fruits of the 
 earth come to maturity. One holds poppies and flowers, another ears 
 of corn, and the third grapes and a cup. 
 
 r 2 
 
260 Gold and Silver Smiths Work. 
 
 Thefe figures are furrounded by a mafs of ornament made up of 
 ftrapwork, mafks, fhells, tufts of hair and fruit. The ornament is 
 overloaded and confufed. 
 
 I 333> 1 333 a ■ ’7 l - 
 
 C ANDLESTICKS : a pair, plated copper, with odlagonal 
 plinths, terminal Hems, and vafe-fhaped nozzles covered 
 with ornament in repoufle. Engliffi (Sheffield). Late 1 8th 
 century. H. n-| in., W. of plinth, 5 T 3 F in. 4/. ior. each. 
 
 The ilem is terminal, the four fides covered with arabefques 
 embofled in relief in the manner of the Adams. The foot is in two 
 pedeftals, with hollow fpreading fides. The nozzle is an oval vafe 
 with wreaths and leaves embofled on the body, a neck and wide flat 
 mouth. The forms of the double vafe and of the vafe-fhaped 
 nozzle are elegant, and the embofled work fufficient and well placed. 
 The whole outline is, perhaps, the beft among the candlefticks of this 
 date and character in the collection. They are ftill common amongft 
 old plate, and were much ufed at the beginning of the century. 
 
 243- 69. 
 
 B OWL : filver-gilt, with lobed fides, raifed and decorated 
 handles, mounted on a Item and foot. Engliffi. 18th 
 century. H., without handles, 3^ in., diam., without handles, 
 11 in. 30/. 
 
 The fides are beaten into fpiral lobes that grow from the centre. 
 Alternate divifions are beaten from the infide with tulips and rofes 
 alternately. In the bottom, infide, there is a central rofette beaten up. 
 
 The handles rife high above the lip, the metal rolling over in feveral 
 broken curves, and are attached by the fpiral ends to the lip and fides of 
 the bowl. On the outer furfaces of the handles are female terminal 
 figures. 
 
 The flem contracts and expands into a round pedeflal foot. 
 
 9030. ’63. 
 
 C OVERED Jug: filver; on the body is a group of 
 warriors in claffical armour, at the top a chafed border 
 of fcrolls. German thaler pieces are inferted round the foot and 
 
Right eenth Century. 
 
 261 
 
 lip. The cover is furmounted by an eagle on a dead horfe ; 
 with a bold fcroll handle. German. 1 8th century. H. 20 in., 
 diam. of bafe, 10^ in. 138/. 
 
 The whole outline, as well as the decoration, is exuberant to 
 heavinefs. The body is ftraight-fided and not of one diameter all the 
 way down, and the lip and cover are prominent, the more fo becaufe 
 the upper part of the body does not contrail under it. There is a 
 necking immediately under the wider diameter at the bottom. The 
 bafe is a broad ogee offset ; this and the expanding lip are engraved 
 with bold floriated fcroll work, and the bafe has fix thalers fet in its 
 circumference. 
 
 The lip has a large fpout ending in a point, which is covered by a 
 correfponding prominence of the lid fo as to look like the beak of a 
 bird. 
 
 The lid has a broad outer border engraved with the fame bold 
 acanthus fcroll work as the upper and lower borders of the body. 
 
 The handle is a large fcroll of maflive workmanfhip, with malks 
 rudely executed outfide and infide of the curves, and with broad leaf 
 work. 
 
 The purchafe is a bold round fcroll topped by a terminal figure 
 and rolling over in two divifions, which, when the lid opens, fall either 
 fide of the upper part of the handle, finifhing with bold rolling tendrils 
 or ftrips of leaf. 
 
 The body of the jug is beaten up in bold relief, and (hows a combat 
 of claffical cavaliers. They ride without faddles, but are armed with 
 Roman corflets and helmets with extravagant crefts ; dead horfes and 
 warriors lie under their feet. 
 
 On the lid is a horfe lying dead and pierced by two arrows with an 
 eagle on his back. 
 
 The outline is gracelefs, but the baf-reliefs are fpirited though 
 coarfe in execution. 
 
 9083. ’63. 
 
 S POON : filver-gilt, the handle chafed with figures of a 
 firen and a ferpent, furmounted by a female bull. Italian. 
 1 8th century. L. 6f in. 2/. $s. 
 
 The bowl is egg-fhaped, the Idem rich and well executed ; not very 
 convenient for ufe. 
 
262 Gold and Silver Smiths Work . 
 
 394. ’6 4. 
 
 E WER or Jug : filver, with neck, fpout, and maffive fcroll 
 handle ; the body and the neck girt with a band of leaf 
 work ; the necking above the foot filled with a row of balls. 
 Englifh. Hall mark, 1805-6. H. 12 in., W. 8^ in. 30/. 
 
 The neck is comparatively narrow, fwelling into the body, which 
 is fpherical. Round the middle of this larger portion runs a band 
 of hammered work, vine Items and leaves mixed with olive branches, of 
 excellent execution. The narrow portion of the neck has a zone of 
 fhell and leaf work round it. There is a necking between the body 
 and the foot which projects, and in the depth of the necking a collar of 
 round pearls or balls of metal. The fpout turns flightly over, and has 
 a hinged lid to it, fhowing that the jug is intended for hot wine. The 
 under furface is beaten up with anthemion ornament, and the cover rifes 
 to a point, the apex forming a neft of leaves falling downwards over 
 the furface of the cover. 
 
 The handle is a bold reverfed S, of thick metal fwelling in the 
 middle, whei£ each half meets in a bofs, and rolling over with volutes 
 and eyes, where it joins the lip and body. Moft of the furface is left 
 plain. 
 
 244. ’69. 
 
 T EA Urn ; lilver, vafe-fhaped, with rims of fcallop fhells ; 
 
 the fpout is in the fhape of a dolphin. Englifh. Hall 
 mark, 1809. H. I4f in., W., including handles, 16 in. 
 
 90/. 
 
 The body is largeft at the top, and has a collar ornamented with 
 fcallop fhell border and anthemion flowers. The cover is within the 
 collar, and lifts off with a large handle made of a neft of leaf work 
 round a cone. The urn handles are two v/ide loops of folid metal 
 attached to the body by lion heads. A fhort ftem with an open double 
 guilloche border joins it to a fquare pedeftal, and the whole ftands 
 on four lion feet. The fpout is a dolphin, the water coming through 
 the mouth. 
 
 An armorial achievement is engraved on the flat fhoulder of the body. 
 The arms are, — or, two cottifes engrailed, azure, between two„ griffins’ 
 heads couped, gules. For a creft, ifluing from a ducal crown, an uni- 
 corn’s head couped, or. Motto, labor magna res. 
 
Nineteenth Century. 
 
 263 
 
 * 743 - ’ 5 1 * 
 
 F LASK or Bottle, with Stopper : lilver parcel-gilt ; the 
 tides beaten into large gadroons, the upper part orna- 
 mented with oak leaf and acorns, the hopper a finial of leaves, 
 with a chain attached. Modern Englilh. (Exhibition, 1851.) 
 H. 24^ in., diam. 12 in. 125/. 
 
 The body is divided into large oval lobes with pointed ends, the 
 fpandril fpaces filled with thiftle leaves of beaten work, Ihowing fhining 
 broken furfaces at intervals. There is no foot. The neck is long, 
 the lower half covered with thiftle leaf beaten and gilt. The mouth 
 is beaten into alternate bofles and hollows, and the ftopper is beaten 
 into bofles with a finial of leaf work. The ftopper is attached to the 
 neck by a double chain of gilt metal. The work of meflrs. Lambert 
 and Rawlings. 
 
 1329= ’52. 
 
 C HALICE : lilver-gilt, hexagonal L bafe, with champleve 
 enamels in blue, reprefenting angels bearing the fymbols 
 of the paffion. Englilh. (Exhibition, 1851.) H. 8 in., 
 diam. 4-! in. 30/. 
 
 The bowl or cup is egg-lhaped, round the centre runs the legend 
 £X £0 O1ttU£0 in gothic letters. The Item has fmall buttrefles 
 on the angles, the knop is in lobes faced with lozenges of enamel, 
 between which are pierced gothic window traceries : the bafe is o£ta- 
 gonal, divided into Hoping faces by gilt cord mouldings, thefe faces 
 contain the lf)0 monogram, and angels holding emblems of the paffion 
 furrounded by arabefque work. The lower part fpreads, and is en- 
 graved and furrounded by a bolder moulding of cord work. Made by 
 meflrs. Skidmore, of Coventry. 
 
 1 3 0 1 * ’ 54 - 
 
 B OX : oxidifed filver, with the ftory of Niobe in relief. 
 
 Englilh (Elkington & Co.). H. ij in., W. 9J in. 
 il. os. 6d. 
 
 A compofition in beaten work on the top reprefents the ftory of 
 Niobe, whofe children are falling round her on all fides. On the 
 Tides are cupids with goats and other animals, and on the ends claffic 
 warriors and horfes. 
 
264 Gold and Silver Smiths Work . 
 
 1292. ’54. 
 
 WER : eleftro-filver fcroll and ftrap work, with alle- 
 
 1 gorical figures, reprefenting feafons and quarters of the 
 earth ; from a defign by Fr. Briot. Englifh (Elkington & Co.). 
 H. nf in., W. 6 in. 9/. c/s. 
 
 An egg-fhaped body, fharp neck, high projected lip, and high 
 handle without much variation of curve, with a nymph on the lower 
 fide where it joins the body. A narrow item and expanding flat 
 foot. 
 
 On the upper curve of the body are three figures, feparated by 
 dolphins, reprefenting Ver, Autumnus, Hyems. Below thefe, enclofed 
 in ftrapwork, are figures reprefenting Europa, America, and Africa. 
 The foot is covered with ftrapwork. 
 
 HIELD : iron, with compofitions from Italian poets. 
 
 hammered in relief. By Yechte. French. (Exhibition, 
 1851.) Diam. 2 ft. 3 in. 220/. 
 
 In fecftion it is convex, with a wide flat rim, and a fpike in the middle 
 ifliiing from a candelabrum-fhaped projection. The outer rim is beaten 
 up^vith ftrapwork and leaves in bold arabefque curves. In it are bufts 
 of Dante, Petrarch, Taffo, and Ariofto. The convex furface is divided 
 into four panels or fpaces by ftrapwork. In thefe are four baf-reliefs 
 illuftrating fcenes from the writings of thofe poets. 
 
 S WORD Hilt : Elver oxidifed, with a figure of St. Michael 
 the archangel, a copy of one prefented to General Chan- 
 gamier. French. Dated 1849. (Exhibition, 1851.) L. 
 3 ft, 4 in. 40/. 
 
 The hilt is faced with an image of the archangel Michael, whofe 
 fhield is raifed in defence, while his fword pierces the head of the 
 dragon ; an oak tree, with fhields hanging from it, behind his back. 
 On one is the date 13 Juin 1849, the date of the ftreet battles in Paris. 
 
 1483. 51. 
 
 164. ’54. 
 
Nineteenth Century. 
 
 265 
 
 This, and the name, AV GEN L CHANGARNIER, in Roman capitals 
 in fquare relief, (how the reafon of its prefentation after the fuppreffion 
 of the revolt of that year. Round the guard on a ribbon, Devoir, 
 Droits, Travail, Bienetre, Ordre, Liberte, and two dates, 16 Avril 1848, 
 29 Janvier 1849. The work of meflrs. Froment Meurice, of Paris. 
 
 171. V- 
 
 P ERFUME Burner : iron, inlaid with damafcene work of 
 lilver. French. (Exhibition, 1851.) H. 4J in., 
 diam. 3§ in. 4// 
 
 The body is trumpet-mouthed, and ftands on a broad round foot 
 with concentric moulded torus lines round it. The top is round and 
 hinged with a fmall handle. The whole is furrounded by eroding 
 and recroffing bands of arabefques damafeened over the furface. 
 
 The outline of the whole is gracefully arranged, and the arabefques 
 are well placed on the furface. By Roucou, of Paris. 
 
 169. ’51. 
 
 D AGGER : gold damascening on iron. French. (Exhi- 
 bition, 1851.) L. 9 in. t 'll. 
 
 The fheath as well as the blade are beautifully damafeened with 
 gold ; the blade has a fmall triangular piece of arabefque work on its 
 broadeft part, and the ftie2th is covered with leaves, flowers, &c., 
 fhowing lines and points of gold in relief. By Roucou, of Paris. 
 
 I 59- 5 1 * 
 
 S WORD : the hilt and fcabbard of lilver, call: and chifelled 
 with compofitions from the legend of St. Hubert. 
 French. (Exhibition, 1851.) L. 1 ft. 2 in. 2,00/. 
 
 The hilt is richly fculptured in relief reprefenting St. Hubert, 
 patron of hunters. The faint is in Frankifh coftume, in a mail frock, 
 furcoat, and cloak, with a bow ; a dog lies at his feet. On the crofs 
 guard are a hawk and a duck, and below, on the fcabbard, hounds and a 
 
266 Gold and Silver Smiths Work. 
 
 baf-relief reprefenting the vifion of St. Hubert. He is in a hunting 
 drefs and kneels in devotion. The vifion of a flag with a crucifix 
 between its antlers is before him. 
 
 Lower down is a baf-relief in filver containing the attributes of the 
 chafe. The tip is covered with a filver-gilt cafing, and two fufpenfion 
 loops dre alfo filver-gilt. 
 
 The whole work is elaborately wrought throughout. By Marrel, 
 freres. 
 
 1 6 3 - * 54 - 
 
 S EAL: chifelled iron, damafcened with gold. French. 
 (Exhibition, 1851.) H. 3^ in., W. \\ in. 7/. 
 
 The top is modelled into the fhape of a dragon, twilled round into 
 a knop. This is the butt or handle. A balufler Item expands into a 
 foot containing the feal plate. It is decorated with damafcening after 
 the manner of the kooft work of India. The work of Froment 
 Meurice. 
 
 168. ’54. 
 
 F LASK : filver-gilt openwork over blue glafs. French. 
 (Exhibition, 1851.) H. i6|- in., W. 6^- in. 66/. 1 6s. 
 
 The lower part of the body is bulbous, flattened on the fides. 
 Down the fides and acrofs the body run flraps 'of pierced filver gilt. 
 On the front is placed a medallion containing a compofition of Venus 
 holding a flaming heart out of reach of Cupid who clings to her 
 legs. The correfponding plate on the back is left for heraldry. 
 
 Up the edges of the metal flraps rofettes are welded on at intervals. 
 The Hopper is furmounted by a boy riding a dolphin, modelled in 
 the round. Carbuncles are fet on the foot which expands below the 
 bulb of the body. By Froment Meurice. 
 
 1 33 - >• 
 
 C ASKET : oxidifed filver, engraved, chafed, and fet 
 with jewels. French. (Exhibition, 1851.) H. 6f in., 
 L. 6£ in., W. 4I in. 36/. 
 
 The body is oblong. It has four round reel-fhaped ornaments 
 with knob tops and bafes on the four angles. A belt of flrapwork 
 
Nineteenth Century. 
 
 267 
 
 runs round the whole body, and a number of fmall carbuncles fet in 
 geometric order round the circles of which the belt is compofe.d, with 
 fmall pearls in the centres. 
 
 The lock plate is a fort of fmall architectural pedimented panel or 
 frontifpiece. The lid is coved up to a central panel, and the furface 
 worked over with ftrap and leaf work. On the top is a fmall compe- 
 tition in the round, a lady drelHng, and a cupid holding up a clallic 
 mirror. 
 
 The foot is oblong like the body and is a large cavetto, of which 
 the bafe edge comes forward as far as the body of the piece. It is 
 covered with the fame decoration as the reft. By Gueyton, of Paris. 
 
 919. ’44. 
 
 B OTTLE : oxidifed ftlver, bulbous, chafed with foliage, 
 and with cupids on the handles. French. 1844. 
 H. 9-I in., diam. \\ in. 40/. 
 
 The body is globular, with a narrow neck, contracted ftem and 
 convex foot. It has a tall ftopper of beaten leaf work. The body is 
 covered with leaf and ftrapwork pierced. Figures of cupids perch on 
 the two handles, which are of round fcroll metal. The fupports are 
 twifted fcrolls of metal refting on beetles. By Rudolphi, of Paris. 
 
 * 57 - 5 1 - 
 
 C ADDY : oxidifed filver, covered with arabefque foliage 
 and parcel gilt. French. (Exhibition, 1851.) 
 H. 6 \ in., L. 5-g- in., W. 3 in. 10 /; 
 
 The fhape is an upright oblong. The furface is covered with 
 foliage of Virginia creeper, delicately modelled in relief. The branches 
 are arranged geometrically. The ground is granulated and gilt. On 
 the top of the lid, which is hinged, is placed an eagle in its neft of 
 eggs. By Rudolphi, of Paris. 
 
 1 56. ’ 5 1 * 
 
 C ASKET : oxidifed filver ; on the lid is a compofition 
 reprefenting Venus dreffed by cupids, hammered in low 
 
268 Gold and Silver Smiths Work. 
 
 relief. French. (Exhibition, 1851.) H. 2-f in., L. 8f in., 
 W. 7! in. 10/. 
 
 The plan is oblong, with rounded corners and a cufped concave 
 centre to each fide. Round the Tides runs a band of leaves, fcrolls, 
 and bunches of flowers. There are four fupports at the corners. 
 
 In the middle of the lid there is an oval medallion or panel fur- 
 rounded by a border of leaf work carefully modelled in relief. 
 
 The panel contains a baf-relief, reprefenting Venus drefled by three 
 cupids, who drefs her hair, and hold a mirror. 
 
 The cafket is flat and intended for toilet ufe. The baf-reliefs and the 
 leaf work are well modelled and carefully executed. By Rudolphi, of 
 
 HALICE : filver, parcel-gilt, enriched with coloured 
 
 enamels and fet with garnets ; an infcription round the 
 bowl. Englifh. (Exhibition, 1851.) H. io^ in., diam. 
 
 The bowl circular, with ftraight upper Tides ; round the middle 
 a legend in gothic letter, faltCftn SWltltam awiptatlt tt Itomm 
 Bomini iltiJ0faf>0. The bowl refts in a notched cup, chafed with 
 fcroll work. The ftem is ftraight, the knop has fix quatrefoils of 
 blue and white enamel. The foot is in fix lobes, with projecting 
 angles between. Carbuncles and cryftals are fet on the upper and 
 under furfaces of the knop and on the hollow of the foot. Made by 
 melTrs. Hardman and co., Birmingham, from a defign by A. W. Pugin. 
 
 HALICE : 'filver, parcel-gilt. Hexafoil foot enriched 
 
 with rofettes of coloured enamel ; the knop fet with 
 garnets and amethyfts, bowl of the chalice gilt and furrounded 
 by an infcription. Englifh. (Exhibition, 1851.) H. 9 in., 
 diam. 6 in. 30/. 
 
 The bowl circular; held in a cup, notched and chafed with vine 
 fcrolls. The ftem is hexagonal ; the knop faced with fix lozenge- 
 fhaped fettings containing amethyfts and carbuncles tallow-cut. The 
 
 Paris. 
 
 I 3*7- ’5 1 ' 
 
 ll in. 45/. 
 
 1338. ’ 31 . 
 
Nineteenth Century . 
 
 269 
 
 foot ends in fix lobes or femicircles, with a fix-foiled medallion on 
 each, filled with vine ornament ; and on one fide a fmall fhield, bearing, 
 argent, a plain crofs, fable. The foot ftands on a deep edging, milled 
 with delicate perpendicular quilling. 
 
 Round the bowl are the words, tfahltatt# Hfftptilttt ft 
 
 n outfit Oomint inDOfaftO- Made by melTrs. Hardman and co., 
 Birmingham, from a defign by A. W. Pugin. 
 
 I NCENSE Burner : wrought iron, damafcened with filver. 
 
 Belgian. (Exhibition, 1851.) H. iof in., diam. 7^ in. 
 
 1 9/. ICtf. 
 
 The body is a flattened fphere. It ftands on a narrow ftem, 
 expanding to a broad round foot : a narrow neck, and a pointed ftopper 
 in the mouth. To the neck two flat metal handles of long S-fhape 
 are attached. The larger furfaces ornamented with arabefque of Indian 
 character, gathered into fpaces, with plain intervals. By Falloife, of 
 Liege. 
 
 ASKET : filver oxidifed and parcel-gilt, engraved panels 
 
 on the front and back, and medallions on the ends 
 contain figure compofitions in high relief ; on the lid are four 
 bulls and a reclining female figure. French. (Gueyton, Paris.) 
 (Exhibition, 1851.) H. 6^ in., L. 11^ in., "W. 5 in. 36/. 
 
 The plan is oblong fquare, with circular projections at eadi end, 
 and fmall fculpture on the fides, ends, and top. The top has four 
 bulls. In the middle is a fmall panel, framed round with foliage, con- 
 taining a reclining figure, the Venus of Titian, putting on a necklace. 
 
 On the front is the difcovery of Achilles amongft the daughters of 
 Lycomedes, King of Scyrus, by Ulyfles and the Greek ambaftadors. 
 The hero feizes the arms which are found in the box, the women 
 examine mirrors, and other prefents. 
 
 A trophy of arms furrounds the keyhole. 
 
 On the back is the meeting of a man and woman in the drefs of the 
 time of Francis the firft, with a lord in waiting and a female attendant. 
 
 The ends are covered with, foliage. Medallions are fet in the 
 middle of this work containing Cupid with attendant genii at the forge 
 
 6744. *51. 
 
 i54- ’5«- 
 
270 Gold and Silver Smiths W ork. 
 
 of V ulcan, and the fame perfonages with the attributes of the arts and 
 fciences. 
 
 The cafket ftands on a projecting bafe moulding, on which are 
 chafed fcroll ornament and nail heads. The fupports are four dogs’ 
 heads pointed to the ground, and fmaller fupports are added on the 
 angles. 
 
 1391. ’ 54 - 
 
 S ALT Cellar : filver-gilt and oxidised. An infant Hercules 
 drawn by two dolphins. Deligned and modelled by 
 Stanton. Englifh. (Elkington & Co.) H. 5^ in., W. 5-f in. 
 by 3^ in. 7/. 1 is. id. 
 
 161. ’51. 
 
 C UP and Cover : ftlver, parcel-gilt and fet with jewels 
 of various kinds, by Marrel, freres, Paris. (Exhibition, 
 1851.) H. 9 in., diam. 6 in. 72/. 
 
 The body is the fegment of a globe in fhape, and is chafed with 
 ftrapwork and leaf ornament. On the cover are four medallions, each 
 having a cupid running, and blowing a horn or trumpet ; turquoifes and 
 other jewels are fet between thefe medallions. A cupid on the top, 
 modelled in the round, is beating cymbals. 
 
 The Item has four medallions on the knop, containing baf-reliefs of 
 a nymph fleeping ; a fatyr tracing her fhadow ; boys fqueezing grapes, 
 and boys drinking. Carbuncles are fet in the intervening fpaces. 
 
 The bafe, which is convex, is covered with leaf and ftrapwork, and 
 jewels are fet at intervals round it. 
 
 8038. ’62,. 
 
 C UP and Cover, tazza : embofled filver ; with three 
 handles, and three feet. By Barbedienne, Paris. (Ex- 
 hibition, 1862.) H. 4^ in., W. 5! in. 64/. 
 
 Slight gadroons are embofted on the bowl, and arabefques on the 
 cover, with an acroterion ornament above. The handles are double 
 fcrolls with acanthus decoration. 
 
Nineteenth Century. 
 
 271 
 
 6745- *51. 
 
 ASE and Cover : wrought iron, damafcened with filver. 
 
 By Falloife, Liege. ^(Exhibition, 1851.) H. 9^ in., 
 diam. 6-f in. 21/. 
 
 The body is raifed on a high item. It is fhallow, and falls in rapidly 
 in two divifions with a moulded circle between. The ftem has a central 
 knop, and an expanding foot. The top has a knob with moulding lines 
 and neckings. 
 
 All the larger furfaces are decorated with arabefques of fhawl 
 pattern, fine leaves, &c. Round the knop and other lefs confiderable 
 furfaces the Dattern is in running fcrolls with birds, and 'the ftem has 
 upright ftripes by way of contraft, all damafcened in filver ; the rim at 
 the bafe has a hunt of dogs and flags on a running fcroll. 
 
 ANKARD : ivory, encrufted with turquoifes mounted in 
 
 filver, which is fet with rubies. By Rudolphi, Paris. 
 (Exhibition, 1855.) H. 9 in., W. 7 in. 150/. 
 
 The drum is ivory, fet with turquoifes, filver plates, and fmall 
 rubies. 
 
 The lid is filver, pierced, and with fleur-de-lys in the piercings fet 
 with fmall rubies. 
 
 The handle is ftraight, and connected by fcrolls with the body. 
 
 IRROR : filver plated ; an elliptic frame and balufter 
 
 foot. French. (Exhibition, 1855.) H. 14 in., 
 W. 7f in. 7/. 
 
 The rim is a plain beading, on the top and bottom are fcroll orna- 
 ments in the ftiape of acroteria tiles. The foot is a tall vafe-fhaped 
 balufter. 
 
 The foot and the ftem are covered with ftrap and leaf work, 
 beads, flowers, borders, &c. in relief By Barbedienne, of Paris. 
 
 2653. ’56. 
 
 2705. ’36. 
 
272 
 
 Gold and Silver Smiths W irk. 
 
 2648. ’56. 
 
 C RUCIFIX : imitation of ancient champleve Limoges 
 enamel (in an unfinifhed ftate). French. (Exhibition, 
 1855.) H. 9§ in., W. 5 in. il. 1 is. 
 
 The figure is ftraight, the hands and arms are ftretched horizontally, 
 and the loins covered with a long drapery to the knees. The nimbus 
 behind the head is ftriped like a rainbow and is crofled ; rude flowers 
 are put in here and there. There are no lines of engraving vifible, and 
 the enamel is rubbed fo as to make portions of the entire compofition 
 blurred as if from age. By Dotin, of Paris. 
 
 265 4 * ’56- 
 
 V ASE : oval ; the body of fteel, damafcened with gold 
 and filver, pierced, and inlaid with turquoifes. The 
 handles are grotefque birds and dragons. Round the middle 
 of the body runs a belt of foliated ornament, in the middle of 
 which, on each side, is fet a large emerald. By Rudolphi, Paris. 
 (Exhibition, 1855.) H. 1 in., W. 8 in. 150/. 
 
 The body is egg-fhaped, and the decoration, which is Indian and 
 Byzantine together in ftyle, is kept with a flat polifhed furface, the 
 lines being incited and fmall intervals pierced. Turquoifes are fet at 
 intervals ; alto flat and flufh with the furface. The handles are birds, 
 fuch as are feen in the Irifh and Runic twifts, and fpring out of the 
 jaws of a two-bodied dragon, the tails of which run into the belt of 
 raifed wire filigree fcroll-work that furrounds the middle of the body ; 
 in this, too, emeralds are fet. 
 
 The handles are tall, the neck is long and funnel-fhaped, and fet 
 with turquoifes ; the handles reaching to the top. The ftem is thin 
 and fmooth, with a ball half way down, and a conical foot. 
 
 2635 . ’56. 
 
 P OWDER Flafk and Cafe : fteel chafed and damafcened 
 with gold. Spanifh. (Placido Zuloaga, Madrid. ) (Ex- 
 hibition, 1855.) Flafk, 4 in. by 2 in. ; cafe, W. 5 in. by in. 
 20 1 . 
 
Nineteenth Century . 
 
 273 
 
 This piece of delicate damafcening is a flafk fet in a flat cafe or box 
 into which it fits. It is covered with fcroll foliage, embofled on a gold 
 ground. On the body is a medallion, reprefenting on one fide Minerva 
 at the throne of a queen (?), holding out her hands, maidens round 
 the fteps, a temple of Apollo and guards behind. On the reverie, 
 Venus nude, to whom offerings are made. 
 
 The cafe in which it is fet is a flat oval box, of which the cover and 
 Tides are decorated with embofled acanthus foliage. 
 
 The infide is damafcened with fine arabefque work of gold. 
 
 334. 5 66. 
 
 C ASKET : oblong, with barrel-Ihaped top, of fleel, 
 damafcened with gold and filver. Spanifh. (Placido 
 Zuloaga, Madrid.) H. 6 in., L. 8 in., W. 4^ in. 15/. 15^. 7 d. 
 
 The top is barrel-fhaped, the angles, edges, and lock-plates are 
 filver. There are fwing handles on the ends, of iron damafcened with 
 gold, in the manner of Indian kooft work. 
 
 IOO7. ’69. 
 
 F RAME : for two miniatures with gold and niello orna- 
 ment. Spanifh. 1867. El. 6-| in., W. "]\ in. 10/. 8 j. 
 The two frames are connected and form one pierced tablet. The 
 top is cut into two bold circles, with a flower between and two half 
 flowers on the fides. Thefe parts, as well as the frames and furfaces 
 round, are divided by filver bands into various fhapes, and the fhapes 
 filled with arabefque ornament damafcened in gold. The defigns are 
 varied, fo as to keep a proportion in the ornament and to prevent the 
 compartments being confounded together. 
 
 8ll8. ’63. 
 
 F LAGON : for Communion"; red glafs, with a bafe and 
 foot, handle and lid of filver- gilt, in which are fet paft 
 jewels and cryftals ; on bands that conned: the upper and lower 
 mounts are plaques of enamel. Englifh. (Exhibition, 1862.) 
 H. 12I in., diam. in. 4 5/. 
 
 36105. 
 
 3 
 
274 Gold and Silver Smiths Work, 
 
 The body is of red glafs. It is fet in a deep lip and a complete 
 bafe and foot of filver-gilt. The upper band of metal work is chafed, 
 and has an edge of pierced leaf work. The lower faucer or bowl that 
 holds the bottom of the glafs is hammered and chafed with cufped loops 
 filled with leaf work, and having paftes fet in the fpandrils, and corre- 
 fponding fettings round the lip. It has a broad fpout. 
 
 The handle is of folid metal work, the ends rolling over in fcrolls of 
 • beaten work. 
 
 The lid opens with a purchafe. It is beaten up into boffes round 
 the circumference, and on the top is a pelican with wings ere£t feeding 
 her young. 
 
 The upper and lower metal work are connected by ftraps of metal 
 work lying along the furface of the glafs, and in thefe are fet round 
 medallions of light blue enamel and leaf work in relief. The work of 
 meflrs. Hardman, of Birmingham. 
 
 2 , 89. ’6 4. 
 
 B ELL : bronze, a hand bell, with female figures in filver, 
 and gold ornament round it, the handle of carnelian and 
 filver-gilt. Englifh. H. 5^ in., diam. 2-| in. 10/. icu. 
 
 The handle is encafed in four upright bars, which hold it together 
 by fmall balls that touch the carnelian in the middle. Round the bell 
 itfelf is an embofled frieze compofed of dancing women in filver, a fret 
 and other fine ornament are added in gold. By meflis. Barkentin. 
 
 546. ’68. 
 
 S HIELD : filver and iron, damafcened with gold, divided 
 into fpaces, the central containing in relief the archangel 
 relating to Adam and Eve the rebellion of Lucifer, with the 
 ftory itfelf and various figures in the fide fpaces. (Exhibition, 
 1867.) H. 34^ in., W. 26-|m. 2,000/. 
 
 This beautiful piece of beaten and chifelled metal work is egg-fhaped, 
 the upper curves of the oval larger than the lower. It is divided into 
 different fpaces by bands of blue iron damafcened with arabefques of 
 gold all in flight relief. The centre of the upper curve is a round 
 medallion, in which are feated Adam and Eve on a bank covered with 
 
Nineteenth Century , 
 
 275 
 
 flowers and herbs delicately chifelled. Before them Hands Raphael the 
 archangel whofe action indicates the relation he is making of the fall of 
 Lucifer and his angels. Thefe figures are chafed into very (harp relief. 
 
 In two long irregular panels, nearly furrounding this medallion, the 
 hiftory of the conteft of Satan is given in detail. In the right fpace he 
 is fummoning his legions who aftemble armed, while he is hanging in 
 the air above. The left fpace contains the conteft. Two placid 
 figures, with folded arms at the heads of thefe fpaces, are watching the 
 Divine prefence, reprefented in a fpace enclofed between thefe by a 
 bearded head and a glory of cherubs round it. 
 
 In a correfponding fpace or panel between the lower ends of the 
 long panels juft defcribed is the conteft of St. Michael the archangel 
 with Satan. It is compofed in the traditional manner, the archangel 
 clad in claffic armour ftanding on the proftrate form of the rebel angel. 
 
 Four narrow outer panels circle round thefe others. In the upper 
 are emblems of the creation of the world ; in one attributes of fciences, 
 fuch as mufic and navigation : of the cardinal virtues : and of power or 
 authority : in another the creation of the heavenly bodies, the fun, 
 ftars, one of the zodiacal figns, and comets. 
 
 Sin and death, the former a fyren holding a ferpent, the latter veiled 
 and crowned as the king of terrors, are in the curved ends of the lower 
 outer panels, the remainder is in bold beaten acanthus leaves in iron. 
 
 The principal bands, dividing the forms in which the fculpture is 
 enclofed, are varied by bofles and ftars. 
 
 The work is richly chafed and chifelled up ; the variety and 
 depths of this work being greater in the circular centre, and becoming 
 flatter in relief and lefs detailed and chafed as it comes nearer the out- 
 fide of the entire compofition. 
 
 The moft detailed parts are, perhaps, more chifelled and frittered 
 into fibre than is confiftent with the folemnity of the fubjedt and the 
 largenefs and fimplicity required in fo great a piece of metal work. The 
 forms, and particularly the details in thofe compofitions, are a little robbed 
 of fize and dignity, and the extreme fharpnefs of outline adds to this 
 impreffion. All the modelling, and the defign fpecially of the figures 
 and extremities, are without fault, and followed out with great maftery 
 of hand. 
 
 That fuch a work can be defcribed as Englifti it is difficult to fay, 
 as it has been made by a French artift, Morel Ladeuil, and has all the 
 charadleriftics of modern French art of this kind. It was exhibited by 
 Meflrs. Elkington, along with many good examples of filverfmiths’ 
 work, as the produtftion of their firm in the Exhibition of 1867. 
 
276 Gold and Silver Smiths Work. 
 
 3° 4- ’70. 
 
 B OOK Cover : blue fteel, damafcened with gold and fet 
 with pieces of lapis lazuli in filver parcel gilt mounts ; 
 with legend : Cortelazzo fece, Vicenza 1 ’ anno 1868. Italian. 
 H. 12 in., W. 9! in. 1 12/. 
 
 The fides are of dark copper-coloured oxidifed iron, furrounded by- 
 borders of arabefque leaf work in illver, delicately brought up in relief, 
 and with lion mafks in the corners, projecting fo as to fave the fides from 
 touching a table. In the middle of each fide is a panel framed in gilt 
 metal, and having acanthus and other leaf work outfide it in bold relief 
 in filver. Round the edge of the bronze is a border of gilt arabefques 
 inlaid, and the central frame, as well as fmaller frames in the middle of 
 each fide of the outer border, contains a piece of lapis lazuli. A fmall 
 frame and a piece of the fame material is let into the middle of the 
 back, and on two flat tablets, in the places in which lettering would be 
 put to a book binding, are the maker’s name and date. 
 
 ASE and Cover : bronze, damafcened with filver. Re- 
 
 produced from an Arab model. By Chriftofle, Paris. 
 (Exhibition, 1867.) H. 3^- in., W. 3^ in. 4/. 
 
 The fhape is that of a fphere, flightly flattened. The upper fides 
 contradt a little, the cover laps over. Round the fides are eight foiled 
 circles fet in various kinds of frets in bands. All this work is damafcened 
 in filver. 
 
 ASE : two-handled ; filver, with mafks and fruit em- 
 
 bofled in high relief on the fhoulder. French. By Con- 
 ftant Sevin, executed by Defire Attarge. (Exhibition, 1867.) 
 H. 5f in., diam. in. 120/. 
 
 It is of claflic fhape, the fides contracting rapidly from the fhoulders, 
 and the curve much flattened. The mouth, though fmaller than the 
 body, is large with fpreading lips. The handles rife to the height of 
 the lip, fpringing from the angle of the fides, but with a varied 
 curvature. 
 
 728. ’69. 
 
 769. ’69. 
 
Nineteenth Century , 
 
 277 
 
 The fhoulder is embofled with two groups, having central mafks of 
 Bacchus and Ceres on the two fides. 
 
 The ftem is narrow and the foot wide, with light lotos leaves on it 
 in delicate relief. 
 
 8362. ’63. 
 
 C ROWN : gilt metal, fet with paftes, for crowning a 
 church image of the blefled Virgin. Modern German. 
 H. 2f in., diam. 7J- in. 12/. 12s. 
 
 The circlet out of which the Hems of the crefting fpring is covered 
 with open rolling acanthus leaf work, of thin metal plate, after the 
 manner of the long-lobed thiftle leaf of German 15th century ornament. 
 Imitation gems of various colours are fet at intervals round the circle. 
 
 The crefting is a feries of thiftle ftems, with ball flowers and florid 
 leaf work, branching till they touch, 
 
 4754 - ’ 5 8 - 
 
 T RIPTYCH : brafs, encrulled with black and white 
 enamel ; with three half-length figures of our Lord, 
 the blefled Virgin, and St. John Baptift. Modern Ruffian. 
 H. in., L. 8 in. 25/. 
 
 In the middle is a half figure of our Lord holding in his left hand 
 the book of the gofpels, and blefling with the fore and middle finger in 
 the Greek manner. He has a cruciferous nimbus, and a toga wound 
 round the body. To the right is a half figure of the blefled Virgin, 
 with the hands in the attitude of interceflion. St. John the Baptift is on 
 the left. Both are nimbed and the titles of all three raifed on the back- 
 ground, in Cyrilian charadters. The reft is covered with delicate 
 flower work in relief, and borders of conventional foliage pattern alfo in 
 relief ; the funk fpaces are thinly covered with enamel, black and white, 
 with glazed furface, having been fubjedled to partial filling and a fingle 
 firing. 
 
 976. ’6 9. 
 
 J AR, Goula : filver, embofled with figures, animals, and 
 foliage, wfith twilled neck, of antique pattern. Ruffian 
 Tiflis). (Exhibition, 1867.) H. iof in., diam. 2-| in. 7/. 
 
278 Gold and Silver Smiths Work. 
 
 The body is round, and Hands on a trumpet-fhaped foot ; a long 
 fluted neck rifes out of this, and is turned into a fpiral twill. There is 
 a mouthpiece flightly enlarged, which is bent over in a quadrant. 
 
 The body is covered with rude chafing of leaves and animals, en- 
 clofing cufped medallions of Perfian character containing a man and 
 a woman playing mufic. It is intended as a drinking velfel for wine. 
 
 POON : filver-gilt, with twilled handle, and the back of 
 
 the bowl decorated with niello and an infcription. 
 Ruffian. (Exhibition, 1867.) L. 6-| in., W. i\ in. 2/. i6j\ 
 
 The Hem is lightly curved, the upper part twilled, the bowl bor- 
 dered with delicate knotted fcroll work, filver on a gold ground ; on the 
 back of the bowl a church is reprelented in niello, and round a portion 
 of it runs a Ruffian infcription, which may be read : “ eat bread and 
 
 SALT BUT SPEAK THE TRUTH.” 
 
 J AR, Goula : filver, ornamented with medallions and beaten 
 work, and with bells hung by chains from the neck. 
 Ruffian (Tiflis)d (Exhibition, 1867.) H. 10J in., diam. 
 2^ in. 7 1. 14 s. 
 
 The body is oval-lhaped, and Hands on a trumpet-mouthed bafe ; 
 the neck rifes up from a ball above this part, and has on the top an open 
 drinking fpout lhaped like a fpoon. The body is covered with beaten 
 and chafed work of leaves and flowers, furrounding four medallions, 
 with pointed ends and cufping, in which are contained baf-relief com- 
 pofitions reprefenting muficians playing. 
 
 Five fmall round bells are hung by filver chains from the bafe of the 
 neck to half way down the body. 
 
 J AR, Goula: cocoa-nut Ihell carved and mounted in filver. 
 
 gilt filigree, fet with turquoifes, and with a twilled filver- 
 ' gilt neck. Ruffian (Tiflis). (Exhibition, 1867.) H. 12^ in., 
 diam. 2^ in. 7/. 
 
 980. ’69. 
 
 977* *69- 
 
 978. ’69. 
 
Nineteenth Century , 
 
 279 
 
 The top and bottom of a carved cocoa-nut fhell are covered with an 
 open bafket work of filigree filver, gilt, with fmall knobs along the 
 threads and turquoifes in the upper rows. Thefe two frames are joined 
 by four floriated filigree bands. 
 
 The foot is a frame of bafket work, and the neck, which is a twifted 
 tube, turns flightly over and is finifhed with a fpreading mouthpiece. 
 
 9017. ’63. 
 
 P OWDER Horn : filver, with niello decoration, filver- 
 gilt chain and cover. Ruffian. L. 5f in., W. 2-g- in. 
 4/. 1 is. 6 d. 
 
 The form of this horn is that of a fmall flat rhinoceros tufk. The 
 general hue is black, and the ornament is in flight, rather weak flourifhes 
 of arabefque work. It is fufpended by a fmall filver chain, and on the 
 end is written in Italian writing, za Tcepdie . 
 
 979. ’69. 
 
 S POON : kovch ; filver-gilt, with fhort handle, ending in a 
 hook, and decorated with niello work. Ruffian. (Ex- 
 hibition, 1867.) L. 5-| in., W. of bowl, 3 in. 5/. 1 6s. 
 
 The bowl is fhaped fomething like a boat, the end rifing into a 
 flight point. The handle is a fquare ftem, round below, with a fquare 
 hook at the end to give a better hold. The outfide of the bowl is 
 ornamented with imbricated fcale pattern, delicately worked in niello. 
 In the middle of the two fides cufped Perfian panels are funk to a flight 
 depth, and filled with fcroll ftalks and leaves in relief. Round the 
 margin runs an infcription, tranflated by the kindnefs of a Ruffian friend, 
 “ A cup of filver good to drink from, to the health (of the guefl:).” 
 A cup of welcome, an ufage of hofpitality in old-fafhioned Ruffian 
 houfeholds. 
 
28c Gold and Silver Smiths Work . 
 
 ORIENTAL GOLD AND SILVER 
 SMITHS’ WORK, &c. 
 
 94. ’66. 
 
 B OWL : filver, hammered in relief with animals of the 
 chafe. Ancient Perfian (?) H. if in., diam. 6 in. 7/. 
 
 The filver is very thin. The bowl deep, and the fides divided 
 into fix cufped arches of Perfian characters ; each arch retting on flender 
 columns. Round the infide of the lip runs a border of fmall beads ; 
 under each arch is an animal ; a greyhound, owl, gazelle ; ffork eating 
 a ferpent; a wolf on its hind legs holding a ftaff; an oftrich. A fix- 
 foiled centre bears a greyhound catching a gazelle. Outfide the fmall 
 arches run leaves of Moorifh character, and under the arches and on 
 the bottom are leaves in flat relief, more Perfian in character. The 
 work is of great age, but it would be hazardous to aflign a date. 
 
 IO 2 $. ’69. 
 
 K NIFE : filver, with niello. Modern Turkifh. (Exhi- 
 bition, 1867.) L. 8 in. il. 1 6s. 
 
 The work of the decoration is very delicate ; it is collected into 
 mafles on the handles and bordered by bold lines of oxidifed filver and 
 portions of the utmoft finenefs of execution are put upon the blade. 
 
 501. ’69. 
 
 P ANTOOR : ornamented with leaves and animals ; part of 
 the head-drefs worn in the Lebanon. Modern Syrian. 
 L. I4f in., diam. 3 in. 4/. 4 j-. 
 
 The fhape is that of a fhort wide trumpet. The fides are marked 
 out rudely with the point into ovals, in which fifh, birds, and leaves are 
 beaten up. 
 
Oriental. 
 
 281 
 
 1568. ’73. 
 
 P ANTOOR: filvered metal, with gilt ornament fet with 
 coloured glafs. Syrian. (Exhibition, 1872.) L, n^-in., 
 diam. 3§ in. 1 9s. 
 
 A ftraight horn, contracted at the top, on which is a projecting round- 
 topped cap. On the convex furface of the top is a goofe rudely beaten 
 up, and round the top and bottom running borders of fcrolls and leaves. 
 Three little rings, with triangular fcutcheons behind them, are fattened 
 round the Tides of the horn or tube, and on the front of it is foldered a 
 plate of gilt metal edged with fmall feeds, and having on it ten paftes 
 or coloured glafs jewels, each forming the eye of a five-leaved flower. 
 
 This lingular ornament, like the laft defcribed, fuftains a veil as did 
 the fteeple-fhaped head-drefles of the later middle ages. It is occa- 
 fionally worn in the Lebanon. 
 
 ABYSSINIAN GOLDSMITH’S WORK, &c. 
 
 237. ’ 69 . 
 
 C ROWN of Abyffinia : tilver-gilt filigree work fet with 
 coloured paftes and fmall paintings under glafs. Taken 
 in the capture of Magdala. H. 13! in., diam. 11 in. Given 
 by the India office. 
 
 This crown is a cylindrical cap or head-piece of filver gilt, with a 
 rounded top. It is furrounded by three bands or diadems of ornamental 
 metal work, difpofed round the top, bottom, and middle of the cylindrical 
 part fo as to form three coronals in the manner of the Roman 
 “ triregno.” 
 
 The lowed band or belt is a flat projecting rim edged with a row of 
 fmall conical ornaments, each crefted with five fmall grains or balls of 
 metal, and having a little metal pendant hanging below it ; a granulated 
 apple or other fruit with fmall leaves in the place of every third. Several 
 of thefe details are now wanting. 
 
282 Gold and Silver Smiths Work. 
 
 Behind this edge ornament the furface of the cylinder is divided into 
 a fet of panels filled with filigree work. The fecond or middle coronet 
 is of like defcription. It has a row of upright cones on the furface 
 of the circle itfelf, with fmall trefoil pendants under each, and the 
 furface of the cylinder behind is worked in arches filled with pierced 
 arabefque flower work. In front of this Hands a circle of detached 
 panels, alternating wide and narrow, worked with filigree work, erodes 
 and jewels made of paftes. The top of each larger panel is cufped 
 and finifhed with fmall balls, and each fmaller panel is furmounted by a 
 granulated fruit. 
 
 The circle of the upper coronet is edged with diamond-fhaped 
 pieces of glafs, fet as in the other two, and furmounted by a row of 
 granulated fruits and leaves with a little pendant beaten ornament 
 hanging underneath. 
 
 In addition to thefe three features of the crown there is a frontal, 
 compofed of a portion of a coronet equal to about one third of the 
 whole circle, added to the lower of thefe parts and hanging over in 
 front. It is made up of arched panels correfponding to thofe deferibed. 
 They are five in number, the middle and two outer being larger than 
 the two between them. Thefe panels are fquare and arched at the top, 
 with fmall paftes fet in the arch and with openings in the lower part. 
 All the edges are fretted into fmall cufpings or notches to add richnefs 
 and delicacy to the outlines. The fmall intermediate panels have 
 filigree over the plates that back them, paftes set on the fronts, and 
 fmall balls on the apex of each. 
 
 The middle panel is made of more importance. It is fquare, with 
 an arch-fhaped top, has paftes fet on the upper and on the fquare part, 
 and che crefted edge of the arch is fhaped into thirteen cufpings. 
 The lower parts of all the five panels have red and green paftes fet 
 in them. 
 
 The inner cap or head-piece of the entire crown is domed and 
 pierced in reticulated patterns, with four large fhallow bofles beaten up, 
 and containing each of them one of the evangeliftic fymbols. Thefe 
 are feparated by perpendicular bands of pierced imbricated pattern. 
 Eight granulated fruits and flowers of folid metal form a circle round 
 the apex, which has been furmounted by a crofs, now replaced by a 
 rude cylinder foldered to the cap and lined with the worm of a female 
 ferew. 
 
 The crown has evidently been uled as an ecclefiaftical mitre, and 
 in general fhape, and in the details, it has a clofe correfpondence with 
 the gold crown or mitre called that of the Aboona, and lent for 
 exhibition by the treafury. 
 
Abyffinian. 
 
 283 
 
 The work has much of the Perfian character of ornament, and 
 belongs, probably, to a late period. The fhape and the three circlets 
 round it may with fome probability be referred to an oriental type of 
 great antiquity. The fignificance of the loofe frontal, which forms fo 
 prominent a feature in the crown, it is not eafy to define, nor can 
 one venture to aflign to a very high antiquity the type of this peculiar 
 ornament without more light than has hitherto been thrown upon the 
 fubjedt. 
 
 UP : filver-gilt, beaded and fluted foot, with filigree 
 
 knop, and fimilar ornament round the bowl. Abyflinian. 
 H. 3f in., diam. of bowl 2^ in. 10/. icxr. 
 
 The form is bell-fhaped, the lip plain, below it comes a row of 
 pierced gables of twilled wire, and under that, again, a belt of filigree 
 network. The Item is folid. 
 
 UP Holder: filver-gilt, ornamented with filigree work. 
 
 Prefented by the late Aboona Salaman, patriarch of 
 Abyflinia, to Mr. Hormuzd Raflam. Modern. H. 2 in., 
 diam. 2 in. Given by the foreign office. 
 
 For holding fmall porcelain cups of coffee too hot for the hand. 
 Egg-fhaped, with vertical flripes of filigree in network, and volutes and 
 circles alternated, the latter patterns have dots or beads of metal at 
 intervals to add point to the repetition of lines. 
 
 ROCESSIONAL Crofs : brafs, quatrefoil centre fur- 
 
 rounded with openwork circle of crofles, with focket. 
 Modern Abyflinian. H. 1 1 in., W. 7 in. 3/. 
 
 A fmall flat crofs patee forms a centre, round which are gathered a 
 circle of large and fmall croffes, which radiate from it. The flaff or 
 holder is in the form of a trident. Is it of Indian origin ? 
 
 63. ’70. 
 
 848. ’68. 
 
 1732. ’69. 
 
284 Gold and Silver Smiths Work . 
 
 1733- 69* 
 
 P ROCESSIONAL Crofs : brafs, the central crofs within an 
 openwork quatrefoil, {unrounded by other erodes. 
 Modern Abyflinian. H. ia| in., W. 12 in. 3/. 
 
 A fmali crofs patee is enclofed in a flat plate pierced with a quatre- 
 foil opening, into parts of which each of the members of the crofs fits 
 refpectively ; on each end is a pierced fcroll ornament. The outer 
 fide of this pierced plate curves into a crofT, having a larger crofllet 
 on the end of each member, and a fmaller between point and point, 
 with a quatrefoil ornament of flat metal ; between thefe feveral erodes is 
 a focket to fit on a ftaff. 
 
 POON : diver, the handle cruciform and engraved with 
 
 a group of the Crucifixion. Modern Abyflinian. L. 
 7^ in., W. 2 in. 1 /. 
 
 The bowl has a pointed end, and is merely part of a flat plate of 
 filver, the upper end of which is bent under in a long loop, the 
 middle projecting on each fide fo as to form an oblong fquare. It 
 has been mended. The workmanfhip is of the rudeft kind. It is 
 impoflible to fay for what purpofe it has been intended. 
 
 RM Guard : filver, ornamented with filver-gilt filigree 
 
 and coloured ftones. Prefented by Theodore king of 
 Abyflinia to Mr. Hormuzd Raflam. Modern Abyflinian. 
 H. 6\ in., diam. 4 in. Given by the foreign office. 
 
 In the fhape of a ihortened cone, opening with a hinge down one 
 of the fides. Each half is formed into a feparate compartment of large 
 filigree fcroll work, with knobs and fmali balls of gold at intervals : 
 each compartment is furrounded by a border of rolling fcrolls relieved 
 by knobs of metal, and each border edged with fine network, alfo in 
 filigree. The two centres of the two large divifions of the piece are 
 fet one with an emerald, the other with a tourmaline. 
 
 186. ’69. 
 
 847. ’68. 
 
Abyjfinian. 
 
 285 
 
 1676. ’71. 
 
 RM Guard : filver, covered with filver-gilt filigree, fludded. 
 
 Prefented to Mr. Hormuzd RafTam by prince Menilek 
 of Shoa. Abyffinian. L. 6-g- in., diam. 4^ in. Given by the 
 India office. 
 
 This guard is hinged like the laft defcribed, and the furface is covered 
 with filigree in a fimple arrangement of divifions of network, relieved 
 by gilt balls at intervals, five in each divifion, and each bordered with a 
 beaded edging. 
 
 S LIPPERS : a pair, filver parcel-gilt with beaten ornament ; 
 
 belonging formerly to the queen of Abyflinia. Modern 
 Abyflinian. L. 10 in., W. 4-5- in. Given by the India office. 
 
 Made of filver plate, ornamented with rude borders of boffes or 
 pearls in two fizes round the foie, with three ftars and a row of knobs 
 on the upper part of the fhoe. 
 
 F LY Flapper : the handle of filver parcel-gilt with cord 
 ornament. Prefented by the late Aboona Salaman, 
 patriarch of Abyflinia, to Mr. Hormuzd RafTam. Modern 
 A.byffinian, L. of handle, 4§ in. Given by the foreign 
 
 40 2 - ’69. 
 
 849. ’68. 
 
 office. 
 
 The fhape is the fame as thofe in common ufe in India. 
 
286 Gold and Silver Smiths Work . 
 
 ASHANTI GOLDSMITHS’ WORK. 
 
 37 ^- ’ 74 - 
 
 R OUND Ornament: gold, beaten. Afhanti. Diam. 5-j^t 
 in. 1 61 . 
 
 This is a large plate, with an outer rim of fmall billets between two 
 corded wires. The middle has a quatrefoil figure with a flower filling 
 it ; four ftalks with doum palm leaves at the end project from the four 
 intervals between the lobes of the figure. Two half circular lines occur 
 in the inner fide of the outfide rim in each of the quarters thus formed, 
 and between thefe lines and the angle there are two fmall quatrefoil 
 flowers, and a bofs furrounded by a circle of beads. 
 
 The gold of this and the following pieces is quite pure. 
 
 37 1 * * 74 - 
 
 R OUND Ornament : gold, caft, oval, with concentric 
 bands alternately plain and zigzag around a conical 
 centre. It has two loops for a cord to pafs through. Afhanti. 
 
 3 t 6 in - b y 3i in - l6/ - 
 
 Like the laft defcribed, with a different diftribution of the ornament, 
 which is in three bands. The inner is of three, the middle of two, the 
 outer of four rows of filigree ornament ; a more agreeable difpofition. 
 
 373 - ’ 74 - 
 
 B ADGE : gold, beaten, flat and pear-fhape, with loop 
 for fufpenfion. Afhanti. L. 5f in., greatefl: W. 3^ in. 
 10 /. 
 
 A broad flat thin plate, with fifteen foiled flowers and leaf ornament 
 of a rude kind beaten up in three rows, and divided by an ornamental 
 rib down the middle. The top has a round loop as if for fwinging with 
 other pieces on a round rod or bar. 
 
287 
 
 AJhanci , 
 
 37 4 - ’ 74 - 
 
 P LATE : beaten gold, oblong. Afhanti. L. 3^ in., 
 W. 2-^ in. 1/. 1 5J-. 
 
 Divided into two broad ftripes of ornament with a narrower 
 between. The latter has a feries of fmall buckle-fhaped ornaments, 
 while down the broader run thefe fame forms with lines like the crofs 
 curves of the Greek •'p. 
 
 368. >4. 
 
 P IPE : the bowl of gold, plain, the ftem, with mouthpiece 
 and fix ornaments of beaten gold. Afhanti. Entire 
 L. 3 ft. 1 in. 85/. 
 
 The bowl is merely call from the model of a long Dutch clay 
 tobacco pipe, and the ftem follows the outline of the fame ordinary pipe 
 ftem. It is of black wood, delicately ornamented with filigree bands of 
 gold wire at the mouthpiece, and mounted with plain gold bands at 
 intervals, leaving only about a third part of the entire length of wood to 
 be feen between thefe parts. 
 
 369. >4. 
 
 R OUND Ornament : gold, caft, oval, with lobes diverging 
 from a conical centre. Two of the lobes have hafps. 
 Afhanti. 5^- in. by 4^ in. 59/. 4 s. 
 
 The middle is a cone compofed of fix leaves meeting in a point ; 
 round this are fourteen leaves with the points inwards, and eighteen 
 larger leaves or lobes, with pierced fquare holes in two rows round the 
 edges of each. Two leaves projedl from oppofite fides of the outer 
 circle, with two fmall eyes or loops, one on each fide. There are two 
 round fockets on the two fides of the circle, and through them a ftem 
 of fome kind is intended to pafs. 
 
 370. ’74. 
 
 R OUND Ornament: gold, caft, circular, with concentric 
 bands round a pyramidal centre. It has two loops 
 for a cord to pafs through. Afhanti. Diam. 3f in. 30/. 12 s. 
 
288 Gold and Silver Smiths Work. 
 
 Plain gold, with two broad and one narrow band of fmall zigzag 
 filigree ornament round the middle, which is a four-fided nail head 
 point, rather obtufe. Two fmall loops at two points of the outfide, and 
 two focket holes on two others feem to fhow it is intended to be fupported 
 on a bar or cord. 
 
 376 • ’ 74 - 
 
 F LAT Plate: gold, fpread and rounded at one end and 
 covered with beaten work. Alhanti. L. j in., W. (at 
 end) i-| in. i /. 
 
 This curious piece has an edging of fmall circles, quatrefoils, 
 lozenges, and other ornament down the narrow part, and ribs fpreading 
 from a middle line down the wider end, with beaded edge. 
 
 37 6 - ’ 74 - 
 
 B EAD or Bugle : gold, oblong. Alhanti. L. in. 
 
 i /. 15^. 
 
 Ornamented with ten fmall circles in a double row. 
 
 377 - ’ 74 - 
 
 H EAD-DRESS or Collar : beaten gold. Alhanti. L. 
 12 in., W. in. 6/. ictf. 
 
 It forms a fort of half circular collar or gorget. The ornament 
 is made up of half circles, the points touching the middle of the 
 curves oppofite, with a beaded edge. It has been mounted on black 
 velvet. 
 
 378 . ’ 74 - 
 
 F LAT Ornament : beaten gold, lhaped like a feather. 
 Alhanti. L. 4! in., W. £ in. 5/. 
 
 It is like a curved leaf, round at one end, pointed at the other. 
 A branch with leaves, rudely defigned from nature, Harts from the point, 
 with a beaded edge. The leaf outlines are marked out with a fine 
 punch. 
 
289 
 
 Ajhanti. 
 
 379 • ’74- 
 
 S TRAINER : filver, with rude ornament punched on it. 
 Afhanti. L. i4f in., W. of handle, 4J in. 7/. ior. 
 
 The bowl is nearly flat, and bored with holes clofely fet. The 
 handle is a broad flat plate, divided into four by crofs bars, covered with 
 a lozenge pattern of four curved fides, with horizontal lines in the 
 intervals. All the work is beaten up with rude punches from the back. 
 
 380, 3800. ’74. 
 
 A NKLETS : lilver, flat on one fide, with thin orna- 
 ments hanging from it. Afhanti. L. 4A in. 1 2/. the 
 
 pair. 
 
 Thefe are in the form of fetterlocks. A broad ftrap of metal is 
 joined by a ftraight bar, on which fwing fix little horfelhoe ornaments, 
 facing each fide alternately, and covered with punched ornament. The 
 rounded ftrap has lines and dots punched upon it. 
 
 895* *75- 
 
 B AND : gold, embofled with foliage and fcrolls, and pierced 
 for fewing. Afhanti. L. i8-| in., W. 5 in. 20/. 
 
 A band of beaten work in fcrolls and portions of leaves boldly 
 beaten up ; edged with a milled border. A wider middle part is beaten 
 into a cinque-foiled ornament, with rude leaf-work in the foils and 
 branches round it. 
 
 36105. 
 
 T 
 
CASTS. 
 
 GOLD AND SILVER AND GILT METAL WORK, AND 
 ECCLESIASTICAL UTENSILS. 
 
 ANTIQUE TREASURE FOUND AT HILDESHEIM 
 
 IN 1868. 
 
 HE following objedls are French copies ele&ro- 
 typed by MM. Chriftofle from originals found 
 at Hildelheim in Hanover, in the year 1868. 
 The various pieces were accidentally dug up 
 outfide the city by foldiers : they are now in the Berlin 
 mufeum. 
 
 311. ’74. 
 
 TJATERA : filveredand parcel-gilt. In the bottom is a feated figure 
 ■*- of Minerva, beaten up in high relief. It has two flat handles, 
 and the back is ornamented with leaves. H. 3^ in., diam. 9! in. 
 10/. 8r. 
 
 The middle of the patera is all but filled by a graceful figure of Minerva in high 
 relief. She is in flowing drapery, tunic and peplum, with a cuirafs over the bread ; 
 leans her left hand and arm on the edge of a round fhield, which thus prefles a fmall 
 knot or fold of the peplum under the armpit. The other arm is ftretched out, red- 
 ing on a lituus or augur’s daff. One foot is drawn inwards, the other extended, 
 giving variety to the lines of the drapery. She is feated on a rock, and on a rock in 
 the background are an owl and a laurel wreath unbound. Thefe latter details are, I 
 believe, redorations, and more or lefs wanting in the originals. 
 
 Round the figure, and filling the concave fides of the bowl, runs a wide border of 
 anthemium and palmette ornament alternating with pairs of acanthus leaves, and 
 having fmall flowers and tendrils about the fpringing of thefe large details. The 
 whole piece is drengthened by bold architectonic mouldings. There is leafwork at the 
 back. 
 
C ajis. — Antique . 
 
 291 
 
 3*3- ’74- 
 
 PATERA : filvered and parcel-gilt. A figure beaten up in high 
 A relief of the infant Hercules ftrangling the fnakes; the infide of 
 the rim is chafed with floral fcrolls, birds, and animals. H. 2 \ in., 
 diam. 8§ in. 2/. 16 s. 
 
 A deep faucer, the bottom flat, with a ftrengthening mould round the edge of the 
 lip. From the bottom rifes a buft, in complete relief, of the infant Hercules ftrangling 
 the ferpents fent to deftroy him in his infancy. The head is round, with a compaft 
 forehead, curling hair, rounded childifh features, an expreflion of play on the lips, 
 altogether of admirable defign. It feems to have been much worn in the original 
 piece ; the knuckles of the hand and other more prominent parts are worn fmooth. 
 The bottom is edged with three lines or beads to give completenefs to this piece of 
 fculpture. Round the whole there is a chafed border of arabefques, with griffins, 
 birds and fcroll work. 
 
 3H- ’74- 
 
 PATERA : filvered and parcel-gilt. A buft of a deity is beaten up 
 in high relief in the bottom. H. if in., diam. in. 1 /. 5 s. 
 The lides are concave ; the middle is half filled by a buft of a youth in a Phrygian 
 cap, with a toga looped at the (houlder and a torque, with wire twined round the 
 two ends, round the neck, and a crefcent moon behind the head. It is suggefted that 
 this may reprefent a Deus Lunus. 
 
 H. Holzer, Hildeftteimer Ant. Silberfund, p. 53. 
 
 3 I S- ’ 74 * 
 
 PATERA : filvered and parcel-gilt. A buft of Cybele is beaten up 
 in high relief in the bottom. H. if in., diam. i\ in. 1 /. 5*. 
 
 A deep concave faucer with rather upright fides. The bottom is furrounded by 
 a beaded circle, and contains a buft and head, in all but full relief, of Cybele, mother 
 of the gods and of nature ; (he wears a mural crown, battlemented, the angles (lightly 
 undulating. Her hair hangs about her (houlders, from which a peplum or mantle 
 hangs, leaving the right (houlder bare. A round (hield, with a ftarred centre bofs and 
 fmall round ornament, is behind her left (houlder. A bold thickening mould, 
 (howing a lharp arras on the infide, ftrengthens the lip, and a line of firings frames 
 the fculptures below. 
 
 316. ’74. 
 
 T 7 "ASE, Hydria : filvered. The exterior is covered with ornament in 
 relief, amongft which are griffins and foliage, boys attacking 
 fhrimps, &c. H. I5f in., diam. 15 in. 16/. 
 
 T a 
 
292 Gold and Stiver Smiths Work. 
 
 The ffiape is oval, trumpet-mouthed with a fmall round ogee-fhaped bafe ; two 
 handles, loops curved outwards, with a feam in the middle and joined by flat round 
 plates with raifed edges to the body of the veflel not quite half-way down. The 
 furface is covered with baf-reliefs of great delicacy. Thefe ornaments iflue from the 
 tails and wing points of pairs of griffins that meet round the vafe on two fides, and 
 alternate with pairs of trapezophora or goat legs, winged and conjoined, which 
 intervene on the other two fides of the bafe. The baf-reliefs over thefe are rolling 
 ftalks of extreme finenefs, with long leaves and tendrils, on which fit children and 
 ffirimps. An infcription under it, LXXXI, indicates the weight (of this and other 
 pieces), 81 (or 31) Roman pounds. 
 
 3i7- ’74- 
 
 /^•UP : filvered and parcel-gilt. The handles are formed of twifted 
 branches, the body is ornamented with four mafks with other 
 Bacchic fymbols and lions’ fkins. H. 5 I in., diam. 4 -^ in. 3 /. 10 s. 
 
 A trumpet-mouthed vafe with a fwelling acorn cup below. The outfide bears 
 four fcenic mafks in high relief, with pairs of the ihyrfus crofled where the 
 handles come, and fox fkins fpreading over the fhoulder and down the furface of the 
 lower cup or calix. The Item is fluted, the flutings beginning from flight lines under 
 a collar, and fpreading to broad ends on the furface of the foot, which is finifhed by a 
 round bafket-work rim or moulding. The handles are double vine branches, rifing 
 high above the lip, to which they curve down, finifhing on the edges of the lips with 
 a fmall volute. 
 
 318. ’74. 
 
 /^UP: filvered and parcel-gilt. The handles are formed of lions’ 
 heads, winged and horned, the body is ornamented with fix 
 mafks with other Bacchic fymbols and lions’ fkins. H. 4 ^ in., diam. 
 5i 3 l - 'V- 
 
 The cup is round, and has a bell-mouthed lip, which opens from the upper edge 
 of the concave part, and adds width, as well as grace of outline, to the upper edge. 
 Round the outfide are fix mafks, the two middle of Bacchus crowned with wreaths. 
 They reft on a lion’s hide, the fkins of two legs of which are drawn up under two 
 of the mafks ; the thyrfus and a wand between. 
 
 It ftands on a Item finely modelled into flutings, which meet under the bowl and 
 expand into a round foot, ftrengthened with a bold roll moulding and an outer ovolo 
 bead below it, ornamented with a clouded fcroll. The handles are two chimaeras, 
 the ears ftretching back to the lip, and the lower parts moulded with leaf-work, ending 
 in claw feet. 
 
 3i9- ’74- 
 
 /^UP : filvered and parcel-gilt. The handles are formed of twifted 
 branches, the body is ornamented with ten mafks with other 
 Bacchic fymbols, foliage, and birds. H. in., diam. 5 J in. 4 /. i 8 r. 
 
Cafls . — Antique. 
 
 293 
 
 Shaped like the laft, with bold, almoft maffive doable mouldings, like thofe round 
 the bafe of a Corinthian column, to the lip ; and another moulding of one member, 
 to the lower part of the cup ; a thin foot, the upper part with moulded edges and 
 the lower with leaves ; and a bale moulding like that round the lip. Ten malks, 
 comic and tragic, are difpofed on pedeftals, tripods, or on the tops and fronts of 
 low altars. Thefe altars are architectural, each with four columns on the front, 
 garlands of fruit and flowers hanging from them, little ftatues on them of Hercules, 
 Mars, Apollo, and a fourth deity, Bacchus (?), with a pair of thyrfi crofled before him. 
 
 The thyrfi are feveral times crofled over the altars, and bowls of wine and 
 incenfe, horns of oil, facrificial maces and Ihields, as well as the heads of animals 
 offered, are to be feen on them. The lituus or augur’s wand is alfo hung in front of 
 one. To trees growing on either fide are hung pan-pipes or lyres ; goats and leopards 
 play among thefe decorations and figures, and ftatues of fatyrs are on pedeftals among 
 them. 
 
 The four feafons are indicated by thefe attributes. 
 
 320. ’74. 
 
 /^UP: filvered and parcel-gilt. The handles are flat; the body is 
 ornamented with thyrfi connected by bands of drapery and fus- 
 taining garlands of flowers. H. 3! in., diam. 5J in. 2 /. 16s. 
 
 The fhape is that of a portion of an egg fpreading into a trumpet-fhaped lip ; 
 with flat handles, fquare at the end, fcooped on the fides, and rolling over in fine 
 volutes at the outer as well as the inner edge, where they join the lips; under thefe 
 are two other loop handles, which join the flat upper handles and the body below. 
 Two bands of linen, each knotted in the middle, ftretch from two pairs of thyrfi, 
 crofled right and left of thefe handles, and from the fame there hang wreathed 
 garlands of flowers and twifted linen. 
 
 It Hands on a plain foot, in outline like that of 318. ’74. 
 
 321. ’74. 
 
 /^UP : filvered and parcel-gilt. The body is ornamented with laurel 
 branches. H. 4 in., diam. 6J in. 2/. 145. 
 
 Round in the bowl, fupported on a ftiort ftem and refting on a plain round foot. 
 The mouth is flightly belled and has a band of moulding to ftrengthen the lip, with 
 lines of plain and twifted work ; a rich garland of bay leaves and berries of gold in 
 high relief, carefully beaten and modelled in every refpeCt after nature, runs round the 
 middle of the bowl. 
 
 322. ’74. 
 
 /^UP : filvered. The body is ornamented with acanthus and other 
 leaves and clufters of flowers with birds. It has one handle. 
 H. 2f in., diam. 5! in. 2/. 5*. 
 
 Probably this had in the original ftate two handles ; one is now wanting. 
 
294 Gold and Silver Smiths IVork. 
 
 3 2 3* ’74- 
 
 1P\ISH : filvered. Twelve bowls are recefled round the outer part 
 of the bafe, apparently to hold eggs ; the bottom is engraved with 
 conventional flowers. H. in., diam. iof in. zl. 5 s. 
 
 A concave difh with twelve bowls or receffes beaten downwards round the rim. 
 From the fpandril points between the heads of thefe oval bowls iffue twelve flowers, 
 meeting as rays round a fix-leaved central rofe. This work is chafed. 
 
 324. ’74. 
 
 Q*TEW Pot : filvered, with long flat handle ending in birds’ heads. 
 ^ H. 3^ in., diam. 5! in. 1/. i8r. 
 
 The fhape of the pan is that of a half globe, the lip is made up of two mould- 
 ings, and is placed within the outline circumference of the globe. The handles are 
 leaf-lhaped, with a very fine Hem between and flowers above the geefe heads that 
 fpread round the points of jun&ion. 
 
 325- ’74* 
 
 PTEW Pot : filvered, with long flat handle ornamented with ivy and 
 ^ ending in birds’ heads. H. 3 in., diam. 5! in. zl. ior. 
 
 This ftew-pan has a flat bottom, but bulging fides, and a wide mouth fpreading 
 outwards. The handle is made of maflive metal work covered with ivy leaves and 
 branches in relief, the handle end pierced in two volute fhapes and fpreading out on 
 each fide at the point of contaft with the lip of the veflel into two elongated ftalks, 
 with ibis heads and bills. 
 
 326. ’74. 
 
 QTEW Pot : filvered, with long flat handle ending in birds’ heads. 
 ^ H. 2f in., diam. \\ in. Z l. 
 
 Like the laft-defcribed, with differences in the handles, which are fhaped into a 
 pair of leaves with waved edges joined by a folid band or neck in the middle, and 
 branching out at the junction with the lip of the pot into tendrils, the upper curving 
 into volutes and covering the lower, which are in the fhape of elongated geefe heads. 
 
 327* ’74- 
 
 QTEW Pot : filvered, with long flat handle ending in birds’ heads. 
 H. 3 in., diam. 5! in. 1 /. i8r. 
 
 The handle is in the fhape of a pair of leaves with waved edges meeting each fide 
 of a ftem which ends in a fmall knob. The points of junflion with the fides of th < 
 veflel are volutes and geefe heads like the laft defcribed. 
 
Cafls. — Antique. 
 
 295 
 
 328. ’74. 
 
 T ADLE : filvered and parcel-gilt, with palm handle. H. 4f in., 
 diam. 3J- in. i8r. 
 
 The bowl is in two concave portions, the upper larger than the lower, with a 
 fmall flat bottom and a handle riling upright from the lip and branching out into 
 fcroll-work. It is for dipping rather than ladling. 
 
 329. ’74. 
 
 T ADLE : filvered and parcel-gilt, with ivy handle. H. in., 
 diam. 3§ in. 1 1 . 5 s. 
 
 Like the laft as regards the bowl ; the handle is made of two Items curling over 
 forwards into a hook, having fmall leaves at intervals, and tendrils curling into two 
 rings over the point of j ur.ftion with the lip, which is embraced for fome way round 
 the circumference by the Items. 
 
 33°- ’74- 
 
 S ALT 
 
 l6r. 
 
 Cellar : filvered, the body gadrooned. 
 
 H. i| in., diam. 3J in. 
 
 The upper part is finilhed with roll or moulded edge. Below this are gadroon 
 lobes regularly difpofed and meeting at the foot. Rough chafing of palmette work 
 is laid on the flat portions. 
 
 33i- ’74- 
 
 QALT Cellar : filvered, the lower part of the body gadrooned, the 
 ^ upper part engraved with a band of ivy, which, in the original, 
 bears traces of enamel (?). H. 1^ in., diam. 2% in. 16 s. 
 
 Straight flat tides, with gadroons under the flightly cupped bafe, meeting in a 
 fmall flat foot below. Round the upper fides runs a fcroll of ivy ftalk and leaf chafed 
 in bold lines. 
 
 332. ’74- 
 
 T) OWL or Salt Cellar : filvered, the lower part of the body 
 gadrooned, the upper part engraved with a band of ivy, which, 
 in the original, bears traces of enamel (?). H. 2f in,, diam. 4! in. 
 1 /. 2 s . 
 
 Like the laft-defcribed in general form and decoration, but it is on a larger 
 fcale. 
 
296 Gold and Silver Smiths Work . 
 
 333 ■ ’ 74 - 
 
 T) OWL : filvered, refting on three feet, and engraved with a band 
 of laurel, which, in the original, bears traces of enamel (?). 
 H. in., diam. 5^- in. il. 15 s. 
 
 The bowl is round and concave. The outer frame or fide holding it, with two 
 fine architeflural egg mouldings, is pierced in an elegant pattern of a Item with bay 
 leaves on one fide and the other alternately. Thefe may pofiibly have held enamel, or 
 more likely have been filled with niello work or damafcened with gold. 
 
 334 - ’ 74 - 
 
 T^VISH : filvered and parcel-gilt, oblong, with flowers and tendrils 
 in relief. iof in. by 5! in. il. 12s. 
 
 An oblong flat lanx or difh, with concave fides curling down into two cufpings 
 on each end. The rim is flat and finilhed with delicate rods or round edges, which 
 are prolonged, and from which ftart firft two fhort curves, then long volute ends that 
 curve round and make a finifti to each end of the difh. ; little palmette leaves join the 
 outer hips of the volutes, and leaf and fcroll ornament are difpofed infide on the parts 
 enclofed between their outer finifli and the narrow rim of the difli. 
 
 335 - ’ 74 - 
 
 T'\ISH : filvered and parcel-gilt, oblong, bordered by thyrfi , and 
 with ducks in relief on the ends. <y\ in. by 5f in. il. 12s. 
 
 Like the laft, but fquare at the ends, and with merely canted fides, rods Ihaped 
 like the thyrsus on the long fides, and plain ogee finifti, with water lilies, ducks, and 
 fifh in relief on the flat portions of the two ends. 
 
 336 . ’ 74 - 
 
 / np v RIPOD : filvered, probably the foot of a ftand for a lamp or 
 ^ candelabrum. H. 3§ in. 2 1 . 8r. 
 
 This is the foot of a tripod ftand. A ibeket in the middle is furrounded by three 
 palmette or flat fliell ornaments. Thefe pieces turn downwards and connect the 
 fpringing of the three legs of the tripod ; lfnaller leaves rifing upwards cover the 
 points of junftion and lie round the focket in flight relief. The upper and lower 
 leaves are joined by bands or Items in three flat lines, ending in volutes on the fliell 
 furfaces. The legs are in the ftiape of the letter S reverfed, elongated, the upper and 
 lower curves relieved by reverfed bay or other plain leaves, thofe in front touching fo 
 as to ftrengthen the fupport in that portion. Female fphinx bulls face the outer 
 curves of each leg, and they end in long gracefully modelled claw feet. 
 
 This tripod has been the flat foot of a tall fingle Item, probably a lamp ftand. 
 
Cafls. — Antique . 
 
 297 
 
 337 - ’ 74 - 
 
 TT'OOT of a Tripod : filvered. At the top is a head of Bacchus. 
 L. 2 ft. 3f in. 1/. I2r. 
 
 This leg or member of a table or altar Hand is ftraight, being an elongated terminal 
 bull of Bacchus (?), the head crowned with vines, leaves and fruit, a knob on the 
 top, and two fquare blocks or pins projecting from the fhoulder Tides. The feet are 
 united into a fan-lhaped Hand, and palmette ornament with flight flutings runs down 
 the front. 
 
 The proper ufe of this fragment has been that of a leg to a table or altar ; it has 
 been united by crofs bands with two or three others, according as it has fupported a 
 triangular, round, or fquare top or bafin. A Twinging hook in a hafp at the back of 
 the bull, lhows where it has been joined to the framework, of which it was intended 
 to form a part. 
 
 338 . ’ 74 - 
 
 H ANDLE of Vafe : filvered. A combination of ivy branches, with 
 a thyrfus , a ribbon, and malks. L. 5! in. i6r. 
 
 Two ivy boughs form this fmall handle. They curve over and divide into two 
 elegant hooks, leaves are placed at the fprings and points of junction of the llalks, 
 which are tied by a bow of ribbon which flows undulating down outfide a maflc 
 termination ; a t/ijrfus makes an elegant twilled line between thefe two flowing edges. 
 
 339 - ’ 74 . 
 
 TTOOT of a Tripod: filvered. A combination of the head of a 
 A man, the body of a bird, and the leg of an animal. L. 5! in. 14*. 
 
 This fragment is not doubled down like that of No. 336. ’74, but flightly curved. 
 An Egyptian afp l'urmounts the upper portion ; a male bearded head of Etrufcan 
 charafter the fecond ; a rough animal’s head the third portion (the aflual leg) : it 
 relts on a claw foot. The height and fize feem to indicate it as a fmall tripod foot 
 of a lamp or chafing dilh, as may be feen amongll the cooking veflels and contrivances 
 now in the Mufeo Borbonico in Naples. 
 
 340 . ’ 74 - 
 
 TTASE: filvered, expanding upwards, with a band of animals em- 
 bolfed and engraved flower ornament. H. 14 in., diam. 7 in. 
 4/. i6r. 
 
 The general form is llraight-fided, fmaller at the bottom, and Handing on a 
 fpreading foot. There are in the original piece indications of a flat reverfion towards 
 
298 Gold and Silver Smiths W irk. 
 
 a wide neck, and to this handles have perhaps been attached, making it an amphora. 
 (Holzer, p. 68.) The foot fpreads, and is in fteps, with roll moulding on the edge, and 
 the ornament of this part is in lines and zigzags. The body is in bands of various 
 depth, divided by roll mouldings. The lower, nearly half the entire height, has a 
 bold decoration of ftalks, acanthus leaves, and flowers, fuch as were ufed in the deco- 
 ration of column capitals in the early imperial times. Above this is a wreath or 
 circle of fmall leaves ; then between two plain bands, which projeCl to a lharp edge in 
 the middle, a circle of a dog and beafts of the chace, the lion, buffalo and boar. A 
 rolling fcroll of ftems, buds, and round flowers between the ferpentine turns of the 
 ftalk runs below the prefent upper edge. 
 
 This piece, unlike the hollow diflies or bafins, feems to be of provincial manufac- 
 ture. The beafts of the chafe indicate the feat of manufacture as on or near the 
 frontiers of the empire, while the acanthus work round the lower portion feem to 
 fuggeft a Roman colony well provided with workmen and architectural monu- 
 ments of imperial character. (For further illuftrations from other veflels found at 
 Treves see Holzer, ib.) 
 
 34i- ’74- 
 
 "PLATE : filvered, circular, the edge ornamented with a band of 
 ■*- flowers and foliage, amongft which are birds and fquirrels. Diam. 
 Ilf in. 2/. 8 s. 
 
 Shaped like a modern plate, the rim {lightly raifed and quite flat. Three fine 
 lines or headings in relief finifti the middle, and on the rim is a border in bold relief 
 compofed of a fcroll line with leaves, birds and animals difpofed in the fpaces made 
 by the ftalk fcroll : it has a beaded edge. 
 
 ’68. 17. 
 
 7 •“''ABLET : gilt metal, covered with arrow-head infcriptions. 
 
 From the original in gold in the Louvre mufeum. Ancient 
 Aflyrian. H. 3J in., W. if in. 1 /. 5*. 
 
 This is a perfectly plain tablet of clofely written arrow-head infcription, each line 
 of letters feparated by a horizontal line. The original is faid to be of the reign of 
 Sargon, and to have been found at Khorfabad. 
 
299 
 
 TREASURE OF PETROSSA. 
 
 HE feven objedts next to be defcribed belong to the 
 Roumanian government, by whom they were 
 contributed to the “ Hiftory of labour,” in 
 the Paris exhibition of 1867, an d afterwards 
 lent to the South Kenfington mufeum. They were found on 
 the banks of the Argifh in 1837, an d are now th e mufeum 
 at Bucharef:. They are reprefented in the colle&ion by 
 eledrotype copies made by the late Mr. Franchi, and bought 
 for this fection of the colledions. 
 
 The originals are of pure gold and of great value, fome 
 of them covered with beaten and chafed work, others con- 
 fiding of a network of broad fettings to hold table cut ftones, 
 cryftals, and paftes. 
 
 ’68. 72. 
 
 T) OWL or Patera : copper gilt, with debafed claffic figures in low 
 relief, beaten and chafed infide, and a feated ftatuette in the 
 centre. The original is of gold. Byzantine, probably of the 5th 
 century. Diam. 10 in. 10 1 . 
 
 The fhape is that of a round faucer, with a bold border and frieze round the rim. 
 The rim confifts of a flowing Item of vine leaves and grapes fpringing from the body 
 of ornament below, and fometimes overflowing the lower twitted beading of the frieze ; 
 above it are a bold torus moulding, dotted, and finer bead lines. 
 
 In the bottom, enclofed by a rim or border of three beaded lines, the outer 
 twilled, fits a female figure completely in the round. She holds a drinking cup, wears 
 plaited hair and a tunic, and is feated on a round pedellal feat or, perhaps, batket with 
 vine growing round it, and a plaited top and bottom border. 
 
 Round the fides are fifteen figures of divinities and one of a boy or Have holding a 
 balket of fruit on his head, from which a half-clad figure takes grapes. Three of 
 thefe perfonages are feated and have: i, the attributes of Apollo, with a griffin 
 couching below him ; z, thofe of Juno, fceptred, with a wall behind her ; 3, thofe 
 of the Indian Bacchus, femi-nude, with a horn of plenty, a thyrjus (?), and below 
 him a crocodile head and fore-quarters. I Of the remaining figures five are female and 
 
300 Gold and Silver Smiths Work, 
 
 the reft male. They hold torches, palms, goads, or whips, and one anoints the head 
 of another from a horn. 
 
 Round the feated figure is a frieze in relief, in which are a recumbent figure, 
 Orpheus (?), and various animals, viz., a rhinoceros, lions, Iheep, and a goat. 
 
 The bowl is of fine gold and in good condition. 
 
 ’68. 71. 
 
 QALVER: copper gilt, with chafed and embofled ornament. The 
 ^ original is of gold. Probably Byzantine of the 5th century. 
 Diam. 22 in. 
 
 The furface is plain beaten gold, red, and full in colour. It has a central flower 
 with rays of long petals or lobes rounded at the ends, with a border round it of 
 undulating lines filling up each lobe of the pattern, a line of gold pearls or balls 
 runs round the flat part, and the rim, which is wide and flat,' has a zigzag border, 
 the triangles of this border are chafed with horizontal lines : plain borders each fide, and 
 an outer row of hollow beads or cups. It has been cut by the difcoverers into four 
 parts, which fliow the marks of the tools employed, and are but flightly joined 
 together. The piece is otherwife in good condition, and valued at about 1,000/. 
 fterling of folid gold. 
 
 ’68. 73. 
 
 T? WER : copper gilt, of tall (lender form, with flutings down the 
 body. The original is of beaten gold. Probably Byzantine, 
 of the 5th century. H. 15 in., W. 8J in. 8/. 
 
 This ewer is narrow in diameter, fwelling in the middle, and contrasted to the 
 immediate point of jun&ion, with a wide flat lip. A long handle, ftraight on 
 the top and fide, begins on the fame line as the lip, and falls ftraight down to 
 below the centre of the body, to which the heel of it is joined, ending with a 
 rolling volute. To the handle there is a purchafe for the thumb, reprefenting a rude 
 eagle. The neck and lower body have acanthus borders of rude leaves filled with 
 punch tooling, and the body a clofe feries of flowing waved flutings. The foot is 
 plain, flightly concave, fpreading confiderably, and rifing into a plain round knob 
 where the body fits into it. Rows of beads or pearls run round the circumference of 
 the foot and the rim of the lip. 
 
 The gold is foft and very pure and the piece has been injured and prefled out of 
 fltape. 
 
 ’68. 77. 
 
 T>OWL: copper gilt, eight fided, with two flat projecting handles, 
 fupported by leopards. The original is of gold filled up with 
 (tones and paltes fet tranfparently. Probably Byzantine-Gothic of the 
 5th century. Diam. in. by 8J in. 12/. 
 
3 QI 
 
 Cafis. — Byzantine. 
 
 This veflel has eight Tides, each divided into rofettes made up of the fettings of one 
 large oval and twelve fmaller ftones, and fimilar fmaller rofettes fill the Hoped parts 
 down to the bottom which has a like ftiape. Borders of oblong ftones feparate 
 thefe rofettes from the lip. 
 
 The lip or upper edge fpreads out flat, and is laid out in enclofed fettings difpofed 
 in fcrolls. The handles are wide-fpread and flat, divided into fettings for precious 
 ftones, and fupported by two leopards, their bodies fet with carbuncles and riveted to 
 the handles and Tides of the veflel. Tinfoil remains in fome of the enclofures. The 
 ftones and paftes on the Tides have been fet tranfparently. The piece has been much 
 injured. 
 
 ’68. 7 6. 
 
 T> OWL : copper gilt, twelve ftded, with one flat projefting handle. 
 
 The original, of gold, fet with ftones. Byzantine-Gothic, pro- 
 bably of the 5th century. H. 4| in., L., including handle, 14 in., 
 W. 6f in. 15/. 
 
 This veflel has but one handle remaining. It has twelve panels round it narrower 
 than thofe of the laft defcribed, but made for tranfparent fetting of ftones, of the fame 
 charafter in other refpefts. The rofettes have eight lobes or foils, and are kept in 
 place by four ftraight bars, which have four large fpaces between the rofettes and the 
 Tides. 
 
 The under panels are laid out in like manner. There is a border round the 
 panels of fmall oblong pieces. The handle is made of ftraight bars of gold filled 
 in with ftones and paftes. The bars roll over in circles filled with tracery work, in 
 the ftiape of the figure 8, and trefoils, calling to mind the window traceries of the 
 middle pointed ftyle in Northern Europe during the 14th century. 
 
 ’68. 74. 
 
 T> ROOCH or Fibula: copper gilt, in the form of a bird. The 
 original is of gold, fet with garnets and other ftones. Probably 
 Byzantine-Gothic, of the 5th century. L. 10 in., W. 4^ in. 12/. 
 
 This brooch is made of a broad plate of gold forming a fort of breaftplate, and 
 apparently made to cover the upper part of the cheft, and ftiaped for the breafts on 
 either fide. The upper part is in the ftiape of a bird’s neck, head, and bill, the upper 
 plate being hollow and framed into fettings for tranfparent paftes and carbuncles, 
 fome of which were ftill in their place when the original piece was in the South 
 Kenfington mufeum ; a rounded plate of gold lies below the bird’s head and neck, 
 from which the fettings have perilhed. This plate reprefents the upper breaft 
 plumage of a bird. Round this in the outer plate the ftones are fet in collars. The 
 head and breaft feem to reprefent thofe of a pheafant, and the difpofition of the ftones 
 are heart-fhaped round about the head and grow in fize as they fpread over a wider 
 fpace, indicates the difpofition of the head and breaft plumage of that bird. The 
 head, eye, and bill, which has a rib down it, are treated with a fpecial refemblance to 
 a bird of this fpecies, and can in no cafe be meant for thofe of an eagle. From the 
 
302 
 
 Gold and Silver Smiths' Work. 
 
 lower edge hang two cryftals by delicate chains of gold wire, in the clofe plait of which 
 Trichinopoli chains are ftill made in India. The cryftals are acorn-lhaped, fet in 
 gold cups, and hang about four inches below the reft of the piece. A third cryftal 
 has been loft. 
 
 Two fmaller brooches reprefenting heads and necks of birds, with round plates 
 for breafts, and pendant chains and cryftals, are included in the trove of Petrofla. 
 See No. 9, Phot, treafure of Petroffa, Arundel fociety’s publications, 1869. 
 
 ’68. 75. 
 
 /'"COLLAR or Gorget: copper gilt. The original is of gold, fet 
 with garnets and other ftones. Probably Byzantine-Gothic, of the 
 6th century. Diam. 8 in. by 9 in. 12/. 
 
 This collar is formed of a plate of gold, hinged at the back for opening, on which 
 bars or upright divifional bands are foldered, to enclofe precious ftones. The fettings 
 are laid out in the Ihape of flowers of three petals cufped, and with two fmall round 
 fpaces in the centre of each. The flowers are feparated by narrow divifions, each 
 containing three heart-lhaped ftones. Two borders of oblong ftones finilh the inner 
 and outer fides of the plate ; the edges are fquare, and all in folid gold. The pins, 
 on which the hinges turn and fallen, are headed with carbuncles ftill in Jitu. The 
 piece has been much injured. 
 
 ’73- 379- 
 
 "O ELIQUARY : plafter call. The original, of filver, known as 
 the reliquary of Louis the Pious, is in the treafury of the 
 cathedral of Hildefheim. Byzantine (?). 9th century. H. \\ in., W. 
 4 in. ij. 6 d. 
 
 This crofs is of filver, the arms are equal and rounded at the ends ; the middle has 
 angles pulhed beyond the lines of interfeilion. It is edged with fmall balls between 
 two corded lines, and is made to open and contain relics. There is a rich bead of 
 filigree work, through which a chain pafles for wearing during proceffions and folemn 
 offices of the church. 
 
 On the face is engraved a rood. Our Lord hangs with ftraightened arms, the 
 head falling to the right, a title over the head, IC . XCC . , two nails to the feet and 
 a fcabellum below them. On the right is the Bleffed Virgin, to the left St. John, 
 MHTHR ©T . IHUANNHS. 0. Four half figures of archangels in the four ends of 
 the crofs EABRHA MIXHA RA'tHA YRHA. The upper and lower angels hold flender 
 erodes in the right hand, all hold flat Hofts in the left. 
 
 On the other fide, Our Lord between SS. Peter and Paul, with legends much con- 
 trailed, read as follows : HAHCE ME O I1ATHP nETROC nATAOC. The four 
 evangelifts are in the ends of the crofs, demi-figures only, IU1ANNHC MAT0AIOC 
 AOTKAC MARKOC. They hold open books. 
 
Cafts. — Byzantine. 
 
 303 
 
 Traces of enamel are ftill diHinguifhable in the depreffions of the letters. Infide 
 are relics of S. CHRYSOGNI, SS. COSMiE ET DAMIANI . S. BERN- 
 WARDI . PARTICULA DE LIGNO DOMINI XTI . S. EPIPHANII . S. 
 GODEHARDI . S. MARIJE MAGDALENA . S. OSWALDI REGIS ET 
 MARTYRIS . S. PAULI APOST . S. SPECIOS2E . SS. TIBURTII ET 
 VALERIANI. 
 
 The crofs is of Greek origin, and dates from the 9th or 10th century. The 
 original relics -were brought by Louis the Pious, fon of Charlemagne, from the 
 patriarch of Jerufalem in 799. 
 
 ’ 73 - 444 - 
 
 "O ELIQUARY : plafter caft. The feet formed by four fitting 
 A v figures ; on the fides and cover are fubjedts in relief from the 
 Gofpels, with the emblems of the four Evangelifts. The original, of 
 bronze, is in the Bavarian national mufeum, Munich. German. 
 10th century. H. 10 in.-, L. 1 ft. 1 in., W. 7L in. 17*. 
 
 The general lhape is that of a fmall oblong pointed roof coffer, with figure fub- 
 jefls in baf-relief on the fides and lid. It isfaftened by two iron hafped locks. 
 
 On the front there is a reprefentation of our Lord in majefly. He is feated in a 
 circular enclofure having the four evangeliftic fymbols in the fpandrils, and, divided 
 by bands from this compofition, two faints Handing on each fide. On one end two 
 figures reprefent the Annunciation, and on the oppofite end two others (one pouring 
 water into a vafe), the miracle in Cana. On the lid is : 1. The Refurreftion ; three 
 women and a man drawing near the Holy Sepulchre, on which an angel is feated. 
 In the ends are : 2, The incredulity of St. Thomas, who reaches his hand to touch 
 his Saviour’s fide ; 3. The Refurreftion ; and 4, on the back, the Afcenfion ; our 
 Lord afcending in a vefica enclofure, an angel on each fide fupporting Him, and a 
 Handing apoHle right and left beyond them. 
 
 The chefl Hands on four fmall feated reading figures, perhaps the four evangelifls. 
 
 ’72. 59. 
 
 "O ELIOUARY : plafter caft. The original, known as the reliquary 
 of St. Cordula, is in the cathedral of Cammin, in Pomerania. It 
 is compofed of bone plaques, with incifed flat ornament, united by metal 
 bands, originally gilt. ? Early Romanefque. 10th or nth century. 
 L. 2 ft., W. x ft. 2 in., H. xi in. Acquired by international 
 exchange from the Gewerbe mufeum, Berlin. 
 
 The top of this reliquary is in the lhape of a turtle. It is divided into unequal 
 panels on the back, the ends are flraight, and the fides follow this arrangement. A 
 door or lid is feparately framed in the middle of the top or back, with metal frame 
 hinges and a hafp to make it fafl. Along the top runs a metal fpine, and all the 
 fubdivifions are held together by metal bands ornamented with delicate incifed fcroll 
 
304 Gold and Silver Smiths Work. 
 
 work. A wolf’s head is raifed in relief on the points of junflion of thefe bands with 
 the middle fpine. 
 
 Each panel is filled by a dragon, fcaled and knotted, as in the Irifh and Celtic 
 dragon defigns, and each compofition is diftinft and complete in itfelf. The mate- 
 rial, bo ne, is fuppofed to be the folfil remains of an extinfl fpecies. 
 
 TY ELIOUARY : plafter caft. The bowl of copper, gilt and 
 burnifhed, is fet with precious ftones and engraved gems ; the 
 cover is furmounted with a filver gilt bull: of a fainted queen. The 
 original is in the colle&ion of prince Charles of Hohenzollern Sig- 
 maringen. Byzantine, nth century. H. 6 in., diam .’4 in. iu, 
 
 This reliquary is bowl-fhaped in the lower half, with a concave conical cover 
 finilhed with a crowned bull, the crown fleur-de-life. Both upper and lower divi- 
 fions are parted by four vertical bands of filigree work fet with three gems in each 
 band, fome of which are antique. 
 
 Four large circles of filigree, with gems fet in collars in the middle, are placed 
 between the bands on the lower, and the fame number in the correfponding fpaces of 
 the upper divifion. The fmall bull may be an addition of later times, but it is pof- 
 fibly not later than the date of the reft of the piece. 
 
 "OYX : plafter caft, on four feet. The original, of gold, is in the 
 cathedral at Hildeftieim. German. 12th century. H. 6| in., 
 W. b\ in. gr. 
 
 This reliquary is in the lhape of a fmall church with battlemented walls, and is 
 covered by a fmaller fecond ftory on four arches, roofed with four gables, the 
 roofs llightly chafed with fcroll lines. Four offsets, two ftraight on the longer fides 
 and two abfidal on the Ihort ends, protrude from the walls. The roofs of thefe, which 
 correfpond with the apfes and chapels of a church, are divided into diamond-lhaped 
 tiles. The whole Hands on four claw feet. 
 
 The apex is a plaited knot of balketwork with a lion’s head over it, holding the 
 Hem of a crofs defcribed in the following. 
 
 RUCIFIX : plafter caft. The original, of filver, is in the trea- 
 
 fury of the cathedral of Hildefheim. German, nth century. 
 
 The crofs has a raifed edging, the ends of all members expand with fquare angles, 
 as does the centre. The image has the arms horizontal, both feet nailed feparateJy, 
 and a bracket below, the loins are clothed with a fkirt. 
 
 ’73- 5°4- 
 
 ’74- 38. 
 
 ’74- 34- 
 
 H. 8 in., W. 51 in. 4J. 
 
Cafts. Eleventh Century. 305 
 
 ’ 74 - 35 - 
 
 RUCIFIX : plafter caft, on a ftand. The original, of filver, 
 
 the work of bifhop Bernward, is in the treafury of the cathedral 
 at Hildeftieim. German. nth century. H. of crucifix, 8-^ in., 
 W. 5! in. ; ftand, H. 4^ in,, diam. at bafe, 6 in. 6 s. 
 
 The crofs is rimmed. The feet on a bracket and feparately nailed ; the arms are 
 horizontal ; the head droops to the right ; a large title on the top of the upper 
 member with the legend large and diftinCt. 
 
 The foot is of later date ; in four lobes ; with a knop lobed outwards and pro- 
 truding in fix diamond-ihaped plates, each bearing a flower ornament. 
 
 LTAR Front: caft in plafter from a golden altar in the cathedral 
 
 of Aix-la-Chapelle. German. 10th or early nth century 
 W. 4 ft. 10 in., H. 3 ft. 4 in. 
 
 This front is divided into twelve panels by broad flat bands or ftiles overlaid with 
 coarfe filigree fcrollwork, with gems at intervals cut en caboc/ton, and in notched 
 fettings ; larger ftones are on the centres of junction, with two fmaller between them 
 on the horizontal, and one on the perpendicular bands. The panels are filled with 
 compofitions in beaten gold. 
 
 A vefica panel in the middle contains a feated figure of our Lord in majefty. H 
 holds in the right hand a metropolitan’s crofs, in the left the book of doom, is feated 
 on an architectural throne with a round cufhion, and draped in a flowing toga. Two 
 panels, right and left, contain refpeCtively the Blefled Virgin with the hands in the 
 attitude of an Orante, lettered S. MARIA : and St. Michael, with Afield and lance, 
 flaying the dragon, lettered S. MICHAEL. On the upper and lower angles of thefe 
 panels there are four round panels containing the evangeliftic fymbols. Thefe panels 
 are fet in gemmed bands or mouldings like the reft. Of the larger gems there are in 
 all thirty-four. 
 
 There remain ten panels, containing in the upper row — 
 
 i. The Triumphal Entry into Jerusalem. Our Lord on an afs holds a book in 
 the left hand, and gives benediction with the right ; a band of difciples follow, the two 
 foremoft holding books. Jerufalem, a fquare enclofure with four turrets, is in front, 
 feen over the heads of a crowd of people, the foremost of whom fpread their clothes 
 on the ground. 
 
 2. The Laft Supper. Under a flat-arched frame, our Lord is feated on an archi- 
 tectural throne and cuftiion at the end of a femi-circular table, one apoftle oppofite 
 and eight more around. In the middle of the front (lands the traitor with his left 
 hand to his head and the other ftretched out to our Lord, who places a fop in it ; he 
 is darting forward. A two-handled chalice, crofted altar bread, di(h, knife and 
 crefcent-fhaped cake are on the table. 
 
 3. Waftfing the Dilciples’ Feet : our Lord (lands, the eleven apoftles (it, St. Peter 
 has his right foot in a round bafin. 
 
 36105. u 
 
 ’64. 41. 
 
306 Gold and Silver Smiths Work . 
 
 4. The Agony in the Garden. Our Lord ftands, with one hand in the aft of 
 benediftion, and fpeaks to the three disciples, one of whom fits liftening, the other 
 two recline alleep. He is again feen bowed to the earth on a hill or rock. 
 
 Middle row. 5. The Betrayal. Our Lord, in the middle of the panel, is killed 
 by the traitor, a crowd with outftretched hands is on one fide, the apoftles retreat on 
 the other ; St. Peter holds down the kneeling and fuppliant figure of Malchus, cutting 
 the right ear off with a fword. 
 
 6. The Scourging. Our Lord, nude to the waift, clothed with a tunic below , 
 and bound to a pillar of which the capital is feen over his head, is fcourged by 
 two executioners. 
 
 Lower row. 7. The Mocking. Our Lord is blindfold, fits holding a reed in the 
 right hand and a book in the left. One figure kneels, two ftand, one on each fide. 
 
 8. The way of the Crofs. Our Lord is dragged with a rope by two foldiers in 
 tunics and boots or greaves ; the rope binds His hands in front. 
 
 9. The Crucifixion. Our Lord is on a low crofs, the feet on a fupport, each 
 feparately nailed, the arms ftraight out, and the loins girt with a full cloth. Two 
 angels in round panels, whofe faces are covered by kerchiefs, are weeping above each 
 arm of the crofs, and two foldiers in tunics and boots hold, one a lance, the other a 
 reed, fponge, and pail-fhaped veffel of vinegar. Over the head is the title HIC 
 NAZARENVS REX IVDEORVM. 
 
 10. The Refurre&ion. The tomb is a roofed turret or fhrine, the front of which is 
 open, with the crown of thorns and fudarium ; outfide an angel is feated on the tomb- 
 ftone, holding the right hand out in the affion of benediftion ; the Magdalen, a 
 graceful figure in a long mantle and veil, holds a pot of unguent with the left hand 
 under her mantle, and a cenfer in the other ; behind her another Mary holds her hand 
 to the head, exprefling grief. A fmall medallion, with three rods or rays, contains a 
 head of the Saviour. Three foldiers lie alleep on the other fide of the fepulchre. 
 
 Thefe fubjefts are all beaten up in plates of gold. The central figure is in very 
 high relief. It has been much damaged, and has recently been Hill more changed by 
 reftoration under the direction of the learned Dr. Franz Bock. The framing bands 
 have been re-executed or covered with gold fcroll-work and enamel. 
 
 It is reputed to be of the time of Otho the third, 995-1002, and, according to 
 Dr. Bock, poflibly by Greek artifts, or perhaps by families of Byzantine workmen 
 settled in Cologne or the neighbourhood. Figured, Dr. F. Bock, Kleinodien. 
 
 It is of the fame charafler as that of the golden altar of Bafle in the Hotel de 
 Cluny, and of the earlier altar of St. Ambrofe in the bafilica of that faint in Milan. 
 
 ’ 7 3 - 377 * 
 
 C ROZIER : plafter caft. The original, in filver, by St. Bernward, 
 is in the treafury of the cathedral of Hildefheim. nth cen- 
 tury. H. \\ in., W. in. 6s. 
 
 The knop, from which the volute fprings, is formed into four bofles by flat bands 
 gracefully folded. There are four half figures leaning out and grafping ferpents j 
 two nude figures ftand on two of them, and a tree with bark and knots on the fur- 
 face, reprefenting the Tree of Knowledge, rifes between. In the whorl an image 
 draped, and with a cruciferous nimbus is holding or railing a nude man. The creation 
 of man and the temptation of Adam. 
 
Cafts. — Eleventh Century 
 
 3°7 
 
 ’74- 86, 87. 
 
 ANDLESTICKS : plafter cafts. The originals of gold, alloyed 
 with ftlver and iron. A fpiral ftem and triangular bafe made of 
 dragons twifted together. An infcription records that it is the work 
 of Bifhop Bernward. In the treafury of the cathedral of Hildefheim. 
 German, nth century. H. 16^ in., W. 5! in. i8r. 
 
 Thefe candlefticks are a pair. They are compofed of flender Hems, made of 
 fpiral bands of fculpture, reprefenting climbing children, animals, and leafage. 
 There are three bofles on the ftem, each 'made up of fcroll and leaf work admirably 
 brought up into maffes with fubordinate work round, but without breaking the general 
 fpherical outline. 
 
 The bafes are compofed of fets of dragons, the necks twifted in pairs over the 
 legs, the wings and tails interlaced to form ftdes and ridges. Three figures beftride 
 thefe ridges looking towards the ftem. 
 
 Three flout dragon legs fupport the bafes, and three dogs or leopards ftretch from 
 the greafe pans to the Items. 
 
 Round the edge of the pan, and round the lower edge of the bafe of one candle- 
 ftick, a legend is engraved in Roman capitals, BERNWARDUS PRHiSUL CAN- 
 DELABRUM HOC PUERUM SUUM PRIMO HVIVS ARTIS FLORE 
 NON AURO NON ARGENTO ET TAMEN VT CERNIS CONFLARE 
 IVBEBAT. 
 
 They are made in an alloy of gold, filver, and iron. 
 
 Thefe candlefticks were taken from the Bilhop’s tomb in 1194. 
 
 Figured, Kratz, Dom zu Hildefheim, taf. 4, et feq. ; King, mediaeval study 
 book, vol. ii. 
 
 ’74- 3 1 * 
 
 npRIPOD Candleftick : plafter caft. Three female figures, 
 
 A forming the feet, reprefent “ Theoretica, Practica, Medicina, 
 Conflictus.” The original, of bronze gilt, is in the treafury of the 
 cathedral of Hildefheim. German. nth century. H. 7J in., 
 W. 4! in. 7 s. 6 d. 
 
 This and the next are a pair, though with certain differences. Each is fupported 
 on three dragons’ heads, which do not lie flat, but have the fnout turned up ; their 
 feet are joined, the wings are held by three dogs. 
 
 The ftem is made of two capitals made up of acanthus leaves, like Egyptian 
 palm capitals. The knop between is round, with delicate fcroll work on it in relief. 
 The bafes are bowl fhaped, and have three feated draped and veiled figures, one 
 feated over each foot. Thefe figures are faftened by a volute to the bowl behind 
 them. Thofe on No. 31 hold various emblems; one holds a fnake, and is lettered, 
 Conflictus ; another two children, Theoretica, Practica ; the third, a difh 
 lettered, Medicina ; thofe on No. 30 are emblematic of the three divifions of the 
 globe known to the ancients ; they hold : 1. A half-difc lettered, Diviti®, Asia. 
 a. A Afield, Europa, Bellum. 5. A book, Scientia, Africa. 
 
 The modelling of the figures is rude. 
 
 u a 
 
3 o 8 Gold and Silver Smiths Work. 
 
 ’74- 30. 
 
 npRIPOD Candleftick : plafter caft. Three female figures, 
 
 -*■ forming the feet, reprefent Europe, Afia, and Africa. The 
 original, of bronze gilt, is in the treafury of the cathedral of Hilde- 
 fheim. German, nth century. H. 7 ^ in., W. \\ in. Js. bd. 
 
 ’74- 32. 
 
 / | -v RIPOD Candleftick : plafter caft. The bafe is formed of 
 ^ dragons and interlaced ornament. The original, of bronze gilt, 
 is in the treafury of the cathedral of Hildefheim. German-Romanefque. 
 nth century. H. 6^ in., W. 5! in. 3*. 
 
 A defign of fcrolls, eompofed of monfters knotted together. The bofs in the 
 middle is knotted a-lfo ; there is no ftem. Eagles, wyverns, or other winged mon- 
 fters fit on the angles over the fupports, which are maftive monfter feet. Three 
 winged birds fupport the greafe-pan. A piece of heavy caft work not lightened in 
 effeft in the plafter call. 
 
 ’74- 134- 
 
 C ORONA Lucis : electrotype reproduction. The original is of 
 iron, gilt, with a filver rim. The circle is broken at intervals by 
 towers reprefenting the circuit of the heavenly Jerufalem, and mounted 
 with candlefticks. German-Romanefque. 11th century. Diam. 20 ft. 
 355/. 10 s. 
 
 The original chandelier is a circle of iron, pierced in three rows or tiers, with 
 narrow border below and a row of filver ornaments along the top. (This latter part 
 no longer exifts, having been confifcated for the value of the metal.) 
 
 The principal tier of ornament is a roll of leaf fcroll-work, pierced and gilt. 
 The rows above and below confift of acanthus leaves, enclofed in bows or circles 
 formed by the ftalk, each whole row being a feries of thefe circles, enclofmg a leaf 
 ornament complete in itfelf. Thefe rows are pierced 'and gilt. Flat bands or 
 borders finifti the ring above and below. A fet of plates of filver above were intended 
 to correfpond with the candle nozzles or greafe pans, 72 in number. The plates, for- 
 merly of filver work relieved by a ground of niello, are now painted and filvered. A 
 plain band of metal between thefe and the pierced gallery already defcribed contains 
 a running legend in Leonine verfe : — 
 
 1 U RBS EST SUBLIMIS, 2 MIRIS FABKICATA FIGURIS 3 
 UNDIQUE PERFECT.® FIDEI 4 COMPAGINE JUNCTA 5 
 CUJUS VESTIBULO VETUS 6 ET NOVUS EXCUBAT ORDO 7 
 GERMINE V1RTUTUM, 8 QU® MIRE SURGIT IN AI.TUM 9 
 Floribus HIC VIVIS 10 ANIMARUM CURIA LUCIS 11 
 Ante Dei faciem 13 divinum spirat odorem 14 
 
Gafts . — Eleventh Century 
 
 3°9 
 
 AuCTORES OPERIS TOGA 15 VESTIT CANDIDA PACIS 16 
 Hos Pater et Verbum 17 cives et Spiritus Horum 18 
 Unus et Ipse regit qui 19 ouot sunt Ipse creavit , 20 
 In virtute sua. Solis 21 sol lucet in illa 22 
 Mystica discernit, tenet , 23 aspicit, omnia novit 24 
 Et Solium regni cordis 25 locat in penetrali . 25 
 
 On another band between the two lower tiers runs the following : — 
 
 Mater justiti.® via vit.® gratia culp^e 
 Da Pater Eterne Patris unice Spiritus Alme 
 Hesilo pars oneris, Per te quoque pars sit honoris 
 Et spes atque tides et amoris ut actio perpes 
 Hunc regat ad speciem det pacis visio pacem 
 Ut prudens, fortis Justus moderamine mitis 
 
 SeD MUNDUS CORDE SANCTUS RE JUSTUS IN ORE 
 
 Hie SERAT ATOUE METAT QUOD LUCIS IN HORREA CEDAT 
 
 CONSUMENS IGNIS, CONSUMAT ET OMNIA CARNIS 
 
 Ne careat patria via laeilis urgeat ista 
 
 ISTIUS ORNATUS P1A VIRGO SUSCIPE MUNUS 
 
 Fiat odor sponso super omnia balsama Christo. 
 
 The circuit is interrupted by twelve towers correfponding to the number of the 
 twelve Apoftles, and twelve gates, each flanked by fmall turrets. The towers have 
 each three openings or niches and are furmounted by roofs with lanterns above, 
 capped by roofe and finials, with balls on the apex. Thefe towers are alter- 
 nately fquare and round, the Romanefque pedimented fronts of the niches and 
 the roofs are alfo fquare and round alternately. The gates have one doorway or 
 niche. Under the niches, which have formerly held images, are the names of the 
 twelve Apoftles, and in the fide niches, in which were placed the Prophets, are written 
 the titles of the cardinal, theological and other virtues, and the fruits of the Spirit, 
 as in the Epiftle to the Galatians, v. 22. 
 
 It is fometimes faid that lamps were hung below the towers, but this is not 
 probable. 
 
 They are thus diftributed in connection with the prophets, who may be taken as 
 fpecial exemplaria. 
 
 1 S. MATHEUS, 2 GRATIA EZECHIEL MISERICORDIA 3 S. SY- 
 MON 4 5 S. PETRUS « ABSTINENTIA HIEREMIAS MANSUETUDO 
 7 S. PHILYPPUS 8 9 S. BARTHOLOMEUS 10 FIDES IS AIAS VERITAS 
 11 S. JACOBUS 13 HABACUC 14 S. JACOBUS 15 PRUDENTIA DANIHEL 
 BENIGNITAS 16 S. ANDREAS 17 18 S. JUDAS 19 TEMPERANTIA JOB 
 FORTITUDO 29 S. JOHANNES 21 22 S. PAULUS 23 PACIENTIA HELI- 
 
 SEUS PERSEVERANTIA.* ' 
 
 Underneath the towers and gates are flat pierced and gilt plates. 
 
 The centre figure is typical of the heavenly Jerufalem, the round flrape indicating 
 perfection, the circles and the towers compaCtnefs and ftrength, “ CUJUS PARTI- 
 CIPATE IN IDIPSUM.” This is further typified in the “ Heavenly Jerufalem ” 
 (Rev. xxi. 10) “ having twelve gates and twelve foundations, and in them the twelve 
 “ names of the twelve Apoftles. The glory of the Lord hath enlightened it and 
 “ the Lamb is the lamp thereof,” & c. 
 
 * The lettering on the reproduction in the new court is inferted between the infcription 
 as marked I, 2, 3, et feq. 
 
3 IO 
 
 Gold and Silver Smiths Work 
 
 Another fmaller corona hangs in the choir of the Cathedral of Hildelheim. 
 That which has been defcribed is in the nave. 
 
 The Hildelheim corona was made under the direction of Hezilo bilhop of the 
 diocefe, about the middle of the nth century. 
 
 The lilvered ornaments round the top are modern, and the niched gateways are 
 more or lefs reftored. The whole is hung by four rods of iron, each branching into 
 three fubdivifions, fattened to the backs of the twelve gates, interrupted by balls or 
 bofles at intervals. 
 
 Figured, Kratz, Dom zu Hildelheim ; King, ftudy book, mediaeval architecture. 
 See. ; Didron, metal work; De Caumont, bulletin mon., XX. 
 
 ’ 68 . 12 . 
 
 OHRINE or Cover of the bell of St. Patrick: ele&rotype reproduc- 
 ^ tion, with partial reftorations. The original confifts of a frame- 
 work of brafs inlaid with plaques of gold filigree work and fet with 
 jewels and cryftals. At the back is a panel of filver perforated with 
 crofles and furrounded by an infeription in Irifh characters. Irifh. 
 nth century. The bell, of fheet iron, which is enclofed in this fhrine 
 is reputed to be of the 5th century. H. 11 in., L. 6J in., W. 4! in. 
 23/. 
 
 The general lhape of the reliquary from w'hich this eleftrotype caft is taken cor- 
 refponds to that of a rude bell with tides nearly flat, having a half circle on the 
 top, under which is contained the handle. The framework of the whole is of brals, 
 mended at the corners with copper. This upper part is called by Dr. Stevart , 1 a 
 reprefentation of a “ comprefled mitre.” It has, in fad, an arched outline, finifhed 
 at top with a blunt point. The ridge or thin part is of filver, filled with filigree 
 filver plaited in complicated circles and folds, and having a round blue pafte gem in 
 the centre, cafed in cryftal or glafs, and with four pearl coloured pieces and four 
 fmaller green ones making two interfe&ing crofles in it fet in gold. Bold fcrolls 
 of thicker filver extend from the two lower points of the handle and curve back in 
 volutes, making a fort of beard to a dragon’s head. An arched compartment below 
 the ridge or handle is divided into funk compartments, filled with gold filigree in 
 various patterns, and a gold fetting for a round jewel now loft. 
 
 The main front of the bell is divided by a crofs into four larger fpaces, with a 
 border round the edge, both fubdivided, the former into twelve fpaces, the latter 
 into fix. Eight fettings are provided for ftones at the corners and points of 
 jundftion, five are now empty. A large cryftal in a filver fetting, with fleur-de-lys 
 edging and a round plate of filver under it, covers the whole middle of the crofs. 
 An oval cryftal fimilarly set, but without the round dilh under it, fills one of the 
 larger fpaces mentioned. Two in the border are now empty, but thefe three have 
 been filled up, as all the remaining fpaces are, with filigree gold wire twined* and 
 knotted in conventional dragons or ferpents and knots of various form. 
 
 1 In a Memoir by Rev. Dr. Reeves of Ballymena, to whom I am indebted for the hiftorical 
 particulars here given. 
 
Cafis. — Twelfth Century . 311 
 
 The upper part of the back has filver filigree knots and fcrolls like thofe already 
 defcribed. The circle under the point of the arch or handle has a gold difc, and the 
 tympanum of the arch is in two compartments, filled by two conventional birds, 
 branching into circles and lines of filver gilt filigree. On the fquare'part is fet a thick 
 filver plate within an edge or rim of brafs. It is pierced in the fhape of tliirty-two 
 croffes of equal arms, and on the edge is an infcription which is given below. 
 
 The ends are divided by croffes into fpaces, filled with fine filigree gold fcrolls 
 and knots. There are rings in the middle of each end ; above the rings two 
 dragons that have had fmall ftones for eyes are arranged in graceful but intricate 
 convolutions, and fix dragons below. 
 
 Each of thefe arrangements differs from the others and in all, the particular 
 dragons, birds, or knots, though in pairs and balanced, have diftinct defigns, and can 
 be traced through every complication and circle. 
 
 The bottom of the reliquary is a Hiding piece or lid of brafs, and is faid to (how 
 marks of the Ihape of the bell deeply indented within. 
 
 The relic enclofed in the Ihrine or reliquary defcribed is called the “ Clog-an-ead 
 pacta Phatraic,” rhe “ bell of Patrick’s will.” From the time at which it was made 
 it feems to have been confided to the charge of a fpecial keeper, a poll of some 
 emolument, at any rate hereditary in the family of O’Mulchallen, or Mulholland, in 
 which it remained till the race was extinft. It was bequeathed by the laft heir to 
 Mr. M'Clean, and again by one of his family to Dr. Todd, of Trinity college, 
 Dublin, by whom it was finally entrufted to the royal Hibernian academy. 
 
 The bell was ufed by the apoftle of Ireland to call together the monks living 
 under his rule, and became a “ fwearing relic ” (on which oaths could be admi- 
 nistered) as early as the middle of the fixth century. The reliquary or cafe in which 
 it is now contained was made for it between' the years 1091 and 1105, about the 
 beginning, therefore, of the 12th century, a date fixed by the infcription in four lines 
 running round the back in Irilh, of which the following is a tranflation : 
 
 “ A prayer for Donnell O’Lochlain through whom this bell (or bell Ihrine) was 
 “ made ; and for Donnell, the fucceffor of Patrick, with whom it was made 5 and for 
 “ Cahalan O’Mulhollan, the keeper of the bell ; and for Cudulig Inmainen, with his 
 “ fons, who covered ” (it). Donnell O’Lochlain or MacLauchlain, as he is called by 
 the four mafters, was monarch of Ireland from 1083 to 1121. The fucceffor of 
 Patrick was Donnell MacAmhalgadha, or MacAulay, Archbilhop and Abbot of 
 Armagh from 1091 to 1105 which, as ftated, fixes the date of the reliquary pretty 
 accurately to the laft years of the nth or firft of the 12th century. 
 
 Figured in the memoir quoted. 
 
 ’64. 54. 
 
 QHRINE : plafter caft, coloured and gilt. The original, gabled and 
 ^ covered with filigree metal work and images in high relief, is 
 known as the fhrine of St. Monaghan. Irifh. 12th century. H. 20\m. 
 W. 18 in. 12I. 
 
 The Ihrine, known as that of St. Monaghan or Manchan, is of yew, covered with 
 bronze once gilt, in the lhape of a fteep and narrow gabled roof, the angle pieces 
 
3 1 2 
 
 Gold and Silver Smiths Work . 
 
 being prolonged into fhort Hoped legs or fupports. The feet are two inches high 
 and panelled : to thefe are attached rings which run in loops faftened by ftrong round 
 clamps to the legs of the fhrine. The rings are a little more than two inches in 
 diameter fo as to allow of two-inch ftaves running through them, by which to carry 
 the entire (hrine in proceflion. 
 
 Where the legs join the bands or fide borders bold monlter heads of conventional 
 kind, fuch as figure on drip moulds of round architefture of the nth and 12 th cen- 
 tury in this country, turn upwards, and form a bafe or finifh to the bands. One of 
 the clamps and rings has been loft. 
 
 The fides of the clamps are ornamented with crofles or half crofles of red and 
 yellow enamel. 
 
 A crefting that has finifhed the ridge of the (hrine has been loft. 
 
 The bottom has a rim of bronze with corded edges filled in with enamel of the 
 fame charafter as that defcribed, encrufted or embedded in the metal. 
 
 Eight other clamps finifh the end of this bottom border. They pafs under the 
 bottom of the (hrine, and finifh with monfter heads and pins of bronze faftened into 
 the woodwork or foundation on which the metal is mounted. Two of thefe are 
 loft. 
 
 The angle frame pieces have on each of their faces a border of metal, one inch 
 and a half wide, with cable edge mouldings and the flat part pierced with chafed 
 interlacings of dragon plaits. 
 
 On the two (loping fides two crofles are riveted. In the middle and ends of 
 each crofs are bofles, five to each. The bofles are divided by flat bands, ornamented 
 with tau crofles, into half circles, and other (haped fpaces, and the fpaces filled with 
 dragon plaits. The middle bofs has probably been filled in with enamels. The fiiort 
 arms contrail a little between the end and middle bofles. They are each divided 
 into four fpaces, and filled in with red and yellow enamel in crofles, half crofles, 
 filfots, and zigzag patterns. 
 
 The four parts of the fide thus divided off by the crofles have figures in high relief 
 riveted on. They are of different heights and all are bearded, drefled in long 
 cuirafles with ftraight fkirts or kilts to the knees. The general look of this body 
 armour correfponds with the antique cuirafs and the fkirt or ftrips of metal or leather 
 that covered the hips and loins, and it has alfo a like relation to the Albanian and 
 the Scotch kilt. Various patterns are chafed on the ftrips that make up thefe fkirts, 
 fome of the Greek gamma, contorted curves, tau-fhaped bofles, See., all have plaits 
 as thofe of a loofe fleeve and rings as of chain mail round the arms. The right hand 
 figure has the hands clafped before the bread ; the next holds a weapon in one hand 
 and raifes the other as in command. The third and fourth hold weapons, the latter 
 the blade of an axe, the beard is forked ; the fifth figure has the hands clafped. The 
 fixth, on the left hand of the crofs, has the hands on the ribs and the beard forked, 
 with an ornamented girdle. The two next have the hands clafped ; the ninth holds 
 the ends of a forked beard in the two hands ; the tenth holds a book or bag. 
 
 The figures increafe in fize as they come to the arms of the crofs. They range 
 from feven to five inches in height. In the caft repetitions of fome of the figures 
 have been put in as reftoration. 
 
 The images remain on one fide only, all are gone from the other. According to 
 Mr. Graves there are indications on the original (hrine of fixteen images below and 
 ten or twelve above the horizontal arms of the crofs on each fide. He asks, 
 “ What has become of, say fifty-two others? ” (forty-fix), and offers l’uggeftions as 
 to the identity of one or two in a private colleilion with fome of thefe. 
 
Gafts. — Twelfth Century. 
 
 3*3 
 
 The edges of the compartments in the arms of the crofs are held down by dragon- 
 headed rivets, and fimilar boffes occur round the edges of the five boffes. Cryftals 
 have been fet in the middle of each bofs. 
 
 The ends are divided by a dragon with the head downwards into two triangles, 
 each filled by elaborately plaited dragon pattern. This work remains on one only of 
 the ends. 
 
 The (hrine was formerly under the keeping of the Irifir family of Mooney of the 
 Doon, and is or was preferved in the chapel of Boher, in the parilh of Lemanaghan, 
 four miles from Clana, in King’s county. No infcription remains on the firrine now, 
 though there may have been one on the upper crefting or band of the fides, which is 
 now miffing (replaced conjefturally in the call:, as well as much of the ornamental 
 band in other parts). 
 
 It is confidered to date from the beginning or middle of the 12th century. 
 
 The fhrine was exhibited in the loan colleftion of the exhibition in Dublin, 
 1872, when photographs were taken. 
 
 For a more detailed account, with figures from thefe photographs,^ a careful 
 paper by the Fev. J. Graves, Journal r. hift. and arch, affoc. of Ireland, No. 18, 
 Ap. 1874. 
 
 ’68. 13. 
 
 ^CANDLESTICK : eledfrotype. Triangular bafe formed of 
 
 dragons, heads of monfters, and pierced foliage. German. 
 1 2th century. The original, of gilt metal, belongs to the convent of 
 the Sceurs noirs at Bruges. H. 8 in., W. 5^ in. 10/. 
 
 The bafe is of open fcroll work. The feet are the heads and paws of Hooping 
 dragons laid together. The knop is connected by ftraight gracelefs conventional 
 pitcher-ffiaped dragons to the bafe. There is no ftem below the knop, which comes 
 down on the bafe, over which fpread volutes iffuing from the mouths of monfters. 
 It is a heavy gracelefs piece of metal calling. 
 
 ’ 73 - 5 2 4 - 
 
 /DENSER : plafter caft, in the form of a church. The original, 
 of bronze, is in the Bavarian national mufeum, Munich. 
 German. 12th century. H. 10 in., W. 10^ in. 10s. 4 d. 
 
 Th is cenfer preferves the early traditional form _ of a fmall fhrine. The lower 
 part or bowl has flat Hoping lozenge-fliaped fides, with half lozenges or triangular 
 fpandrils to fill up the fpaces between the points ; bofles are placed where the points 
 of the lozenges meet. A bold four-foiled foot in two ftages or mouldings l'pread 
 out below. 
 
 The upper part of the bowl is pierced in a fort of rude colonnade or gallery 
 made in circles. The cover is a fquare tower with four gables and a lantern, gabled 
 
314 Gold and Silver Smiths mk. 
 
 again above them. Four flight projections on the fides and four turrets come down 
 to the lower part, and the latter reft on malks. 
 
 The whole is a rude type of the Rhenilh-Byzantine architectural flirine or 
 reduced church of the nth and 12th centuries. 
 
 RUCIFIX, Proceffional : caft in plafter. On both fides are 
 
 medallion portraits of faints in ornamental fcroll work. The 
 original, of filver, is preferved in the treafury of the bafilica of St. Am- 
 brogio, Milan. Italian. Date 1128. H. 4 ft. 3I in., W. 3 ft. ij in. 
 
 The crofs is in the Greek form, having the four members of equal or nearly 
 equal length. The ends of each member expand and the points of interfe&ion meet 
 in a round centre, which gives real as well as apparent ftrength and completenefs to 
 the crofs. The round part contains the crucifix. The image is of later date than 
 the crofs, probably a 16th century addition. The body is carefully modelled and 
 hangs dead, the weight making the arms ftrain, and the feet are nailed with one nail 
 only. 
 
 Behind the dead Chrift the circle is covered with a glory of rays, alternately 
 ftraight and waved, in relief. 
 
 The edges of the crofs, both of the extremities and the quarter circles between 
 the limbs, are enriched by bold leaf buds, with tendrils forming loops on either fide of 
 them boldly executed. The angles of the four limbs have tendrils that curl over in 
 two circles, one large and a fmall one over it. 
 
 The faces of the four limbs are divided by fcroll tendrils that crofs and re-crofs, 
 fo as to divide the whole fpace into- vefica-lhaped medallions with close fpiral curves 
 in the fpandrils, fiightlyfunk. 
 
 The medallions are filled by demi-figures, images of faints and of virtues. The two 
 on the extreme right and left of the Redeemer are the blefled Virgin and St. John 
 the evangelift. The perfons on the upper member are : 1. St. Paul (?), but without 
 the fword. 2. A cardinal giving benediftion. 3. A bearded perfonage holding the 
 attribute of Faith. Lower member : 1. A veiled woman praying, poflibly St. Anne, 
 more probably the attribute of Penance. 2. St. Mary Magdalene. 3. St. Peter. 
 Arms, right : 1. St.John the Baptift. 2. Figure, with attribute ot Hope. 3. The 
 blefled Virgin, as already ftated. Left arm : 1. St. Martin (?), a cloaked figure 
 
 (poflibly the good centurion). 2. Figure, with attribute of Charity. 8. St. John, 
 as above. 
 
 The back is alfo divided and filled with half-length images of faints as on the 
 front. 
 
 In the middle the Eternal Father, a bearded perfon, feated, holding an orb and 
 giving benediftion. He is furrounded by clouds, and waved rays in relief, behind 
 the image, fet in threes, each three in the diredlion of one of the four members of 
 the cross. 
 
 The perfons reprefented in the medallions on this fide are — Upper member : 1. St. 
 John the evangelift, with his attribute. 2. A cardinal (?). 3. A fainted bifhop. 
 
 Lower member: 1. St. Paul, with his attribute. 2. A female fainted perfon, St. 
 Helena (?). 3. St. Luke. Right arm: 1. St. Matthew. 2. St. Auguftin. 3. St. 
 
 ’69. 67. 
 
 4 1 
 
Cafts. — "Twelfth Century. 
 
 3 l 5 
 
 Jerome. Left arm : i. St. Ambrofe. 2. St. Gregory the Great. 3. St. Mark, with 
 his attribute. The four extremities, then, are fupported by the four evangelifts, and 
 the two arms by four doctors of the W eft. 
 
 The figures of this crofs are defigned and modelled in the manner of the early 
 fchool of Siena ; but the image of the Redeemer is both more complete in anato- 
 mical truth and more graceful and tender in attitude and treatment than any of 
 the reft of the fculpture, and has probably replaced an earlier one. 
 
 T> OOK Cover : gilt metal, beaten work : the holy Women at the 
 Sepulchre of our Lord. The original in the mufeum of the 
 Louvre. Greek. 12th century. H. i6-| in., W. 12 in. 3/. ior. 
 
 The original is the cover of a copy of the Gofpels, filver-gilt, beaten up from 
 the back, and forms part of the collection in the Louvre. It illuftrates the fubjeCl 
 of the Refurrtflion. The angel points to the empty fepulchre, holding a fceptre in 
 the left hand, and the two holy women ftand gazing in fear. The remaining fpace 
 is covered with the legend from the Gofpel of St. Mark xvi., but not an exaCt quota- 
 tion : XI2EI EniSTH . AI TVNAIK . IN . O AITEA02 EIAETE TON TOnON OnOT 
 EKEITO • O KTRI02, & c. Below the fepulchre, which is reprefented as an empty 
 farcophagus, TA<J>02 TOT KTRIOT ; EIKEN AYTA2 TPOM02 KAI $0602 EM^YTOT 
 2TMBOAA ATTOT KAI 0EROTHTO2 , and NTN EM4>AN . KAI TH . 4>EPHN . 
 
 It is aftigned by Laborde to the 12th century. Louvre collection, 842. 
 
 XBORIUM(?): octagon, with domed top. Plafter caft of an 
 
 original in filver in the monaftery of Novofpasfki, near Mofcow. 
 ? Ruffian-Greek. 12th century. Given by the Ruffian commiffion, 
 
 This vert'd is in the Ihape of a fmall fhrine or domed building of late Byzantine 
 character. It is fquare, with the corners cut into four fmaller fides, leaving eight un- 
 equal fpaces divided by columns with arches pierced in the upper parts of the fides, 
 each arch covers a chalice Handing on the wall below it. 
 
 Down the narrow fpaces there run borders of rolling leaf moulding. The top 
 has an irregular dome or roof in eight curved compartments. 
 
 Figures of the emperor Stephen (?) and his emprefs are in relief in one of the 
 larger fquare fides. The guards of the Holy Sepulchre are reprefented on the 
 oppofite fide, and the legend of the RefurreCtion, from John xxiv., in Greek characters, 
 but with many contractions. 
 
 T)OOK Cover: gilt metal, beaten up with a crofs and the facred 
 monogram. From a filver-gilt original in the Louvre. Byzantine. 
 13th century. H. 6 ^ in., W. 12 in. 2/. 
 
 ’68. 108. 
 
 Paris 1867. H. 6| in., W. 4| in. 
 
316 Gold and Silver Smiths Work. 
 
 The plate which forms this book cover is nearly filled with a crofs, of which the 
 upright and tranfverfe members are equally divided, but the latter Ihorter than the 
 former. The ends expand and form three projections in the form of a rude fleur-de- 
 lys. The face is ornamented with reprefentations of jewels alternately round and 
 fquare. Five of thefe are on the upper, fix on the lower, and two on each of the 
 tranfverfe members. Two rude acanthus leaves ilfue, one on each fide, from the'bafe, 
 and it Hands on an orb with three fteps below, as if reprefenting a crofs made to 
 Hand on an altar. A border of large beads runs round the whole. Two ftars of 
 eight rays, alternately round and pointed, bear the facred monogram IC • XC. 
 
 Stars and pearl balls are fpread over the upper half of the remainder of the plate. 
 
 This piece is from the Louvre collection, and was formerly in the treafury of the 
 abbey of St. Denis. It is Greek, afligned by Laborde to the 1 3th century, but, 
 perhaps, of earlier date. 
 
 ’ 74 - 37 - 
 
 T)ORTABLE Altar : plafter caft from gilt metal, with a row of demi- 
 figures, of the Saviour, the apoftles, and angels, and chafed on 
 the upper furface. German. 13th century. L. 10 in., W. 5! in., 
 H. 2f in. 
 
 Shaped like an architectural altar, the vienfa has a bold roll moulding under the 
 edge, divided by flat ftrips of metal into five panels on the fides and three on the ends. 
 Each panel is occupied by a demi-figure in high relief ; on the front our Lord, hold- 
 ing the book of doom and bleffing with the right hand ; right and left, SS. Peter and 
 Paul ; beyond two other apoftles ; three apoftles on the back feparated by two arch- 
 angels holding vials in their right hands, myftical reprefentations of ‘ the prayers of 
 the faints and three apoftles on each end. Thefe figures are much defaced. St. 
 Peter and St. Paul are diftinguifhed, one by the keys, the other by the long traditional 
 pointed beard. 
 
 The plinth is plain and projects to the fame extent as the menfa. The upper 
 furface of ftone is funk in a fhallow panel. On the metal edges are figures chafed 
 in outline. The blelfed Virgin and Child, with two kneeling angels offering 
 incenfe, are gracefully drawn. On the two fides are figures of bifhops, vefted, mitred, 
 holding the epifcopal crozier, and in the left hand a church, lettered refpeftively, 
 the right, S . BERNWARDVS . EPISC . HILD . and the left S . GODE- 
 HARVS . EP . the two churches being thofe of the Cathedral of Hildefheim and 
 S. Godehard. On the fourth fide is that of a demi-figure of a bifhop holding alfo 
 what feems to be a church, perhaps a book, for it is much defaced S . EPIFA- 
 NIVS. The reft of this rim is engraved with elegant leaf work. 
 
 ’ 74 - 43 - 
 
 Q EVEN-Branched Candleftick : electrotype. The original, of 
 ^ bronze, is in the cathedral of Eflen. German. 12th or early 
 13th century. H. 7 ft. 6 in., W. 6 ft. 8 in. 300/. 
 
 The bale is fquare, like a coffer, with Hoping lid. The plates, which make the 
 fides and Hopes, are ftrengthened by bands of metal riveted with melon-fhaped rivets. 
 
3 1 7 
 
 Cafis. — Thirteenth Century . 
 
 thofe on the upright Tides (feven on each) are lion heads. The four feet are long, 
 three-toed, and well modelled. The ftem rifes from a fquare plinth, 'is firft lobed with 
 eight convex divifions, then in the form of a vafe with a rim of rich fcroll work 
 of ftalks and animals. 
 
 The general ftem is round, three inches in diameter, and has three bands of rolling 
 fcroll ornament, with animals among the volutes, running to the top, except where 
 interrupted by the branches. 
 
 The branches fpring from triple cups or matrices like thofe of a filbert. They 
 correfpond on each fide exaftly. They are fix in number and each exaftly over the 
 other, as in the golden candleftick of the Jewifti temple. 
 
 The lowed pair of branches has four divifions of ftem, the middle pair four, and 
 the upper three ; and thefe are divided by bodes alternately round, and faceted in 
 lozenges and half lozenges. 
 
 The bodes, both round and faceted, are divided by bands into rounds or lozenge 
 compartments filled with four-leaved foliation, and have fmall balls on the angles. 
 
 The ftem has a round bofs between each let of branches, and one above the upper 
 and one below the lower pair. 
 
 The round bodes are diftributed in different patterns, that is, the bands that 
 divide them are laid lozengewife, in plain circles, circles with a fmall round loop 
 intervening, lozenges made of fegments of circles, quatrefoils, and quatrefoils with 
 acute angles intervening between the foils. All are filled with the conventional leaf- 
 work already defcribed, but the patterns differ in the different bodes. 
 
 The candle pans or nozzles are capitals with bold unnotched leaf-work, the 
 points rolling over into four fmall pendant bodes, like the architeflural capitals of 
 the 1 2th century in the north of France. 
 
 It is to be noticed that the round bodes, both of the middle ftem and the branches, 
 have metal points for holding cryftals, now gone. Thefe are on the fronts and backs 
 only of the candleftick, and on thofe fides of the threefold matrix or calyx that forms 
 the point of junftion of the branches and the ftem. 
 
 On the angles of the bafe four figures have been feated. One remains complete, 
 with a monfter head, and fcroll in the lap, with the letters AQUILO. A fecond, 
 not complete, has ORIENS. The other two reprefenting the weft and the fouth 
 have been loft. 
 
 The entire work is an example of the Rhenifh-Byzantine metal-work at its beft 
 The defigns of the various bodes, bands, and capitals are bold and full of invention ; 
 The animals fpirited in attitude, and ufed effeftively in the architeftural decoration. 
 
 Figured, Annales archeologiques, XI., 294; Texier, Di£h, &c. 
 
 ’65. 77. 
 
 QPOON: copper gilt ; the bowl engraved, the fhaft enriched with 
 ^ filigree, and fet with pearls. The original, of filver-gilt, called 
 ‘ the anointing fpoon,’ and ufed in the ceremony of the coronation, 
 forms part of the regalia in the tower of London. Englifih. Date 
 about 1200-50. L. 10^ in., W. of bowl, 2 in. 2/. ior. 
 
 The bowl is heart-lhaped, and has a fpine down the middle, and the inf.de is 
 chafed with curling fcroll work. 
 
3 1 8 Gold and Silver Smiths Work . 
 
 The ftem is a ftraight dragon, the lower part covered with fine gold filigree over 
 enamel. The dragon’s head joins the lower end of the ftem to a broad round me- 
 dallion, to which the bowl is attached. Four round difcs filled with cloifonne enamel, 
 and fet round with pearls, are placed on the Ihoulders of the dragon, and a bofs or 
 knop with four circles on its four fides, each engraved with flower ornament, finilhes 
 this thicker portion of the ftem. The reft gradually diminilhes, and takes the fhape 
 of a double twift ending in a fmall 'dragon’s head. The under fide is covered with 
 engraved knots on the broader and zig-zags and dots on the narrower furfaces. 
 
 This is probably the only remaining piece belonging to the ’regalia of the Plan- 
 tagenet and Tudor kings which furvived the death of Charles I. 
 
 Figured, Shaw’s Drefles, &c., i. 18. 
 
 ’72. 69. 
 
 /CANDLESTICK : plafter caft. The original, in bronze, is in 
 the cathedral of Bamberg. German. 13th century. H.6ft., 
 W. 1 ft. 6 in. 61 . 
 
 The metalwork has much of the character of No. ’74. 43 juft defcribed. It fprings 
 from a lobed bafe, the lobes alternating with four angles, which reft on four dragon 
 feet. The dragons have the heads and paws together, and a round plate of metal 
 below. 
 
 The lobes of the bafe are filled with bold foliage fcroll work, each has two fwans 
 at the bottom of the compofition. Above this is a bofs belted round the middle, 
 filled up with eagles and pierced fcroll work. 
 
 The ftem is made up of four ftalks with rows of balls between. It is interrupted 
 by four bofles, each made up of leaf work, with diamond-ftiaped flower centres, fet 
 like jewels, in openwork. Each bofs fprings from a collar of expanding leaves, and 
 each length of ftem above the bofles from a fimilar collar. The greafe pan is plain 
 and trumpet-mouthed. It belongs to the fame fchool and about the fame period as 
 No. ’74. 43. 
 
 ’74. 88. 
 
 /CANDLESTICK: plafter caft, in the fhape of a lion, with two 
 branches. The original is in the treafury of the cathedral of 
 Hildefheim. German. 13th century (?). H. 8^ in., W. 8£ in. 
 4 *. 6 d. 
 
 A lion with the four legs ftraight, ftiff ears cocked, and conventional beard. 
 There are three nozzles ; the largeft riling above the back with a neft of leaves chafed 
 on the infide only ; two plain horizontal bars on each fide of it and fupport two 
 plain nozzles. 
 
 ’ 7 3 - 5 2 °- 
 
 /CANDLESTICK : plafter caft. The original, of brafs, in the 
 form of a man riding on a lion, is in the Bavarian national 
 mufeum, Munich. German. 13th century. H. io| in., W. 5^ in. 
 8 r. 8 d. 
 
Cafis. — Thirteenth Century. 319 
 
 The lion is pulled by his left ear, turns half round, and keeps his tail between 
 his legs. The man bends back the left leg with the aftion of a rider trying to regain 
 his feet, while the right hand is bent up to grip the nozzle which refts on the back 
 of his neck. The head is bent by the aftion, which is rendered with great fpirit. The 
 man wears a loofe calfock and hood, and has his head bare. 
 
 ANDLESTICK, with feven branches : plafter caft from the 
 
 original, of bronze, in the cathedral of Milan. Said to have 
 been the gift of Giovanni Battifta Trivulzio, archprieft of that church. 
 Italian. 13th century (?). H. 14 ft. 8 in., W. 13 ft. 9 in. 80/. 
 
 This candleftick, a typical reprefentation of the feven-branched candleftick of the 
 Jewilh temple, is made up of a lofty Hem Handing on a four-fided pyramidal bafe, 
 with three branches on either fide, elaborately ornamented with beaten work and 
 cryftals, & c. 
 
 The main Item is divided into twoihort lengths. It is compofed of a colleftion of 
 ftalks or reed Items united together. On each of the four fides there are four larger 
 items fet with cryftals, and edged with notched ornament. Between thefe are four 
 fets of upright moulding, reeds or lines, the whole making a Item or column of much 
 lightneis, without apparent weaknefs. Each divifion iffues from a crown of four 
 curling leaves of Byzantine character that fpread out, and the tips of which curl up 
 into fmall volutes in the way of corner leaves of flat ihaft capitals. The volutes 
 of the lower fet contain fmall animals among the lobes of the foliage : between the 
 four large leaves there are four fmall ones, and a ring or diadem below giving it the 
 form of a complete crown. 
 
 Under the crowns are flattened globes or orbs, the loweft plain, with a reeded belt 
 bordered by rows of metal beads. The middle orb is elaborately ornamented with 
 beaten leaf work, amongft which is a compofition of figures. On one fide is the 
 feated image of the bleffed Virgin crowned, with the infant Saviour on her knee, 
 both giving benediflion. On the three ether fides are the three Magi, crowned, and 
 riding, one bearing a cup of gold in his hand, one holding a cup or vafe on his knee, 
 and Ihading his eyes while looking forward to the ftar of Bethlehem, the third 
 holding a knight’s wreath. The horfes tread on branches or foliations of the general 
 decoration, or are fupported by the arms of half-figures of men that ftretch out from 
 below. On the upper furface figures are feen amongft the foliage, St. Jofeph, and 
 probably three prophets. The ornament between thefe four perfons meets in a round 
 cryftal. 
 
 The upper orb is plain, with cryftals at intervals on its furface. 
 
 From the crown above this third orb rifes the third (a longer) divifion of the 
 upright Item, and the two lower branches fpring from the fame point. They are in 
 four divifions of Hem, like the firft deferibed, but fmaller in diameter. Each divifion 
 of thefe branches iffues from an orb, with a crown over it like thofe of the main ftem, 
 and the branches end in a large round flat greale pan and pricket, fupported by four 
 flat lotus leaves fluted on the edges, with four other leaves fuch as iffue from the 
 crowns. Each of the flat candle pans is furrounded by three fmall branches that 
 fpring from their under fides, dip, and rife ; making a circle of three lights round the 
 
320 Gold and Silver Smiths Work . 
 
 middle larger candle. The middle branches are in three, and the upper in two 
 divifions each. The middle Hem rifes into a larger candle pan, and this has four 
 inftead of three furrounding branches. Befides the feven great lights, therefore, 
 there are twenty-two fmaller. 
 
 The moft elaborate part of the candleftick is the bafe. This is in four divifions. 
 Each diviiion is formed by a dragon, of which the neck, head, and paws curve 
 downward, and then fpread into legs and feet. The bodies Ihow lines of fpinal 
 proceffes, beards on the cheft, and curving volutes to the tails, to be noticed prefently. 
 The heads differ from each other as to ears, fnouts, and other details, and, in 
 the compofition of figures that make up the four feet of the candleftick there are — to 
 one, a pair of human figures ftabbing the mouth of the dragon ; to another, a pair of 
 apes, of fphinx form, with bodies and manes and feated, alfo ftabbing ; to another, a 
 pair of lions ; and to the fourth, a pair of eagles, tearing the mouth. Each whole 
 foot thus made up is furrounded by a bold belt or moulding fet with cryftals which 
 encloles it, lifts it from the ground, and paftes round the open work of the intervening 
 fides of the bafe. In thefe fides the mouldings meet in a projefling middle point, 
 headed by a goat-headed dragon, varied on all four fides. 
 
 The wings of the dragons are expanded, the tails curve up againft the root of the 
 ftem, curl over in a double volute of graceful line, ending in a vine leaf, and with 
 off-fhoots forming fmaller volutes down to the dragon’s fpine. The point of junc- 
 tion with the ftem is filled up by a large leaf. 
 
 In the curves of the large volute figures of men are feated back to back, eight in 
 all. They are the four rivers of Paradife. This will be feen by the word TIGRIS . 
 PARADIS, part of a legend on a fcroll in the hands of one figure ; the reft is 
 indiftinfl. 
 
 z. Four fciences, mufic, rhetoric, logic, and geometry. Tn defign, as in the foft- 
 nefs and rigidity, there are marked contrails among this feries. 
 
 The four fpaces of the bafe between the dragons are made up of fcrolls and knots 
 alike, but Hill quite diftinft in defign and detail in each cafe : — 
 
 I. The compofition is an intricate knot of ferpents, one human headed, tied and 
 intertwined in many curves. Like all thefe divifions it rolls into feven fets of volutes, 
 two, two, two and one in afcending order. The two loweft contain the fall of man : 
 Eve carefling the ferpent, offers fruit to Adam who eats it. Adam and Eve 
 expelled from the earthly paradife ; the angel with drawn fword is between the two 
 volutes. Adam l'mites the ferpent with a fcourge. Above are two female figures, 
 reprefenting virtues armed with Ihield and fpear, and piercing proftrate figures of 
 vices. Above thefe, in the fmall fpandril volutes, are the Zodiacal figns, Aries, 
 Taurus, Gemini. 
 
 II. The fecond fide has a knotted leafage ifliuing from a half female figure, of 
 which the breafts are gnawed by ferpents. The figure compofitions trace the courfe 
 of the promife of redemption, a figure, Balak, holds a fcroll, and a fecond, Balaam, 
 fhades his eyes looking for the promifed ftar (Numbers, xxiii., x.). In the fecond 
 volute, three lhepherds are looking for the star, one leaning on a ftaff. Above 
 thefe two fubjefls are two virtues piercing crouching figures of vices. Above, 
 again, are the figns, Virgo, Sagittarius, Scorpio. 
 
 III. In the third divifion the convolutions of line are made by foliage and fcrolls 
 only and without dragons. In the firft volute the ark of Noah is reprefented, like a 
 church in a boat, with a central tower and fpire, turrets on the angles, and windows, 
 out of one of which Noah looks, a dove perching near him. In the fore part of the 
 boat, the Patriarch Noah looks upwards with hands clafped ; the beads are walking 
 in. In the correfponding volute the facrifice of Ifaac is reprefented. Abraam’s hand 
 
Cafis . — Thirteenth Century. 
 
 321 
 
 is withheld by an angel in another branch of the fcroll work, and a ram is feen alfo 
 in a feparate divifion of the compofition. Above thefe compofitions are two virtues 
 fpearing vices as in the laft divifion, but diftinft in defign, and above them the figns 
 Libra, Cancer, and Leo. 
 
 IV. In this divifion the convolutions are made by two pairs of dragons, one from 
 the upper and one from the lower part. They are knotted together, making the 
 fame general arrangement of volutes as the others, and the four heads meet in the 
 middle holding the fettirig of a large cryilal. The fubjefts of the figure compofitions 
 are : our Saviour crowning the blefled Virgin, a figure to the right of the Saviour 
 is the Baptift. David holding the head and the fword of Goliath, a typical repre- 
 fentation of our Saviour overcoming the enemy of mankind, an unufual compofition. 
 Above thefe are two figures of virtues as before. In the upper curves are the figns 
 Capricornus, Aquarius, and Pifces. 
 
 It is not eafy to fix the date of this remarkable candleftick. It was placed in the 
 church in 1562, according to an infcription on the bafe, by IO . BAPT . TRIVVL- 
 TIVS . HV . ECCL . ARCHIPR . D . D. : the word PRAiFECTI . FA- 
 BRICS . PERFECER . ET . HIC . PO . VIII. C . APR . M . D . XLII. 
 feem to imply a reftoration at the date mentioned. The general framework and feet 
 of the monfters and figures belong probably to the 12th or 13th century, but many 
 of the fmall figures feem to have been replaced, and the fulnefs, foftnefs, and general 
 character of much of the fculpture to be of a later age. For a difcuflion on this 
 and other feven-branched candlefticks, the reader fhould refer to the preface. 
 
 Figured, Didron, annal. archeol., xvii. 238, xiii. 5 &c. 
 
 ’72. 60. 
 
 ' f TRIPOD : electrotype ; foot of an altar candleftick. The origi- 
 nal, of bronze, is in the royal Berlin mufeum. 13th or 14th 
 century. H. 5 in., W. 5 in. 5/. 5*. 
 
 This is the bafe of a fmall altar crofs. It refts on three lion feet. Reeded bands 
 rife from the triangular frame which joins the feet, and twift and knot in bold folds 
 enclofing two fmall dragons. Three figures, Sybils (?), hold each a fruit in their right 
 hands, and are feated on the angles of the bafe. 
 
 Above this is a round open worked bofs, made up of the fame fcroll work, and 
 on flat bands, above and below it, run legenda ; above, EC CE CRUCEM DOMINI ; 
 below, FUGIANT PARTES INIMICI. 
 
 There is a focket in the bofs to hold a crucifix. 
 
 ’ 73 - 5 l 9- 
 
 ^CANDLESTICK, Tripod : plafter caft ; the original, of bronze, 
 in the form of a man holding two fockets, is in the Bavarian 
 national mufeum, Munich. German. 13th or 14th century. H. 
 10 in., W. 6 in. js. 
 
 36105. 
 
 x 
 
322 Gold and Silver Smiths Work. 
 
 The bafe is a flat table with three horfe-hoofed legs, and three cufp points ifluing 
 between the angles. The ftem is a knight in armour, furcoat, belt, hanging fleeves 
 and three-pointed cap with lining turned up. He holds out both hands, on which 
 reft plain nozzles with loops below them, greafe-pans under, bordered with a hanging 
 fringe of fleurs-de-lys. The furface has no chafing, and only the leading features of 
 the figure are executed in the caft. 
 
 ’72. 123. 
 
 /CANDLESTICK : ele&rotype, in bronze. The original is in 
 the mufeum of Berlin. Italian. Dated 1468. H. 5 ft. 3 in. 
 37/. 1 Or. 
 
 The ftem is made of two balufters fuperimpofed : they are flight in diameter, 
 and clothed with long leaves without ferrations, delicately waved at the edges. 
 The bafe is flat and triangular, fupported on claw feet, and round it is the date 
 ANNO MCCCCLXVIII. 
 
 ’69. 55. 
 
 QT. JOHN the Baptift : plafter caft from a filver original in the 
 ^ treafury in the cathedral of Monza. Italian. 14th century. H. 
 il^in. 8r. \d. 
 
 The original, of filver-gilt, is a fmall image of St. John the Baptift in a hair 
 fhirt, ftanding on a four-lobed bafe in two courfes, with points ifluing between the 
 lobes and flat fides. 
 
 ’72. 24. 
 
 T^\ISH : with compofitions beaten up reprefenting the deadly fins. 
 
 Gilt metal, from the original, of filver-gilt, belonging to the Earl 
 of Dunraven. Portuguefe. 15th century. 6/. 
 
 In feftion this difli has a bold convex bottom, and the rim is a broad convex 
 border, finifhed with an upright edge, and it ftands on a plain circle or rim. 
 
 The whole of the remainder is bofled up with the hammer in rich figure com- 
 pofitions. In the middle there is a myftic rofe, with a crown of thorns round it. 
 Outfide this the laft Judgment ; an angel blowing the laft trumpet ; the blefled are 
 advancing to the fteps of an altar in adoration : this makes up one half the circle. 
 In the other the jaws of Hades fwallow the damned ; fouls are dragged away and 
 tormented by fiends. - 
 
 Round the rim are full length perfonages reprefenting the feven deadly fins. 
 Pride kneels to a knight or king, to whom he is offering the glory of the world ; 
 gluttony is reprefented by feafting ; luft, by two perfons embracing ; floth, by a 
 fleeping figure ; envy, anger, and covetoufnefs by correfponding compofitions. A 
 guardian angel, forrowing, and a fiend, tempting, are added to each fubjeft. 
 
Cafts. — Fifteenth Century. 323 
 
 A rude ropework edging feparates thefe concentric circles. The work is bold, 
 but fomewhat heavy, but the meaning of the artift is fimply and fufficiently exprefled 
 in each cafe. 
 
 ROSS : with compofitions from the acts of St. John the Baptift 
 
 and St. Gerard. Call in plafter from the original, of filver, in 
 the cathedral of Monza. Italian. 15th century. H. 58 in., W. 
 42! in. 2/. 8r. \d. 
 
 The arms of this crofs are equal, and are wider at the extremities than at the 
 point of interfeflion, where they meet in a round centre. A fhort extra limb is 
 added to the bafe, lhaped like the other members, that is, narrower where it joins the 
 bafe of the crofs itfelf and fpreading outwards. 
 
 The central circle contains a compofition in flight relief, reprefenting the Nativity. 
 The defign is in the ftyle of Filippo Lippi. The Holy Family are gathered round 
 the crib, angels kneeling with them. The Villon of the Shepherds is feen through 
 a window, and fome of them are looking into the liable. 
 
 A number 'of compofitions in relief on the front of the limbs reprefent fcenes 
 from the life of St. Gerard. Thefe are, beginning at the top : — 
 
 1 . The birth of the faint in a chamber. 
 
 2. The faint walks on the water. Perfons from diftant buildings are watching 
 the miracle. 
 
 3. Right fide : a kneeling figure, with a crutch, praying before a Ihrine. 
 
 3. Two men fearch a houfe, a third is mounted on a ladder looking in through a 
 window. 
 
 4. A moving crowd of women and children, fugitives, are confoled by the faint. 
 
 5. Lower limb : a procelfior. with candles to a church. 
 
 6. The death of the faint ; men and women mourn around him. 
 
 On the other fide the fubjefls are : — 
 
 1 . Zacharias fees the vifion of an angel at the altar, 
 
 2. The Salutation, female attendants behind the two principal perfons. 
 
 3. The birth of St. John the Baptift. 
 
 4. Zacharias writes his name on a tablet. 
 
 5. St. John preaches in a foreft to foldiers and others. 
 
 6. He reproves Herod for his inceft. 
 
 7. He is decapitated in prifon, an executioner delivers the head to the daughter 
 of Herodias. 
 
 8. He preaches to fouls in Limbus. 
 
 On each face of the Ihort additional lower limb there is a female Orante. 
 
 T)RICKET Candleftick : plafter caft ; the original, of bronze, 
 
 on four feet, with figures at the corners, is in the Bavarian 
 national mufeum, Munich. German. 15th century. H. 9 in., 
 W. at bafe, 5 in, 9 s. 6 cl. 
 
 ’69. 50. 
 
 ’ 73 - 5 l8 - 
 
 X 2 
 
324 Gold and Silver Smiths Work 
 
 The bafe is fquare, on four feet. Four attenuated female figures of fciences, 
 holding books, are feated on the angles. The fides of the bafe flope upwards, and 
 are compofed of reeded bands twilling into heart-fhaped folds or convolutions. On 
 the level of the heads of the figures runs a low battlemented gallery fupported by 
 eagles at the angles, and four feals creep down from the middle to the bottom of 
 the four fides. 
 
 The knop is a flattened fphere of reeded fcroll work, conne£led by neckings 
 to a capital-fhaped item, the foliage of which is flat. 
 
 The greafe-pan is bell-fhaped with a chafed edge. 
 
 The defign is not gracelefs, though the execution is rough ; a roughnefs exagge- 
 rated in the call. 
 
 ’ 73 - 5 * 5 - 
 
 f | v RIPOD Candleftick : plafter caft ; the original, of bronze, 
 with perforated ornament, is in the Bavarian national mufeum, 
 Munich. German. 15th century. H. 7I in., W. 5^ in. 6 s. 
 
 The bafe falls out with a graceful ogee curve, which is continued in the outward 
 Hope of the feet which are plain. 
 
 The triangular fides or fpandrils are open fcroll work, difpofed in the form of 
 fleurs-de-lys, the outer fcrolls meeting on the hips of the angle pieces. The bofs is 
 a continuation of the pierced plates which form the fpandrils, tied with a pair of 
 collars and prefled down till they bulge into a bofs or knop. 
 
 The greafe-pan is trumpet-mouthed. 
 
 This candleftick is well put together, its lower part is of hammered work, the legs 
 are three ftrips and the fides three pierced plates, as already defcribed, welded together 
 on the angles and where they are collefted at the knop. 
 
 ’ 73 - 5 1 7 - 
 
 / “T" % RIPOD Candleftick: plafter caft; the original, of bronze, 
 
 the upper part with three figures fupporting the rim, is in the 
 Bavarian national mufeum, Munich. German. 15th century. H. 
 1 ft., W. 5 in. 6 s. 8 d. 
 
 The bafe has three maflive feet made up of heads and paws of dragons. The fides 
 of the triangular bafe are of open fcroll work ifluing from the middle to each fide, 
 and held by fmall figures kneeling outwards on the backs of the dragons’ feet. 
 
 The Item is a rude Egyptian capitai-ftiaped compofition of leaves, with a 
 bofs pierced in the middle and the piercings filled by leaf ornament Ihaped like 
 three rude fleurs-de-lys. 
 
 Three attenuated human figures fupport the greafe-pan. 
 
 The whole of the original work is a calling of rude execution. 
 
Cajls . — Fifteenth Century. 
 
 325 
 
 ’73- 5 1 4- 
 
 /CANDLESTICK : plafter caft ; the original, of bronze, is in the 
 Bavarian national mufeum, Munich. German. 15th century. 
 H. 5! in., W. 3 in. 6r. 
 
 The bafe is on three feet, with knops over them and open work fides. The 
 motives of knotted or interlaced ornamentation are fcarcely developed, it has perhaps 
 had enamel on the Item and bofs. 
 
 ’73- 5 21 * 
 
 /CANDLESTICK : plafter caft ; on three feet. The original, of 
 bronze, is in the Bavarian national mufeum, Munich. Ger- 
 man. 15th century (?). H. 6f in., W. 3J in. $s. 
 
 The nozzle ftands on loops and is fet in a plain pan with upright fides, pierced 
 below with a fleur-de-lys crefting. 
 
 The fupports are three fpreadingogee bars, with curling leaves on the outer edges 
 and dragon feet. 
 
 ’73- 5 l6 - 
 
 f I TRIPOD Candleftick : plafter caft ; with figures of birds at 
 the angles. The original, of bronze, is in the Bavarian national 
 mufeum, Munich. German. 15th century. H. 6J in., W. 5 in. 
 6 s. 
 
 A compofition of monfters on the fides and three peacocks, the tails upwards and 
 the heads leaning down to the three feet. Thefe figures are tied to the bafe by a 
 band or ftrap, looped up in flrort curves that make a lower line of lace-like ornament. 
 
 The bofs is plain, there is no Hem, and the greafe pan, which comes on the bofs, is 
 further united to it by three rude monfters. It ftands on toed feet. 
 
 ’73- 5 2 3* 
 
 /CANDLESTICK: plafter caft; the original, of bronze, in the 
 form of a dragon, is in the Bavarian national mufeum, Munich. 
 German. 15th century. H. in., W. 4! in. 6 s. 
 
 The ftem is wholly made of a dragon, admirably compofed. It refts on two feet 
 and a tail, which rolls over on to the flanks, with fmaller fcrolls rifing over the head 
 and curling down into the open mouth. The greafe pan iflues from thefe as a calix 
 from a neft of flower ftalks. A ferpent or monfter iflues from the cheft, and forms a 
 third leg. It has a few coarfe lines chafed on the calix. 
 
326 Gold and Silver Smiths W ork. 
 
 ’73- 468. 
 
 /^HRISMATORY : plafter caft. On one fide is the Crucifixion in 
 relief; on the other fide St. Jerome reading in a library. The 
 original, of filver with gilt bands, is in the Bavarian national mufeum, 
 Munich. German. 15th century. H. 9 in., L. 6 in., W. 4 in. 
 1 or. 
 
 This fmall receptacle is upright, flightly conical in lhape, with a pointed roof 
 hipped at the ends. The front and back have figure fubje&s in flight relief ; the 
 front has two compofitions, a rood above, with the blefled Virgin and St. John on 
 either fide. Below, in a feparate compofition, is the martyrdom of St. Laurence. 
 One executioner blows the flames with bellows ; another forces down the faint 
 with a lance or ftaff, and two men look on. On the back is an interior of a 15th 
 century room, with open glazed cafement window, St. Jerome, with his lion and a 
 mitre (or St. Mark ?), is feated therein. 
 
 A plinth, on which the whole ftands, as well as the upper edge of the four 
 fquare fides are ornamented with fmall battlements ; two quatrefoil flowers, coarfely 
 executed, are fattened 011 each of the fides. 
 
 ’74- 36. 
 
 QEAL of the See of Hildefheim: plafter caft. The original, of 
 ^ filver, is in the treafury of the cathedral at Hildefheim, Ger- 
 man. Dated 1480. Diam. 2 £ in. Prefented by Profeffor Stock- 
 
 bauer. 
 
 Three rich canopied niches ; the blefled Virgin is feated under the middle niche, 
 SS. Bernward and Godehard, local faints, on either fide. 
 
 Legends : JHgfnbm Jffiltf Semens t 3 etccfetac atf €att£a3. 
 
 Siflamtpg {Cfjmfotn Became me Serf feett M.CCCCLXXX. 
 
 ’69. 51. 
 
 /^•H ALICE: with architectural ftem and figures in relief; caft in 
 plafter from a filver chalice, in the cathedral of Monza. The 
 gift of G. Vifconti, Archbifhop of Milan. Italian. 15th century. 
 H. 14I in., W. 9 in. il. 4 s. 
 
 This chalice is of enormous fize. The cup is egg-lhaped, little larger in diameter 
 than the knop. The outer cup is an arcade of niches under crocketed gables, and 
 feparated by pinnacles of late pointed chara&er with engraved figures of faints. 
 The knop is a great mafs formed of fix niches, feparated by pinnacles under crocketed 
 gables, containing images of our Lord, the Virgin Mother, St. John'the Baptift, and 
 
327 
 
 Cafts. — Fifteenth Century . 
 
 two other faints, one an armed king (St. Louis ?). This arcade refts on brackets and 
 a duller of fmall buttrefles joins this middle portion to the cup and to the bafe. 
 
 The bafe is Hoped outward, and lhaped into fix arches with heads cufped inwards. 
 The outer edge is lhaped in five convex cufpings, fquare on the edge, round which, 
 and following the indentations, runs a pierced gallery of quatrefoil ornament. A 
 lower ftep of plain work projefts beyond. 
 
 The furfaces of thefe arched divifions are engraved with faints. The middle 
 cufp is covered by an engraved Ihield (quarterings of the Vifconti), the other cufp 
 furfaces are without ornament. St. Peter, St. John the Baptift, and four other faints 
 fill the arched panels or divifions. 
 
 The fize is unwieldly for altar ufe, but to be feen at a diftance the decorative parts 
 are effe&ive. 
 
 ’68. 105. 
 
 T) ELIOUARY : round, with an arcade containing figures; caft in 
 plafter from the original, in filver and enamel, in the Cathedral 
 of Mofcow. Date 1488. H. 31^ in., W. 19 in. Given by the 
 Ruffian commiffion, Paris, 1867. 
 
 This reliquary is in the lhape of a round Ihrine or temple. There are twelve 
 arches of Byzantine chara&er, but with hoods over them of ogee lhape. Each 
 arch refts on columns with rude capitals, and the bafes are roughly modelled, but 
 Hand on no plinth unlefs that portion has been loft. They projefl from the lower 
 rim of the piece. Each arch is a niche containing a figure in high relief, of rude 
 execution, reprefenting one of the twelve apoftles. 
 
 The upper divifion is in four trefoil arches fpreading outwards. Thefe arches are 
 filled up with bold volute fcroll work, and have the four evangelifts, in relief, over 
 this work, and a conventional dog or other animal on each fide. 
 
 Four fmall knops are placed over thefe arches, and a round lantern rifes over the 
 middle. It is divided into eight fmall arches filled with ferpent omament in bold 
 figures of 8. This portion is crowned by a bulbous roof, with fcaly divifions and a 
 crofs over all. The crofs has two Ihort members befides the arms acrofs it. 
 
 The outline has fome traces of old Greek influence, following however the 
 Sclavonic architeflural forms in the roof and lantern. The work is of rude execution. 
 
 ’68. 106. 
 
 TY ELIQUARY : fquare, with figures on the fides ; caft in plafter 
 ^ from the original, in filver and enamel, in the cathedral of 
 Mofcow. Date, 1488. H, 24 in., W. 8f in. Given by the Ruffian 
 commiffion, Paris, 1867. 
 
 This reliquary is fquare. Each face is divided into three niches by columns, but 
 without arches. The upper part is a feries of arched plates correfponding to the 
 fpaces between the columns, and thefe again are in three fets, one above and one 
 
328 Gold and Silver Smiths W ork 
 
 behind the other. On the face of each an angel is reprefented in relief. A lantern 
 and crofs over, and fmall knops on the creft of each arch. 
 
 The fpaces or niches formed by the columns contain images in relief of the bleffed 
 Virgin and eleven apoftles. 
 
 Lefs Byzantine in charafler than the lall defcribed. 
 
 ’68. no. 
 
 f | A ABERNACLE : a canopy on a bafe, in which are feated 
 A figures, furmounted by a crofs. Plafter caft from a filver original 
 in the cathedral of Perugia. Italian. Dated 1511. Given by the 
 Italian commiffion, Paris exhibition, 1867. H. 37 in., W. 16 in. 
 
 A miniature architeftural fhrine, with a fquare canopy on four columns, covered 
 by fcale-lhaped tiles, with a lantern of two ftories, and a crofs above. Under the 
 canopy is a vafe, and a ring is hung by a chain above it. 
 
 The bafe has four femicircular niches, with feated figures half out of them. 
 They are recognifed by legends as : — “ davit, tenuisti manum dexter (am.) 
 ErEMIAS LiETABITUR, EZECHIAS PORTA. HECE JOANNES VIDI ALTERUM 
 ANGELUM.” 
 
 A wider dado under this is covered with arabefques in relief, with a medallion 
 on each face containing heads of St. Peter, St. Laurence, St. Auguftin, and 
 St. Ambrofe. 
 
 A wide plinth, with claw feet on the angles, lupports the whole. The metal- 
 work of the original is but rudely rendered in the caft. 
 
 ’72. 266. 
 
 H AMMER : plafter-gilt, from the original of filver-gilt made for 
 Pope Julius III. for the Jubilee of 1550, in the Bavarian 
 national mufeum, Munich. Italian. 16th century. L. 10 in. 
 
 1 /• 5 s - 
 
 The handle is of wood, the focket is a large mafs, fquare in feftion, and bearing 
 legends on the two fides. 
 
 The hammer is fquare on the end, reaching back with a flat curve to a narrow 
 edge on the back. The focket bears the arms of Julius III., Giovanni Maria 
 Ciocchi del Monte, with a tablet percussit petram et fluxerunt aqua. 
 
 On the back a baf-relief reprefents Moles ftriking the rock and the legend, 
 Julius iii. Pont. Max. Jbil^um viii. condit feliciter. Two terminal figures 
 on the head. 
 
 This is a hammer ufed for ftriking the doorway in the portico of the Bafilica of 
 St. Peter in Rome on the opening of a jubilee, the opening being walled up for 25 
 years after the conclufion of each jubilee. 
 
Cafis. — Sixteenth Century 
 
 329 
 
 5 68. 1 11, 112. 
 
 T)ROCESSIONAL Crofs : a crucifix with foliated ornament. In 
 plafter, from the original of filver in the church of Mongiovino, 
 near Perugia. Italian. 16th century. H. 32^ in., W. 14I in. 
 Given by the Italian commiffion, Paris exhibition, 1867. 
 
 The limbs of the crofs have large quatrefoil plates on the four extremities. In 
 each of thefe there are half-length images of the Eternal Father on the top ; 
 St. Mary Magdalen at the bottom ; the Blelfed Virgin and St. John the Evangelift 
 right and left. On the edges of thefe figures are fet three bold proje&ing leaf buds, 
 and round balls between each. The point of interfeftion is a round plate, with four 
 large leaf buds projefting. On this part is the emblem of the Church. All thefe 
 figures are in bold relief. 
 
 The lower limb has rich foliated off-fets halfway down. The Redeemer is 
 reprefented dead on the crofs. 
 
 On the back are the four evangeliftic fymbols, and on the back of the centre piece 
 St. George flaying the dragon. 
 
 Rich arabefque work in high relief is worked along the edges of the crofs. 
 
 A bold gadrooned knop, large enough for a bafe to the crofs, finilhes the focket of 
 the ftaff, and the head below the knop is worked with fpiral lines of vine Items, 
 leaves, birds, &c. in relief. 
 
 ’ 57 - 
 
 T TUNTING Horn: with arabefque and mounting rings; gilt- 
 copper, from an original of ivory, with filver-gilt mounts, be- 
 longing to Mr. A. Fountaine. Italian. 16th century. Diam. 
 15 in. 6A 
 
 The horn is of a beautiful s^-lhaped curve, with two belts and rings for fufpen- 
 fion ; it bears round the furface cupid heads and arabefques in relief of the molt 
 delicate execution. Thefe are fcarcely appreciable in a metal reproduftion, the metal 
 mounts being Ample. 
 
 ’58. I. 
 
 "VTAUTILUS Shell: copper-gilt, mounted in metal, fupported by 
 Naiads. Italian. 1 6th century. H. 13I in., W. 13 in. 5/. 
 
 The original is a nautilus (hell fet in filver-gilt, held by a band round the middle, 
 running perpendicularly ; finilhed above with fifti trophies and two tritons feated on 
 them. The foot is made up of three naiads aftride on dolphins, holding the volutes 
 of the fix tails under their arms. 
 
33 ° 
 
 Gold and Silver Smiths Work. 
 
 HALICE : with figures in relief on the bafe, call in plafter from 
 
 a filver chalice in the cathedral. of Monza. Italian. 16th cen- 
 tury. H. 9^ in. 8r. 4 d. 
 
 A chalice of very large fize. The cup is ftraight-fided with expanding lip. The 
 involucrum or frame of it is an arcade of fix niches of late renaiflance mixed 
 architeftural charafter ; under each niche, in delicate relief, is a figure (our Lord 
 and five faints). On a vafelhaped knop are fix figure compofitions reprefenting fcenes 
 from the life of St. Ignatius of Loyola. 
 
 The bafe is curious ; St. Francis Xavier and five faints of the Society of Jefus are 
 placed round it in very high relief, the heads inwards, and with fwags of flowers and 
 fruit hanging outfide from feet to feet, forming an outer fcalloped border. Leaves, 
 tendrils, and delicate flower work fill up the fpaces between. 
 
 The decoration is heavy, and the whole piece lhowy rather than graceful, and 
 this a f’p eft of it is much increafed by the clumfy nature of the material. 
 
 HALICE : with figures on the bafe, call in plafter from the 
 
 original in filver by AnnibaleTontana, in the cathedral of Monza. 
 Italian. 16th century. H. 13 in., W. 7J in. i6r. 8 d. 
 
 This chalice is of vaft fize. The cup is flightly belled, and held in an outer cup 
 with a fretted upper edge, on which are engraved figures of our Lord, St. Anthony 
 of Padua, and a fainted biftiop. 
 
 The knop is a large mafs divided into flat-headed niches by columns, with coarfe 
 leaf arabefque work, cherub heads, and crocketed pediments, under which are 
 engraved figures of St. Peter and St. Paul, St. Catharine, St. Clare, St. Buonaventura, 
 St. Bernardino, the three latter faints of the Francifcan order. 
 
 On the bafe, which divides into ogee arches, heading outwards with pointed 
 projections between, are images of the Blefled Virgin, St. John the Baptift, and 
 St. Francis receiving the ftigmata. 
 
 The work is coarfe, and this is exaggerated in the clumfy material of the call. 
 
 HALICE : with figures in relief on the bafe ; caft in plafter 
 ^ from a filver original in the treafury of the cathedral of Monza. 
 Italian. 16th century. H. 8^ in. 8r. 4 d. 
 
 The cup is llraight-fided, held in a frame of coarfe embolfed work. This is 
 feparated by a thin Item from a mafiive baluller knop, on which are malks 
 and fruit. 
 
 ’69. 52. 
 
 ’69. 54. 
 
33 1 
 
 Cafis . — Sixteenth Century. 
 
 The foot is fix-foiled, and proje&s in ogee points, with fluted ends. On the 
 furface are engraved figures of the blefled Virgin, St. John the Baptift, and a fainted 
 bifliop. 
 
 Coarfe work, and efpecially fo in the form of a plafter caft. 
 
 T) OWL : part of a tazza, with a triumph of Neptune ■, copper-gilt, 
 from the original, beaten, in filver-gilt in the Louvre, Paris. 
 The reft made up. Italian. 16th century. Diam. 7 in. 2/. 
 
 The difli is almoft flat; the original is made of two plates filver-gilt, the inner 
 beaten up and chafed with the triumph of Neptune, who is palling over the fea, 
 accompanied by tritons, nymphs, and marine monfters. 
 
 The Item has two mafles ; the upper with three Handing figures on it in delicate 
 relief, divided bv three falient rams’ heads. It is feparated by a necking from the 
 lower mafs, on which are three falient heads with arabelque ornament. 
 
 The foot is convex and covered with arabefques beaten up in relief, and three 
 reclining figures of Neptune and marine deities in cartouches. This is an addition. 
 The original is attributed to Benvenuto Cellini. 
 
 No. ’71. 3 is a repetition of the former on a modern made up foot. 
 
 T> OWL : tazza, gilt metal, with the attributes of V ulcan, on a 
 Bacchus ftem from a filver-gilt original in the Nieuwerkerke 
 colle&ion. Italian. 16th century. H. 6^ in., diam. 9 in. 4/. 
 
 The difli is almoft flat. The original, of filver-gilt, is lined with a plate beaten 
 up with a compofition reprefenting the forge of Vulcan. The ftem is a fmall figure 
 of the youthful Bacchus, Handing with one leg bent and holding grapes. The foot 
 is concave in outline. It has three medallions beaten up, and containing figures of 
 Silenus and fubjefts illuftrating the rites of Bacchus. 
 
 LTAR Candleftick : electrotype in bronze from the original, 
 
 belonging to the Duke of Weftminfter. Italian. 16th century. 
 H. 7 ft. 9 in., W., at bafe, 2 ft. 7 in. no/. 
 
 The bafe is in the l'hape of a large three-fided altar. The angles fail back in 
 large volutes, and fupport in the centre of each fide an oval (hield. Above the bafe 
 fits a maflive vafe with a neck over it It rifes into a balufter lhaped ftem from 
 which it is separated by deep neckings, and a flat expanding knop between. The 
 upper feftion is decorated with acanthus leaf work, and gets gradually fmaller till it 
 expands into a wide greafepan. 
 
 ’69. 45. ’71. 3. 
 
 ’56. 6. 
 
 ’72. 430. 
 
332 
 
 Gold and Silver Smiths’ IV irh 
 
 The bronze of which the original is made is of a dark copper hue, and the leaf 
 and other finer work of the upper fe&ions are delicately chifelled. The larger features 
 below are more roughly executed, and fhow the tool marks. But in no part is the 
 finifh too fine for the fcale of the ornamentation. Much of this fpirited furface, 
 flightly uneven, but never wanting in necessary completenefs, is loll in the call. The 
 original is one of a pair belonging to the duke of Weftminfter. 
 
 ’71. 44. 
 
 T'XRINKING Horn : glafs and gilt metal ; from an original of 
 cryftal, mounted in filver-gilt, in the form of a cockatrice, 
 Handing on a tortoife, in the Ambrafer Sammlung, Vienna. German. 
 16th century. H. 12 in., L. 13 in. ill. 
 
 The body is of cryftal, horn lhaped, in filver-gilt fettings making a monfter or 
 cockatrice. The head is that of a dragon with fcaled neck, and a collar of two rows 
 of points where it holds the cryftal. The part of the back covered with metal is 
 fcaled. The wings are half thofe of bats, and half of acanthus leaf. A triton hold- 
 ing a fcutcheon, and with a tail bowed out behind him, fits on its back. The monfter 
 Hands on a bafe lhaped as a fcroll with hippocamps fwimming round. 
 
 ’ 71 . 42 . 
 
 QTANDING Cup: gilt metal; from filver-gilt original; beaten 
 ^ and chafed with triumphs of the emperor Charles V. In the 
 Deutfch Orden Schatz, Vienna. German. 1 6th century. H. 18J in., 
 W. 6f in. 20/. 
 
 The body of the cup is globular, it has a high trumpet mouthed lip above with 
 a flat cover, crowned with a handle. Below the bowl, or body, is a wide Hoping 
 bafe architectural in outline, refting on a dado, and that fupported by a low fpreading 
 foot in two concentric rims. The embofled work is elaborate and commemorates 
 the battle of Pavia, and other triumphs of the emperor Charles V. 
 
 The lid has outfide a battle piece in high relief, a foreft of lances, cannon, and 
 figures fighting ; a man kneels with banners taken from the enemy. On the handle 
 or knob is the title K. KARLO 
 
 under the handle there are four fcripture l'ubjeCts in medallions, the precife meanings 
 of which I cannot determine. 
 
 Round this is the legend, die schweiger ceschlagen vor bigoga darnach 
 
 GECHOGEN FUR GENUBA DIE STAT AUCH GESWINGE KAISER KAROLUS. 
 
 The lid is lined with a plate beaten up in relief with a compofition reprefenting 
 the Egyptian hoft drowned in the Red Sea. 
 
 On the upper lip of the bowl are fpirited figures of warriors on horfeback, pro- 
 claiming the victory of Pavia. On the bowl itfelf that battle is reprelented. Francis 
 the Firft furrenders his fword; a running baf-relief containing lions, grim and 
 admirably defigned, runs under the bowl. 
 
333 
 
 Cafls . — Sixteenth Century. 
 
 A bold round collar, which projedts above the Hoping bafe is covered with em- 
 bofted work in which are medallions containing claflical heads. 
 
 The bafe Hopes outwards and is divided into four by four dolphins, heads down- 
 ward. In the fpaces fo contrived are male and female figures well defigned, with 
 landscape backgrounds, and reprefenting virtues, lettered below JVSTIEIA • FIDES • 
 FORTITVDO • TEMPERANTI A • under, again, K • KARLO, DIE WEISEN • 
 MORIN • GESWEIGEN HAT. The dado has a fpirited compofition embofled 
 and chafed upon it reprefenting battles of the emperor Charles V. with long ranks of 
 German pikemen. 
 
 The foot fpreads out in two borders, with demi figures of heroes in medallions. 
 
 Under the bafe a peafant boy fleeping in a landscape, chafed with a legend in 
 old fpelling, and date 1536 ; alfo, IM 1525 YAHR HAT KESE KARLVS 
 ER OBERT DE KING VON FRANCKRICH VOR BOFFIAN. 
 
 ’71. 46. 
 
 QTANDING Cup: covered; gilt metal; from the original of 
 ^ cryftal and filver-gilt, furmounted by a figure ; in the Welfenfchatz, 
 Vienna. German. 16th century. H. 20 in., W. 71 in. 20/. 
 
 The body of the original is of cryftal fet within four terminal fatyrs. The 
 upper fetting is a wide trumpet mouthed lip with a moulding of fcallop fhells below it. 
 The lower frame of the fetting is fupported on fcroll brackets. 
 
 The ftem below thefe brackets is an acorn-ftiaped cryftal in a frame of four curved 
 legs, held together by a ring richly embofled and chafed. Four fcrolls below this 
 ring hold it to a bafe, on which are fet cryftals, and four medallions, containing 
 reclining figures, playing mufical inftruments. 
 
 The cover is a cryftal, fet in a rich frame with hippogriffs, winged Pegafus, etc., 
 and in four medallions four compofitions reprefenting the elements. Earth — the 
 creation of Adam and Eve. Water — Noah’s Ark. Fire — Lot and his daughters, 
 with the deftruction of the cities of the plain. Air — The Laft Judgment. 
 
 A fmall nude Hercules furmounts the cover. 
 
 ’71. 47- 
 
 QTANDING Cup: covered; wood fet in gilt metal; from an 
 ^ original goblet of ferpentine and filver, with jewels, in the 
 Welfenfchatz, Vienna. German. 16th century. H. i8f in., W. 
 
 7i >n- I 3 / - 
 
 The bowl is a flattened fphere, crofted by four perpendicular bands, embofled and 
 joining a horizontal belt on the upper fide ; onyxes and other Hones are fet on the 
 upper fide and middle of thefe bands. The cover is in three ftories, with embofled 
 heads in medallions and ftones fet in prominent frames. 
 
 The whole is crowned by a fmall Handing warrior in fixteenth century armour. 
 The ftem is vafe fhaped with three fcroll handles and a fpreading foot. 
 
334 Gold and Silver Smiths Work 
 
 UP : copper-filvered, with fix-lobed fide beaten up with medallions 
 
 and arabefques, on a three-foiied foot. The original, of filver, is 
 called the Cellini cup. In the Britifti mufeum. Italian. 1 6th century. 
 
 This caft reprefents a filver cup of German, probably Nuremburg workmanfhip, 
 known as the Cellini cup, now in the Britilh mufeum. 
 
 The body is beaten out in fix femicircular lobes which die down in a waift, and 
 are repeated by the fame number reverfed, which form the bottom of the cup. On 
 the outfide of the upper feries, various claflical fubjefts are emboffed by the hammer, 
 viz. : the fable of Arachne — the ftory of Midas — that of Apollo and Narciffus, — a 
 figure flying over a flood — a council of the gods, and other claffical compofitions. 
 
 On the lower bulbs, or lobes, are emblems of virtues and vices. A boy holds a 
 crown of leaves with the legend virtus sine fine virescit. A boy holds a cup, 
 brevis et damnosa voluptas. A boy with a mirror and a peacock, sui 
 amans perdit et seipsum. A boy holds a triangle, medium memor esto 
 tenere. A boy on a winged orb with a crown and fceptre, non sors natura 
 negavit. A boy with a lyre and a crown of leaves, tandem bona causa 
 
 TRIUMPHAT. 
 
 The ftem refts on a three-lobed foot, having on it a flag beetle, fnake, and lizard 
 carefully finiflied and ftudied from nature. A bracket fupported by three winged 
 genii joins the bowl to this portion. 
 
 It may be compared as to general outline, as well as in reference to tne neat 
 fharp edges and refemblance of the ornament to what is produced by ftamping in 
 moulds, with the filver cup No. 150. ’72, p. 153, attributed to Jamnitzer. The 
 figure defign is freer, more full and claffic in outline, and more like Italian art than 
 in the latter inftance ; but is German enough to claim a Nuremburg goldsmith of 
 the fixteenth century for its author. 
 
 As in the cafe of No. 150 the metal of the original piece now in the print room 
 of the British mufeum, feems little rubbed or worn by ufe. 
 
 XT' WER : gilt metal, oval, with female head under the lip and bas- 
 relief chafing, reprefenting triumphs of Charles V. round the 
 body. From the original, of filver-gilt, in the mufeum of the ’Louvre. 
 Augfburg. 16th century. H. 19 in., diam. 6| in. 14/. 
 
 This vafe is of claffic outline. It has an egg-ffiaped body, ftraight handle rifing 
 high behind, and curving boldly over towards the lip. Satyrs are feated on the hips 
 of it. The ffiell-fhaped lip is fupported by the head of a woman, the edges curve 
 lharply up behind as if to reprefent ears. Breafts are emboffed under the mafic ; 
 and whorls of metal curl round backwards, carrying out the fuggeftions of a woman’s 
 (houlders, neck, and head. 
 
 Trophies and ftrapwork richly cut and compofed are riveted round the body, 
 and round the middle of it a broad belt of emboffed work reprefents the capture and 
 
 H. 8| in., W. 4^ in. 4/. 4 s. 
 
 53 - 
 
Cafts. — Sixteenth Century. 
 
 335 
 
 embarcation of prifoners from Tunis (?) under the emperor Charles V. The foot 
 expands and is covered with ftrapwork. 
 
 Altogether, though grotesque, and carrying out the fancy of animal and human 
 headed drinking cups of antiquity, this piece is bold and graceful in general outline ; 
 and the various curves of the lip, handle, and other salient members are admirably 
 compofed. 
 
 ’ 7 1 - 4 3 - 
 
 /COVERED Cup : glafs and gilt metal, from an original, of cryftal, 
 in filver-gilt in the Deutfch-Orden Schatz, Vienna. German. 
 i6th century. H. 8J in., diam. 4! in. 5/. 
 
 The body is polygonal, with flat fides forming an orb in a filver-gilt fetting, 
 cufped on the lower fide, and each point tipped with leaf ornament. Above this, the 
 fetting is a number of rims delicately chafed, the cover has fimilar rims of chafing, 
 and the fetting here finiihes with a crown of ftrawberry leaves. A fmaller crown 
 finilhes the top and forms a handle. 
 
 The ftem begins with a graceful downward crown delicately worked like the 
 others, it is divided into ribbed lines ending in lobes, and it has a lobed foot. 
 
 ’65. 54. 
 
 /"COVERED Cup: gilt metal; the original, filver-gilt, with fcrip- 
 ture fubje&s on the body, and ftrapwork, mafks, and enamel, is 
 in the Landhaus, at Gratz, in Styria. German. 16th century. 
 H. 40^ in., diam. bafe iof in. 100/. 
 
 The original of this piece is richly chafed and embofled with the hammer, and 
 has on the cover, body, and ftem three belts of green and other coloured tranflucent 
 enamel. 
 
 The cover is flightly convex on its outer and larger circumference and is fur- 
 mounted in the middle by a pedeftal richly emboffed, and in a feries of neckings and 
 collars on which ftands a female figure reprefenting Abundance. The lower band of 
 this pedeftal is enamelled in tranflucent green, red, and other colours. 
 
 On the flatter furface of the cover three medallions contain three fcriptural com- 
 pofitions : 1. Jofeph before Pharoah. 2. Mofes with the ferpent ; and 3. The re- 
 publication of the law under Jofias. 
 
 Outfide thefe compofitions runs a border of arabefques with river gods at inter- 
 vals. The lid is lined with a plate of beaten work reprefenting Juno with her 
 attributes. 
 
 The body goes in with a 'deep recefs under the lip which is rather too boldly 
 prominent. The principal furface is beaten 'and chafed with figure fubjefts in three 
 compofitions: 1. Either and Ahafuerus. 2. Judith and Holofernes. 3. The vifit 
 of the queen of Sheba to Solomon, king of Israel. Below this belt of relief work 
 there is a fort of bafe to the body correlponding to the prominent lip. It is embofled 
 and the flat outer edge painted with tranflucent enamel. 
 
336 Gold and Silver Smiths JVorh. 
 
 The Item is made up in'a feries of collars and neckings, richly embofled with 
 ftrapwork, flowers, and a belt of enamel. The large knop of the ftem has on it three 
 figures reprefenting the fitters of Phaeton. 
 
 ’71. 45. 
 
 /COVERED Cup : cocoa-nut fhell fet in gilt metal, with lion head 
 ring handle. The original, in filver, is in the Deutfch-Orden- 
 Schatz, Vienna. German. Late 16th century. H. n| in., diam. 
 in- 5 l - 
 
 The orb of the bowl is held in place by three bands running from a horizontal 
 belt down the fides, embofled with flower work. A flat upright lip is chafed with 
 leafwork exprefled by delicate lines. On the top a ring is fattened as a handle held 
 by a lion head. 
 
 The item is joined to the bowl by a deep fetting of metal work, and a wide thin 
 collar with three bold leaves at intervals round the edge. 
 
 ’65. 8a. 
 
 QALT Cellar: copper-gilt; with foliage and figure fubje&s in 
 
 ^ medallions, the fummit crowned by a fmall ftatuette of a warrior. 
 The original, of filver-gilt, forms part of the regalia in the tower of 
 London. Englifh. Late 16th century. H. 13! in., diam. 6 in. 
 25/. 
 
 The falt-cellar is a round pedestal worked over with leafwork, terminal figures, 
 and medallions filled with compofitions reprefenting the theological virtues. The 
 foot expands with bold embofled mouldings or collars, and the loweft refts on three 
 couched fphinxes. The cover is fupported above the pool provided to hold fait by 
 fcrolls of metal. On the top Hands a warrior in claflic armour and holding a lance, 
 and on the body of this portion are three medallions containing allegorical figures in 
 high relief. The whole furface is richly embofled and the relief Iharply chafed. 
 
 ’ 73 . 500 . 
 
 OCUTCHEON : plafter caft. The original, of filver, is in the 
 ^ Bavarian national mufeum, Munich. German. 16th century. 
 H. 5 in., W. in. 4;. 
 
 A compofition of fcrolls and curves ifluing from a centre in which is a draped 
 female figure ; one of the virtues gracefully defigned, holding a fceptre. 
 
Cafts . — Sixteenth Century. 
 
 337 
 
 ’73- 467- 
 
 "TV/TIRROR Cafe : plafter caft. The original, of chafed filver with 
 A renaifiance ornament and a fcroll of flowers, is in the Bavarian 
 national mufeum, Munich. Italian. 16th century (?). L. 6 in., 
 W. 4 in. 4X. 
 
 The two tides are worked with the hammer into a whorl of acanthus round a 
 central flower ; beaten and chafed with the moll delicate execution. 
 
 ’73- 456- 
 
 “tTRAME : plafter caft. Centre piece. The original, of filver, is in 
 the Bavarian national mufeum, Munich. German. 16th century. 
 H. 6f in., W. 4! in. 4 s. 
 
 A compofition for a flat fcutcheon or door plate, a conventional lion head in the 
 centre from which radiate curling fcrolls in all directions. 
 
 ’68. 85. 
 
 XT' WER: copper-gilt; chafed with ftrapwork, cartouches, &c. The 
 original, of filver-gilt, is at Windfor caftle, the property of the 
 Queen. It has theEnglifh hall-mark, 1597. H. 14 in., W. 18 in. 25/. 
 
 The body is of full oval lhape, with a narrow neck, long fpout, a thin handle, 
 and fpreading foot. A cupid’s head is embofled on the front, and three oblong lobes 
 are beaten up vertically round the body, along with ftrapwork and flowers. 
 
 ’ 68 . 86 . 
 
 QALVER: copper-gilt; chafed with ftrapwork, cartouches, &c. 
 ^ The original, of filver-gilt, is at Windfor caftle, the property of 
 the Queen. It has the Englifti hall-mark, 1597. Diam. 19 in. 25/. 
 
 A raifed middle bofs, and a raifed flat rim. Six hollow pools with burniftied 
 furfaces, are funk in the hollow of the plate. The badge of the prince of Wales is 
 engraved in the middle. The reft of the furface is chafed with ftrapwork, fliells, 
 rocks, &c. Three dolphins beaten up amongft chafed ftrapwork and fruit round 
 the rim. 
 
 36105. 
 
 y 
 
33 8 Gold and Silver Smiths Work. 
 
 WER : copper-gilt ; with grotefque handle formed by a fea nymph 
 
 and dolphin ; triumphs of fea deities round the neck, body, and 
 feet of the veflel. The original, of filver-gilt, is in the pofleffion of 
 the corporation of Norwich. Englifh hall-mark, 1597. H. 14! in. 
 
 The body is egg-lhaped, the neck is fomewhat contra&ed, and forms bold mould- 
 ing lines above the fhoulder. The lip dopes upward, and is fupported by two tritons 
 blowing fhells. 
 
 Round the body a proceffion or triumph of marine deities and monfters is beaten 
 up in bold relief. The handle is formed by a nymph and a dolphin, the former bends 
 gracefully over to form the hip of the curve, and the latter defcends to the junction 
 with the lip. The bottom is gadrooned, contrafted to a fmall, diort ftem, and lifted 
 on a bold boded foot expanded to give a wide firm reft to the whole piece. 
 
 QALVER: copper-gilt; beaten with the triumph of Neptune and 
 Amphitrite. In the centre is inferted a medallion. The original, 
 of filver-gilt, is in the pofleffion of the corporation of Norwich. Englifh 
 hall-mark, 1597. Diam. 17! in. 61 . 10 s. 
 
 The centre is a bofs furrounded by radiating acanthus foliage, and has a medallion 
 hammered up in the middle, reprefenting our Lord walhing the feet of St. Peter. 
 Round a broad rim runs a border beaten up with ftrapwork and fruit, and enclofing 
 fix oval medallions, in which are maiine monfters, ridden by cupids. In the hollow, 
 between the two, the triumph of Neptune and Amphitrite. A curious mixture of 
 fubje&s, but the medallion is probably an infertion, and Dutch or German work. 
 
 QALVER: copper-gilt; beaten and engraved with foliated fcrolls ; 
 ^ on a raifed centre a coat of arms. The original, of filver-gilt, 
 in the pofleffion of Lord Delamere, has the Englifh hall-mark, 1599. 
 Diam. 19^ in. 61 . 
 
 A deep funk difli with a central bofs and raifed flat rim. A bold bofs in the 
 middle bears a coat of arms but too much worn to enable one to read the blafon. 
 Dolphins and fruit in relief are enclofed in flat cartouche work round the hollow and 
 the rim of the difti. The judgment with which the proportion of relief is regulated 
 gives much effeft to a very Ample decoration. 
 
 8/. I Or. 
 
 6l. 1. 
 
 63. 24. 
 
Cafts . — Sixteenth Century , 
 
 339 
 
 ’72. 262. 
 
 T'NRINKING Cup or Incenfe Vafe: gilt metal; three round 
 covered cups on three Items. The original is in the treafury of 
 the Kremlin in Mofcow. Ruffian. 16th century. H. 9 in., W. (bafe) 
 in. 23/. 12 s. 6 d. 
 
 Thefe cups are fupported on a ftraight upright item, with a fhort necking between 
 the bofs and a bold flattened fpherical foot ; a flat edging round the bottom. The 
 cups are fmall globes with bofles on the lids. They are chafed with granulated 
 work, chequers, &c., alternating with burniftied furfaces ; and coarfe rococo leafwork 
 is embofled on the foot. Very oriental in general delign. 
 
 ’68. 80. 
 
 T> OOK Cover : gilt-metal, with the death of the blefled Virgin, and 
 the harrowing of hell. The original in filver-gilt. Roumanian. 
 16th century. W. 16J in., H. 24I in. 10/. 
 
 On one fide is the entombment of the blefled Virgin. Our Lord on one fide of 
 the bier receives her foul. An angel is on either fide, two feraphs above, the twelve 
 apoftles with the holy women round. 
 
 The fubjeft on the other fide is the harrowing of hell. Our Lord, enclofed in a 
 vefica, lifts the patriarchs out of Limbus, reprefented as an arched cavern. Two 
 angels above his head hold the inftruments of the Paffion, while bodies of faints break 
 through their tombs, to reprefer.t thofe who rofe with their bodies at the moment of 
 the death of the Redeemer upon the Crofs. 
 
 Legends in Cyrillian char afters from the Gofpels are fet on either leaf, but much 
 contrafted. 
 
 ’yi. 41. 
 
 T VESSEL : gilt metal ; bottle fhaped, with figures of hunting fcenes ; 
 
 ~ from the original in gold in the Imperial cabinet, Vienna. Perfian 
 (Saflanide). H. 8| in., diam. 5^ in. 5/. 
 
 The bafe is bottle-fhaped, the fides flightly curved, and the body largeft juft 
 above the bottom. It has a collar below the neck, and a plain fquare edged maflive 
 
 lip. 
 
 The lip is chafed with a roll of arabefque work. A flat crown with downward 
 points in flight relief is worked under this collar. 
 
 The body is divided into four large medallions by bands knotted together with 
 loops, and flowers and thick ftalk fcrolls fill up the fmall fpandrils above and below 
 the points of junftion. In the medallions are fubjefts of the chafe ; a rider, lions, 
 and dragons. 
 
 y a 
 
34 ° Gold and Silver Smiths Work . 
 
 The fquare lip, maflive collar, and general look of weight give the whole piece 
 the charafter rather of intrinfic value, than of the grace and elegance proper to the 
 goldfmith’s art. 
 
 ’66. 4. 
 
 QCEPTRE: ivory, with copper-gilt mounting, furmounted by a 
 figure of a dove. The original, of ivory, mounted in gold and 
 enamelled, is known as the fceptre of Anne Boleyn, but was probably 
 made for the queen of James I., about 1603. Part of the regalia in 
 the tower of London. L. 3 ft. 3 in. 5/. 
 
 The fceptre is in three lengths, joined by a ribbed round bofs or knop at each 
 length with floriated fockets. A knob or fmall orb is fet both on the bottom and 
 the top of the fceptre. Thefe are enamelled with fleur-de-lys, the thiftle, and the 
 rofe ; a dove made of opaque white enamel furmounts the whole. 
 
 It has received the name of queen Anne Boleyn from the fail that it was found 
 concealed behind the panelling of the room in which Ihe was confined. 
 
 ’66. 3. 
 
 A MPULLA : copper-gilt, in form of an eagle with wings expanded. 
 
 ^ Englifh. 17th century. The original, of gold, forms part of 
 the regalia of the tower of London, and is ufed for the oil of confecra- 
 tion at coronations. H. 7 1 in., W. 6J in. by 6 in. 5/. 
 
 An eagle on a rock. The head is fcrewed on, and the beak pierced with three 
 holes emblematic of the Holy Trinity, through which oil is poured into the ancient 
 fpoon ( fee No. ’65. 77.) to anoint the head, arms, and breafts or fhoulders of kings 
 and queens in coronations. This piece is not older than the feventeenth century, 
 and was probably made for the coronation of Charles the fecond in place of one 
 ufed in the ancient Catholic ritual. 
 
 • 
 
 ’66. 1. 
 
 / ”T“ V ANKARD : copper-gilt, embofled with claffic figures in high 
 relief. The original, of filver-gilt, is included among the regalia 
 in the tower of London. Englifh. 17th century. H. 10 in., diam. 
 8 in. 25/. 
 
 The body has groups of claflical perfonages reprefenting the loves of the gods in 
 very high, fome in all but full relief. They are coarfely modelled. On the lid Mars 
 or Adonis (?) and Venus with Cupid in a landfcape. A border of bold Ihell-lhaped 
 boffes runs round the cover and the bafe. A maflive handle with a female torfo on 
 the hip. 
 
Cafts . — Seventeenth Century. 
 
 34i 
 
 ’65. 80. 
 
 /CHRISTENING Font, with cover: copper-gilt, with fcroll 
 foliage, flowers, and cherubs’ heads, in relief. The cover is 
 furmounted with figures reprefenting St. Philip baptizing the eunuch. 
 The original, of filver-gilt, forms part of the regalia in the tower of 
 London. Englifh. Date about 1660. H. 3 ft. in., diam. 1 ft. 
 5i in. 75/. 
 
 A round goblet-fliaped vafe on a tall ftraight ftem with a projecting knop in the 
 middle. The furfaces of thefe parts are embofl'ed with tulips, cherubs, &c. in bold 
 but fimple lines, and in very flat relief. 
 
 The cover is round, has a cupped top on which ftand two figures reprefenting the 
 Apoftle St. Philip baptizing the eunuch. 
 
 It bears the double C cypher and crown of Charles II. The whole Hands in a 
 dilh with an edge notched into flowing curves. The furface of the difh is chafed 
 and beaten with the fame patterns of flower and heads as the body. 
 
 ’66. 2. 
 
 Q ALT-Cellar : copper-gilt ; the bafe embofl'ed with acanthus leaves, 
 ^ with a dcme-fhaped cover embofl'ed with flowers, furmounted by 
 a cavalier. Englifh. 17 th century. The original, of filver-gilt, forms 
 part of the regalia in the tower of London. H. 14^ in., diam. 7^ in. 
 12/. 
 
 The bafe is a round fpreading ftand or pedeftal with bold acanthus leafwork down 
 the furface. The pool to hold the fait is covered by a top held up by three crouching 
 lions. It is embofl'ed with fruit and leafwork, and is furmounted by a warrior on a 
 rearing horfe. There are other falt-cellars of this form among the regalia, all 
 covered fo as to proteft the purity of the fait. 
 
 ’65. 83. 
 
 ' 1 T 7 'INE Fountain: copper-gilt; the bowl embofl'ed with marine 
 ’ ” deities and cartouche work ; the upper part of the fountain 
 forms a quadrangular pedeftal, againft each face and on the fummit of 
 which ftand ftatuettes. The original, of filver-gilt, forms part of 
 the regalia in the tower of London. Englifh. Late 17th century. 
 H. 2 ft. 6 in., diam. 2 ft. 4 in. 145/. 
 
342 Gold and Silver Smiths Work . 
 
 The lower part is round and hammered into four deep pools with marine deities 
 and hippocamps emboffed on the furface. Small round pools between thefe larger 
 balms are emboffed with leafwork. The lower part ftands on a half orb covered with 
 emboffed waves, reprefenting the fea, with monfters fwimming. This part refts on 
 four mermaids. 
 
 A fquare Ihrine in the middle is beaten into four niches or receffes with leafwork 
 on the outer furfaces. In thefe Hand Neptune, Hercules, and two female deities, the 
 latter holding wine lkins. Cleopatra, a graceful figure half draped, with both arms 
 raifed, and holding afps, furmounts this middle Ihrine. 
 
 ’65. 79. 
 
 /^VFFERTORY Difh: copper-gilt ; the centre emboffed with a 
 compohtion reprefenting the fupper at Emmaus. The original, of 
 filver-gilt, forms part of the regalia in the tower of London. Englifh. 
 Late 17th century. Diam. 2 ft. 3^ in. 17/. ior. 
 
 The compofition that fills the raised middle of the dilh reprefents our Lord 
 between the two difc.iples at Emmaus. They are feated, and our Lord making 
 himfelf known. Two women wait upon them. All the figures are in high relief. 
 A laurel wreath round a fcutcheon enclofes the cypher of William III. and Mary. 
 The charafter of the ornament is Dutch, probably by workmen of that nationality. 
 
 ’65. 78. 
 
 TTLAGON : copper-gilt, with fcroll work, in beaten work ; in front 
 a cartouche, with cyphers of king William III. and queen 
 Mary. The original, of lilver-gilt, is part of the regalia in the tower 
 of London. H. 17! in., diam. 9! in. 20/. 
 
 A tall ftraight-fided communion flagon. The body emboffed with bold fcrolls 
 of acanthus foliage, and with a cartouche bearing the cypher of William III. 
 and Mary. It has a maflive 3-lhaped handle. A border of acanthus leaves with the 
 points downward runs round the foot. Cherubs, fruit, and leafwork in the Dutch 
 ftyle are emboffed round the rim or lip. 
 
 ’68. 102. 
 
 TTIRE Dog : copper-gilt ; on one fide is the monogram of king 
 Charles II., on the other have fubfequently been engraved the arms 
 of the prince of Wales, afterwards king George IV. The original, in 
 Windfor caftle, is the property of the Queen. Englifh. Date about 
 1670. The bafe modern. H. 2 ft. 4 in., W. 1 ft. 4 in. no/. 
 
343 
 
 Cafts- — Seventeenth Century . 
 
 The dogs of which this is one are on a large fcale. This confifts of a gadrooned 
 and embolfed architectural urn Handing on a pedeftal, on which are leafwork, malks, 
 animals, and garlands. Two grotefque monfter legs fupport this portion, and it is 
 further enlarged by a triangular flat bafe with hollowed fides. 
 
 ’68. 99. 
 
 /- | -V ABLE : copper-filvered ; covered with foliage, and bearing the 
 monogram of king Charles II. The original, of filver, in Wind- 
 for caftle, is the property of the Queen. Englifh. 17th century. 
 H. 2 ft. 9 in., top, 3 ft. 6 in. by 2 ft. 4 in. 60/. 
 
 The centre and borders of the furface are made of feparate plates of hammered 
 work. The ornament is the large Dutch tulip flower common in filver plate of the 
 date of the latter half of the feventeenth century. From thefe iflue rolling branches 
 of acanthus leaf. In the middle in Roman capitals is the double cypher of Charles II. 
 and a crown hangs above. Single twilled legs on bulb feet are united by curved 
 llretchers with a bofs of hammered filver in the middle. 
 
 '68. .98' 
 
 /TIRROR Frame : copper-filvered, beaten with feftoons and cupids, 
 -*-*"*• and bearing the cypher of king Charles II. The original, of 
 lilver, in Windfor caftle, is the property of the Queen. Englifh. 17th 
 century. H. 6 ft. 9k in., W. 4 ft. x in. 130/. 
 
 A bold ogee moulding beaten up in graceful feftoons of leaf and flower work, 
 with cupids in filver of confiderable thicknefs, probably part of the furniture of White- 
 hall, made for king Charles TI., whofe double cypher C.R. in Italian letters 
 doubled and reverfed, is raifed in relief in the middle of the upper member of the 
 frame. 
 
 ’65- 7 6 - 
 
 QALVER : copper-filvered; with figures of Jupiter and other deities. 
 ^ The original, of filver, is in the pofleffion of Sir Walter Tre- 
 velyan, Bart. Englifh. Hall mark, 1683. H. 2| in., diam. iji in. 
 3 l - 
 
 Flat, and raised on a Ihort Item. On the furface a hammered compofition of 
 Jupiter, Venus, Love, Vulcan or Mars (?). Round the edge runs a bold and rich 
 acanthus leaf roll fharply chifelled, and round the foot a wreath of olive leaves 
 maflively raifed and chifelled. 
 
 ’68. 91. 
 
 T?IRE Dog: copper-gilt; furmounted by a boy holding a bafket of 
 “*■ fruit; in front is the crowned cypher of king William III. The 
 
344 
 
 Gold and Silver Smiths W irk. 
 
 original, of filver-gilt, in Windfor caftle, is the property of the Queen. 
 Englifh. Date 1696. H. 18 in., W. 10 in. 20/. 
 
 A fmall pair, of which this is one. The body of the piece is made by two vo- 
 lute brackets fet back to back, faced with the cypher of William III., and fur- 
 mounted by a fquare pedeftal fupporting a boy holding a balket of fruit on his 
 head. 
 
 ’68. 136. 
 
 'll /TIRROR : copper-filvered ; octagonal, with branches ; on the top 
 a floral ornament between cornucopias. The original, of filver, 
 is the property of Lord Sackville, Knole park. 17th century. H. 2 ft. 
 10 in., W. 2 ft. 8 in. 25/. 
 
 The filver work is in two narrow borders 
 
 The tulip and rofe are the elements of ornament in the beaten work, which is 
 bold. The filver branches hold one candle each, plain nozzles, and a wide greafe 
 pan. 
 
 ’68. 135. 
 
 /ITRROR Frame : copper-filvered, with foliage, boys, and mafks ; 
 on the top an earl’s coronet and a monogram. The original, 
 of filver beaten and chafed work, is the property of Lord Sackville, 
 Knole park. 17th century. H. 3 ft. 5 in., W. 3 ft. 5 in. 80/. 
 
 Large flowers are the chief decoration, but they are merged in the furrounding 
 indented work. A bold line is dented round the leaves to give them diftinftnefs ; there 
 are inner and outer borders of rolling acanthus leaves'. A monogram and earl’s 
 coronet fupported by cupids on the four angles of the glafs is compofed of the 
 letters C. M. F. in Roman capitals ; one on the top is made up of the letters Ph. D. C. 
 in Italian capitals. 
 
 ’69. 64. 
 
 1% /TIRROR Frame : ebony, with copper-filvered mounts and mono- 
 gram furmounted by a coronet. The original, of filver beaten 
 and chafed, is the property of Lord Sackville, Knole park. Englifh, 
 17th or 1 8th century. H. 4 ft. 8 in., W. 3 ft. 1 in. 38/. 
 
 The fcrolls of acanthus leaf roll over on each fide of a central monogram on the 
 top, which is compofed of the letters C, M. F. ; the angles have the same. 
 
Cafts. — Seventeenth Century. 
 
 345 
 
 ’ 68 . 122 . 
 
 ABLE : copper-filvered ; on the top is the conteft of Apollo and 
 
 Pan ; at each corner an earl’s coronet and a monogram ; fcroll 
 legs and pendent front fimilarly decorated. The original, of filver 
 beaten and chafed, is the property of Lord Sackville,' Knole park, 
 iyth century. L. 3 ft. 5 in., W. 2 ft. xo in., H. 2 ft. 7 in. no/. 
 
 The top is compofed of feveral plates of filver beaten up, and mounted on 
 wood. 
 
 On the central plate is the conteft of Apollo and Pan, the gods liftening in the 
 background. The defign, though not of great merit, is correct in general outline. 
 The corner plates and pendent front contain the crowned monogram Ph. D. C. in 
 Italian capitals. The legs ’are in two reverfed curves meeting in a quirk ; they are 
 connected by ftretchers and ftand on ball feet. 
 
 TWEAKER: copper-filvered. The original, of filver beaten and 
 chafed, is the property of Lord Sackville, Knole park. 17th 
 century. H. 15 in., diam. 6 in. 3/. ior. 
 
 A large drinking beaker with lions’ heads, fruit, and foliage on the furface, and 
 fpreading at the lip. 
 
 ^“^HANDELIER : one of a pair; copper-filvered. The original, 
 of filver engraved and chafed, is the property of Lord Sackville, 
 Knole park. 17th century. H. 3ft.,W. x ft. 6 in. 24/. 
 
 This chandelier has light girandoles of plain a>-fhaped burnifhed metal, with plain 
 nozzles and wide greafe pans, iffuing from a round centre. The intervals are delicately 
 chafed as well as the nozzles of the branches. A vafe with three terminal cupid 
 handles above, and a pine fruit below. 
 
 T"\ISH ; copper-filvered; elliptic, with four handles ; with the Sack- 
 ville fhield of arms, and broad border of birds, flowers, and 
 fruits in openwork. The original, of filver, is the property of Lord 
 
 ’ 68 . 120 . 
 
 ’68. 132. 
 
346 Gold and Silver Smiths IVork . 
 
 Sackville, Knole park. 17th century. L. 2 ft. 1 in., W. 1 ft. 
 7 in., diam. 5 in. 7/. 
 
 The middle of the dilh has a raifed heraldic achievement with fupporters and an 
 earl’s coronet. Round this in low relief are fcenes of the chafe, and the wide, rather 
 lhapelefs rim is pierced and beaten up with coarfe ornaments of flowers, birds, and 
 fruits. 
 
 ’68. 1 14. 
 
 "Fj'IRE Dog : copper-iilvered ; fupporting a vafe. The original, 
 of lilver beaten and chafed work, is the property of Lord Sack- 
 ville, Knole park. 17th century. H. 2 ft. 7 in., W. 1 ft. 20/. 
 
 It reprefents an arm with flames ifluing from the top, and it Hands on a pedeftal 
 beaten up with feftoons, and two claw feet. 
 
 ’68. 1 1 5. 
 
 TMRE Dogs : a pair ; copper- filvered ; with bulls and demi-fatyrs 
 in high relief ; vafe-fhaped tops furmounted by ftatuettes of boys. 
 The originals, of filver beaten and chafed work, are the property of 
 Lord Sackville, Knole park. 17th century. H. 2 ft. 1 in., W. of 
 
 bafe, 1 ft. 40 1 . the pair. 
 
 Thefe are compofed of fmall figures of boys, each carrying a bafket of fruit on 
 his head, and holding the attributes of husbandry, mounted on bafes with bold 
 embofled grotefque bufts and fatyrs, and Handing on claw feet. 
 
 ’68. 1 33 , 
 
 T)ERFUME Caller : copper-filvered ; with fpiral gadroons and 
 foliage alternately. The original, of filver beaten work, is the 
 property of Lord Sackville, Knole park. Indian. H. 11 in., diam. 
 4 in. 5/. 
 
 The body is globe-lhaped and bofled with gadroons of burnilhed metal and bands 
 of beaten work alternately. 
 
 The top is a long fpout in fpiral gadroons, ifluing from an elegant artichoke- 
 ftiaped flower. 
 
Cajls. — Seventeenth Century 
 
 347 
 
 ’68. 134. 
 
 PERFUME Carter : copper-filvered, in compartments, the foot and 
 neck of pierced work. The original, of filver beaten and chafed 
 work, is the property of Lord Sackville, Knole park. Indian. H. xo|- in., 
 diam. 4 in. 4/. 
 
 The body is divided into diamond-fhaped compartments holding flowers and birds 
 boldly chafed. The fpout is plain. 
 
 ’68. 13 1. 
 
 "PLATEAU and Stand : copper-filvered ; circular, with pierced work. 
 
 The original, of filver, is the property of Lord Sackville, Knole 
 park. Indian. H. 4 in., diam. 18 in. 16/. ior. 
 
 A fpreading difli in twelve lobes, filled up with pierced arabefque work, each 
 ending in a five-petalled leaf outline. 
 
 The work gracefully difpofed, but loft on fo large a furface. Probably from 
 Calhmere. 
 
 ’68. 1 16. 
 
 QCONCE: copper-filvered, with the Sackville arms in centre; the 
 ^ focket of a candleftick projecting on a branch. The original, 
 of filver beaten and chafed, is the property of Lord Sackville, Knole 
 park. Englilh. 17th century. H. 16 in., W. xo in. 5/. 
 
 This fconce is fmall, boldly hammered with leaf work, bearing the Sackville 
 arms and fupporters in the middle, and furmounted by an earl’s coronet. One 
 branch only. 
 
 ’68. 1 17. 
 
 QCONCE: copper-filvered, with the Sackville arms in centre. The 
 ^ original, of filver beaten and chafed, is the property of Lord Sack- 
 ville, Knole park. Englifh. 17th century. H. 10 in., W. yin. 3/. 
 
 The middle is filled by a pierced monogram of two Italian capital letters D, 
 endorfed and intertwined with an earl’s coronet over. 
 
348 Gold and Silver Smiths Work . 
 
 ’68. 1 18 and ’ 68 . 1 19. 
 
 QCONCE: one of a pair; copper-filvered, with a warrior bearing a 
 club. The original, in filver beaten work, is the property of 
 Lord Sackville, Knole park. Englifh. 17th century. H. 18 in., W. 
 132 in.' 6/. 
 
 Coarfe emboffed foliage enclofing a medallion in which is a warrior, Fortitude (?) 
 in 17th century armour, and wielding a club. 
 
 No. 1 19 is a repetition of the laft. The warrior turned the reverfe way, and 
 facing his comrade. 
 
 ’68. 121. 
 
 Q TAND for a Candelabrum : one of a pair ; copper-filvered, with fruit 
 . and foliage on a tripod bafe ; on the top a coronet and monogram. 
 The original, of filver beaten and chafed, is the property of Lord Sack- 
 ville, Knole 'park. Englilh. 17th century. H. 3 ft. 10 in., W. of 
 bafe, 1 ft. 7 in. 35/. 
 
 The Item is made up of vafe and balufter-lhaped parts, covered with acanthus and 
 other foliage hammered up. The legs are three, like thofe of fmall tables of the 
 laft century. The top is beaten up in high relief with the coronetted monogram 
 Ph. D. (?) in Italian capitals. It would be difficult to make ufe of the uneven top of 
 fuch a table for any practical purpofe. 
 
 ’68. 123. 
 
 "TTASE: gadrooned, copper-filvered. The original, of filver beaten 
 ' and chafed, is the property of Lord Sackville, Knole park. Englifh. 
 17th century. H. 16 in., W. 12 in. 8/. ior. 
 
 In the ffiape of a jar of Chinefe porcelain. 
 
 The body has gadrooned lobes of burniffied metal beaten vertically up the furface, 
 alternating with ftrips of coarfe beaten work. The top is ornamented in the fame 
 way ; hanging feftoons are fet round the lip. 
 
 ’68. 124. 
 
 T 7ASE, one of a pair : copper-filvered with foliage and boys. The 
 ’ original, of filver beaten and chafed, is the property of Lord 
 Sackville, Knole park. Englifh. 17th century. H. 9 in., diam. 
 10 in. 3/. 1 or. 
 
 In the ffiape of a Chinefe porcelain vale, beaten up with coarfe fruit and figures. 
 
Cafes. — Seventeenth Century. 349 
 
 ’68. 125 and ’68. 126. 
 
 T 7 "ASE and Cover: copper-filvered ; in low relief, with a bird on the 
 ’ cover. The original, of filver beaten and chafed, is the pro- 
 perty of Lord Sackville, Knole park. Indian. H. 14 in., diam. 
 9! in. 61 . 
 
 The furfaces of thefe vates are hammered and chafed in low relief. The ornament 
 is difpofed in four broad panels or divifions, and covers the whole of thefe fpaces. 
 Thefe are Indian, perhaps from Caftrmere. 
 
 No. ’68. 126 is fimilar in charafter to the laft defcribed. 
 
 ’68. 127 and ’68. 128. 
 
 T TASE and Cover: copper-filvered, with gadroons at top and bottom. 
 
 * The original, of filver beaten and chafed, is the property of Lord 
 Sackville, Knole park. Englifh. 17th century. H. 1 1 in., W. 6 \ in. 4/. 
 
 Chinefe in form, with a belt of fhort gadroon lobes on the lhoulderand round the 
 bafe. The reft of this bafe emboffed with fruit and foliage. From the lip hang 
 detached feftoons of flowers. 
 
 No. ’68. 128 is very like the laft defcribed in general charafter and the leading 
 features of decoration. 
 
 ’68. 129. 
 
 T TASE and Cover : copper-filvered, with gadroons top and bottom ; 
 
 * feftoons from the cover. The original, of filver beaten and 
 chafed, is the property of Lord Sackville, Knole park. Englifh. 
 17th century. H. 16 in., W. 10 in. 8/. ion 
 
 Of Chinefe fhape. Round the fhoulder runs a broad band of malks and feftoons. 
 This and the next have the fame general outlines as the laft two. 
 
 ’68. 130. 
 
 TT’ASE and Cover: copper-filvered, with gadroons at top and 
 * bottom ; feftoons from the cover. The original, of filver beaten 
 and chafed, is the property of Lord Sackville, Knole park. Englifh. 
 17th century. H. 18 in., W. 11 in. 10/. 
 
 Like the laft in outline and difpofition of ornament, and diftinguiflied only by 
 flight differences in the emboffed leaves and fruit. Both have detached feftoons 
 hanging round the lip from the edge of the cover. 
 
35 ° Gold and Silver Smiths Work 
 
 ’ 73 • 5 ^ 2 . 
 
 /CANDLESTICK : plafter caft. The original, of bronze, in the 
 form of a man with a tankard, is in the Bavarian national 
 mufeum, Munich. German. 17th century. H. 11 in., W. 5 in. 
 8r. 8i. 
 
 A German peafant in doublet and hofe (one knee fhowing through a hole), boots 
 with riding flaps round the infide of the legs ; a gypfire ftrapped round the waift ; a 
 furred hat turned and knotted up with a feather in it. 
 
 In one hand he holds a covered German beer glafs, with a large flat loaf under 
 the arm. The other arm is held up, and the hand, the right, grafps an apple, from 
 which has iflued a nozzle wanting in the laft. 
 
 ’73. 483-486. 
 
 TTOUR Statuettes: plafter cafts. Four feated figures, reprefenting 
 A the four elements. The originals, in bronze gilt, are in the Bavarian 
 national mufeum, Munich. German. 17th century (?). H. 4 in., 
 W. in. 24J. 
 
 Thefe four female figures are feated, the legs apart, draped, and the hands held 
 forward ; they reprefent the four elements. No. 484. indicates Air ; the hands are 
 empty, but have held probably a branch or torch ; on the plate under the feet are the 
 letters AER FOF(V)ET (the Air cherifhes). 483 is Fire; the hands of this 
 figure are empty ; on the plate are the letters IGNIS ADVRIT. (fire burns). 
 485. a feated figure pours water into a large bottle or vafe : UNDA FLVIT 
 (water flows). No. 486, a female figure holds a ferpent that bites her breaft : 
 TERRA STAT (the earth ftands fall). 
 
 ’68. IOO. 
 
 ^"T" 'ABLE : copper-filvered ; the upper furface chafed with the arms 
 of king "William III. in the centre. The original, of filver, is 
 at Windfor caftle, the property of the Queen. Englifh. Date, about 
 1700. H. 2 ft. 7 in., top, 4 ft. by 2 ft. 4^ in. 140/. 
 
 Hammered work of the utmoft neatnefs and flcill in execution. 
 
 The top is a flat plate of filver chafed only, divided into one central and fix fur- 
 rounding compartments, three on each fide. The middle is chafed with an heraldic 
 trophy of arms ; the two fide divifions with cupids and dogs, and the four end 
 divifions with the emblematic rofe, thiftle, fleur-de-lys, and fhamrock. 
 
 The frame is decorated by bands of flower feftoons in high relief, with the rofe, 
 thiftle, &c. in the middle of each. The fupports are female terminal figures, with 
 acanthus work below. They are connefted by four curved pieces forming a ftretcher 
 that meets in the middle plinth, on which is a pine cone. 
 
Cafis. — Seventeenth Century. 351 
 
 The original filver work is laid on wood, but in confiderable thicknefs, well 
 jointed, the edges lharp and well kept, giving the look of mallive and folid metal, 
 and the top, which is chafed only, can be ufed for ordinary purpofes. See a woodcut 
 of this piece in the preface. 
 
 ’69. 63. 
 
 f I 'ABLE : ebony, with copper-filvered mounts, confifting of fcrolls in 
 relief, and a monogram furmounted by a coronet. The original, 
 of filver beaten and chafed, is the property of Lord Sackville, Knole 
 park. Englifh. Late 17th century. H. 2 ft. 5^ in., L. 3 ft. 4 in., 
 W. 2 ft. 3 in. 32/. 
 
 The mounts are beaten up into tulip and acanthus leaves. The legs have rings 
 of beaten filver, and are connected by a ftretcher, on which filver mounts are fattened, 
 with a large central rofette of the fame metal. 
 
 ’68. 81. 
 
 T> OOK Cover: gilt metal; embofled with the Crucifixion. From 
 •*“* the original, of filver-gilt, belonging to the Roumanian govern- 
 ment. Wallachian. 17th century. L. i6in.,W. ii^ in. 61 . 
 
 One side is bordered by a flat band of elegant leaf scroll work chafed. Rude 
 bofles beaten up and pierced, made up of fix-foiled flowers well compofed, are placed 
 at the corners. The middle ornament has been loft. 
 
 On the other fide there is a flat rim with corner pieces triangular in fhape, cufped 
 inwards on each face, chafed with erodes and leafwork. 
 
 An oblong plate forms the middle. It has four pointed triangular proje&ions on 
 the fides, which with the four corners make a ftar of eight points, within thefe the 
 plate is cut out in cufpings. A rood is embofled in the middle. 
 
 The back is a plate made up of rows of corded lines with pearls between running 
 vertically from top to bottom and reminding us of the ornament fo general on ancient 
 collars and gorgets of Celtic origin. The original covers a 16th century copy of the 
 Gofpels ; it was lent to the South Kenfington mufeum by the Roumanian govern- 
 ment. 
 
 ’68. 78. 
 
 Tj'LABELLUM (?) : gilt metal, with figures in relief. The original 
 filver-gilt. Roumanian. 17th century. Belonging to that govern- 
 ment. L, 24 in., W. 19 in. 15/. 
 
 The general outline of this piece is a lozenge crofling a fquare and making there- 
 fore a ftar of feven points, the eighth being the point of junction with the focket. 
 
 The centre has a crofs embofled on it with a medallion in the middle furmounted by 
 a circle of eight cufps or half circles. In this is reprefented our Lord feated in judg- 
 
352 Gold and Silver Smiths' Work. 
 
 ment, SS. Mary and John on either hand. In the cufps are placed bufts of fix 
 apoftles and two feraphs. Angels hold inftruments of the Paffion in the upper part 
 of the crofs, SS. Peter and Paul are in the lower. The four evangelifts are feated in 
 the four fpandrils of the crofs waiting their gofpels. Kings and prophets are placed 
 on the remaining fpace. 
 
 Right and left in the projefting points are two archangels; and two apoftles in 
 the upper point. Radiating iines from the centre meet light cufpings or femicircles 
 at the angles of the octagon figure, which is formed infide the points, and in thefe 
 are eight apoftles. 
 
 On the back the middle medallion contains the death of the blefted Virgin. 
 
 SS. Michael and Gabriel with the inftruments of the Paffion, the evangeliftic 
 emblems, and bufts of feraphs, are placed in various parts of the furrounding deco- 
 ration. 
 
 Small floriated erodes are fet on the points of thefe piojeftions. The knop 
 below the junction with the Item is beaten into bold fpiral gadroons, and the fame 
 ornaments furround the focket. 
 
 The original, ufed in proceffions to reprefent the flabella or fans for keeping infefts 
 away during the mafs, was fent to the international exhibition in Paris, 1867, and 
 lent afterwards to the South Kenfington museum. 
 
 ’68. 79. 
 
 /CANDLESTICK : copper-gilt; with three branches. From an 
 original, of filver, exhibited in Paris in 1867, and lent to the 
 South Kenfington mufeum by the Roumanian commiffion. Roumanian. 
 17th century. H. 12 in., W. 9 in. 14/. 
 
 The candelabrum is compofed of a round orb or ball, round which three brackets 
 are fet on a balufter-ffiaped ftem, chafed with delicate acanthus work ; the foot has 
 two convex borders one below the other richly chafed with leaf work. 
 
 A crucifix is engraved on the front. 
 
 The three branches are three dragons with wings, fupporting lotus flower nozzles, 
 with falling leaves to form greafe pans. 
 
 The ornamental piercing and arrangement of patterns are more Oriental and 
 Perfian in their charafter than Greek of the older Byzantine type. 
 
 ’66. 17. 
 
 ^ T^ANKARD, covered : gilt metal ; on three ball feet, with a medal 
 on the cover. From the original belonging to Mr. G. Moffatt, 
 M.P. Swedifh. 17th century. H. 7 in., W. 6f in. 9/. 
 
 Without ornament on the body except a band of bold acanthus work beaten up 
 round the wideft part. It ftands on three ball feet with tulip flowers on them. 
 
 The lid is mounted in the middle with a medal of Guftavus Adolphus, 1611- 
 1632. The purchafe is a large ball of acanthus leaf, and the handle maffive, 
 S-lhaped and quite plain. 
 
Cajis. — Seventeenth Century. 
 
 353 
 
 ’66. 1 6. 
 
 /'"''•■UP or Chalice : copper-gilt, the bowl and foot chafed ; round 
 the lip a band of filigree work, with three fcroll ornaments on 
 the ftem. Ruffian. 17th century. The original, of filver-gilt, is in 
 the poffeffion of Mr. G. Moffatt, M.P. H. 7I in., diam. 3^ in. 5/. 
 
 Upright Tides, a plain round goblet-lhaped cup on a ftraight and plain ftem, to 
 which three thick fcroll pieces are foldered. Thefe are of a very flat curve, and give 
 no appearance of fupport. 
 
 The flat bafe rim is cut in convex fegments of circles. On the furface there is 
 chafing in ftiawl patterns of curved lozenge outline. A gallery runs round the lip 
 compofed of fhort arches deeply chafed in. The cup is of oriental character. 
 
 ’66. 15. 
 
 T)OWL : copper-gilt, globular, with elliptic bofles; the mouth 
 “■“* contracted and bearing an infcription in Cyrillian characters, 
 ftating that it was given by the czar Peter the great to a Coflack 
 chief. Ruffian. 17th century. The original, of filver, parcel-gilt, is 
 in the pofleffion of Mr. G. Moffatt, M.P. H. 5^ in., diam. 7^ in. 
 61 . 
 
 The middle or body is beaten out in eight bofles, the lower part of the body both 
 above and below the emboflings into a fphere with a corded upper edge. The mouth 
 is ftraight, contracting inwards, chafed with a legend in Cyrillian character. The 
 bafe fpreads with a conical flope. The middle is punched into fmall indentations, 
 chequers, and rude leafwork. 
 
 ’66. 37. 
 
 /^UP: copper-gilt, circular, with flat projecting handle; emboffed 
 with figures of monfters, birds, and foliage. Around the cup is 
 an infcription in Ruff. Ruffian. 17th century. The original, of 
 
 filver-gilt, belongs to Mr. G. Moffatt, M.P. H. in., diam. 2f in. 
 
 2/. 
 
 This fmall bowl ftands on a thin ftraight ftem and foot of ogee feCtion. The 
 under fide of the bowl is emboffed, as well as the infide lining, with rude dolphin 
 forms in high relief. A flat cufped handle has under it the following infcription in 
 Ruff: “ Cup of an honeft man to drink to health and to joy.” 
 
 36105. z 
 
354 Gold and Silver Smiths Work . 
 
 ’66. 14. 
 
 ' f y ANKARD and Cover : copper-gilt ; on three ball feet, with a 
 A medal on the cover. From the original, filver, belonging to Mr. 
 G. Moffatt, M.P. Swedifh. 18th century. H. in., W. 8^- in. 
 12/. 
 
 The Tides are upright, ftraight, and quite plain. The handle is extremely maflive 
 O-fhaped, fet low down, and joined to the body with bold maffes of acanthus leaf, 
 and has the fame kind of work on the hip. The three ball feet have fimilar work 
 at the points of junilion, and the thumb-piece is a rich ball-lhaped mafs of acanthus 
 work. In the cover is fet a medal of Ulrica Eleanora, queen of Sweden, 1719-174.1. 
 
 / | ^ANKARD and Cover : copper-gilt, with beaten foliage work. 
 
 -*■ The cover furmounted by a figure of a fwan. Ruffian. 18th 
 century. From an original, of filver-gilt, belonging to Mr. G. Moffatt, 
 
 The body is an elongated fphere, beaten into eight bold melon lobes. The foot is 
 bowed out in the fame way, and Hands on a flat rim cut into convex cufpings. On 
 the cover is a fwan with wings expanded. There are two purchafes curved like 
 chamois horns, and on the hip of the D fliaped handle a fmall crouching lion facing 
 outwards. 
 
 The furface is beaten up and worked into bold rofe flower and acanthus leafwork. 
 The work, probably, of a French or Dutch filverfmith. 
 
 ANKARD and Cover : copper-gilt, fupported on three ball and 
 
 claw feet, emboffed with flowers and foliage in repouffe or beaten 
 work. The cover furmounted by a figure of a dolphin. Ruffian. 
 Dated 1740. The original, of filver-gilt, is in the poffeffion of 
 
 The body bulbed at the bottom, and flightly con trailed above, on three claw feet, 
 holding balls. The cover is furmounted by a rude dolphin. Flowers are beaten up 
 on the furface, of a large rofe defign, like in character and workmanfhip to the Dutch 
 work, common on plate of this defcription in the reign of Charles II. A pur- 
 chafe and bold fcroll handle like the bow of a fliip. The reliefs are coarfely but 
 effectively worked with punches. 
 
 or Salt-Cellar: copper-gilt; circular, chafed with fcroll and 
 maik handles, and refting on four ball and claw feet. Ruffian. 
 
 M.P. H. 9I in., W. 6^ in. 10/. 
 
 Mr. G. Moffatt, M.P. H. in., W. 9^ in. 19/. 
 
 ’66. 38. 
 
355 
 
 Cajls.~ — Eighteenth Century. 
 
 1 8th century. The original, of filver-gilt, is in the poffeffion of 
 Mr. G. Moffatt, M.P. H. i£ in., diam. 2f in. 2/. 
 
 Small, with a lip on the edge, handing on claw and ball feet ; made, and fcroll 
 handle ; and the infide engraved with a round medallion of three rofes or lotufes 
 gracefully chafed. 
 
 ’66. 18. 
 
 Q ALT-Cellar : copper-gilt ; cup form, with fhort ftem and broad bafe, 
 ^ refting on three ball feet, the bafe and cup ornamented with rude 
 foliage and fcroll pattern in repouffe or beaten work, and chafed. 
 Ruffian. 1 8th century. The original, of filver-gilt, is in the poffef- 
 fion of Mr. G. Moffatt, M.P. H. 5 ^ in., diam. 5 in. 4/. 
 
 The upper part has a bold torus band, and the lower is in ogee drape, beaten in 
 fpiral gadroon lines, with a fmall plinth or fpreading hand. The ornament is 
 roughly tooled with leaves and punch marks. 
 
 ’66. 19. 
 
 O ALT-Cellar: copper-gilt; cup form with Abort ftem and broad bafe 
 ^ ornamented with foliage in repouffe or beaten work, and chafed. 
 Ruffian. 1 8th century. The original, of filver-gilt, is in the poffef- 
 fion of Mr. G. Moffatt, M.P. H. F 3^ in., diam. 3I in. 2/. 
 
 Bottle draped, the upper furface with doped mouth, a collar of chafed work round 
 the neck, conventional acanthus dower work round the bottom, and an expanding dat 
 bafe. 
 
 ’73- 373- 
 
 O ALT-Cellar : copper-filvered, fquare, with foliage; on one fide are 
 ^ pricked the letters V A IV|. The original, of filver, was the pro- 
 perty of the late Rev. H. R. Moody. Englifh. 17th century. H. 
 7 in., W. 7! in. 7/. ior. 
 
 Bold leaf-work on the fides. The bafe expands, and there are pieces projefling 
 from the corners of the top to fupport a napkin over the fait. 
 
 ’54- 19- 
 
 T"\ISH : oblong; copper-filvered and parcel-gilt, emboffed with {hells 
 and foliage. The original, of filver-gilt, is in the poffeffion of 
 
 z 2 
 
3 5 6 Gold and Silver Smiths Work. 
 
 Mr. G. Moffatt, M.P. Spanilh. 17th century. Diam. 20 in. by 13^ in. 
 3/. 5*. 
 
 Embofled leaf ornament of palmette charailer; the edge notched in bold irre- 
 gular curves. 
 
 T^\ISH : oval; copper-filvered, with undulating beaten rim and flower 
 ornaments. The original, of filver-gilt, is in the pofleflion of 
 Mr. G. MofFatt, M.P. Portuguefe. 17th century. Diam. 19 in. by 
 14 in. 2/. 15*. 
 
 Bold tulip ornament of Dutch charailer hammered on the furface. 
 
 Q ALVER : filvered and parcel-gilt metal, with raifed centre and 
 ^ fhaped edges, the rim divided by bands into panels. The original, 
 of filver-gilt, is in the pofleflion of Mr. G. Moffatt, M.P. Portuguefe. 
 17th century. Diam. 11 in. 1 /. ijs. 
 
 Coarfe reticulated work. 
 
 INE Fountain and Cover : copper-filvered, the cover furmounted 
 
 by a creft. The original, of filver, is the property of the Earl 
 of Chefterfield. Englilh. Date, about 1710. H. 4 ft. 2 in., W. 
 3 ft. 6 in. 40/. 
 
 A large covered vafe of the fcale and proportion of an architectural finial or 
 garden ornament in marble or (tone. The lower part of the body is convex, beaten 
 up in maflive gadroons, and the upper ftarting from this portion is concave, fluted in 
 deep fpiral channels, two bold rolling fcroll handles, and a dragon’s head fpout and 
 tap. The item contrails, and it expands again in a bold foot, with horizontal 
 mouldings. 
 
 The cover fpreads out over a wide lip, and rifes in two ftages, the upper of 
 gadroon work to a point on which is placed the family creft, a demi-lion rampant 
 ifluing from a tower. 
 
 T T 7 INE Cooler or Ciftern : copper-filvered, fluted, and gadrooned 
 * ' furface, lion handles and claw feet. The original, of filver, is 
 
 ’54. 20. 
 
 ’68. 103. 
 
 ’68. 104. 
 
Cajls. — Eighteenth Century. 
 
 357 
 
 the property of the Earl of Chefterfield. Englifh. Date, about 1710. 
 H. 1 ft. 4 in., diam. 2 ft. 7 in. by 3 ft. 8 in. 30/. 
 
 A large bafin, with maflive gadrooned lobes down the body, a broad lip with 
 bold leaves rolling over a row of indentations reprefenting jewels ; two lions holding 
 large fwing handles, and four rude claw feet. The family arms on the front. 
 
 Like the laft defcribed this ciflern is on the fcale of a large marble bath, and 
 fcarcely complies with the ufual conditions of the filverfmith’s art. All the propor- 
 tions and details, however, are bold and harmonious. 
 
 ’68. 84. 
 
 TT'ETTLE and Stand : with lamp ; copper-gilt, on a triangular falver. 
 
 The original, of filver-gilt, at Windfor caftle, is the property of 
 the Queen. Englifh. Date 1732. H. 12 in., W. 11 in. 35/. 
 
 The body melon-fhaped, of burnifhed metal, handing on three fcroil-lhaped feet, 
 with a fpirit lamp below and a fwing handle over. The whole hands in a three- 
 cornered difh, alfo of burnifhed metal. 
 
 ’68. 101. 
 
 Tj' PERGNE : copper-gilt, on a ftand with caftors, difhes for fweet- 
 4 meats, &c., and branches for candles. The original, of filver- 
 gilt, was made for Frederick prince of Wales, the father of king 
 George III. It is at Windfor caftle, the property of the Queen. 
 Englifh. Date about 1750. H. 2 ft. 10 in., L. 3 ft., W. 2 ft. 4 in. 
 180/. 
 
 The principal part of this centre piece is a light bower, fupported on eight 
 maflive fupports, from the top of which fprings a ruhic trellifed covering fur- 
 mounted by the badge of the principality of Wales. Eight girandoles or branches 
 for candles projeCt from the tops of thefe fupports. The dilh within is formed into 
 eight lobes or hollows, meeting in the middle. The whole Hands on eight curved 
 cupid -headed terms, and has maflive fwinging loop handles on the ends. 
 
 The upper part Hands on a flat raifed, oblong difli, with half circles projecting 
 on the ends and tides. It has four round'difhes and four oCtagon caflors projecting 
 from the edges. The furface of the difli is chafed with the royal arms and fup- 
 porters. The fides are hanging garlands of coral (hells and marine plants, and it is 
 fupported on a maflive demi-lion and unicorn on the long fides, and on two tritons 
 blowing conchs, on the fhort fides 5 under thefe figures are fcroll feet. 
 
 ’68. 90. 
 
 f |^UREEN and Cover: copper-gilt; with leaf and fcroll handles 
 -*■ and feet ; on the fides, in relief, are the arms of king George III. 
 
3 5 8 Gold and Silver Smiths Work 
 
 The original, of filver-gilt, is at Windfor caftle, the property of the 
 Oueen. Englifh. Date 1761. H. 9^ in., L. 18 in., W. 12 % in. 18/. 
 
 The cover has acanthus leafwork on it laid on in almoft full relief, the lip is not 
 horizontal, but fliaped out, and the cover correfponds. The handle is a cauliflower, 
 and the arms of George III. in folid call and chifelled work are laid on the fides. It 
 ftands on maflive fcroll feet. 
 
 CJREEN and Cover : copper-gilt ; embofled and chafed, the 
 
 cover furmounted by the prince of Wales’s badge. The original, 
 of filver-gilt, is at Windfor caftle, the property of the Queen. Englifh. 
 Date 1773. H. 12^ in., L. 15 in., W. 8J in. 18/. 
 
 The body is oval, convex in outline, decorated with horns of abundance, fruit, 
 and marine lhells ; the handles are loops fattened on with leopards’ heads, and the 
 feet are leopard’s heads alfo. 
 
 The cover is concave, worked over with fcrolls and lines, and the handle is a 
 crown, fhowing the feathers, the badge of the principality of Wales. 
 
 T? WER : copper-gilt, fupported by groups of marine figures, and 
 with a bacchanalian procelfion round the body. The original, of 
 filver-gilt, is at Windfor ^caftle, the property of the Queen. Englifh. 
 Date 1782. H. 18 in., W. 11 in. 70/. 
 
 The lip is fliaped like a fpiral fliell. The handle is the figure of a nymph. Under 
 the lip are two marine deities 5 round the body two chariots, with rude bacchanalian 
 figures in relief, gracefully defigned. The lower part of the body is beaten up 
 in rings of waves ; it is fupported on tritons. A maflive and monumental defign, 
 and the parts well modelled, but rather grotefque in general outline, owing to the 
 collsftion of falient groups of figures round J:he body. 
 
 QALVER : copper-gilt; beaten up with a compofition of Venus on 
 ^ the fea, and Neptune, tritons, &c. round the border. The 
 original, of filver-gilt, is^at Windfor caftle, the property of the^Oueen. 
 Englifh. Date 1782. Diam. 21 % in. 25/. 
 
 The middle is thrown up confiderably. The furface is hammered up with a com- 
 pofition reprefenting Venus at her toilet in a fliell. She holds back her long hair-; 
 Cupid holds a mirror, and two tritons fupport her. A border of acanthus leaf 
 feparates the middle from the hollow of the difti, round which are feen Neptune and 
 
 ’68. 89. 
 
 ’68. 87. 
 
 ’ 68 . 88 . 
 
Amphitrite, in a car drawn by hippocamps, and followed by marine deities and 
 tritons in maflive relief. A border of boys, each in a fliell, paddling, and liars above : 
 thefe figures are all repetitions. 
 
 It is fupported by three pairs of turtles, each pair with a fcallop fliell between 
 them. 
 
 UP : fidtile ivory, with copper-gilt mounting, carved with a repre^ 
 
 fentation of the birth of Venus, {hells, &c. The original, of 
 ivory with filver-gilt mounting and gold cover, is at Windfor caftle, the 
 property of the Queen. The ivory carving Flemilh (?), 17th century. 
 The mounting Englifti, date 1785. H. 8 in., W. 7 in. by 4^ in. ill. 
 
 The mounting is a gadrooned bafe, with bold handles projefling from a pair of 
 malks on each fide. The lip is marked by flat flutings, and a rim of leafwork runs 
 round the body below it ; a narrow, Ihort Hem, and a round foot, with leafwork 
 chafed on it. 
 
 F AR : copper-gilt, with perforated cover and baroque ornament, em- 
 J boded on the furface. The original, of filver-gilt, is at Windfor 
 caftle, the property of the Oueen. Englifti, 1789. H. ig^ in., 
 W. 13 in. 45/. 
 
 In the Ihape of a Chinefe porcelain jar. The body is beaten up with grotefque 
 rococo mafles of no exact defign. 
 
 E LEPHANT : copper-gilt ; on its back are figures of an Indian 
 god and a driver in oriental coftume. The original, of filver- 
 gilt, is at Windfor caftle, the property of the Queen. Englifti. 18th 
 century. H. 14 in., L. 12 in., W. 6 in. 25/. 
 
 An elephant in the llyle of defigns of that animal ulual in tapeftry and decorative 
 work of the laft century. Trappings and conventional oriental figures on the back. 
 The figure opens. Part of a fet of elephants and rhinoceroses, ornaments for the 
 dinner table. 
 
 F LAGON : copper-gilt; in the form of a bottle; engraved with the 
 arms of the prince regent (George IV.). The original, of fiNer- 
 
 ’68. 96. 
 
 ’68. 83. 
 
 ’68. 82. 
 
360 Gold and Silver Smiths Work . 
 
 gilt, is at Windfor caftle, the property of the Queen. Englifh. 18th 
 century. H. 2 ft. 10., W. 18 in. 60/. 
 
 Maflive applied ornament on the body and a fpout and tap. The ftopper is 
 attached by chains to the body. 
 
 ASE or Bottle : copper-gilt, antique defign, ornamented with 
 
 figures in low relief ; the border of grapes and vine leaves, with 
 twifted vine ftock handles. The original, of filver-gilt, was defigned 
 by Flaxman, and executed by Rundell and Bridge for the prince regent. 
 It is at Windfor caftle, the property of the Queen. Englifh. Date 
 1812. H. 9! in., W. 10 in. 12/. 
 
 In the fhape of a cantharus, the lip fpreads wide, and two reeded vine handles, 
 bound in the middle, join the lower convex part to the narrower upper -half; vine 
 leafwork under the lip. Claflical compofitions in relief, reprefent the labours of the 
 field, a man dragging a fifhing net, a fhepherd piping on a hill to a bride and bride- 
 groom. 
 
 T ^ASE or Cup : copper, filvered and parcel-gilt; claflical form, with 
 * fubjedts in relief emblematic of the gold and filver ages. The 
 original, of filver parcel-gilt, was defigned by Flaxman for the prince 
 regent. It is at Windfor caftle, the property of the Queen. Englifh. 
 About 1812. H. in., W. 10 in. by 6f in. 22/. 
 
 This vafe has flightly convex fides and two fquare-topped loop handles. On 
 the body are two compofitions, reprefenting family life in Arcadia, or the golden 
 and filver ages, in delicate relief. Claflic borders of leaf and fcroll work. The figure 
 fubjects are defigned with great care and purity, and it may be compared with fome 
 of the reproductions of antique filverfmiths’ work now in the mufeum. 
 
 Q ALVER : copper-gilt; in the centre the triumph of Ariadne in 
 ^ high relief ; mufical inftruments and mafks on the border. The 
 original, of filver-gilt, was defigned by Stothard, and executed by Rundell 
 and Bridge for the prince regent. It is at Windfor caftle, the property 
 of the Queen. Englifh. Date 1814. Diam. 32 in. 30/. 
 
 In the raifed centre is a eompofition beaten up in high relief, reprefenting Bac- 
 chus and Ariadne, fupported by a bacchanal in a chariot, drawn by two centaurs, 
 and attended by cupids. A border of mafks, panpipes, the thyrfus, and other 
 attributes of Bacchus. 
 
 ’68. 93. 
 
Cajls, — Nineteenth Century. 
 
 361 
 
 ’69. 48. 
 
 QTATUE : copper-filvered, of Henri IV. of France when a child. 
 ^ The original, in filver, by Bolio and Soyer, is in the Louvre, Paris. 
 H. 50 in. 20/. 
 
 The ftatue from which this electrotype is taken is of hammered filver, wrought 
 over with the graver. It reprefents the king of Navarre as a boy of feven or eight 
 years. He Hands on the left foot with the head turned flightly to the right, holds 
 the hilt of a Ihort fword with the left hand, fo as to throw the length of it nearly 
 horizontally behind him. He wears a doublet, with piped gathers at the junction of 
 the fleeve, lace, ruffles, upright collar, flalhed trunks breeches and ffloes ; and tight 
 filk hofe, with clocks worked up the ankles. 
 
 >• 1463. 
 
 OTANDING Cup and Cover: gilt plafter, with figures reprefenting 
 Charity, and legends, “ Love the Brotherhood,” “To do good 
 forget not.” Executed by R. Lunn, art fchool, South Kenfington, 
 from a prize defign for the clothworkers’ company, 1867. H. 23 in., 
 diam. 7J in. 5/. 
 
 The body is emboffed with allegorical figures offering to Apollo (?). Others are 
 giving alms. A balufter ftem in two ftages, decorated with emboffing of rams’ heads, 
 leaf, and billet mouldings. The arms of the clothworkers’ company are intended to 
 be enamelled on the body. The cover is in feveral ftages, with bracket fupports 
 between them. 
 
 ’68. 185. 
 
 QHIELD : “ the Outram Shield ; ” copper-filvered. The original, of 
 ^ filver and fteel damafcened with gold, was prefented to the late 
 fir James Outram, Bart, G.C.B., by friends in the Bombay Prefidency. 
 In the centre is a group of equeftrian figures reprefenting the voluntary 
 ceffion by fir J. Outram to general Havelock of the troops deftined 
 to relieve Lucknow during the Indian mutiny. A wider external band 
 of groups of figures in low relief reprefents various events in fir 
 J. Outram’s Indian career. By Meflrs. Hunt and Rolkell, from the 
 defigns of Mr. H. H. Armftead. Diam. 3 ft. 3 in. 55/. 
 
 The central figures come forward in artificial perfpective. Round them runs 
 a belt of damafcened work with bulls of Indian officers. Round the outer zone of 
 fighting groups runs a commemorative legend in upright Roman characters dama- 
 fcened in gold. All the fubje&s are well defigned and carefully executed. 
 
APPENDIX. 
 
 ILVER Cup, belonging to Sir William Drake, F.S.A. 
 One of the moft charadferiftic examples to be found 
 in this country, of the work of the old Greek embof- 
 fers and chafers is a cup originally in the mufeum of the 
 Collegio Romano in Rome, and now belonging to Sir 
 William Drake. 
 
 The bowl is a half egg in fhape, with a plain torus moulding round 
 the mouth, a (lightly expanding foot with a fimilar moulding round it. 
 It meafures four inches and three-eighths by three inches. It refembles, 
 as far as this outline goes, the large cup in the Hildefheim treafure, 
 defcribed in part II. Round the body of the cup are three full-length 
 figures. One is a half-draped woman, feated ; fhe has her hands on 
 the head and beard of a fmall terminal figure, a fort of fylvan deity, 
 having the attributes of Hercules, pouring a libation round itself. 
 
 A poll; with a mug (perhaps a cap) on the top of it, is behind the 
 terminal figure, and the whole is overfhadowed by a tree. In front, on 
 and under a fquare table fupported on turned legs, are nine cups and 
 vafes of different fizes, elegantly fhaped, and fome on a fcale fo fmall as 
 to be lefs than a quarter of an inch high. All differ in outline, and 
 seem to range from the crater to the (mailed: drinking veffel, and fuch 
 as would be ufed for pouring the libations with which a meal was pre- 
 faced by the ancients. As we fee them, they feem to be offerings to the 
 fylvan deity. 
 
 The other figures are a bacchante and a male figure, both under 
 the influence of the wild orgies of the worfhip of Bacchus. The 
 woman is dancing, her head raifed and turned upwards, and her arms 
 gracefully extending the veil or fcarf which is held by the two hands. 
 The man is alfo dancing, or moving to a meafured step, holding a 
 thyrfus and the fkin of a leopard. 
 
 Thefe figures are gracefully pofed, and the limbs and other details 
 are worked out with a perfedf knowledge of the human figure. They 
 
3 6 3 
 
 reprefent traditional attitudes, handed down from the defigns of Scopas, 
 or perhaps rather of Praxiteles. 
 
 The metal has been {lightly corroded and the filver eaten through 
 in parts by oxidation, fo that the full perfection of the chafing can no 
 longer be diftinguifhed. The work has been done in the way of the finer 
 Greco-Roman emboffing, first by beating up from the back, then by 
 careful manipulation on the furface with the graver. The cup has then 
 been lined by a plate of fmooth filver. 
 
 It was found at Vicarello, near Rome, in the Aquae Apollinares, 
 and was probably thrown in on fome occafion as an offering, along with 
 the wine poured from it as a libation. It came to light when thefe 
 fulphur baths became the property of the Roman college, and the pro- 
 pofal was entertained of cleaning out and preparing the baths for modern 
 medical ufe. 
 
 It is not probably of earlier date than the Auguftan age, and is the 
 work of Greek artifts of that period. 
 
 Figured. E. Lievre, Works of art in the collections of England, plate 
 xlviii, and by Otto Jahn, in Ed. Gerhard, Denkmaler, See., pi. xix, 
 p. 78. 
 
 I^MLVER Cup, in the poffeffion of Mr. C. D. E. Fortnum. 
 
 The bowl of this cup is a half-oval ; it Hands on a flight leg or 
 fupport, plain, excepting a narrow necking and expanding ogee rim to 
 receive the bottom of the bowl ; the foot is a larger ogee-fhaped circle, 
 the upper curve flattened. The height of the whole is 4 inches, the 
 width 3! inches ; that of the bafe 2 inches. 
 
 The bowl is covered by lprays of plane leaves, eroded, with the 
 Items upwards. The leaves and buds are modelled abfolutely from 
 nature, and the movement and play of the leaf edges are given with 
 the tendernefs and grace of a mafter hand. The rolled metal rim, 
 which has run round the edge and united the outer with the inner fkin 
 of filver, has peri{hed, and the handles, probably plain loops ; the out- 
 fide has been beaten up and finilhed with punches and graving tools, 
 and the inner plate intended to give ftrength to fo fine a piece of 
 hammering as well as to receive wine and be kept conflrantly cleaned 
 for ufe. 
 
 It belongs to the Auguftan age, and reprefents the work of the fame 
 Greek artifts as thofe who made the cup laft deferibed, but varied in 
 this and moil other inftances by habitual reference to natural Ihapes 
 and types. 
 
364 Gold and Silver Smiths Work. 
 
 S ILVER toilet fervice of a Roman bride, from the Blacas 
 collection in the British museum. 
 
 The following objects, almoft the only remains of the time which 
 they reprefent, “ probably executed for the moft part about the clofe of 
 the fifth century,” were difcovered in a vaulted chamber in Rome in 
 1793, and were acquired by the due de Blacas, for many years French 
 ambafTador in Rome : — 
 
 1 . “ An oblong pyxis , or cafket,” 22^ inches by 17, and 1 1 in height. 
 The general fhape refembles that of farcophagi of the fifth century. 
 The four fides slope inwards, and the fides of the lid flope upwards, 
 with a flat top and bottom, the edge of the lid projecting over. The 
 lid and the fides form together nine panels or fpaces, each beaten up 
 with figure ornaments and acceflories in relief. On the front of the 
 iid is the legend SECVNDE ET PROJECTA, VIVATIS IN 
 CHRIS[TO]. May you live in Chrift, O Secundus and Projecta, 
 the bride and bridegroom. The portraits of thefe perfons are on the 
 top panel of the lid, fupported by genii. The bride holds a roll, 
 which has been fupposed to reprefent the marriage contract. On the 
 front panel of the lid on which the names are inferibed is a compofition 
 reprefenting V enus in a fhell, fupported by two tritons, on whofe back a 
 cupid is ftanding. Nereids borne on marine monfters are reprefented 
 on the two ends of the lid. On the fourth fide is a palace, furmounted 
 by cupolas, fupported by two twilled columns in the middle of the 
 facade ; on either fide is an arcade. This palace is confidered to repre- 
 fent the houfe of the bridegroom, to which the bride is being led from 
 the left, while from the right come three figures bearing wedding prefents. 
 
 The fides of the cafket are arranged with arches and architectural 
 details, under which are figures reprefenting the bride at her toilet, with 
 her maids, one with a mirror, another with a torch, others bearing 
 various articles which formed part of the ancient mundus jnuliebris. 
 Figured in E. Q. Vifconti, Lettera, etc. intorno ad una antica fupel- 
 lettile, 1825; and Opere Varie (1827), I., p. 2 10. 
 
 2. A domed polygonal cafket, the lid fufpended by a chain, and fecured 
 by a lock and key. The eight fides are flat fpaces, alternating with 
 eight receffes, and the ribs of the dome follow thefe faces refpectively. 
 Each recefs contains one of the mufes, and fountains and other orna- 
 ments are on the flat fides. The flat ribs of the roof are decorated 
 with rolling fcrolls, leaves and birds. The top is crowned with a relier 
 of a feated figure plaiting a garland, and holding a parrot or hawk, 
 thought to be the mufe Erato. Infide there are five filver veflels for 
 unguents. Thefe cafkets were called ferinia unguentorum from their 
 
Silver Toilet Service. 
 
 36s 
 
 likenefs to the round boxes or fcrinia in which the ancients kept their 
 books or fcrolls of writing. There can hardly be a doubt that this 
 fcrinium is a bridal prefent, for one fimilar in form is in the hands of 
 an attendant who brings it as a prefent to the bride in the pyxis laft 
 defcribed. (Vifconti, ib.) The weight of this cafket is infcribed on it. 
 
 3. A long necked flalk covered with arabefques and cupids in relief 
 and various animals ; probably a gutturnium for dropping perfumed oils. 
 (Vifconti, ib.) 
 
 4. A buckle ; ten fibula ; two hairpins, ornamented with figures of 
 Venus; feveral pairs of earrings; two fignet rings; a hand infcribed 
 BYZAN ; a hand holding a torch ; a moufe ; a frog ; a fcorpion ; 
 a fifh-tailed leopard : all probably perfonal ornaments. 
 
 The following objects found with the others are conjedtured by 
 Vifconti to have been prefents to the bride. The date of fome of them, 
 however, as given by Mr. A. W. Franks, is as late as the end of the 
 fifth or beginning of the fixfh century, and, if fo, the older objedls muft 
 have parted into the pofleflion of one or two generations before the 
 execution of the lateft. They are as follows : 
 
 5. A large ewer, balanced fo as to be eafily inclined. The fides 
 are hollowed in a feries of facets, fomething like thofe of our modern 
 glafs wine jugs, with a high handle and a long ftraight-ended lip, in- 
 fcribed, PELEGRINA UTERE FELIX. (Vifconti, pi. xv., 
 p. 12.) 
 
 A large flat bafin in the fhape of a fhell, meafuring 22 inches. 
 The flutes radiate from the middle, on which is chafed a fquare of 
 reticulated ornament. 
 
 7. A fhallow difh, with fluted upright rim and fhells and flowers in 
 circles like coins, chafed on the flat furface, and a man offering a libation 
 in the middle. (Fig. Vifconti, pi. xxi.) 
 
 8. Eight difhes, four round fcutella , and the remainder oblong, 
 fmaller in fize than either of the foregoing. In the middle of each is 
 a monogram in tall Roman letters inlaid in niello, read by Vifconti, 
 PROJECTA TURCI. Taking Tercius Secundus to be the hufband 
 of the Projecta named above. Two perfons of that name belonging to 
 the patrician family of the Afterii were fuccefiively prefects of Rome, 
 A.D. 339, 362. But this will not accord with what has been faid 
 already regarding the dates of thefe difhes. 
 
 On one of the Tour round difhes the weight is given, SCVT. IIII 
 P. V. ( fcutellce , quatuor pondo v.), that is of all four. They are raifed 
 on low rims or ftands. (Vifconti, ib.) 
 
 The four oblong difhes are of the kind called lanx , of which the 
 ftudent will fee examples in the copies of the Hildefheim treafure. 
 
366 Gold and Silver Smiths Work. 
 
 9. A fluted bowl, two handled vafe, round dilh, and eight fpoons, 
 cochlearea. The latter have oval bowls and pointed ends, fuch as the 
 ancients ufed for eating fhell fifh. One has a flat, broad, nearly the 
 fiddle fhaped end of a modern fpoon, but the extremity is not turned 
 either way. One of the fpoons has an infcription to Juno Lanuvina of 
 earlier date than that on the cafket. 
 
 10. Four fmall feated figures in folid filver, chafed and gilt. They 
 are crowned and draped, reprefenting cities of the empire, and are given 
 by Mr. Newton, following Vifconti, as Rome, Conftantinople, and 
 Alexandria ; the fourth, certainly, is Antioch. Thefe were the four 
 great capitals of the empire. Each figure has a fquare focket at the 
 back, and a fmall vine leaf hanging to it, and thefe circumftances point 
 to the explanation of Vifconti that they have been pole ends for a fella 
 gejlatoria or a covered litter. 
 
 11. Two hands, fmall life-fize, grafping conventional pome- 
 granates, with hollow fockets, probably ornaments of a chair. 
 
 12. Four chains or collars of phalera , compofed alternately of lion 
 heads and double Amazonian fhields, fuch as were hung round the chefts 
 of horfes and mules. 1 
 
 Thefe collars, the hands, fmall figures, difhes, and other objedts 
 enumerated are in excellent prefervation. They are the lateft examples 
 that can be referred to, certainly within reach in this country, of the 
 art belonging to the antique period, that is to fay, art following the 
 traditions of Greece and the Roman imitations of the great times. They 
 follow the outlines and characteriftics (though awkward and ftiff in 
 many refpedts) of late Roman art, rather than what is more diftindtively 
 Byzantine and mediaeval. 
 
 P ECTORAL Crofs : enamelled on gold, fet in filver and 
 hinged to open as a reliquary ; belonging to Mr. A. J. B. 
 Beresford-Hope, M.P., formerly in the Debruge-Dumenil 
 collection. 
 
 This interefting example of Byzantine goldfmiths’ work and ename 
 is now exhibited in the South Kenfington mufeum. It is made of two 
 plates of gold, croff-fhaped, with fpreading ends. The plates are fet in 
 a frame of filver with milled rims, hinged fo as to form a reliquary, and 
 probably of later date than the crofs itfelf. 
 
 1 Visconti. See alfo “ Blacas’ colle&ion Guide ” of Mr. C. J. Newton. 
 
PeSloral Crofs . 
 
 3 6 7 
 
 On the front is the Redeemer, clothed in a long colobium of various 
 colours. The hands and feet are pierced, the wounds marked by round 
 fpots of red enamel ; the feet are feparately nailed on a wooden tablet. 
 Round the head is a crofled nimbus. 
 
 Above the head is placed the title, which is marked with red enamel 
 in letters compofed of thin ftrips of gold, IC • XC. Above the title 
 on a red ground is the letter II, fuppofed to indicate the name of the 
 Eternal Father, and below the letter O. Thefe two pieces of red, 
 together with the title, form a rude crofs. The fun and moon are placed 
 in the two upper corners. 
 
 On the ends of the two arms of the crofs are bufts of the bleffed Virgin 
 and St. John, with contracted infcriptions IAETC-ATC-MRC "Sou 0 moq (TOV 
 (Sou |0 mjt 'op cot;, from thelaft words on the crofs. (John, xix. 26.) Below 
 the feet lies the fkull of Adam, in which the crofs was fuppofed to have 
 been fixed. On either fide of the head there are two drops of blue 
 enamel, and lower down fix round fpots or balls ; three on each fide of 
 the legs. 
 
 On the back is placed a full-length figure of the blefled Virgin, in a 
 blue mantle of many folds, a white veil, and a black or dark blue veil 
 over it. Her hands are ftretched in prayer. On the four ends of the 
 crofs are bufts of St. John the Baptift, St. Peter, St. Andrew, and 
 St. Paul. All thefe heads are recognizable as likenefles of the traditional 
 heads which were preferved to the time of Raphael. The Baptift with 
 black hair and beard ; St. Peter, grey hair and fhort grey beard ; St. 
 Andrew, with long grey hair parted on the forehead ; St, Paul, with a 
 pointed black beard. The infcriptions, IANNEC IIETPOC ANAKEAC 
 IIATLOC accompany thefe bufts. 
 
 The groundwork is tranfiucent green enamel of great brilliancy. 
 A full green, blue, and purple, are tranfparent ; the other colours, pink 
 flefh colour, light green, three blues, light yellow, two whites, red, and 
 black, are opaque. It is noticeable that holes or bubbles have made 
 their appearance in parts of the enamel, the film that covered them 
 having worn away. 
 
 The bands or enclofures are of the thinneft gold, foldered on one 
 edge to the gold plate below. The letter markings, thofe of eyes, 
 fingers, & c., are fhaped by thin flips of gold. A hole, faid to have been 
 made by fome devotee in the laft century, has deftroyed the centre 
 of the front. Some of the pieces of enamel have been loft, and the 
 enclofing bands of gold may be obferved ftill foldered to the bafe. 
 
 M. Labarte, as well as Mr. Franks, confider this to be of Byzantine 
 workmanfhip not later than the tenth century, probably earlier. We 
 
368 Gold and Silver' Smiths Work. 
 
 fhall all join in the regret expreffed by the latter that an example fo rare 
 ftiould not have been acquired for one of the national mufeums. 
 
 Figured and defcribed, A. W. Franks, The Archaeological Journal, 
 viii. 51 ; J. Labarte, Arts induftriels, etc., iii. 420. 
 
 C UP, found at Ardagh, near Limerick, in Ireland, in 
 September 1868, and exhibited by the Earl of Dunraven 
 in the South Kenlington mufeum in the year 1869. 
 
 This cup, belonging to the Catholic biftiop of Limerick, was found 
 at Ardagh in that county. It has been carefully cleaned, but without 
 any reftoration. It is made of an alloy of filver and copper, the pro- 
 portion of the latter metal is one to three of filver. It is 7 inches 
 high, 9^ in. diameter ; the foot 6J inches, and the depth of the bowl 
 4 inches. It holds three pints. 
 
 The bowl is a half-globe flightly belled at the lip, which finifhes 
 with a plain roil moulding. A little below the lip a belt of filver 
 runs round the whole. It has two rolled edges, and is filled by 
 twelve plates of fine gold worked in delicate filigree patterns on a gold 
 ground, ornamented with fine beaten work. Thefe plates are feparated 
 by buttons of encrufted enamel in various patterns. The belt is met 
 by two half cylinder handles, each having a rolled edge, and the fpace 
 between filled in with fmall plaques of filigree gold and of enamel. 
 The rolled edges of the belt are indented with fmall annular punchings, 
 made by a hollow tool. The lower part of each handle ends in a plate 
 of filver divided by three boffes or buttons of enamel, like thofe of the 
 belt, and the intervening fpaces filled with compartments of fine inter- 
 laced plaitwork of gold. Thefe are faftened by four rivets covered by 
 fmall blue paftes, round which can be traced remains of rings of 
 amber. 
 
 The gold ornaments are of different patterns, and fome of the 
 enamels have gold ornament impreffed into the furface, in the manner 
 of the Indian Petabghur enamel, fo extremely rare as a modern manu- 
 facture. 
 
 Halfway between the handles there are two round plaques of gold 
 plaitwork, with a central enamel boff, the plaque divided by enclofures 
 into four narrow fpaces which make a croff, and four larger in the 
 intervals, containing different patterns of work. Thefe are alfo rivetted 
 on at four intervals, and the rivets covered by paftes, as in the plates 
 below the handles. 
 
3 6 9 
 
 Irijh Cup . 
 
 A legend is chafed with a hammer and chifel, but in lines of the 
 utmoft delicacy, round the body of the bowl, connecting thefe four plates 
 of gold filigree work, and finiftied (where thefe interruptions are met) by 
 animal heads and other delicate engraving. The words are in uncial 
 letters, narrow and angular, meafuring half an inch in height. They 
 are as follows : — 
 
 PETRI PAULI ANDI JACOBI JOHANNI PHILIPHIS 
 BARTHOLOMIE THOMiE MATHEI JACOBI TATHEUS 
 SIMON. 
 
 Thefe names are flightly changed from the order in which they 
 occur in the commemoration of the canon of the Roman miflal. 
 
 The ftem is a cylinder of gilt bronze, carved with much delicacy 
 into intricate interlaced patterns, made fall by an inner ball of metal with 
 clamps to conned it with the bowl and foot, and ingenioully completed 
 by a pin of iron. 
 
 The foot is filver, convex, and has a rim like that round the bowl, 
 made up of eight fpaces of gilt bronze and gold openwork, fet over plates 
 of mica and interrupted by fmall bofles of enamel of fomewhat coarfer 
 texture than that on the bowl. 
 
 Infide the foot is a fimilar belt or rim with eight divifions, fix filled 
 with filver filigree work of the utmoft finenels, and two with copper, 
 divided by enamelled bofles. This filigree is fet over tranflucent enamel 
 worked on a chafed filver plate in the manner of the fourteenth century 
 Italian enamellers. The hollow middle is fet with a round cryftal 
 formerly furrounded by a ring of amber fet in tablets between enclofures 
 of bronze, now perifhed. 
 
 Round this middle jewel runs a ring of fine gold filigree ornament, 
 and in the fpace between this and the outer filver edging is a plate of 
 bronze fet with green enamels. 
 
 The late earl of Dunraven numbered forty varieties of pattern in 
 the ornament, which is Celtic of the fineft kind, and the beft period. 
 
 The enamel ufed in this ornamentation is of feveral kinds, the 
 champlevd or imbedded opaque enamel, the tranflucent of a more com- 
 plete fufion and harder texture, and opaque enamels, into which im- 
 preffions have been made filled in with other colours, fufible at a 
 temperature that has left the firft enamel or matrix untouched. The rivet 
 heads muft have been infertions, as they project, though profeflor Sullivan 
 confiders that all decoration of that kind, in this inftance, have been 
 fufed on the metal and not applied. 
 
 The letters in which the names of the apoftles are written are 
 fuch as are found in Iriflh MS. of the feventh and eighth centuries. But 
 this remarkable piece can fcarcely have been executed prior to the end 
 of the ninth or to the tenth century. 
 
 36105. 
 
 A A 
 
370 Gold and Silver Smiths IVork. 
 
 It will be obferved that the underfide of the foot is as highly orna- 
 mented and as delicately finilhed as the bowl itfelf, and this extreme 
 care for the precioufnefs of the cup feems to point to it as a chalice, and 
 not intended for fecular ufe, not to fpeak of the legend round the bowl, 
 which contains an extraCt from the liturgy. 
 
 Chalices, down to the tenth century, or even beyond it, were made 
 two-handled for certain ufes, fuch as giving Communion in both kinds 
 to the afliftant clergy and to the laity. For other examples confult 
 De Caumont, Bulletin Mon. xii., 5x0; Dr. Texier, Diet. Orfevrerie 
 rel. See alfo an interefting baf-relief in the South Kenfington mufeum, 
 No. 69. ’49, reprefenting the coronation of the emperor Otho, where 
 a two-handed chalice is reprefented on the altar. 
 
 A minute account of the analyfis of materials in this chalice has 
 been made by mr. Johnfon, the well-known goldfmith of Dublin, who 
 cleaned the cup, and has made a beautiful reproduction of it. (It is 
 much to be defired that fuch a record at any rate could be acquired 
 for the collection.) For this and other interefting particulars I am 
 indebted to a careful paper read by the late earl of Dunraven before the 
 royal Irifti academy, Feb. 22, 1869, where it is figured in detail. See 
 alfo royal Irifti academy tranfaCtions, vol. xxiv. 
 
 R ELIQUARY, belonging to the Right Hon. H. A. 
 Layard, exhibited in the South Kenfington mufeum. 
 
 In the form of an architectural ftirine. It is fix-fided, two of the 
 fides being wider than the other four. The lower ftory is divided by 
 buttrefles, of which the details are in imitation of architecture. Pin- 
 nacles are placed over them, and lower offsets, at the bafe, which are 
 arched battlements, and have fmaller buttrefles and pinnacles growing 
 out of them, as enrichments to the other. 
 
 There runs a double cufped gallery round the bafe line of the 
 ftirine. 
 
 From the fides of this lower ftory a roof ftopes up and meets the 
 walls and arches of an inner and higher lantern, arched and twilled 
 as the firft. It is furmounted k by a fpire of open fcroll foliage work 
 ending in a finial of leaves and a cross. 
 
 The knop of the Item is an architectural gallery of fix fides, each 
 occupied by an ogee arch with two windows, and elaborate tracery in it, 
 and buttrefles on the angles. The lower part of the Item is pierced 
 with windows as of a turret or lantern, and the foot expands into fix 
 large lobes with fquare headings, and two fmaller lobes. 
 
 The Hoping furfaces of the foot are beaten up with arabefque leaf- 
 work, and on two fides are the Cross and the various inftruments of 
 
37i 
 
 
 
 the Paffion, and St. Francis dividing his cloak with the beggar. The 
 edge is pierced and decorated with leafwork of fmall fize. 
 
 The architectonic ornament is lefs faithful to actual architectural 
 models than that of the fifteenth century in France, Germany, and 
 England, but it is an interefting example of architectural goldfmiths’ work 
 of Spanifh production. It will be feen that though the rich crocketing, 
 cufping, and general lace-like architectonic ornamentation common in 
 Europe during the decline of the pointed ftyle is followed for the 
 fake of the rich pierced fringed fubdivifions of furface, there is little 
 more attempted than the general effect of fuch decoration ; compare 
 with No. 631. ’68. of the collection. 
 
 N EF : lilver-gilt, engraved and enamelled. 16th century. 
 
 German. Belonging to Mr. Leyland. Exhibited in 
 the South Kenfington mufeum. 
 
 The hull is covered with an emboffed reprefentation of the fea, with 
 tritons, nymphs, boys, dolphins, and fifh. It meafures 2 ft. 8^ in. in 
 height. A gallery fupported on ornamented brackets runs round the 
 ftern. A figure reprefenting Fame or Victory, crowned with ivy leaves, 
 holds a ftiield in both hands at the bow ; the fhield has nine quarterings, 
 the field in each quarter filled with enamel of the proper tinCture. 
 Two open galleries projeCt from the waift of the fhip, the hand rails 
 fupported by ornamental brackets. A rich crefting of fcroll work rolls 
 round the forecaftle and ftern, the centres of each formed by figures 
 reprefenting Jove, god of the Air, with a kneeling female figure, and 
 his attributes ; Fortitude with attributes on the ftern. Rudder chains 
 hang in feftoons from the ftern gallery. 
 
 The mails have fhrouds, with failors climbing them ; a large fquare 
 fail drawn up ; yards, tops, round galleries, in each of which is a look- 
 out man ufing a telefcope ; topmafts, the main having topfail ; flagftaves, 
 each furmounted by a ball of filigree work, and a finial of beaten 
 flowers, and forked pennants blown by the wind, each engraved with the 
 quarterings feen on the figure head. 
 
 On the poop a canopy is raifed on graceful balufter-ftiaped columns 
 richly ornamented ; it is gable roofed, with an apfidal end furmounted 
 by a lantern in two ftages, fupported by richly ornamented brackets. 
 A fhort mizen with flays, a flag like the two others rifes from the roof ; 
 rich finials of beaten and enamelled flower-work furmount the gable 
 and the columns. 
 
 a a 2 
 
372 Gold and Silver Smiths Work. 
 
 The deck is divided into lozenges richly engraved. 
 
 Five cavaliers in feathered hats are playing dominoes, and caroufing 
 on the poop. Pots of gris de Flandre, and all details, are engraved 
 and parts enamelled ; thefe details are in perfect prefervation. 
 
 A band of muficians in fixteenth century xnilitary coftume is play- 
 ing on the forecaftle, and guards are ftanding fentry on the galleries and 
 amidftiips ; one ftands on the fteps of the poop, another is feated on 
 thofe of the forecaftle. 
 
 The hull is fupported on the head, and upheld by the right arm and 
 trident, of a Neptune, feated on a rock covered with lizards and other 
 animals, fhells, and feaweed. 
 
 The rock is mounted on a plain round bafe with two bold torus 
 mouldings of ftrapwork, malks, and fruit. 
 
 A number of fmall details round the galleries, canopy, on the 
 dreffes of the figures, &c. are painted over in enamel. A ftamp, which 
 feems to be the letter B in the letter D, and an E in a D, is feen in 
 feveral parts of the piece, partially diftinguiftiable. 
 
 The whole is finifhed with the greatest delicacy in all details of 
 hammered, chafed, and enamel work. The enamel is laid thinly on, 
 and parts more expofed than others have been chipped off, otherwife all 
 is in excellent prefervation. 
 
 C ROWN of the abima of Abyffinia. Belonging to the 
 Treafury. Exhibited in the South Kenfington mufeum. 
 
 This crown is a plain cylinder rounded at the top, in general char- 
 acter like that called the royal crown belonging to the collection No. 
 257. ’69. There are, however, confiderable differences in detail. It has 
 three belts or crowns furrounding it ; at the top below the domed cover- 
 ing ; halfway down, and round the bottom. Each of thefe belts 
 fupports a coronet of fmall pierced panels fhaped like the fmall arches 
 contained in embroidery patterns of Cafhmere or Perfian defign. 
 Twelve of thefe panels are contained in the upper row, and the fame in 
 the other two. They are of pierced imbricated pattern, and baikets of 
 funflower ornament, alternately. 
 
 The lower rows are compofed of the fame imbricated piercing, and 
 arabefque work, the centres being heads, and balkets of funflowers,'rudely 
 beaten up. The tops are rows of gold balls and pairs of leaves meeting 
 under fmaller balls between each, with traces of coloured enamel roughly 
 fired and not brought to a fmooth furface. Faded red velvet has been put 
 
Abyjjtnian Chalice . 
 
 373 
 
 as a lining to thefe panels, ftiowing through the pierced holes or intervals, 
 and all are joined together by loops with a pin through them. Projedt- 
 ing from the lower coronet there is a loofe frontlet compofed of five 
 panels hinged together, each contains a central flower with arabefque 
 fcroll of leaves, and over the middle of each rifes a fleur-de-lys ; the 
 fides of each curve to points which meet at the hinged joint ; on a rim 
 below are fmall flowers, with glafs buds, nine only remaining. 
 
 On the two fides are flaps hung by fine chains, and below each are 
 hung nine fmall balls by fine chains to ftaples or loops in the bottom of 
 the plate. The plate is beaten out with a fcroll in four curves that meet 
 in a central flower. Behind thefe plates is a lining of dark blue velvet 
 much faded. The top has round medallions, containing the four evange- 
 liftic emblems, furrounded by a rough zigzag border, and each having 
 two flowers and fettings of filigree gold leaves. One only retains a fmall 
 ball'of green glass, perhaps replacing an emerald or other precious ftone. 
 
 Between the medallions run bands of coarse fcroll work of Byzantine 
 charadter. The top crofT is wanting. 
 
 All the work is beaten up out of folid gold. The general charadter 
 of the ornament is Byzantine, or, at leaft, follows Byzantine traditions ; 
 but it is not probably to be afligned to a date earlier than the 16th or 
 17th century, if even, as is not improbable, the rude workmanfhip does 
 not fhow that it is African of much more recent times. 
 
 This crown is lighter, fmaller, and though, in fome details, as e.y., the 
 folid flower ornaments, rather lefs delicately worked than that in the 
 mufeum colledtion, it is a more beautiful objedt. Though coarlely 
 carried out in detail it is rich, and not ungraceful as a whole. The three 
 coronets and the projedting frontlet which, with certain differences, are 
 found in both thefe Abyflinian crowns make them unlike any fuch fymbol 
 of authority, ecclefiaftical or civil, in European ufe. 
 
 C HALICE : from Abyffinia. Belonging to the Treafury. 
 Exhibited in the South Kenfington mufeum. 
 
 This chalice is of pure gold. The cup is a wide fhallow bafin beaten 
 out into a flat rim on the edge, which is flightly waved. The outfide 
 is plain, but round the upper furface are two lines rudely engraved in 
 Amharic charadters. 
 
 The ftem contradls below the bafin, a row of ornament, confiftingof 
 double C-fhaped ornament PCS coupled together, runs round the upper- 
 moft band or divifion of this part. It contradls ftill more, and has a 
 
374 
 
 Gold and Silver Smiths' Work . 
 
 central collar or knop worked over with incifed ornament of a like 
 pattern with that already defcribed ; two fmaller collars with fcroll work 
 on them, are placed above and below this knop. The foot fpreads 
 gradually, ending in three rude nearly fquare edged fteps. Round the 
 bafe of the foot is a fecorid legend. 
 
 The workmanlhip is rude in the extreme, every ftroke of the 
 hammer fhows on the broad furfaces infide and out. Some details of 
 traditional claflic ornament are traceable in the work incifed on the 
 Hem and foot. The weight is great from the folidity of the metal. To 
 whatever date this piece fhould be afligned, it fhows the lingering tradi- 
 tion of the patera as it was adapted to the liturgical ufes, the bofles or 
 collars on the ftem being enlarged or otherwife as would be moll conve- 
 nient for holding in one hand. Such a form has been little altered in this 
 inftance, and though not ungraceful in outline it is probably of incon- 
 venient fhape for ufe. Other chalices from Abyflinia are to be feen 
 in the Britifh mufeum. 
 
 C ROSS : proceflional, filver, with fcenes from the Paflion 
 engraved on it. From Magdala. Exhibited in the 
 South Kenlington mufeum. 
 
 The arms of the crofs are equal, and the ends fpread and come to 
 three points each ; the points having fmall crofles below them. The 
 whole is cut from a flat plate of metal, and coarfely engraved on both 
 fides with reprefentations of various fcenes from the paflion of our 
 Saviour. On the front is a crucifixion, a rood, with St. Mary and 
 St. John, right and left of the Crucified. z. To the right is the 
 fcourging of our Lord, who is bound to a pillar by one executioner. 3. 
 Below this, two foldiers bearing lances are talking, one wearing a turban 
 or knob on his head. 4. In another compartment, the entombment ; 
 our Lord is laid in the fepulchre by two difciples, wearing a fort of knob 
 or turban on their heads, 5. On the left of the crucifixion is the 
 harrowing of hell ; two figures reprefent Adam and Eve. Our Lord 
 (a half figure) is giving benedi&ion. A recumbent figure is feen 
 pierced by a fword or dagger ; it is not very clear what this reprefents. 
 6. On the reverfe is a reprefentation of the eternal Father, a rayed 
 head, refembling that of Apollo, holds an orb, and is giving benedi&ion ; 
 around are the four evangeliftic emblems. 7. To the right, the death 
 of the blefled Virgin ; our Lord is by the bedfide, eleven figures 
 wearing cowls are feated in front, an angel ftands at the bed foot and 
 
Cap. 
 
 375 
 
 two cherubs are over the canopy. Three bifliops hold crofles, and are 
 incenfing the dying perfon. A figure of the prophet David is placed 
 under the fcene reprefenting the death of the blefled Virgin, to which 
 he calls the fpe&ator’s attention ; and below is an entombment. In 
 the centre the blefled Virgin upright, holding up her drapery, is borne 
 upwards by three cherubs. 8. To the left the blefled Virgin and 
 Child, and two {landing angels holding lilies ; and below is, 9. The 
 conteft of the archangel Michael, who is riding over the demon held by 
 an angel in chains. 
 
 AP : Tarboofh. Lent by Her Majefty the Queen. 
 
 The cap is cafed in ftrips of filver plate covered with filigree orna- 
 ment and gilt. The bottom is held together by a rim of the fame 
 material, with three rows of fmall bofles of filver placed lozengewife to 
 each other. A trefoil top to each ftrip has fimilar bofles, the middle a 
 filigree circle. The taflTel, ufually of blue filk in the Turkilh cap, is 
 made of filver chains, each ending in a funnel-lhaped pendant. 
 
 S LIPPERS. Silver, with filigree ornament in filver-gilt. 
 Lent by Her Majefty the Queen. 
 
 The fhoe turns up at the toe, and is made of filver-gilt plates covered 
 with filigree work. The wide upper furface is laid out in a lozenge 
 fliaped panel of filigree in rolling fcrolls with a ruby fet in the middle ; 
 round the heel and fides are borders of the fame work, neatly edged by 
 rows of knobs or bofles. 
 
 C ROWN. Worn by King Theodore. Lent by Her 
 Majefty the Queen. 
 
 A loofe red velvet cap with a circle of triangles made of filver-gilt 
 lace, the points {lightly bent outwards. The coronet to which they are 
 faftened has red and green paftes fet round it ; the cap is divided by fix 
 gold bands, with a crofs jieury in the middle and the taflel is of gold 
 threads. It has the look of fuch a crown as may be feen in reprefen- 
 tations in the circus. 
 
3 7 6 Gold and Silver Smiths W irk. 
 
 G OLDEN Chair : in the Indian mufeum. 
 
 This chair is made of plates of folid gold laid over a framework of 
 wood. It is oCtagonal, and of the height and fize of a low-backed 
 armchair of modern European ufe. The body of the chair is formed 
 by two mafles like the capitals of columns, bowl fhaped, covered with 
 conventional acanthus and lotus leaf, beaten up from within . 8 The back 
 is round, and the arms are decorated with beaten foliage work. From 
 the two arms fpring two iron projections covered with gold, like the 
 reft, and on thefe have been placed two lotus balls of gold, made to 
 open in ten or more fegmental divisions, and probably containing my- 
 thological figures. Thefe portions were ftolen, it is faid, during a 
 conflagration of the houfe of Runjeetfingh, for whom the chair was 
 made, before it came into the pofleflion of the government of India. 
 It is not older than the laft century. See u Fyrniture and Woodwork,” 
 P- 386- 
 
 GOLD ORNAMENTS FROM ASHANTI EXHIBITED 
 IN THE SOUTH KENSINGTON MUSEUM. 
 
 T WO Birds : pure beaten gold, rudely Ihaped, and Handing 
 on a fquared frame. Lent by Sir R. Wallace, bart., M.P. 
 
 Thefe birds are a pair of the rudeft defign. They reprefent Byzan- 
 tine eagles with difproportioned heads and claws ; one leg is lifted up. 
 They are on fquare focket plates of three fides, the fides punched with 
 upright and horizontal divifions, through which runs a zigzag line. They 
 meafure 7 in. in height by 7 ^ in. in length. 
 
 They feem to have been derived from the type of the Roman or 
 Byzantine heraldic eagle. 
 
 NTELOPES : united to fquare fockets of beaten gold. 
 Lent by the Duke of Buccleuch. 
 
 There is a pair of thefe ornaments. They reprefent gazelles or 
 antelopes, well modelled, lying down, the legs bent under them, and the 
 heads alert and turned to the left, conventional fur marks are made 
 down the flanks, and they are joined by rich round ftems with collars 
 
Shell. 
 
 377 
 
 in the middle to fquare fockets, the fides partly open. The pofition 
 of thefe animals feems to fhow they have been made for two horizontal 
 bar ends. They are admirably defigned from nature, properly treated 
 for their ufe and intention, and recal the fmall animals feen on 
 Etrufcan jewellery, and, on a large fcale, on terra cotta urns. 
 
 ^Q^HELL: beaten gold. Lent by Mr. L. Huth. 
 
 A fcalloped {hell, regularly arranged in eight lobes, curving both 
 on the points of the fhoulder and each fide of the eyes into well- 
 defigned volutes. It is altogether in the manner of renaiftance archi- 
 tectural ornament. 
 
 S ANDAL Ornaments : gold and filver beaten work. 
 Afhanti. Lent by Mr. F. G. Dalgety. 
 
 Each fandal has four of thefe ornaments, two being of gold. They 
 are like two buckles joined and reverfed, the loops broad and maffive, 
 cufped in five curves, the edges flat and fcooped, and the tongues 
 forked and flower fhaped, with almond-ftiaped pointed pieces, one on 
 each fide. They are graceful and rich, and the defign feems to have 
 been derived from fome Greek piece of goldfmith’s work. 
 
 R OUND Badge *. gold, with chequered and pierced flower 
 petals. Afhanti. Lent by Mr. H. A. Brafley. 
 
 A ftar or flower of twenty-two chequered petals, the outer ends 
 pierced, the reft folid. The middle is a fix petalled flower, the petals 
 downwards, with fpiral lines ifluing round it in a broad intermediate 
 band. 
 

379 
 
 INDEX OF OBJECTS. 
 
 THE NUMBERS ’58, &c. SIGNIFY THE YEAR OF ACQUISITION, THE OTHER 
 NUMBERS THE ORDER IN EACH YEAR. IN THE CASE OF CASTS THE 
 DATE NUMBERS ARE PLACED FIRST. 
 
 Name of Objeft. 
 
 Country. 
 
 Century. 
 
 Number. 
 
 Page. 
 
 Altar . 
 
 
 
 German . 
 
 
 lath 
 
 4524. ’58 
 
 7 
 
 )> 
 
 
 
 55 • • 
 
 
 55 
 
 10. ’73 
 
 8 
 
 55 
 
 
 
 55 
 
 
 55 
 
 11. ’73 
 
 10 
 
 55 
 
 
 
 55 * • 
 
 
 1 3 th 
 
 ’ 74 - 37 
 
 3 i 6 
 
 Altar-piece 
 
 
 
 Italian 
 
 
 17th 
 
 524. ’72 
 
 179 
 
 55 
 
 
 
 55 
 
 
 55 
 
 1 556 . ’56 
 
 181 
 
 Altar . 
 
 
 
 German . 
 
 
 10th 
 
 ’64. 41 
 
 3 o 5 
 
 Ampulla 
 
 
 
 Englilh 
 
 
 17 th 
 
 ’66. 3 
 
 340 
 
 Anklet 
 
 
 
 Alhanti 
 
 
 19th 
 
 3 80. ’74 
 
 289 
 
 Arm guard 
 
 
 
 Abyffinian 
 
 
 19th 
 
 847. ’68 
 
 284 
 
 55 
 
 
 
 55 
 
 
 55 
 
 1676. ’71 
 
 285 
 
 Badge 
 
 
 
 Italian 
 
 
 1 5 th 
 
 7465. ’61 
 
 87 
 
 55 
 
 
 
 55 * * 
 
 
 55 
 
 7466. ’61 
 
 88 
 
 55 
 
 
 
 Englilh 
 
 
 18th 
 
 8879. ’63 
 
 242 
 
 55 
 
 
 
 German . 
 
 
 55 
 
 197. ’72 
 
 242 
 
 55 
 
 
 
 Alhanti 
 
 
 19th 
 
 3 7 3 . ’74 
 
 286 
 
 Band . 
 
 
 
 German . 
 
 
 1 6th 
 
 5 a. ’69 
 
 148 
 
 55 
 
 
 
 Alhanti 
 
 
 19 th 
 
 8 9 5 . ’75 
 
 289 
 
 Balin . 
 
 
 
 Englilh 
 
 
 17 th 
 
 1 1 3 . ’64 
 
 184 
 
 55 
 
 
 
 55 • * 
 
 
 55 
 
 1 12. ’64 
 
 211 
 
 55 
 
 
 
 55 
 
 
 55 
 
 hi. ’64 
 
 210 
 
 55 
 
 
 
 55 • 
 
 
 55 
 
 469. ’64 
 
 213 
 
 55 • 
 
 
 
 55 • • 
 
 
 55 
 
 1 14. ’64 
 
 216 
 
 55 
 
 
 
 55 • 
 
 
 55 
 
 2. ’74 
 
 216 
 
 35 
 
 
 
 55 • 
 
 
 1 8th 
 
 502 . ’75 
 
 253 
 
 Baf-relief 
 
 
 
 Italian 
 
 
 1 6th 
 
 108. ’69 
 
 121 
 
 Bead . 
 
 
 
 Alhanti 
 
 
 19th 
 
 376. ’74 
 
 288 
 
 Beaker 
 
 
 
 Englilh 
 
 
 17 th 
 
 5 i. ’69 
 
 203 
 
 55 
 
 
 
 55 * * 
 
 
 55 
 
 ’68. 137 
 
 345 
 
 
 
 
 German 
 
 
 1 8th 
 
 3 9 8 . ’54 
 
 239 
 
 Bell . 
 
 
 
 Flemilh 
 
 
 
 1191. ’64 
 
 233 
 
 
 
 
 Ruffian 
 
 
 >5 
 
 559 . ’74 
 
 248 
 
 55 • 
 
 
 
 Englilh 
 
 
 19th 
 
 289. ’64 
 
 274 
 
 Bells . 
 
 
 
 Spanilh 
 
 
 17th 
 
 35 o. ’70 
 
 193 
 
 Book . 
 
 
 
 French 
 
 
 1 6th 
 
 487. ’73 
 
 145 
 
 Book clafp 
 
 
 
 55 * ’ 
 
 
 17 th 
 
 3583 . ’53 
 
 2I9 
 
 55 
 
 
 
 German 
 
 
 55 
 
 9084. ’63 
 
 220 
 
 
 
 
 55 
 
 
 55 
 
 99. ’72 
 
 220 
 
 
 
 
 55 
 
 
 18th 
 
 9019. ’63 
 
 234 
 
 Book cover . 
 
 
 
 
 1 2th 
 
 8880. ’63 
 
 22 
 
 
 
 
 Greek 
 
 
 
 ’ 55 . 3 
 
 3 1 5 
 
 
 
 
 French 
 
 
 1 3 th 
 
 2441. ’56 
 
 29 
 
 
 
 
 Byzantine . 
 
 
 55 
 
 ’ 55 . 5 
 
 3 1 5 
 
 
 
 
 Englilh 
 
 
 i 5 th 
 
 1057. ’71 
 
 82 
 
 
 
 
 French 
 
 
 1 6th 
 
 736 . ’64 
 
 144 
 
 
 
 
 Roumanian 
 
 
 
 ’68. 80 
 
 339 
 
 
 
 
 French 
 
 
 17 th 
 
 25 i. ’74 
 
 1 8 3 
 
 
 
 
 Dutch 
 
 
 55 
 
 2639. ’55 
 
 218 
 
 
 
 
 German . 
 
 
 55 
 
 1503. ’55 
 
 219 
 
 55 
 
 
 
 Wallachian 
 
 
 55 
 
 ’68. 81 
 
 35 1 
 
3 8 ° 
 
 Index of Obje&s. 
 
 Name of Objeft. 
 
 Country. 
 
 ♦ 
 
 Century. 
 
 Number. 
 
 Page. 
 
 Book cover . 
 
 Italian 
 
 19th 
 
 304. ’70 
 
 276 
 
 Book mounts 
 
 35 • • 
 
 14th 
 
 549 - ’72 
 
 76 
 
 5 ) 
 
 33 ... 
 
 1 6 th 
 
 7920. ’62 
 
 127 
 
 3 J * 
 
 
 33 
 
 6 5 60. ’55 
 
 127 
 
 
 German . 
 
 1 8th 
 
 41. ’72 
 
 234 
 
 5 3 * 
 
 33 
 
 33 
 
 9026. ’63 
 
 235 
 
 
 33 • * • 
 
 33 
 
 40. ’72 
 
 ' 235 
 
 Bofs .... 
 
 Italian 
 
 1 5 th 
 
 2576. ’56 
 
 88 
 
 Bottle 
 
 German . 
 
 17th 
 
 45 i. ’65 
 
 *95 
 
 „ ... 
 
 French 
 
 19th 
 
 919. ’44 
 
 267 
 
 Bowl .... 
 
 Antique 
 
 — 
 
 33 z. ’74 
 
 295 
 
 33 * 
 
 33 * * * 
 
 — 
 
 333 . ’74 
 
 296 
 
 
 Byzantine . 
 
 5 th 
 
 ’68. 72 
 
 299 
 
 
 „ Gothic 
 
 33 
 
 ’68. 77 
 
 300 
 
 
 
 33 
 
 ’68. 76 
 
 3 oi 
 
 
 French 
 
 14th 
 
 106. ’65 
 
 66 
 
 
 
 33 
 
 107. ’65 
 
 66 
 
 
 
 33 
 
 108. ’65 
 
 67 
 
 
 33 ... 
 
 33 
 
 109. ’65 
 
 67 
 
 
 German . 
 
 ? 
 
 33 ' 
 
 1171. ’64 
 
 76 
 
 3 , . . . . 
 
 Bnglilh . 
 
 i 5 th 
 
 4425. ’58 
 
 IO9 
 
 
 German 
 
 33 
 
 7956. ’62 
 
 IO9 
 
 
 
 33 
 
 7958. ’62 
 
 IO9 
 
 
 Italian 
 
 1 6th 
 
 ’69. 4 5 
 
 3 3 1 
 
 
 33 ... 
 
 33 
 
 ’ 56 . 6 
 
 33 
 
 3» * * * * 
 
 Spanilh ? . 
 
 33 
 
 2 i 3 . ’66 
 
 167 
 
 
 
 33 
 
 214. ’66 
 
 168 
 
 
 Ruffian 
 
 17th 
 
 ’66. 15 
 
 353 
 
 
 Mexican 
 
 33 
 
 317. ’67 
 
 200 
 
 
 Englilh 
 
 1 8th 
 
 243. ’69 
 
 260 
 
 
 Perlian ? . 
 
 33 
 
 94. ’66 
 
 280 
 
 Box .... 
 
 Moorilh 
 
 14 th 
 
 320. ’66 
 
 40 
 
 
 Englilh 
 
 17 th 
 
 708. ’68 
 
 180 
 
 
 Dutch 
 
 
 1 5 i 3 . ’55 
 
 180 
 
 
 Englilh 
 
 33 
 
 6767. ’60 
 
 180 
 
 
 French 
 
 33 
 
 1 1 32 . ’64 
 
 1 8 5 
 
 
 Dutch 
 
 33 
 
 9094. ’63 
 
 i 85 
 
 
 French 
 
 33 
 
 3 i. ’67 
 
 191 
 
 
 Italian 
 
 33 
 
 404. ’54 
 
 191 
 
 
 „ ? r- ■ • 
 
 33 
 
 4 5 o 6 . ’58 
 
 192 
 
 33 • • • • 
 
 33 ... 
 
 33 
 
 7936. ’61 
 
 192 
 
 
 Spanilh 
 
 33 
 
 297. ’66 
 
 192 
 
 
 Englilh 
 
 19th 
 
 i 3 oi. ’54 
 
 263 
 
 Brooch 
 
 Byzantine Gothic 
 
 5 th 
 
 ’68. 74 
 
 3 oi 
 
 Bull: . 
 
 French 
 
 1 8th 
 
 8499. ’63 
 
 246 
 
 Caddy 
 
 33 ... 
 
 19 th 
 
 i 5 7 . ’ 5 1 
 
 267 
 
 Candleftick . 
 
 German 
 
 nth 
 
 ’74. 86 
 
 307 
 
 
 
 33 
 
 ’ 74 - 3 1 
 
 307 
 
 
 
 33 
 
 ’ 74 - 3 o 
 
 3 o 8 
 
 
 
 33 
 
 ’74. 32 
 
 3 o 8 
 
 
 Englilh 
 
 1 2th 
 
 7649. ’61 
 
 17 
 
 ,, . . . 
 
 33 ’ * 
 
 33 
 
 ’68. 13 
 
 3 1 3 
 
 „ feven-brancbed 
 
 German 
 
 33 
 
 ’ 74 - 43 
 
 3 i 3 
 
 33 3 3 
 
 Byzantine . 
 
 33 
 
 4437. ’ 5 7 
 
 26 
 
 
 German . . , 
 
 1 3 th 
 
 6980. ’60 
 
 25 
 
 
 French 
 
 33 
 
 1 5 89. ’55 
 
 26 
 
 
 German 
 
 
 ’72. 69 
 
 3 1 8 
 
 
 33 * • 
 
 33 
 
 ’74- 88 
 
 3 1 8 
 
 
 
 33 
 
 ’73. 520 
 
 3 1 8 
 
 
 Italian 
 
 33 
 
 ’67. I 
 
 3 i 9 
 
 55 55 
 
 German 
 
 33 
 
 ’73. 519 
 
 321 
 
Index of ObjeSis 
 
 381 
 
 Name of Objeft. 
 
 Country. 
 
 
 Century. 
 
 Number. 
 
 Page. 
 
 Candleltick, feven ■ 
 
 branched. 
 
 German . 
 
 
 £ 5 th 
 
 ’73. 5 1 8 
 
 323 
 
 
 55 
 
 Italian 
 
 
 
 ’ 72 . ia3 
 
 322 
 
 ?> 
 
 55 
 
 German 
 
 
 55 
 
 ’ 7 3. 5 1 5 
 
 324 
 
 5? 
 
 55 
 
 55 
 
 
 55 
 
 ’ 73 . S 17 
 
 324 
 
 99 
 
 55 
 
 55 
 
 
 55 
 
 ’73. 514 
 
 325 
 
 99 
 
 55 
 
 55 
 
 
 55 
 
 ’ 73 . S 21 
 
 325 
 
 99 
 
 55 
 
 55 • * 
 
 
 55 
 
 ’73. 5 1 6 
 
 325 
 
 99 
 
 55 
 
 55 
 
 
 55 
 
 ’73. 523 
 
 3*5 
 
 99 
 
 55 
 
 Italian 
 
 
 1 6 th 
 
 ’ 72 . 430 
 
 3 3 1 
 
 99 
 
 55 
 
 German . 
 
 
 17 th 
 
 ’73. 522 
 
 35o 
 
 
 
 Auftrian ? . 
 
 
 
 i332. ’71 
 
 203 
 
 
 55 
 
 Roumanian 
 
 
 
 ’ 68 . 79 
 
 352 
 
 55 
 
 55 
 
 Englilh 
 
 
 1 8 th 
 
 388. ’71 
 
 256 
 
 55 
 
 55 
 
 55 
 
 
 55 
 
 387 . ’71 
 
 257 
 
 55 
 
 55 
 
 55 
 
 
 55 
 
 386. ’71 
 
 258 
 
 55 
 
 55 
 
 55 • • 
 
 
 55 
 
 1 3 3 3. ’71 
 
 260 
 
 Capital of 
 
 a column 
 
 French 
 
 
 14 th 
 
 4012 .- ’52 
 
 59 
 
 Calket 
 
 
 Rhenilh 
 
 
 1 3 th 
 
 7955 . ’62 
 
 23 
 
 55 
 
 
 Englilh 
 
 
 
 4 . ’65 
 
 3i 
 
 
 
 55 
 
 
 17 th 
 
 5 3 . ’65 
 
 212 
 
 55 
 
 
 French 
 
 
 19 th 
 
 154 . ’52 
 
 269 
 
 55 
 
 
 55 ’ * 
 
 
 55 
 
 x5s. ’52 
 
 266 
 
 55 
 
 
 55 • • 
 
 
 55 
 
 1 5 6 . ’5 1 
 
 267 
 
 55 
 
 
 Spanilh 
 
 
 55 
 
 ? 2 4 . ’66 
 
 273 
 
 Cenfer 
 
 
 German 
 
 
 1 2 th 
 
 ’ 73 . 524 
 
 3 1 3 
 
 55 
 
 
 Italian 
 
 
 1 6 th 
 
 5418 . ’59 
 
 137 
 
 55 
 
 
 55 * • 
 
 
 „ (?) 
 
 7872 . ’61 
 
 1 3 6 
 
 Chalice 
 
 
 55 
 
 
 1 3 th 
 
 237 . ’74 
 
 4i 
 
 55 
 
 
 55 
 
 
 55 
 
 235. ’74 
 
 42 
 
 55 
 
 
 55 
 
 
 14 th 
 
 233. ’74 
 
 55 
 
 55 
 
 
 55 • 
 
 
 55 
 
 234- ’74 
 
 56 
 
 
 
 German . 
 
 
 55 
 
 236. ’74 
 
 56 
 
 55 
 
 
 French 
 
 
 55 
 
 4903 . ’59 
 
 60 
 
 55 
 
 
 German . 
 
 
 55 
 
 4 523. ’58 
 
 74 
 
 55 
 
 
 55 * • 
 
 
 15 th 
 
 631 . ’68 
 
 80 
 
 
 
 Italian 
 
 
 55 
 
 4633 . ’58 
 
 84 
 
 55 
 
 
 55 • 
 
 
 55 
 
 5416 . ’59 
 
 85 
 
 55 
 
 
 55 
 
 
 55 
 
 5780 . ’59 
 
 86 
 
 55 
 
 
 German ? . 
 
 
 55 
 
 4 g 34- ’5g 
 
 9 1 
 
 55 
 
 
 ? 
 
 55 * * 
 
 
 55 
 
 4635. ’5S 
 
 99 
 
 
 
 55 * * 
 
 
 55 
 
 2102 . ’55 
 
 IOO 
 
 55 
 
 
 Italian 
 
 
 55 
 
 ’ 69 . 5i 
 
 326 
 
 55 
 
 
 55 
 
 
 1 6 th 
 
 323 7 . ’56 
 
 120 
 
 
 
 German 
 
 
 
 55o. ’74 
 
 120 
 
 55 
 
 
 Italian 
 
 
 55 
 
 6960 . ’60 
 
 1 21 
 
 55 
 
 and paten 
 
 Spanilh 
 
 
 55 
 
 i32. ’73 
 
 130 
 
 55 
 
 
 German . 
 
 
 55 
 
 6971 . ’61 
 
 146 
 
 55 
 
 
 5 > 
 
 
 55 
 
 3 94 - ’53 
 
 146 
 
 55 
 
 and paten 
 
 Englilh 
 
 
 55 
 
 4 636. ’58 
 
 j 5 9 
 
 55 
 
 
 Spanilh 
 
 
 55 
 
 302. ’66 
 
 160 
 
 
 
 Italian 
 
 
 
 2103 . ’55 
 
 l6l 
 
 
 
 
 
 55 
 
 ’ 69 . 53 
 
 33o 
 
 55 
 
 
 55 • • 
 
 
 55 
 
 ’ 69 . 52 
 
 33o 
 
 
 
 55 
 
 
 55 
 
 ’69- 54 
 
 33o 
 
 55 
 
 
 Spanilh 
 
 
 17 th 
 
 481 . ’75 
 
 197 
 
 
 
 Portuguefe 
 
 
 18 th 
 
 162 . ’66 
 
 232 
 
 
 
 Englilh 
 
 
 19 th 
 
 1327 . ’5i 
 
 268 
 
 
 
 
 
 
 1328. ’5i 
 
 268 
 
 55 
 
 
 55 
 
 
 55 
 
 1329 . ’52 
 
 263 
 
382 
 
 Index of ObjeEis 
 
 Name of Objeft. 
 
 Country. 
 
 Century. 
 
 Number. 
 
 Page. 
 
 Chandelier . 
 
 Engtilh 
 
 17 th 
 
 ’68. 120 
 
 345 
 
 Chocolate pot 
 
 11 ... 
 
 1 8 th 
 
 460. ’75 
 
 256 
 
 Chrifmatory 
 
 German . 
 
 1 5 th 
 
 7243. ’61 
 
 95 
 
 
 19 • • * 
 
 11 
 
 ’ 7 3 . 468 
 
 3 z 6 
 
 Chriftening font . 
 
 Englilh 
 
 17th 
 
 ’ 65 . 80 
 
 341 
 
 Ciborium 
 
 Ruffian 
 
 1 2th 
 
 ’68. 108 
 
 315 
 
 Coffee pot . 
 
 Englilh 
 
 1 8 th 
 
 3 9 3 . ’64 
 
 2,5 I 
 
 J» • * • 
 
 99 ... 
 
 11 
 
 494. ’75 
 
 252 
 
 Collar , 
 
 Byzantine Gothic 
 
 6 th 
 
 ’68. 7 5 
 
 302 
 
 Corona lucis 
 
 German 
 
 1 ith 
 
 ’ 74 - 134 
 
 3 o 8 
 
 Cover of cup 
 
 Byzantine . 
 
 1 2th 
 
 392. ’72 
 
 21 
 
 Crefting 
 
 German 
 
 1 3 th 
 
 7237. ’60 
 
 38 
 
 Crofs .... 
 
 Byzantine . 
 
 12th 
 
 99. ’66 
 
 20 
 
 
 Rhenilh 
 
 11 
 
 7234. ’60 
 
 i 3 
 
 11 
 
 French (?) 
 
 1 3 th 
 
 8991. ’63 
 
 27 
 
 
 Italian 
 
 » (?) 
 
 2097. ’55 
 
 39 
 
 J) * 
 
 99 ... 
 
 14th 
 
 244. ’74 
 
 53 
 
 
 Spanifh 
 
 (?) 
 
 S14. ’73 
 
 70 
 
 
 German 
 
 1 5 th 
 
 258 i. ’56 
 
 96 
 
 
 99 
 
 11 
 
 445 o. ’58 
 
 97 
 
 
 91 •• • 
 
 11 
 
 2434. ’56 
 
 IO4 
 
 
 Ruffian 
 
 „ (?) 
 
 1 5 5 . ’66 
 
 III 
 
 
 Italian 
 
 11 
 
 ’69. 5 o 
 
 3 z 8 
 
 
 91 ... 
 
 1 6th 
 
 ’68. hi 
 
 329 
 
 
 11 ... 
 
 11 
 
 757. ’64 
 
 I 2 I 
 
 
 Spanilh 
 
 11 
 
 293. ’66 
 
 1 65 
 
 
 
 11 
 
 3 o 5 . ’66 
 
 162 
 
 
 German 
 
 17 th 
 
 469. ’69 
 
 188 
 
 
 Spanilh 
 
 11 
 
 33 o. ’64 
 
 195 
 
 
 11 ... 
 
 11 
 
 298. ’66 
 
 197 
 
 
 Ruffian . 
 
 11 
 
 98. ’66 
 
 229 
 
 
 
 11 
 
 io 3 . ’66 
 
 23 o 
 
 
 11 ... 
 
 11 
 
 io 5 . ’66 
 
 229 
 
 
 
 11 
 
 106. ’66 
 
 23 o 
 
 
 11 ... 
 
 91 
 
 107. ’66 
 
 23 o 
 
 
 11 ... 
 
 99 
 
 109. ’66 
 
 229 
 
 
 
 11 
 
 hi. ’66 
 
 23 o 
 
 
 11 ... 
 
 11 
 
 5 o 8 . ’69 
 
 23 i 
 
 
 11 ... 
 
 11 
 
 509. ’69 
 
 23 i 
 
 
 11 ... 
 
 11 
 
 5 io. ’69 
 
 23 i 
 
 
 11 ... 
 
 11 
 
 5 n. ’69 
 
 23 i 
 
 
 11 ... 
 
 11 
 
 5 1 2. ’69 
 
 23 i 
 
 
 )J ... 
 
 19 
 
 513. ’69 
 
 232 
 
 
 )) ... 
 
 11 
 
 514. ’69 
 
 232 
 
 
 Abyffinian 
 
 19 th 
 
 1732. ’69 
 
 283 
 
 
 11 
 
 11 
 
 1733. ’69 
 
 284 
 
 Crown 
 
 11 ... 
 
 17 th (?) 
 
 257. ’69 
 
 281 
 
 
 German 
 
 19th 
 
 8362. ’63 
 
 277 
 
 Crozier 
 
 11 
 
 I Ith 
 
 ’ 73 - 377 
 
 306 
 
 
 11 
 
 14th 
 
 7950. ’62 
 
 69 
 
 Crucifix 
 
 Byzantine 
 
 loth 
 
 7943. ’62 
 
 2 
 
 
 German . 
 
 nth 
 
 16. ’73 
 
 3 
 
 
 11 
 
 11 
 
 ’ 74 - 34 
 
 304 
 
 
 11 * * ‘ 
 
 11 
 
 ’ 74 - 35 
 
 305 
 
 
 Italian 
 
 12th 
 
 69. ’67 
 
 314 
 
 
 German . 
 
 11 
 
 7938. ’62 
 
 15 
 
 
 French 
 
 13th 
 
 2092. ’55 
 
 38 
 
 
 11 ... 
 
 11 
 
 2091. ’55 
 
 43 
 
 
 German 
 
 14th 
 
 7939. ’62 
 
 72 
 
 11 ... 
 
 11 * * * 
 
 )) 
 
 1172. ’64 
 
 73 
 
Index of ObjeBs. 
 
 383 
 
 Name of Objeft. 
 
 Country . 
 
 Century. 
 
 Number. 
 
 Page. 
 
 Crucifix 
 
 
 
 
 Italian 
 
 1 4t 
 
 54 H- ’59 
 
 77 
 
 99 
 
 
 
 
 99 ... 
 
 15 th 
 
 7352. ’61 
 
 85 
 
 99 
 
 
 
 
 French . 
 
 99 
 
 54. ’67 
 
 89 
 
 99 
 
 
 
 
 Flemilh 
 
 99 
 
 2093. ’55 
 
 92 
 
 
 
 
 
 German 
 
 
 181. ’66 
 
 96 
 
 99 
 
 
 
 
 Italian 
 
 1 6th 
 
 77 ° 4 - ’55 
 
 122 
 
 99 
 
 
 
 
 French 
 
 99 
 
 599. ’64 
 
 143 
 
 
 
 
 
 99 ... 
 
 17 th 
 
 542. ’68 
 
 183 
 
 99 
 
 
 
 
 Ruffian 
 
 99 
 
 104. ’66 
 
 229 
 
 99 
 
 
 
 
 French 
 
 19 th 
 
 2648. ’56 
 
 272 
 
 Cruet . 
 
 
 
 
 German 
 
 13th 
 
 1471. ’70 
 
 25 
 
 » 
 
 
 
 
 French 
 
 14th 
 
 15. ’64 
 
 65 
 
 >> * 
 
 
 
 
 German 
 
 15 th 
 
 7914. ’62 
 
 95 
 
 99 
 
 
 
 
 Englilh 
 
 99 
 
 449. ’65 
 
 104 
 
 99 
 
 
 
 
 Flemilh (?) . 
 
 99 
 
 4260. ’57 
 
 104 
 
 Cruet (land 
 
 
 
 
 French 
 
 17th 
 
 32. ’68 
 
 186 
 
 Cup . 
 
 
 
 
 Greco-Roman . 
 
 — 
 
 317 - ’74 
 
 292 
 
 99 • 
 
 
 
 
 99 • • 
 
 — 
 
 318. ’74 
 
 292 
 
 99 • 
 
 
 
 
 99 • • 
 
 — 
 
 3 i 9 - ’74 
 
 292 
 
 99 • 
 
 
 
 
 99 • • 
 
 — 
 
 320. ’74 
 
 293 
 
 99 
 
 
 
 
 99 • • 
 
 — 
 
 321. ’74 
 
 293 
 
 99 
 
 
 
 
 99 • 
 
 — 
 
 322. ’74 
 
 293 
 
 99 
 
 
 
 
 Burgundian 
 
 15 th 
 
 403. ’72 
 
 79 
 
 99 
 
 
 
 
 German 
 
 99 
 
 2162. ’55 
 
 107 
 
 99 
 
 
 
 
 99 ... 
 
 1 6th 
 
 555 - ’74 
 
 *45 
 
 99 • 
 
 
 
 
 99 ... 
 
 99 
 
 150. ’72 
 
 J 53 
 
 99 • 
 
 
 
 
 99 ... 
 
 99 
 
 4 g 5 - ’73 
 
 1 55 
 
 99 
 
 
 
 
 99 ... 
 
 99 
 
 486. ’73 
 
 *54 
 
 99 • 
 
 
 
 
 99 ... 
 
 
 627. ’72 
 
 156 
 
 99 • 
 
 
 
 
 ,, ... 
 
 99 
 
 319 - ’54 
 
 157 
 
 99 
 
 
 
 
 Engliffi 
 
 99 
 
 38. ’67 
 
 169 
 
 99 • 
 
 
 
 
 German 
 
 99 
 
 4395 - ’57 
 
 1 57 
 
 99 • 
 
 
 
 
 99 ... 
 
 99 
 
 4688. ’58 
 
 157 
 
 99 • 
 
 
 
 
 99 ... 
 
 99 
 
 8494. ’63 
 
 158 
 
 99 
 
 
 
 
 „ ... 
 
 99 
 
 6581. ’59 
 
 158 
 
 99 
 
 
 
 
 » ... 
 
 99 
 
 77. ’66 
 
 1 58 
 
 99 * 
 
 
 
 
 99 ... 
 
 99 
 
 623. ’65 
 
 l S 9 
 
 99 
 
 
 
 
 » ... 
 
 99 
 
 3641. ’56 
 
 168 
 
 99 • 
 
 
 
 
 99 ... 
 
 99 
 
 1056. ’71 
 
 168 
 
 • 
 
 
 
 
 Englilh 
 
 99 
 
 4893. ’58 
 
 170 
 
 » 
 
 
 
 
 Dutch 
 
 99 
 
 4869. ’58 
 
 172 
 
 
 
 
 
 ,, ... 
 
 99 
 
 2117. ’55 
 
 172 
 
 
 
 
 
 German . . 
 
 17 th 
 
 3 l8 - ’54 
 
 *74 
 
 99 
 
 
 
 
 99 ... 
 
 99 
 
 6558. ’59 
 
 178 
 
 99 • 
 
 
 
 
 Englilh 
 
 99 
 
 5964. ’59 
 
 176 
 
 99 • 
 
 
 
 
 99 • • 
 
 99 
 
 52. ’65 
 
 184 
 
 
 
 
 
 Flemilh 
 
 99 
 
 168. ’65 
 
 191 
 
 99 
 
 
 
 
 Dutch . 
 
 99 
 
 48. ’70 
 
 192 
 
 99 
 
 
 
 
 German 
 
 99 
 
 4 * 95 - ’57 
 
 193 
 
 99 • 
 
 
 
 
 ,, ... 
 
 99 
 
 521. ’72 
 
 193 
 
 99 • 
 
 
 
 
 Italian 
 
 99 
 
 49. ’67 
 
 198 
 
 99 
 
 
 
 
 German 
 
 99 
 
 3636. ’56 
 
 201 
 
 99 
 
 
 
 
 Englilh 
 
 „ 
 
 7242. ’61 
 
 202 
 
 
 
 
 
 German 
 
 99 
 
 553 - ’74 
 
 204 
 
 99 
 
 
 
 
 
 99 
 
 9016. ’63 
 
 205 
 
 
 
 
 
 French 
 
 • ” 
 
 393 - ’53 
 
 206 
 
 
 
 
 
 German 
 
 „ 
 
 100. ’72 
 
 206 
 
 99 • 
 
 
 
 
 99 ... 
 
 1 6th 
 
 ’71. 42 
 
 332 
 
 
 
 
 
 
 99 
 
 ’71. 43 
 
 335 
 
 
 
 
 
 99 ... 
 
 99 
 
 ’ 7 i- 45 
 
 336 
 
 » * 
 
 
 
 • 
 
 99 ... 
 
 99 
 
 ’71. 46 
 
 333 
 
384 
 
 Index of ObjeSls 
 
 Cup 
 
 99 
 
 >5 
 
 99 
 
 99 
 
 Name of Objeft. 
 
 Country. 
 
 Century. 
 
 German 
 
 Italian 
 
 German 
 
 Ruffian 
 
 1 6th 
 
 5 > 
 
 >> 
 
 >> 
 
 17 th 
 
 99 
 
 99 
 
 99 
 
 German 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 Dutch 
 
 Engliffi 
 
 99 
 
 German 
 
 99 
 
 Engliffi 
 
 German 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 * 
 
 99 • • 
 
 >5 
 
 99 * 
 
 99 
 
 99 * 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 * 
 
 99 
 
 99 
 
 99 
 
 99 * 
 
 99 * * 
 
 99 * 
 
 99 
 
 99 
 
 99 • * 
 
 99 * * 
 
 99 
 
 Dagger 
 
 99 
 
 99 
 
 Dinner fervice 
 Diptych 
 
 99 * 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 Ruffian 
 
 Engliffi 
 
 99 
 
 French 
 
 German 
 
 99 
 
 99' 
 
 Engliffi 
 
 German 
 
 Dutch 
 
 Ruffian 
 
 Engliffi 
 
 Ruffian 
 
 99 
 
 99 
 
 Engliffi 
 
 99 
 
 French 
 
 99 
 
 Abyffinian 
 
 99 
 
 German 
 
 99 
 
 French 
 
 Italian 
 
 French 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 1 8th 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 9) 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 I9th 
 
 99 
 
 99 
 
 99 
 
 99 
 
 1 6th 
 
 99 
 
 19th 
 17th 
 1 3 th 
 
 99 
 
 99 
 
 99 
 
 99 
 
 Dish 
 
 99 
 
 99 
 
 Italian 
 
 » • 
 
 Greco-Roman 
 
 » 
 
 » 
 
 15th 
 
 16th 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 99 
 
 German 
 
 Portuguefe 
 
 Spaniffi 
 
 14th 
 
 15th 
 
 17th 
 
 Number. 
 
 Page. 
 
 ’7i 
 
 47 
 
 333 
 
 ’52 
 
 3 
 
 334 
 
 ’65. 
 
 54 
 
 335 
 
 ’72. 
 
 262 
 
 339 
 
 ’66. 
 
 l6 
 
 353 
 
 ’66. 
 
 37 
 
 353 
 
 4292. 
 
 ’57 
 
 206 
 
 43- 
 
 ’64 
 
 20 7 
 
 8458. 
 
 ’63 
 
 207 
 
 568. 
 
 ’74 
 
 208 
 
 290. 
 
 ’54 
 
 208 
 
 5i- 
 
 ’65 
 
 209 
 
 3638. 
 
 ’56 
 
 210 
 
 1280. 
 
 ’72 
 
 210 
 
 556. 
 
 ’74 
 
 2 1 1 
 
 9015. 
 
 ’63 
 
 213 
 
 47- 
 
 ’64 
 
 220 
 
 4861. 
 
 ’58 
 
 221 
 
 320. 
 
 ’54 
 
 222 
 
 2125. 
 
 ’55 
 
 222 
 
 4294. 
 
 ’57 
 
 223 
 
 6821. 
 
 ’60 
 
 223 
 
 144. 
 
 ’65 
 
 226 
 
 809. 
 
 ’64 
 
 234 
 
 3 635. 
 
 ’56 
 
 237 
 
 5 . 
 
 ’67 
 
 234 
 
 116. 
 
 ’64 
 
 237 
 
 292. 
 
 ’ 5 4 
 
 239 
 
 260. 
 
 ’64 
 
 240 
 
 693. 
 
 ’68 
 
 240 
 
 45- 
 
 ’64 
 
 243 
 
 489. 
 
 ’75 
 
 249 
 
 554- 
 
 ’74 
 
 25 o 
 
 570. ’74 
 
 571. ’74 
 262. ’75 
 1 3 1. ’64 
 
 ’66. 38 
 ’68. 96 
 ’70. 1463 
 161. ’5i 
 8028. ’62 
 63. ’70 
 848. ’68 
 2188. ’55 
 2187. ’55 
 169. ’5 1 
 1323. ’54 
 212. ’74 
 213- ’74 
 
 214. ’74 
 
 215. ’74 
 
 216. ’74 
 4355- ’57 
 
 382. ’54 
 323. ’74 
 
 334- ’74 
 
 335- ’74 
 7544. ’61 
 
 ’72. 24 
 318. ’64 
 
 2 55 
 
 257 
 
 259 
 
 259 
 
 355 
 
 3S9 
 
 361 
 
 270 
 
 270 
 
 283 
 
 283 
 
 152 
 
 173 
 
 265 
 
 182 
 
 44 
 46 
 
 45 
 40 
 43 
 83 
 
 i 3 4 
 
 294 
 
 296 
 
 296 
 
 76 
 
 322 
 
 197 
 
Index of ObjeBs. 
 
 385 
 
 Name of Objeft. 
 
 Country. 
 
 Century. 
 
 Number. 
 
 Page. 
 
 Difh . 
 
 Spanifh 
 
 17th 
 
 855. ’73 
 
 198 
 
 99 • • 
 
 99 ... 
 
 99 
 
 3 i S . ’6 4 
 
 199 
 
 99 • • 
 
 99 ... 
 
 99 
 
 317. ’64 
 
 198 
 
 99 • • 
 
 Indo-Portuguefe . 
 
 99 
 
 33. ’66 
 
 200 
 
 99 • 
 
 German 
 
 99 
 
 9031. ’63 
 
 2X9 
 
 99 
 
 Dutch 
 
 99 
 
 1058. ’S3 
 
 226 
 
 99 * • • • 
 
 Englilh 
 
 99 
 
 ’68. 132 
 
 3 4 5 
 
 99 
 
 Spanilh 
 
 99 
 
 ’54. 19 
 
 355 
 
 99 
 
 Portuguefe 
 
 99 
 
 ’S4. ’21 
 
 356 
 
 99 
 
 Englilh 
 
 1 8 th 
 
 810. ’64 
 
 2 35 
 
 99 • • * • 
 
 German 
 
 >> 
 
 4531. ’58 
 
 243 
 
 Elephant 
 
 Englilh 
 
 99 
 
 ’68. 97 
 
 359 
 
 Epergne 
 
 
 99 
 
 ’68. 101 
 
 357 
 
 Ewer .... 
 
 Byzantine . 
 
 Sth 
 
 ’68. 73 
 
 3 oo 
 
 99 • * • 
 
 Englilh 
 
 1 6th 
 
 8457. ’63 
 
 173 
 
 99 • • 
 
 German 
 
 99 
 
 ’S 6 - 53 
 
 334 
 
 99 • • * • 
 
 Englilh 
 
 99 
 
 ’68. 85 
 
 337 
 
 
 
 99 
 
 ’61. 1 
 
 338 
 
 
 
 i8th 
 
 ’68. 87 
 
 358 
 
 99 
 
 German 
 
 99 
 
 573 - ’74 
 
 248 
 
 
 Dutch 
 
 99 
 
 572. ’74 
 
 249 
 
 99 
 
 Englilh 
 
 19th 
 
 394. ’64 
 
 262 
 
 99 * • • * 
 
 
 • 99 
 
 1292. ’54 
 
 264 
 
 Finial 
 
 German 
 
 13 th 
 
 4525. ’58 
 
 26 
 
 Fire dog 
 
 Englilh 
 
 17 th 
 
 ’68. 91 
 
 343 
 
 
 
 99 
 
 ’68. 102 
 
 34 2 
 
 
 
 99 
 
 ’68. 114 
 
 346 
 
 
 
 99 
 
 ’68. 115 
 
 346 
 
 Fish flice 
 
 
 1 8th 
 
 993. ’72 
 
 246 
 
 Flabellum . ... 
 
 Roumanian 
 
 17 th 
 
 ’68. 78 
 
 3 5 r 
 
 Flagon 
 
 Portuguefe 
 
 99 
 
 164. ’66 
 
 207 
 
 
 Englilh 
 
 99 
 
 ’ 65 . 78 
 
 342 
 
 
 
 18th 
 
 ’68. 82 
 
 359 
 
 
 
 19 th 
 
 8118. ’63 
 
 273 
 
 Flask. .... 
 
 
 
 2743. ’ 5 i 
 
 263 
 
 
 French 
 
 
 168. ’54 
 
 266 
 
 Flat ornament 
 
 Alhanti 
 
 99 
 
 378 . ’74 
 
 288 
 
 Fly flapper . 
 
 Abyflinian 
 
 99 
 
 849. ’68 
 
 285 
 
 Fork .... 
 
 Italian 
 
 16 th 
 
 2256. ’55 
 
 143 
 
 Frame 
 
 
 1 Sth 
 
 3269. ’56 
 
 no 
 
 
 German 
 
 1 6 th 
 
 ’ 73 . 456 
 
 387 
 
 
 French 
 
 17th 
 
 36. ’66 
 
 1 85 
 
 99 ... 
 
 
 99 
 
 37. ’66 
 
 186 
 
 
 Italian 
 
 1 8th 
 
 324. ’72 
 
 245 
 
 99 • 
 
 Spanilh 
 
 19 th 
 
 1007. ’69 
 
 273 
 
 Girdle 
 
 Italian 
 
 14 th 
 
 4278. ’57 
 
 5 ° 
 
 Goblet 
 
 Englilh 
 
 17 th 
 
 152. ’70 
 
 22 3 
 
 Hammer 
 
 Italian 
 
 1 6 th 
 
 ’72. 266 
 
 328 
 
 Hanap 
 
 German . 
 
 1 Sth 
 
 56 o. ’74 
 
 I06 
 
 
 
 99 
 
 S6o a . ’74 
 
 107 
 
 
 
 ? 
 
 99 ■ 
 
 2 45 - ’74 
 
 I I 2 
 
 
 
 ? 
 
 99 ■ 
 
 2114. ’55 
 
 114 
 
 
 
 ? 
 
 99 • 
 
 7941. ’62 
 
 115 
 
 
 
 ? 
 
 2112. ’55 
 
 Il6 
 
 
 
 16 th 
 
 2H3. ’ss 
 
 117 
 
 
 
 99 
 
 614. ’72 
 
 117 
 
 99 ... 
 
 
 99 
 
 2122. ’55 
 
 118 
 
 
 
 99 
 
 2123. ’55 
 
 Il8 
 
 
 
 99 
 
 502. ’55 
 
 119 
 
 Handle of vafe 
 
 Greco-Roman . 
 
 — 
 
 338 . ’74 
 
 2 97 
 
 Head of cane 
 
 French 
 
 1 8 th 
 
 522. ’68 
 
 246 
 
 36 io 5 . b b 
 
386 
 
 Index of Obje&s. 
 
 Name of Obje£L 
 
 Country. 
 
 Century. 
 
 Number. 
 
 Page. 
 
 Head-drefs . 
 
 
 
 Afhanti 
 
 
 
 
 19 th 
 
 377. ’74 
 
 288 
 
 Holy water veffel . 
 
 
 Italian 
 
 
 
 
 16th 
 
 649. ’65 
 
 124 
 
 99 • 
 
 
 
 99 
 
 
 
 
 99 
 
 7874. ’61 
 
 124 
 
 99 
 
 
 
 Flemilh 
 
 
 
 
 17th 
 
 293. ’64 
 
 187 
 
 99 
 
 
 
 French 
 
 
 
 
 1 8th 
 
 1201. ’64 
 
 247 
 
 Horn . 
 
 
 
 Italian 
 
 
 
 
 1 6th 
 
 ’ S7 . ’16 
 
 329 
 
 99 • 
 
 
 
 German 
 
 
 
 
 99 
 
 ’71. 44 
 
 332 
 
 Image . 
 
 
 
 French 
 
 
 
 
 14 th 
 
 395- ’72 
 
 60 
 
 99 
 
 
 
 99 
 
 
 
 
 99 
 
 1198. ’64 
 
 61 
 
 99 
 
 
 
 Italian 
 
 
 
 
 99 
 
 ’69- 55 
 
 322 
 
 99 • 
 
 
 
 German 
 
 
 
 
 15 th 
 
 1150. ’64 
 
 in 
 
 99 
 
 
 
 99 
 
 
 
 
 99 
 
 6770. ’60 
 
 112 
 
 99 
 
 
 
 99 
 
 
 
 
 99 
 
 28. ’69 
 
 112 
 
 99 • 
 
 
 
 Italian 
 
 
 
 
 1 6th 
 
 7919. ’62 
 
 119 
 
 99 • 
 
 
 
 Spanilh 
 
 
 
 
 99 
 
 178. ’64 
 
 164 
 
 99 * 
 
 
 
 99 
 
 
 
 
 99 
 
 179. ’64 
 
 165 
 
 99 • 
 
 
 
 99 
 
 
 
 
 99 
 
 153. ’66 
 
 166 
 
 99 • 
 
 
 
 99 
 
 
 
 
 99 
 
 154. ’66 
 
 167 
 
 99 • 
 
 
 
 99 
 
 
 
 
 99 
 
 109. ’64 
 
 167 
 
 99 • 
 
 
 
 99 
 
 
 
 
 17 th 
 
 236. ’64 
 
 198 
 
 Incenfe burner 
 
 
 
 Belgian 
 
 
 
 
 19 th 
 
 6744. ’5 1 
 
 269 
 
 Incenfe holder 
 
 
 
 German 
 
 
 
 
 14th 
 
 7906. ’63 
 
 75 
 
 99 
 
 
 
 99 
 
 • 
 
 
 
 15th 
 
 7873. ’61 
 
 94 
 
 99 
 
 
 
 Italian 
 
 
 
 
 1 6 th 
 
 1129. ’64 
 
 123 
 
 Inkftand 
 
 
 
 99 
 
 
 
 
 99 
 
 4527. ’58 
 
 135 
 
 Jar . . 
 
 
 
 Englilh 
 
 
 
 
 1 8th 
 
 ’68. ’83 
 
 359 
 
 99 * • 
 
 
 
 Ruffian 
 
 
 
 
 19 th 
 
 976. ’69 
 
 277 
 
 99 • • 
 
 
 
 99 
 
 
 
 
 99 
 
 977. ’69 
 
 278 
 
 99 • • 
 
 
 
 99 
 
 
 
 
 99 
 
 978. ’69 
 
 278 
 
 Jug • 
 
 
 
 German 
 
 
 
 
 1 6 th 
 
 2119. ’55 
 
 171 
 
 M ' • 
 
 
 
 Englilh 
 
 
 
 
 99 
 
 7915. ’62 
 
 173 
 
 99 • • 
 
 
 
 99 
 
 
 
 
 17 th 
 
 2120. ’55 
 
 215 
 
 99 * • 
 
 
 
 99 
 
 
 
 
 99 
 
 2l5. ’69 
 
 215 
 
 99 • • 
 
 
 
 99 
 
 
 
 
 99 
 
 214. ’69 
 
 217 
 
 99 * 0 
 
 
 
 German 
 
 
 
 
 1 8th 
 
 9030. ’63 
 
 260 
 
 Kettle 
 
 
 
 Englilh 
 
 
 
 
 99 
 
 ’68. 84 
 
 357 
 
 Knife 
 
 
 
 Italian 
 
 
 
 
 15 th 
 
 5 4 i 5. ’59 
 
 no 
 
 99 • 
 
 
 
 99 
 
 
 
 
 99 
 
 359- ’ 6 4 
 
 no 
 
 )) 
 
 
 
 99 
 
 
 
 
 99 
 
 4303. ’57 
 
 no 
 
 99 
 
 
 
 Turkilh 
 
 
 
 
 19th 
 
 1025. ’69 
 
 280 
 
 Knife-handle 
 
 
 
 Italian 
 
 
 
 
 1 6th 
 
 779. ’64 
 
 119 
 
 Ladle . 
 
 
 
 Greco-Roman 
 
 
 
 — 
 
 328. ’74 
 
 295 
 
 99 
 
 
 
 99 
 
 
 
 
 — 
 
 329. ’74 
 
 295 
 
 Mace . 
 
 
 
 Englilh 
 
 
 
 
 17 th 
 
 847. ’70 
 
 176 
 
 99 
 
 
 
 99 
 
 
 
 
 99 
 
 3i. ’69 
 
 214 
 
 Mazer 
 
 
 
 99 
 
 
 
 
 1 6 th 
 
 45- ’74 
 
 171 
 
 Medallion . 
 
 
 
 German 
 
 
 
 
 1 3th 
 
 219. ’74 
 
 47 
 
 99 
 
 
 
 99 
 
 
 
 
 14th 
 
 1149. ’64 
 
 75 
 
 99 
 
 
 
 99 
 
 
 
 
 1 6 th 
 
 225. ’66 
 
 125 
 
 99 
 
 
 
 „ 
 
 
 
 
 99 
 
 4053. ’56 
 
 i5o 
 
 5> • 
 
 
 
 99 
 
 
 
 
 99 
 
 4287. ’57 
 
 151 
 
 99 
 
 
 
 99 
 
 
 
 
 17th 
 
 9075. ’63 
 
 152 
 
 99 * 
 
 
 
 99 
 
 
 
 
 99 
 
 ’66. ’67 
 
 174 
 
 99 * 
 
 
 
 Englilh 
 
 
 
 
 99 
 
 126. ’65 
 
 177 
 
 99 
 
 
 
 German 
 
 
 
 
 99 
 
 274. ’66 
 
 190 
 
 99 
 
 
 
 99 
 
 
 
 
 99 
 
 67. ’67 
 
 211 
 
 99 
 
 
 
 99 
 
 
 
 
 18 th 
 
 3633. ’55 
 
 236 
 
 Milk jug 
 
 
 
 Dutch 
 
 
 
 
 
 x 3 3 1 . ’71 
 
 245 
 
 Mirror 
 
 
 
 Italian 
 
 
 
 
 1 6th 
 
 7648. ’61 
 
 i 3 i 
 
 99 
 
 
 
 French 
 
 
 
 
 19th 
 
 2705. ’56 
 
 271 
 
 99 • 
 
 
 
 Englilh 
 
 
 
 
 17 th 
 
 ’68. 1 35 
 
 344 
 
Index of Object's. 
 
 387 
 
 Name of Objeft. 
 
 Country. 
 
 Century. 
 
 Number. 
 
 Page. 
 
 Mirror 
 
 Englifh 
 
 
 17 th 
 
 ’68. i 36 
 
 344 
 
 11 • 
 
 11 
 
 
 91 
 
 69. ’64 
 
 344 
 
 Mirror cafe . 
 
 Italian 
 
 
 1 6 th 
 
 ’73. 467 
 
 337 
 
 
 Englifh 
 
 
 17th 
 
 ’68. 98 
 
 343 
 
 Monftrance . 
 
 French 
 
 
 1 5 th 
 
 3005. ’57 
 
 89 
 
 
 Italian 
 
 
 11 
 
 287. ’64 
 
 IOI 
 
 
 Spanifh 
 
 
 1 6th 
 
 43 io. ’57 
 
 129 
 
 
 99 
 
 
 11 
 
 190. ’66 
 
 i 65 
 
 11 • • * 
 
 Portuguefe 
 
 
 11 
 
 9. ’66 
 
 170 
 
 
 Spanifh 
 
 
 17th 
 
 3 o 3 . ’74 
 
 196 
 
 Monument . 
 
 Englifh 
 
 .. 
 
 1 6th 
 
 4358 . ’ 5 7 
 
 i 3 o 
 
 Morfe 
 
 German . 
 
 
 1 3 th 
 
 4308. ’57 
 
 32 
 
 
 French 
 
 
 
 i 586 . ’55 
 
 32 
 
 
 99 • 
 
 
 11 
 
 i 58 7 . ’55 
 
 32 
 
 
 Italian 
 
 
 14th 
 
 22i. ’74 
 
 53 
 
 
 German . 
 
 
 1 5 th 
 
 394. ’72 
 
 98 
 
 Mount of fcabbard 
 
 
 
 1 6 th 
 
 604. ’64 
 
 172 
 
 Muftard pot 
 
 ? 
 
 99 ■ * 
 
 
 1 8 th 
 
 1 17. ’64 
 
 246 
 
 Nautilus Ihell 
 
 Italian 
 
 
 1 6th 
 
 ’ 58 . i 
 
 329 
 
 Nutmeg grater 
 
 Englifh 
 
 
 1 8th 
 
 811. ’64 
 
 235 
 
 Offertory difh 
 
 99 
 
 
 17th 
 
 ’ 65 . 79 
 
 342 
 
 Pail .... 
 
 Flemifh 
 
 
 15 th ? 
 
 602. ’64 
 
 93 
 
 Pantoor 
 
 Syrian 
 
 
 19 th 
 
 5 oi. ’69 
 
 280 
 
 
 19 
 
 
 11 
 
 1 568 . ’73 
 
 281 
 
 Paftoral staff 
 
 French 
 
 
 13 th 
 
 2100. ’55 
 
 34 
 
 
 German 
 
 
 99 
 
 7236. ’60 
 
 35 
 
 
 French 
 
 
 11 
 
 195. ’69 
 
 35 
 
 
 
 
 11 
 
 288. ’74 
 
 43 
 
 
 
 
 14th 
 
 7952. ’62 
 
 57 
 
 
 Italian 
 
 
 11 
 
 7951. ’62 
 
 74 
 
 Patera 
 
 Antique Greco-Roman 
 
 — 
 
 3i2. ’74 
 
 290 
 
 
 Greco-Roman . 
 
 
 — 
 
 3 1 3 . ’74 
 
 291 
 
 
 99 
 
 
 — 
 
 314. ’74 
 
 291 
 
 
 
 
 — 
 
 3 1 5 . ’74 
 
 291 
 
 Pax .... 
 
 French 
 
 
 14th 
 
 1148. ’64 
 
 64 
 
 
 Italian 
 
 
 1 5 th 
 
 4408. ’57 
 
 io 5 
 
 . 
 
 
 
 1 6th 
 
 1205 . ’54 
 
 123 
 
 
 
 
 11 
 
 3580. ’56 
 
 124 
 
 
 
 
 11 
 
 6977. ’60 
 
 125 
 
 
 
 
 11 
 
 401. ’72 
 
 126 
 
 
 
 
 11 
 
 444 >s 7 
 
 128 
 
 
 Spanifh 
 
 
 11 
 
 92. ’65 
 
 128 
 
 
 
 
 11 
 
 1192. ’64 
 
 135 
 
 
 Italian 
 
 
 11 
 
 130. ’64 
 
 1 36 
 
 
 Spanifh 
 
 
 11 
 
 314. ’64 
 
 l6l 
 
 Perfume burner . 
 
 Italian 
 
 
 11 
 
 5727. ’59 
 
 141 
 
 
 French 
 
 
 19 th 
 
 Vtr. ’Si 
 
 265 
 
 Perfume caster 
 
 Indian 
 
 
 — 
 
 ’68. 133 
 
 346 
 
 
 
 
 — 
 
 ’68. 134 
 
 347 
 
 Pipe .... 
 
 Afhanti 
 
 
 19th 
 
 368 . ’74 
 
 287 
 
 Plaque . . . 
 
 French 
 
 
 13 th 
 
 6816. ’60 
 
 3 i 
 
 
 ? 
 
 
 
 229. ’74 
 
 46 
 
 
 Italian 
 
 
 14th 
 
 4508. ’58 
 
 5 o 
 
 
 
 
 15th 
 
 4428. ’ 5 o 
 
 108 
 
 
 
 
 
 4654. ’59 
 
 84 
 
 
 
 
 
 610. ’64 
 
 84 
 
 
 French 
 
 
 91 
 
 2040. ’55 
 
 88 
 
 Plate .... 
 
 Antique . 
 
 
 11 
 
 341 - ’74 
 
 298 
 
 Plateau and Hand . 
 
 Indian 
 
 
 — 
 
 ’68. i 3 i 
 
 347 
 
 Plates 
 
 French 
 
 
 1 3 th 
 
 4041. ’56 
 
 30 
 
 99 ... 
 
 Italian 
 
 
 11 
 
 792. ’65 
 
 33 
 
 B B 2 
 
3 88 
 
 Index of ObjeSts 
 
 Name of Objeft. 
 
 Country. 
 
 Century. 
 
 Number. 
 
 Page. 
 
 Plate 
 
 Italian 
 
 1 6th 
 
 4707. ’59 
 
 x 3 3 
 
 „ ... 
 
 33 ... 
 
 33 
 
 4708. ’59 
 
 1 3 3 
 
 
 33 «... 
 
 33 
 
 2552 . ’56 
 
 134 
 
 99 . 
 
 33 ... 
 
 33 
 
 36x0. ’56 
 
 134 
 
 
 Flemiffi 
 
 17 th 
 
 28x7. ’56 
 
 187 
 
 
 
 33 
 
 2816. ’56 
 
 188 
 
 99 . • • 
 
 Dutch 
 
 1 8th 
 
 293 - ’54 
 
 236 
 
 99 • • 
 
 Affianti 
 
 19th 
 
 374 - ’74 
 
 287 
 
 99 ... 
 
 33 ... 
 
 33 
 
 375. ’74 
 
 288 
 
 Polyptych . 
 
 Ruffian 
 
 17 th 
 
 434. ’73 
 
 228 
 
 Powder flafk 
 
 Spaniffi 
 
 19th 
 
 2655 . ’56 
 
 272 
 
 99 
 
 Ruffian 
 
 33 
 
 9017. ’63 
 
 279 
 
 Pyx .... 
 
 German 
 
 lath 
 
 ’74- 38 
 
 3°4 
 
 99 
 
 33 ... 
 
 33 
 
 7942. ’62 
 
 16 
 
 
 French 
 
 1 3 th 
 
 55 9 . ’53 
 
 36 
 
 
 Rheniffi 
 
 
 186. ’66 
 
 36 
 
 99 
 
 French 
 
 33 
 
 21. ’67 
 
 37 
 
 
 German 
 
 33 
 
 185. ’66 
 
 37 
 
 
 French 
 
 1 3 th (?) 
 
 184. ’66 
 
 38 
 
 99 
 
 33 ... 
 
 33 
 
 182. ’66 
 
 64 
 
 99 • • 
 
 33 ... 
 
 33 
 
 i 83 . ’66 
 
 65 
 
 99 
 
 German 
 
 15 th 
 
 6997. ’60 
 
 92 
 
 99 • • • * 
 
 Italian 
 
 1 6th 
 
 428S. ’ 5 7 
 
 136 
 
 99 • * 
 
 Portuguefe 
 
 17 th 
 
 i 63 . ’66 
 
 178 
 
 Reliquary . 
 
 Byzantine . 
 
 9th 
 
 ’73. 379 
 
 302 
 
 99 ... 
 
 German 
 
 10th 
 
 ’72. 59 
 
 303 
 
 99 ... 
 
 Rheniffi 
 
 33 
 
 ’73. 444 
 
 3 o 3 
 
 99 ... 
 
 Byzantine . 
 
 Ilth 
 
 ’73. 504 
 
 3°4 
 
 99 ... 
 
 Rheniffi 
 
 1 2th 
 
 7650. ’61 
 
 4 
 
 „ ... 
 
 German 
 
 33 
 
 7944. ’62 
 
 l6 
 
 99 ... 
 
 33 ... 
 
 1 3 th 
 
 2090. ’55 
 
 24 
 
 f» ... 
 
 33 ... 
 
 33 
 
 2169. ’55 
 
 24 
 
 99 ... 
 
 French 
 
 33 
 
 236. ’53 
 
 33 
 
 99 ... 
 
 „ ... 
 
 33 
 
 7945. ’62 
 
 34 
 
 99 ... 
 
 33 ... 
 
 33 
 
 217. ’74 
 
 47 
 
 99 ... 
 
 German 
 
 33 
 
 218. ’74 
 
 48 
 
 99 ... 
 
 Italian 
 
 14th 
 
 7546. ’61 
 
 5 i 
 
 99 ... 
 
 33 ... 
 
 33 
 
 358 . ’64 
 
 52 
 
 ,, ... 
 
 Engliffi 
 
 33 
 
 634. ’70 
 
 5 2 
 
 „ ... 
 
 French 
 
 33 
 
 4687. ’58 
 
 55 
 
 J) ... 
 
 33 
 
 33 
 
 7946. ’62 
 
 6 l 
 
 » ... 
 
 33 ... 
 
 33 
 
 2078. ’55 
 
 63 
 
 ,, ... 
 
 German 
 
 33 
 
 249. ’74 
 
 70 
 
 
 Italian 
 
 1 Sth 
 
 6963. ’60 
 
 87 
 
 ?J ... 
 
 French 
 
 33 
 
 2104. ’55 
 
 90 
 
 99 ... 
 
 Flemiffi 
 
 33 
 
 4689. ’58 
 
 9 i 
 
 ,, ... 
 
 Swifs 
 
 33 
 
 38 o. ’54 
 
 93 
 
 3 ? ... 
 
 German 
 
 33 
 
 2077. ’55 
 
 93 
 
 99 ... 
 
 33 ... 
 
 33 
 
 2547. ’56 
 
 94 
 
 3 ) ... 
 
 33 ... 
 
 33 
 
 246. ’74 
 
 IOO 
 
 99 ... 
 
 Italian 
 
 33 
 
 7467. ’61 
 
 III 
 
 99 ... 
 
 33 ... 
 
 33 
 
 6990. ’60 
 
 III 
 
 » ... 
 
 Ruffian 
 
 33 
 
 ’68. io 5 
 
 327 
 
 99 ... 
 
 33 ... 
 
 33 
 
 ’68. 106 
 
 327 
 
 „ ... 
 
 Spaniffi 
 
 1 6th 
 
 1166. ’71 
 
 166 
 
 99 ... 
 
 Portuguefe 
 
 33 
 
 16. ’66 
 
 169 
 
 >3 ... 
 
 Spaniffi 
 
 17th 
 
 167. ’66 
 
 195 
 
 Round ornament . 
 
 Affianti 
 
 19 th 
 
 369. ’74 
 
 287 
 
 33 
 
 33 ... 
 
 „ 
 
 370. ’74 
 
 287 
 
 3 > 
 
 33 ... 
 
 1 8th 
 
 37 i- ’74 
 
 286 
 
 33 
 
 Affianti 
 
 9 th 
 
 372. ’74 
 
 286 
 
Index of ObjeEis 
 
 389 
 
 Name of Objett. 
 
 Country. 
 
 Century. 
 
 Number. 
 
 Page. 
 
 Salt-cellar . 
 
 Greco-Roman 
 
 
 330. ’74 
 
 295 
 
 ,, ... 
 
 33 
 
 — 
 
 33 i. ’74 
 
 295 
 
 
 Italian 
 
 1 6 th 
 
 624. ’65 
 
 139 
 
 i> ... 
 
 33 ... 
 
 33 
 
 626. ’65 
 
 140 
 
 j, ... 
 
 33 ... 
 
 33 
 
 627. ’65 
 
 13 9 
 
 
 33 ... 
 
 
 628. ’65 
 
 1 38 
 
 „ ... 
 
 33 ... 
 
 33 
 
 63 o. ’65 
 
 139 
 
 5 J ... 
 
 33 ... 
 
 33 
 
 632 . ’65 
 
 138 
 
 ,, ... 
 
 33 ... 
 
 33 
 
 4096. ’57 
 
 i 38 
 
 „ ... 
 
 33 ... 
 
 3 > 
 
 2129. ’55 
 
 140 
 
 J) ... 
 
 German 
 
 33 
 
 1259. ’55 
 
 148 
 
 35 ... 
 
 33 ... 
 
 33 
 
 2109. ’55 
 
 148 
 
 33 ... 
 
 33 ... 
 
 33 
 
 2110. ’55 
 
 148 
 
 33 ... 
 
 33 ... 
 
 33 
 
 2111. ’55 
 
 150 
 
 33 ... 
 
 33 ... 
 
 33 
 
 2124. ’55 
 
 149 
 
 
 33 ... 
 
 33 
 
 2127. ’55 
 
 i 5 o 
 
 
 33 ... 
 
 33 
 
 2128. ’55 
 
 150 
 
 
 Florentine 
 
 33 
 
 902. ’75 
 
 169 
 
 33 ... 
 
 German 
 
 33 
 
 4298. ’57 
 
 148 
 
 
 33 ... 
 
 33 
 
 7244. ’61 
 
 149 
 
 33 ... 
 
 Englilh 
 
 „ 
 
 ’ 65 . 82 
 
 336 
 
 33 ... 
 
 33 • 
 
 17 th 
 
 ’ 73 . 373 
 
 355 
 
 
 33 ... 
 
 33 
 
 ’66. 2 
 
 341 
 
 
 33 ... 
 
 33 
 
 285. ’74 
 
 184 
 
 
 German . 
 
 33 
 
 240. ’74 
 
 194 
 
 33 ... 
 
 33 ... 
 
 33 
 
 241. ’74 
 
 194 
 
 
 33 ... 
 
 33 
 
 242. ’74 
 
 213 
 
 
 French 
 
 18th 
 
 33 . ’68 
 
 249 
 
 
 Ruffian 
 
 33 
 
 ’66. 18 
 
 3 55 
 
 
 33 ... 
 
 33 
 
 ’66. 19 
 
 355 
 
 
 Englilh 
 
 19 th 
 
 1291. ’54 
 
 270 
 
 Salver 
 
 Byzantine . 
 
 5 * 
 
 ’68. 71 
 
 3 oo 
 
 
 Portuguefe 
 
 iSth 
 
 5 °. ’67 
 
 ii5 
 
 
 33 ... 
 
 17 th 
 
 54. ’21 
 
 356 
 
 
 Englilh 
 
 1 6 th 
 
 ’68. 86 
 
 337 
 
 
 33 ... 
 
 33 
 
 ’61. 2 
 
 338 
 
 
 33 ... 
 
 33 
 
 ’ 63 . 24 
 
 33 8 
 
 
 Portuguefe 
 
 17 th 
 
 7. ’66 
 
 200 
 
 
 33 
 
 33 
 
 8. ’66 
 
 199 
 
 
 33 • * 
 
 33 
 
 165. ’66 
 
 199 
 
 
 Englilh 
 
 33 
 
 549 - ’74 
 
 203 
 
 
 Flemilh 
 
 33 
 
 1153. ’53 
 
 216 
 
 
 Englilh 
 
 33 
 
 ’ 65 . 76 
 
 343 
 
 
 33 ... 
 
 1 8th 
 
 ’68. 88 
 
 358 
 
 
 Irilh 
 
 
 690. ’68 
 
 25 i 
 
 
 Englilh 
 
 33 
 
 692. ’68 
 
 241 
 
 
 
 33 
 
 7241. ’61 
 
 254 
 
 
 33 ... 
 
 19 th 
 
 ’68. 9 3 
 
 360 
 
 Sauce boats . 
 
 
 l8th 
 
 577 - ’74 
 
 241 
 
 
 33 ... 
 
 „ 
 
 578. ’74 
 
 258 
 
 Sceptre 
 
 33 ... 
 
 17th 
 
 ’66. 4 
 
 340 
 
 Sconce 
 
 
 
 ’68. 116 
 
 347 
 
 
 
 33 
 
 ’68. 117 
 
 347 
 
 
 
 33 
 
 ’68. 118 
 
 34 8 
 
 Scutcheon . 
 
 German 
 
 16 th 
 
 ’73. 5oo 
 
 336 
 
 Seal . 
 
 
 iSth 
 
 ’74. 36 
 
 326 
 
 
 French 
 
 19 th 
 
 1 65. ’5 4 
 
 266 
 
 Shield .... 
 
 . 
 
 33 
 
 546. ’68 
 
 274 
 
 
 Englilh 
 
 33 
 
 ’68. 1 85 
 
 361 
 
 
 French 
 
 33 
 
 1482. ’ 5 1 
 
 264 
 
390 
 
 Index of ObjeSis 
 
 Name of Objeft. 
 
 Countiy. 
 
 Century. 
 
 Number. 
 
 Page. 
 
 Shoe horn 
 Shrine 
 
 t >9 
 
 Slippers 
 
 Snuffers 
 
 Spice box 
 Spoon 
 
 (and 
 
 fork) 
 
 (fork 
 
 and 
 
 cnife) 
 
 Stand 
 
 3) 
 
 Statue 
 
 Statuette 
 
 33 
 
 Stew pot 
 
 Strainer 
 Stylus 
 Sugar bafin 
 Sugar cafter 
 
 Italian 
 
 Irifh 
 
 33 
 
 Abyffinian 
 
 Englifh 
 
 Flemifh 
 
 Englifh 
 
 French 
 
 German 
 
 Englifh 
 
 French 
 
 Italian 
 
 Flemifh 
 
 Italian 
 
 German 
 
 99 
 
 Italian 
 
 33 
 
 French 
 
 Norwegian 
 
 Flemifh 
 
 Italian 
 
 German 
 
 Italian 
 
 German 
 
 Dutch 
 Englifh 
 German 
 Italian 
 Ruffian 
 
 99 
 
 Abyffinian 
 Englifh 
 Irifh 
 French 
 German 
 Italian 
 Greco-Roman 
 
 Afhanti 
 
 Italian 
 
 French 
 
 Englifh 
 
 French 
 
 1 6 th 
 
 24. 
 
 ’69 
 
 1 35 
 
 nth 
 
 ’68. 
 
 12 
 
 3 io 
 
 I2th 
 
 64. 
 
 ’54 
 
 311 
 
 19 th 
 
 402. 
 
 ’69 
 
 285 
 
 17th 
 
 i 5 i. 
 
 ’70 
 
 209 
 
 99 
 
 11S. 
 
 ’61 
 
 211 
 
 99 
 
 385 . 
 
 ’ 7 i 
 
 214 
 
 1 6th 
 
 1181. 
 
 ’64 
 
 1 35 
 
 1 3 th 
 
 65 - 
 
 ’77 
 
 317 
 
 14th 
 
 no. 
 
 >65 
 
 67 
 
 1 5 th 
 
 2264. 
 
 ’55 
 
 82 
 
 33 
 
 4 85 . 
 
 ’65 
 
 82 
 
 9J 
 
 83 . 
 
 ’65 
 
 108 
 
 1 6th 
 
 5593 . 
 
 ’59 
 
 141 
 
 99 
 
 2252 . 
 
 ’55 
 
 141 
 
 99 
 
 2266. 
 
 ’55 
 
 141 
 
 99 
 
 2268. 
 
 ’55 
 
 142 
 
 99 
 
 2342 . 
 
 ’55 
 
 142 
 
 99 
 
 2345 . 
 
 ’55 
 
 142 
 
 99 
 
 255 . 
 
 ’64 
 
 i 4 3 
 
 99 
 
 2258 . 
 
 ’55 
 
 i 74 
 
 I7th 
 
 2267. 
 
 ’55 
 
 176 
 
 99 
 
 2263. 
 
 ’55 
 
 182 
 
 99 
 
 2265. 
 
 ’55 
 
 i 83 
 
 99 
 
 48. 
 
 ’64 
 
 1 83 
 
 99 
 
 492. 
 
 ’75 
 
 186 
 
 99 
 
 2261. 
 
 ’55 
 
 186 
 
 99 
 
 4865. 
 
 ’58 
 
 193 
 
 99 
 
 1283. 
 
 ’55 
 
 188 
 
 99 
 
 2248. 
 
 ’55 
 
 189 
 
 99 
 
 225 1 . 
 
 ’55 
 
 189 
 
 99 
 
 2346. 
 
 ’55 
 
 189 
 
 99 
 
 449. 
 
 ’73 
 
 189 
 
 99 
 
 4442. 
 
 ’58 
 
 190 
 
 99 
 
 2274. 
 
 ’55 
 
 190 
 
 99 
 
 440. 
 
 ’73 
 
 194 
 
 99 
 
 180. 
 
 ’72 
 
 201 
 
 99 
 
 181. 
 
 ’72 
 
 202 
 
 99 
 
 182. 
 
 ’72 
 
 202 
 
 99 
 
 2259. 
 
 ’55 
 
 209 
 
 99 
 
 5992. 
 
 ’58 
 
 214 
 
 99 
 
 2115 . 
 
 ’55 
 
 216 
 
 1 8th 
 
 9083. 
 
 ’63 
 
 261 
 
 19 th 
 
 979 - 
 
 ’69 
 
 279 
 
 33 
 
 980. 
 
 ’69 
 
 278 
 
 — 
 
 186. 
 
 ’69 
 
 284 
 
 I7th 
 
 ’68. 
 
 1 21 
 
 348 
 
 1 8 th 
 
 54 - 
 
 ’65 
 
 241 
 
 19 th 
 
 ’69. 
 
 48 
 
 36 i 
 
 17th 
 
 > 73 . 
 
 483 
 
 35 o 
 
 1 8th 
 
 436 . 
 
 ’65 
 
 244 
 
 — 
 
 324. 
 
 ’74 
 
 294 
 
 — 
 
 325 . 
 
 ’74 
 
 294 
 
 — 
 
 326. 
 
 ’74 
 
 294 
 
 — 
 
 327. 
 
 ’74 
 
 294 
 
 19th 
 
 3 79 - 
 
 ’74 
 
 289 
 
 1 6th 
 
 648. 
 
 ’65 
 
 142 
 
 1 8 th 
 
 4246. 
 
 56 
 
 247 
 
 1 6 th 
 
 55 i. 
 
 74 I 
 
 160 
 
 1 8 th 
 
 565 . 
 
 74 i 
 
 248 
 
Index of ObjeSls , 
 
 39 1 
 
 Name of Objeft. 
 
 Country. 
 
 Century. 
 
 Number. 
 
 Page. 
 
 Sugar After . 
 
 German 
 
 1 8 th 
 
 439. ’73 
 
 247 
 
 Sugar tongs . 
 
 Englifh 
 
 17th 
 
 225 o. ’55 
 
 178 
 
 Sword 
 
 French 
 
 19 th 
 
 i 5 g. ’51 
 
 265 
 
 11 ... 
 
 3 ) ... 
 
 11 
 
 164. ’54 
 
 264 
 
 Tabernacle . 
 
 Italian 
 
 1 6th 
 
 ’68. no 
 
 328 
 
 Table 
 
 Englilh 
 
 17 th 
 
 ’68. 99 
 
 3 4 3 
 
 
 11 ... 
 
 11 
 
 ’68. 100 
 
 35 o 
 
 ,, ... 
 
 11 ... 
 
 11 
 
 ’68. 122 
 
 345 
 
 » • 
 
 11 ... 
 
 11 
 
 ’69. 63 
 
 35 1 
 
 Tablet 
 
 Ancient Affyrian 
 
 — 
 
 ’68. 17 
 
 298 
 
 ,, ... 
 
 German . 
 
 12 th 
 
 4097. ’57 
 
 21 
 
 
 
 
 681S. ’60 
 
 22 
 
 
 French 
 
 1 3 th 
 
 34. ’70 
 
 3 o 
 
 51 ... 
 
 German 
 
 19 
 
 223 . ’74 
 
 37 
 
 Table top 
 
 Italian 
 
 1 6th 
 
 I. ’69 
 
 137 
 
 Tankard 
 
 German 
 
 11 
 
 207. ’74 
 
 146 
 
 11 ... 
 
 11 ... 
 
 11 
 
 238 . ’74 
 
 147 
 
 » ... 
 
 53 ... 
 
 19 - 
 
 239. ’74 
 
 147 
 
 
 55 ... 
 
 11 
 
 4297. ’57 
 
 1 5 5 
 
 11 ... 
 
 11 ... 
 
 17th 
 
 4860. ’58 
 
 175 
 
 5 ) ... 
 
 33 ... 
 
 11 
 
 490. 75 
 
 204 
 
 
 Flemilh 
 
 11 
 
 491 - ’75 
 
 187 
 
 35 ... 
 
 German . 
 
 11 
 
 1916. ’55 
 
 191 
 
 
 33 ... 
 
 11 
 
 745 - ’75 
 
 *95 
 
 
 Englilh 
 
 
 36 . ’65 
 
 201 
 
 
 German 
 
 11 
 
 552 . ’74 
 
 204 
 
 
 Flemilh 
 
 11 
 
 5 oi. ’75 
 
 205 
 
 
 Englilh 
 
 19 
 
 569. ’74 
 
 212 
 
 53 » . . 
 
 German 
 
 11 
 
 317. ’54 
 
 221 
 
 11 ... 
 
 33 ... 
 
 11 
 
 1512. ’55 
 
 224 
 
 
 
 11 
 
 287. ’54 
 
 224 
 
 
 
 11 
 
 397. ’54 
 
 224 
 
 35 ... 
 
 35 * * * 
 
 11 
 
 3637 . ’56 
 
 225 
 
 
 53 ... 
 
 11 
 
 291. ’54 
 
 225 
 
 
 Englilh 
 
 11 
 
 ’66. 1 
 
 340 
 
 
 Swedilh 
 
 
 ’66. 17 
 
 352 
 
 
 Dutch 
 
 1 8 th 
 
 54. ’70 
 
 233 
 
 3 ) ... 
 
 Englilh 
 
 11 
 
 558 . ’74 
 
 235 
 
 53 ... 
 
 11 ... 
 
 11 
 
 557 - ’74 
 
 239 
 
 
 German 
 
 11 
 
 484. ’75 
 
 242 
 
 
 Ruffian 
 
 19 
 
 no. ’64 
 
 259 
 
 
 Swedilh 
 
 
 ’66. 14 
 
 35 4 
 
 
 Ruffian 
 
 
 ’66. 12 
 
 354 
 
 
 
 11 
 
 ’66. i 3 
 
 35 4 
 
 
 French 
 
 19 th 
 
 2653 . ’56 
 
 271 
 
 Tea caddy . 
 
 Dutch 
 
 18th 
 
 2131. ’55 
 
 245 
 
 Tea canifter . 
 
 
 11 
 
 4558 . ’58 
 
 245 
 
 Tea pot 
 
 French 
 
 11 
 
 4271. ’57 
 
 247 
 
 „ ... 
 
 
 11 
 
 1330. ’71 
 
 244 
 
 Toilet pot . 
 
 Greco-Roman . 
 
 2nd 
 
 3 oo. ’74 
 
 2 
 
 Tripod 
 
 11 
 
 — 
 
 336 . ’74 
 
 296 
 
 » (foot) 
 
 11 
 
 — 
 
 337. '74 
 
 297 
 
 
 
 — 
 
 339 - ’74 
 
 297 
 
 
 German 
 
 1 3 th 
 
 ’72. 60 
 
 321 
 
 Triptych 
 
 Byzantine . 
 
 1 2th 
 
 161 5 . ’55 
 
 3 
 
 
 Rhenilh 
 
 ,, 
 
 7947. ’62 
 
 1 1 
 
 
 German 
 
 1 3 th 
 
 4757. ’58 
 
 27 
 
 
 Italian 
 
 14th 
 
 48. ’67 
 
 57 
 
 
 French 
 
 » 
 
 4684. ’59 
 
 67 
 
 }) ... 
 
 Italian , , 
 
 1 >> 
 
 1 7148. ’60 
 
 49 
 
392 
 
 Index of ObjeSis , 
 
 Name of Objeft. 
 
 Country. 
 
 Century. 
 
 Number. 
 
 Page. 
 
 Triptych 
 
 Engliih 
 
 15th 
 
 25o. ’74 
 
 79 
 
 33 • • • 
 
 German 
 
 33 
 
 633. ’72 
 
 106 
 
 33 ... 
 
 Spaniih 
 
 1 6th 
 
 226. ’66 
 
 171 
 
 55 ... 
 
 Italian 
 
 17th 
 
 520. ’68 
 
 181 
 
 55 ... 
 
 Ruffian 
 
 33 
 
 435. ’73 
 
 226 
 
 55 ... 
 
 33 ... 
 
 33 
 
 176. ’74 
 
 227 
 
 , } ... 
 
 33 ... 
 
 33 
 
 177. ’53 
 
 227 
 
 55 ... 
 
 33 ... 
 
 19th 
 
 4754. ’58 
 
 277 
 
 Tureen 
 
 German 
 
 17th 
 
 44. ’64 
 
 217 
 
 55 ... 
 
 Engliih 
 
 1 8th 
 
 472. ’64 
 
 258 
 
 55 ... 
 
 33 ... 
 
 33 
 
 ’68. 89 
 
 358 
 
 35 ... 
 
 33 ... 
 
 33 
 
 ’68. 90 
 
 • 357 
 
 Urn . 
 
 Dutch 
 
 33 
 
 4288. ’57 
 
 233 
 
 55 
 
 Engliih 
 
 19th 
 
 244. ’69 
 
 262 
 
 Vafe .... 
 
 Greco-Roman . 
 
 — 
 
 737. ’64 
 
 I 
 
 55 • • • 
 
 33 
 
 — 
 
 3 1 6. ’74 
 
 291 
 
 55 
 
 33 * * 
 
 — 
 
 340. ’74 
 
 297 
 
 53 * * 
 
 French 
 
 1 5th 
 
 252. ’74 
 
 102 
 
 35 * • * 
 
 Dutch 
 
 17 th 
 
 395. ’53 
 
 181 
 
 53 • • 
 
 Engliih 
 
 33 
 
 ’68. 123 
 
 348 
 
 „ . 
 
 33 ... 
 
 33 
 
 ’68. 124 
 
 3 4 8 
 
 53 
 
 33 ... 
 
 33 
 
 ’68. 125 
 
 349 
 
 35 • • 
 
 33 ... 
 
 33 
 
 ’68. 127 
 
 349 
 
 53 
 
 33 ... 
 
 33 
 
 ’68. 129 
 
 349 
 
 35 
 
 33 ... 
 
 33 
 
 ’68. i3o 
 
 349 
 
 33 • • • 
 
 53 ... 
 
 33 
 
 52. ’69 
 
 219 
 
 55 * 
 
 Spaniih 
 
 33 
 
 1219. ’71 
 
 217 
 
 33 
 
 Engliih 
 
 1 8th 
 
 46. ’64 
 
 252 
 
 53 
 
 33 ... 
 
 33 
 
 55. ’65 
 
 254 
 
 55 # • • 
 
 33 ... 
 
 33 
 
 461. ’ 7 5 
 
 232 
 
 55 
 
 33 ... 
 
 33 
 
 5o 4 . ’75 
 
 244 
 
 35 
 
 35 ... 
 
 33 
 
 56i. ’74 
 
 25o 
 
 33 • • 
 
 33 ... 
 
 33 
 
 562. ’74 
 
 25o 
 
 33 
 
 33 ... 
 
 33 
 
 563. ’74 
 
 25i 
 
 33 
 
 33 ... 
 
 33 
 
 38 4 . ’71 
 
 252 
 
 33 
 
 33 ... 
 
 33 
 
 564. ’74 
 
 253 
 
 33 
 
 33 ... 
 
 33 
 
 493- ’75 
 
 255 
 
 53 . 
 
 33 ... 
 
 33 
 
 575. ’74 
 
 255 
 
 33 
 
 33 ... 
 
 33 
 
 576. ’74 
 
 256 
 
 53 • 
 
 33 ... 
 
 33 
 
 5o3. ’ 7 5 
 
 257 
 
 33 
 
 33 ... 
 
 33 
 
 $74- ’74 
 
 257 
 
 53 • * 
 
 Belgian 
 
 19th 
 
 6745. ’5 1 
 
 271 
 
 33 * • * 
 
 French 
 
 33 
 
 728. ’69 
 
 276 
 
 53 
 
 33 ... 
 
 33 
 
 265 4 . ’56 
 
 272 
 
 53 
 
 33 ... 
 
 33 
 
 769. ’69 
 
 276 
 
 33 
 
 Engliih 
 
 33 
 
 68. ’94 
 
 36o 
 
 33 
 
 33 ... 
 
 33 
 
 ’68. 9 5 
 
 36o 
 
 Veflel 
 
 Perfian 
 
 — 
 
 ’71. 41 
 
 339 
 
 Water veflel 
 
 German . 
 
 1 5th 
 
 461. ’73 
 
 io3 
 
 33 
 
 33 * • * 
 
 33 
 
 56i. ’72 
 
 107 
 
 33 
 
 33 ... 
 
 33 
 
 56o. ’72 
 
 io3 
 
 33 
 
 33 * • * 
 
 33 
 
 4054. ’56 
 
 103 
 
 Wine cooler 
 
 Engliih 
 
 1 8th 
 
 ’68. 104 
 
 357 
 
 „ fountain 
 
 33 ... 
 
 17th 
 
 ’65. 83 
 
 341 
 
 33 ... 
 
 33 ... 
 
 1 8th 
 
 ’68. io3 
 
 356 
 
393 
 
 INDEX OF NUMBERS. 
 
 Number. 
 
 Name of Objedt. 
 
 Country. 
 
 Century. 
 
 Page. 
 
 I. ’69 
 
 Table tops . 
 
 Italian . 
 
 1 6 th 
 
 137 
 
 2. ’74 
 
 Bafin . 
 
 Englilh 
 
 17 th 
 
 2x6 
 
 4. ’65 
 
 Calket . 
 
 99 • • 
 
 1 3 th 
 
 3 i 
 
 5 . ’67 
 
 Cup 
 
 French 
 
 18th 
 
 234 
 
 7. ’66 
 
 Salver . 
 
 Portuguefe . 
 
 17th 
 
 200 
 
 8. ’66 
 
 55 • • 
 
 99 • 
 
 55 
 
 199 
 
 9. ’66 
 
 Monftrance . 
 
 
 1 6th 
 
 170 
 
 10. ’73 
 
 Altar . 
 
 German 
 
 12th 
 
 8 
 
 ”• ’73 
 
 99 
 
 99 • * 
 
 55 
 
 IO 
 
 1 5 . ’64 
 
 Cruet . 
 
 French 
 
 14th 
 
 65 
 
 16. ’66 
 
 Reliquary 
 
 Portuguefe . 
 
 1 6 th 
 
 169 
 
 16. ’73 
 
 Crucifix 
 
 German [. 
 
 nth 
 
 3 
 
 21. ’67 
 
 Pyx 
 
 French 
 
 1 3 th 
 
 37 
 
 24. ’69 
 
 Shoehorn 
 
 Italian . 
 
 16th 
 
 1 35 
 
 28. ’69 
 
 Image . 
 
 German 
 
 15 th 
 
 112 
 
 31. ’67 
 
 Box 
 
 French 
 
 17th 
 
 191 
 
 31. ’69 
 
 Mace . 
 
 Englilh 
 
 55 
 
 214 
 
 3 a. ’68 
 
 Cruet-ftand . 
 
 French 
 
 
 186 
 
 33 . ’66 
 
 Dilh . 
 
 Indo-Portuguefe 
 
 55 
 
 200 
 
 33 . ’68 
 
 Salt-cellar 
 
 French 
 
 1 8th 
 
 249 
 
 34. ’70 
 
 Tablet 
 
 51 • * 
 
 13th 
 
 3 o 
 
 36 . ’65 
 
 Tankard 
 
 Englilh 
 
 17th 
 
 201 
 
 36 . ’66 
 
 Frame . 
 
 French 
 
 
 i 85 
 
 37. ’66 
 
 99 • * 
 
 55 
 
 55 
 
 186 
 
 38 . ’67 
 
 Cup 
 
 Englilh 
 
 1 6th 
 
 169 
 
 40. ’72 
 
 Book mounts 
 
 German 
 
 1 8th 
 
 235 
 
 41. ’72 
 
 99 • 
 
 99 
 
 
 234 
 
 43 . ’64 
 
 Cup 
 
 99 
 
 17 th 
 
 207 
 
 44. ’64 
 
 Tureen 
 
 99 * 
 
 55 
 
 217 
 
 45 - 6 4 - 
 
 Cup 
 
 55 • * 
 
 1 8th 
 
 243 
 
 45 . ’74 
 
 Mazer . 
 
 Englilh 
 
 1 6 th 
 
 171 
 
 46. ’64 
 
 Vafe . 
 
 
 1 8 th 
 
 252 
 
 47. ’64 
 
 Cup 
 
 German 
 
 17 th 
 
 220 
 
 48. ’64 
 
 Spoon . 
 
 Norwegian . 
 
 55 
 
 j 83 
 
 48. ’67 
 
 Triptych 
 
 Italian 
 
 14th 
 
 57 
 
 48. ’70 
 
 Cup 
 
 Dutch 
 
 17 th 
 
 192 
 
 49. ’67 
 
 
 Italian . 
 
 55 
 
 198 
 
 5 o. ’67 
 
 Salver . 
 
 Portuguefe . 
 
 1 5 th 
 
 ii 5 
 
 5 i. ’65 
 
 Cup 
 
 Englilh 
 
 17 th 
 
 209 
 
 51. ’69 
 
 Beaker 
 
 99 
 
 55 
 
 203 
 
 ’52. 3 
 
 Cup 
 
 Italian 
 
 1 6th 
 
 334 
 
 52. ’65 
 
 99 • • * 
 
 Englilh 
 
 17th 
 
 184 
 
 52. ’69 
 
 Vafe . 
 
 55 
 
 55 
 
 219 
 
 53 . ’65 
 
 Calket 
 
 99 
 
 55 
 
 212 
 
 ’54. 19 
 
 Dilh . 
 
 Spanilh 
 
 55 
 
 355 
 
 ’54. 20 
 
 
 Portuguefe . 
 
 55 
 
 356 
 
 ’54. 21 
 
 Salver . 
 
 55 * 
 
 55 
 
 356 
 
 5 4 . ’65 
 
 Stand . 
 
 Irilh . 
 
 1 8th 
 
 241 
 
394 
 
 Index of Numbers , 
 
 Number. 
 
 Name of Objedt. 
 
 Country. 
 
 Century. 
 
 Page. 
 
 54 . ’67 
 
 Crucifix 
 
 French 
 
 1 5 th 
 
 89 
 
 54. ’69 
 
 Band . 
 
 German 
 
 1 6th 
 
 148 
 
 ’ 55 . 3 
 
 Book cover . 
 
 Greek 
 
 1 2th 
 
 315 
 
 ’ 55 . 5 
 
 99 
 
 Byzantine 
 
 13th 
 
 315 
 
 55 . ’65 
 
 Vafe . 
 
 Englilh 
 
 1 8 th 
 
 254 
 
 ’ 56 . 6 
 
 Bowl . . 
 
 Italian . 
 
 1 6 th 
 
 33 l 
 
 ’56. 53 
 
 Ewer . 
 
 German 
 
 99 
 
 334 
 
 ’57. 16 
 
 Horn . 
 
 Italian . . 
 
 99 
 
 329 
 
 ’58. 1 
 
 Nautilus Ihell 
 
 99 • • 
 
 99 
 
 329 
 
 ’61. 1 
 
 Ewer . 
 
 Englilh 
 
 99 
 
 338 
 
 ’61. 2 
 
 Salver . 
 
 99 
 
 AbyiTmian . 
 
 99 
 
 338 
 
 ’ 63 . 24 
 
 99 • • • 
 
 99 
 
 338 
 
 63 . ’70 
 
 Cup , 
 
 19th 
 
 283 
 
 ’64. 41 
 
 Altar . 
 
 German . 
 
 10th 
 
 3 o 5 
 
 64. ’54 
 
 Shrine . . 
 
 Irilh . 
 
 1 2 th 
 
 3 n 
 
 ’ 65 . 54 
 
 Cup 
 
 German 
 
 1 6 th 
 
 335 
 
 ’ 65 . ’76 
 
 Salver . 
 
 Englilh 
 
 17 th 
 
 343 
 
 ’ 65 . 77 
 
 Spoon . 
 
 99 1 • 
 
 1 3 th (?) 
 
 317 
 
 ’ 65 . 78 
 
 Flagon 
 
 53 * • 
 
 99 
 
 342 
 
 ’ 65 . 79 
 
 Offertory difh . 
 
 99 • • 
 
 99 
 
 342 
 
 ’ 65 . 80 
 
 Chriftening font . 
 
 99 • • 
 
 99 
 
 3 4 i 
 
 ’ 65 . 82 
 
 Salt-cellar 
 
 99 * 
 
 1 6th 
 
 336 
 
 ’ 65 . 83 
 
 Wine fountain 
 
 99 • 
 
 17 th 
 
 341 
 
 ’66. 1 
 
 Tankard 
 
 99 • 
 
 99 
 
 340 
 
 ’66. 2 
 
 Salt-cellar 
 
 99 
 
 99 
 
 3 4 i 
 
 ’66. 3 
 
 Ampulla . . 
 
 99 
 
 99 
 
 340 
 
 ’66. 4 
 
 Sceptre . . 
 
 99 • • 
 
 99 
 
 340 
 
 ’66. 12 
 
 Tankard 
 
 Ruffian 
 
 1 8 th 
 
 35 4 
 
 ’66. i 3 
 
 99 • * 
 
 99 * • 
 
 99 
 
 354 
 
 ’66. 14 
 
 99 • * 
 
 Swedilh 
 
 99 
 
 3S 4 
 
 ’66. i 5 
 
 Bowl . 
 
 Ruffian 
 
 17 th 
 
 353 
 
 ’66. 16 
 
 Cup . 
 
 99 • • 
 
 99 
 
 353 
 
 ’66. 17 
 
 Tankard 
 
 Swedilh 
 
 99 
 
 352 
 
 ’66. 18 
 
 Salt-cellar 
 
 Ruffian 
 
 1 8 th 
 
 355 
 
 ’66. 19 
 
 99 ' • 
 
 99 
 
 99 
 
 355 
 
 ’66. 37 
 
 Cup 
 
 99 • 
 
 17th 
 
 353 
 
 66. ’38 
 
 
 99 
 
 1 8th 
 
 355 
 
 ’66. 67 
 
 Medallion 
 
 German 
 
 17th 
 
 174 
 
 ’67. 1 
 
 Candleftick (feven- 
 branched). 
 
 Italian 
 
 1 3 th 
 
 319 
 
 67. ’67 
 
 Medallion 
 
 German 
 
 17th 
 
 211 
 
 ’68. 12 
 
 Shrine 
 
 Irilh . 
 
 nth 
 
 3 io 
 
 ’68. 1 3 
 
 Candleftick . 
 
 German 
 
 1 2th 
 
 313 
 
 ’68. 17 
 
 Tablet 
 
 Ancient Affyrian . 
 
 — 
 
 298 
 
 ’68. 71 
 
 Salver . 
 
 Byzantine 
 
 5 th 
 
 3 oo 
 
 ’68. 72 
 
 Bowl . 
 
 99 
 
 99 
 
 299 
 
 ’68. 73 
 
 Ewer . 
 
 99 • • 
 
 99 
 
 3 00 
 
 ’68. 74 
 
 Brooch 
 
 Byzantine Gothic . 
 
 99 
 
 3 oi 
 
 ’68. 75 
 
 Collar . 
 
 99 
 
 6 th 
 
 302 
 
 ’68. 76 
 
 Bowl . 
 
 99 
 
 5 th 
 
 3 oi 
 
 ’68. 77 
 
 99 
 
 99 • 
 
 99 
 
 3 oo 
 
 ’68. 78 
 
 Flabellum 
 
 Roumanian . 
 
 17th 
 
 35 i 
 
 ’68. 79 
 
 Candleftick (feven- 
 branched). 
 
 99 
 
 99 
 
 352 
 
 ’68. 80 
 
 Book cover . 
 
 99 
 
 1 6th 
 
 339 
 
 ’68. 81 
 
 
 Wallachian . 
 
 17 th 
 
 35 1 
 
 ’68. 82 
 
 Flagon 
 
 Englilh 
 
 18th 
 
 35 9 
 
 ’68. 83 
 
 Jar . . . 
 
 99 
 
 99 
 
 35 9 
 
 ’68. 84 
 
 Kettle 
 
 99 • • 
 
 99 
 
 357 
 
 ’68. 85 
 
 Ewer . 
 
 99 • • 
 
 1 6th 
 
 337 
 
Index of Numbers 
 
 395 
 
 Number. 
 
 Name of Objcft. 
 
 Country. 
 
 Century. 
 
 Page. 
 
 ’68. 86 
 
 Salver . 
 
 Englilh 
 
 1 6th 
 
 337 
 
 ’68. 87 
 
 Ewer . 
 
 55 • • 
 
 1 8th 
 
 358 
 
 ’68. 88 
 
 Salver . 
 
 55 
 
 33 
 
 358 
 
 ’68. 89 
 
 Tureen 
 
 55 * • 
 
 33 
 
 358 
 
 ’68. 90 
 
 33 
 
 55 
 
 1 8th 
 
 357 
 
 ’68. 91 
 
 Fire dog 
 
 55 
 
 17th 
 
 3 4 3 
 
 ’68. 93 
 
 Salver . 
 
 55 
 
 19 th 
 
 36 o 
 
 ’68. 94 
 
 Vafe . 
 
 55 
 
 33 
 
 360 
 
 ’68. 9 5 
 
 » * 
 
 55 
 
 33 
 
 36 o 
 
 ’68. 96 
 
 Cup 
 
 33 
 
 1 8 th 
 
 359 
 
 ’68. 97 
 
 Elephant 
 
 5 > 
 
 33 
 
 35 9 
 
 ’68. 98 
 
 Mirror cafe . 
 
 5 ) 
 
 17 th 
 
 3 4 3 
 
 ’68. 99 
 
 Table . 
 
 55 * 
 
 33 
 
 343 
 
 ’68. ioo 
 
 
 55 
 
 33 
 
 35 o 
 
 ’68. 101 
 
 Epergne 
 
 55 
 
 1 8th 
 
 357 
 
 ’68. 102 
 
 Fire dog 
 
 55 
 
 17 th 
 
 3 4 a 
 
 ’68. 103 
 
 Wine fountain 
 
 35 
 
 1 8 th 
 
 356 
 
 ’68. 104 
 
 „ cooler . 
 
 55 • • 
 
 „ 
 
 357 
 
 ’68. io 5 
 
 Reliquary 
 
 Ruffian 
 
 1 5 th 
 
 327 
 
 ’68. 106 
 
 3? • 
 
 55 
 
 33 
 
 327 
 
 ’68. 108 
 
 Ciborium 
 
 
 1 2th 
 
 3 1 5 
 
 ’68. no 
 
 Tabernacle . 
 
 Italian 
 
 1 6 th 
 
 328 
 
 ’68. iii 
 
 Crofs . . 
 
 33 • * 
 
 33 
 
 329 
 
 ’68. 114 
 
 Fire dog 
 
 Englilh 
 
 17th 
 
 34 6 
 
 ’68. ii 5 
 
 33 . 
 
 33 • * 
 
 33 
 
 346 
 
 ’68. 116 
 
 Sconce 
 
 55 0 
 
 33 
 
 347 
 
 ’68. 117 
 
 J) 
 
 55 • • 
 
 33 
 
 347 
 
 ’68. 118 
 
 
 55 
 
 33 
 
 348 
 
 ’68. 119 
 
 
 55 • * 
 
 33 
 
 348 
 
 ’68. 120 
 
 Chandelier . 
 
 33 • * 
 
 33 
 
 3 4 5 
 
 ’68. 121 
 
 Stand . 
 
 33 • 
 
 33 
 
 348 
 
 ’68. 122 
 
 Table . 
 
 33 0 • 
 
 33 
 
 345 
 
 ’68. 123 
 
 Vafe . 
 
 33 
 
 33 
 
 348 
 
 ’68. 124 
 
 3 ) ’ * 
 
 33 * 
 
 33 
 
 348 
 
 ’68. 125 
 
 33 * • * 
 
 33 • • 
 
 33 
 
 3 49 - 
 
 ’68. 127 
 
 33 * ‘ * 
 
 33 * * 
 
 33 
 
 349 
 
 ’68. 129 
 
 33 • » 
 
 33 
 
 33 
 
 349 
 
 ’68. i 3 o 
 
 
 33 • • 
 
 33 
 
 349 
 
 ’68. 131 
 
 Plateau and Hand . 
 
 Indian 
 
 — 
 
 347 
 
 ’68. 1 32 
 
 Dilh . 
 
 Englilh 
 
 17th 
 
 3 4 5 
 
 ’68. 1 3 3 
 
 Perfume caftor 
 
 Indian 
 
 — 
 
 346 
 
 ’68. 134 
 
 j, . . • 
 
 33 * * 
 
 33 
 
 347 
 
 ’68. i 35 
 
 Mirror 
 
 Engliih 
 
 17th 
 
 344 
 
 ’68. 136 
 
 5 ? • 0 * 
 
 33 
 
 33 
 
 344 
 
 ’68. 137 
 
 Beaker 
 
 33 * 
 
 33 
 
 345 
 
 ’68. 1 85 
 
 Shield . 
 
 >3 
 
 19 th 
 
 36 i 
 
 ’69. 45 
 
 Bowl . 
 
 Italian 
 
 1 6th 
 
 3 3 1 
 
 ’69. 48 
 
 Statue . 
 
 French 
 
 19 th 
 
 36 i 
 
 ’69. 5 o 
 
 Cross . 
 
 Italian 
 
 1 5 th 
 
 328 
 
 ’69. 5 i 
 ’69. 52 
 
 Chalice 
 
 
 33 
 
 326 
 
 33 
 
 33 * * 
 
 1 6th 
 
 33 o 
 
 ’69. 53 
 
 55 ‘ • 
 
 *3 
 
 33 
 
 33 ° 
 
 ’69. 54 
 ’69. 55 
 
 35 
 
 Image . 
 
 33 
 
 33 
 
 33 
 
 14th 
 
 33 o 
 
 322 
 
 ’69. 63 
 
 Table . 
 
 Englilh 
 
 17 th 
 
 351 
 
 ’69. 64 
 
 Mirror 
 
 33 
 
 33 
 
 344 
 
 ’69. 67 
 ’70. 1463 
 
 Crucifix 
 
 Italian 
 
 1 2 th 
 
 314 
 
 Cup 
 
 Englilh 
 
 19 th 
 
 36 i 
 
 ' ’71. 41 
 
 VeflTel . 
 
 Perfian 
 
 — 
 
 339 
 
39 6 
 
 Index of Numbers 
 
 Number. 
 
 Name of Objedl. 
 
 Country. 
 
 Century. 
 
 Page. 
 
 ’ 71 . 42 
 
 Cup 
 
 German 
 
 
 1 6 th 
 
 33 2 
 
 ’71. 43 
 
 99 
 
 99 
 
 
 99 
 
 335 
 
 ’ 71 . 44 
 
 Horn . 
 
 99 
 
 
 99 
 
 332 
 
 ’ 71 . 45 
 
 Cup 
 
 99 
 
 
 99 
 
 336 
 
 ’ 71 . 46 
 
 99 * * 
 
 99 
 
 
 99 
 
 333 
 
 ’7i- 47 
 
 99 •• • 
 
 99 
 
 
 99 
 
 333 
 
 ’ 72 . 24 
 
 Difh . 
 
 Portuguele 
 
 
 1 5th 
 
 322 
 
 ’ 72 . 59 
 
 Reliquary 
 
 German 
 
 
 10 th 
 
 3o3 
 
 ’ 72 . 60 
 
 Tripod 
 
 99 
 
 
 1 3 th 
 
 321 
 
 ’ 72 . 69 
 
 Candleftick, feven 
 branched. 
 
 99 
 
 
 99 
 
 3i8 
 
 ’ 72 . 123 
 
 
 Italian 
 
 
 1 5th 
 
 322 
 
 ’ 72 . 262 
 
 Cup 
 
 Ruffian 
 
 
 16 th 
 
 339 
 
 ’ 72 . 266 
 
 Hammer 
 
 Italian 
 
 
 
 328 
 
 ’ 72 . 4 3o 
 
 Candleftick, feven 
 branched. 
 
 99 
 
 
 99 
 
 3 3 1 
 
 ’73. 3 7 3 
 
 Salt-cellar 
 
 Englilh 
 
 
 17 th 
 
 355 
 
 ’73. 377 
 
 Crozier . . 
 
 German 
 
 
 nth 
 
 3o6 
 
 ’73. 379 
 
 Reliquary 
 
 Byzantine 
 
 
 9 th 
 
 302 
 
 ’73. 444 
 
 99 
 
 Rhenilh 
 
 
 10 th 
 
 3o3 
 
 ’73. 4 56 
 
 Frame 
 
 German 
 
 
 1 6 th 
 
 337 
 
 ’73. 4 6 7 
 
 Mirror cafe . 
 
 Italian 
 
 
 99 
 
 337 
 
 ’ 73 . 468 
 
 Chrifmatory . 
 
 German 
 
 
 1 5 th 
 
 326 
 
 ’ 7 3. 4 33 
 
 Statuette 
 
 99 
 
 
 17 th 
 
 35o 
 
 ’ 73 . 5oo 
 
 Scutcheon 
 
 99 
 
 
 1 6 th 
 
 336 
 
 ’ 73 . S 04 
 
 Reliquary 
 
 Byzantine 
 
 
 nth 
 
 304 
 
 ’ 73 . S 14 
 
 Candleftick, feven 
 branched. 
 
 German 
 
 
 1 5th 
 
 325 
 
 ’ 7 3. 5 1 5 
 
 3) • 
 
 99 
 
 
 99 
 
 324 
 
 ’73. S 16 
 
 99 
 
 99 
 
 
 „ 
 
 325 
 
 ’73. 5i7 
 
 99 
 
 99 
 
 
 99 
 
 324 
 
 ’73. S 18 
 
 99 • 
 
 99 
 
 
 99 
 
 323 
 
 ’73. S 19 
 
 99 
 
 99 
 
 
 1 3 th 
 
 321 
 
 ’ 73 . 520 
 
 99 • • 
 
 99 
 
 
 99 
 
 3i8 
 
 ’ 73 . 521 
 
 
 99 
 
 
 1 5 th 
 
 325 
 
 ’ 73 . 522 
 
 
 99 
 
 
 17 th 
 
 35o 
 
 ’ 73 . 523 
 
 99 • • 
 
 99 
 
 
 1 5th 
 
 325 
 
 ’ 73 . 524 
 
 Cenfer 
 
 99 
 
 
 1 2 th 
 
 3 1 3 
 
 ’ 74 . 3o 
 
 Candleftick . 
 
 99 
 
 
 nth 
 
 3o8 
 
 ’74- 3 1 
 
 99 
 
 99 
 
 
 99 
 
 307 
 
 ’ 74 - 32 
 
 99 • • 
 
 99 
 
 
 99 
 
 3o8 
 
 ’ 74 . 34 
 
 Crucifix 
 
 99 
 
 
 99 
 
 304 
 
 ’74- 35 
 
 
 German 
 
 
 99 
 
 3o5 
 
 ’74- 36 
 
 Seal 
 
 99 
 
 
 1 5th 
 
 326 
 
 ’74- 37 
 
 Altar . 
 
 99 
 
 
 1 3 th 
 
 3 1 6 
 
 ’74- 38 
 
 Pyx 
 
 99 
 
 
 1 2 th 
 
 304 
 
 ’74- 43 
 
 Candleftick, feven 
 branched. 
 
 99 
 
 
 99 
 
 3 1 3 
 
 ’ 74 . 86 
 
 Candleftick . 
 
 99 
 
 
 1 ith 
 
 307 
 
 ’ 74 . 88 
 
 Candleftick, feven 
 branches. 
 
 99 
 
 
 13 th 
 
 3 1 8 
 
 ’74- 1 34 
 
 Corona lucis 
 
 99 
 
 
 nth 
 
 3o8 
 
 ’ 77 . 66 
 
 Cup 
 
 99 
 
 
 1 6 th 
 
 1 58 
 
 83. ’65 
 
 Spoon and fork 
 
 French 
 
 
 1 5 th 
 
 108 
 
 92 . ’65 
 
 Pax 
 
 Spanifh 
 
 
 1 6 th 
 
 128 
 
 94 . ’66 
 
 Bowl . 
 
 Perfian 
 
 
 1 8 th 
 
 280 
 
 98 . ’66 
 
 Crofs . 
 
 Ruffian 
 
 
 17 th 
 
 229 
 
 99 . ’66 
 
 99 
 
 Byzantine 
 
 
 1 2 th 
 
 20 
 
 99 . ’72 
 
 Book clafp 
 
 German 
 
 
 17 th 
 
 220 
 
Index of Numbers 
 
 39 7 
 
 Number. 
 
 Name of Object. 
 
 Country. 
 
 Century. 
 
 Page. 
 
 loo. ’72 
 
 Cup 
 
 German 
 
 17th 
 
 206 
 
 io 3 . ’66 
 
 Crofs . 
 
 Ruffian 
 
 
 230 
 
 104. ’66 
 
 Crucifix 
 
 if • 
 
 if 
 
 229 
 
 io 5 . ’66 
 
 Crofs . 
 
 if 
 
 if 
 
 229 
 
 106. ’65 
 
 Bowl . 
 
 French 
 
 14th 
 
 66 
 
 106. ’66 
 
 Crofs . 
 
 Ruffian 
 
 17 th 
 
 23 o 
 
 107. ’65 
 
 Bowl . 
 
 French 
 
 14th 
 
 66 
 
 107. ’66 
 
 Crofs . 
 
 Ruffian 
 
 17th 
 
 23 o 
 
 108. ’65 
 
 Bowl . 
 
 French 
 
 14 th 
 
 67 
 
 108. ’69 
 
 Baf- relief 
 
 Italian 
 
 1 6th 
 
 121 
 
 109. ’64 
 
 Image . 
 
 Spanifh 
 
 if 
 
 167 
 
 109. ’65 
 
 Bowl . 
 
 French 
 
 14th 
 
 67 
 
 109. ’66 
 
 Crofs . 
 
 Ruffian 
 
 17 th 
 
 229 
 
 no. ’64 
 
 Tankard 
 
 
 1 8 th 
 
 259 
 
 no. ’65 
 
 Spoon 
 
 French 
 
 14th 
 
 67 
 
 in. ’64 
 
 Bafin . 
 
 Englifh 
 
 17th 
 
 210 
 
 in. ’66 
 
 Crofs . 
 
 Ruffian 
 
 17th (?) 
 
 23O 
 
 112. ’64 
 
 Bafin . 
 
 Englifh 
 
 if 
 
 21 1 
 
 n 3 . ’64 
 
 5) • * 
 
 if 
 
 H 
 
 1 84 
 
 114. ’64 
 
 » . 
 
 if 
 
 a 
 
 216 
 
 n 5 . ’61 
 
 Snuffers 
 
 
 „ 
 
 21 1 
 
 116. ’64 
 
 Cup 
 
 German 
 
 1 8 th 
 
 237 
 
 117. ’64 
 
 Muftard pot 
 
 German (?) 
 
 if 
 
 246 
 
 126. ’65 
 
 Medallion 
 
 Englifh 
 
 17 th 
 
 177 
 
 i 3 o. ’64 
 
 Pax 
 
 Italian 
 
 1 6th 
 
 1 36 
 
 i 3 i. ’64 
 
 Cup 
 
 Ruffian 
 
 1 8th 
 
 259 
 
 i 32 . ’73 
 
 Chalice and paten . 
 
 Spanifh 
 
 1 6th 
 
 130 
 
 144. ’65 
 
 Cup 
 
 Ruffian 
 
 17 th 
 
 226 
 
 i 5 o. ’72 
 
 
 German 
 
 1 6th 
 
 1 5 3 
 
 i 5 i. ’70 
 
 Snuffers 
 
 Englifh 
 
 17 th 
 
 209 
 
 1 52 . ’70 
 
 Goblet 
 
 if • 
 
 if 
 
 223 
 
 1 53 . ’66 
 
 Image . 
 
 Spanifh 
 
 1 6th 
 
 l66 
 
 154 - ’ 5 2 
 
 Cafket 
 
 French 
 
 19 th 
 
 269 
 
 1 5 4 . ’66 
 
 Image . 
 
 Spanifh 
 
 1 6th 
 
 167 
 
 1 55 . ’52 
 
 Cafket 
 
 French 
 
 19th 
 
 266 
 
 1 5 5 . ’66 
 
 Crofs . 
 
 Ruffian 
 
 1 5 th (?) 
 
 III 
 
 156. ’ 5 1 
 
 Cafket 
 
 French 
 
 19th 
 
 267 
 
 157. ’ 5 i 
 
 Caddy . 
 
 if • • 
 
 if 
 
 267 
 
 159. ’ 5 i 
 
 Sword . 
 
 if • • 
 
 a 
 
 265 
 
 161. ’ 5 i 
 
 Cup 
 
 if 
 
 a 
 
 270 
 
 162. ’66 
 
 Chalice 
 
 Portuguefe . 
 
 18th 
 
 232 
 
 163. ’66 
 
 Pyx 
 
 a • • 
 
 17 th 
 
 178 
 
 164. ’54 
 
 Sword 
 
 French 
 
 19th 
 
 264 
 
 164. ’66 
 
 Flagon 
 
 Portuguefe . 
 
 17 th 
 
 207 
 
 1 65 . ’ 5 4 
 
 Seal 
 
 French 
 
 19 th 
 
 266 
 
 1 65 . ’66 
 
 Salver . 
 
 Portuguefe . 
 
 17 th 
 
 199 
 
 167. ’66 
 
 Reliquary 
 
 Spanifh 
 
 if 
 
 195 
 
 168. ’ 5 4 
 
 Flafk . 
 
 French 
 
 19th 
 
 266 
 
 168. ’65 
 
 Cup 
 
 Flemifh 
 
 17 th 
 
 I 9 I 
 
 169. ’ 5 i 
 
 Dagger 
 
 French 
 
 19th 
 
 265 
 
 171. ’51 
 
 Perfume burner 
 
 if * 
 
 if 
 
 265 
 
 176. ’74 
 
 Triptych 
 
 Ruffian 
 
 17th 
 
 227 
 
 177. ’53 
 
 
 if * * 
 
 if 
 
 227 
 
 178. ’64 
 
 Image . 
 
 Spanifh 
 
 1 6th 
 
 164 
 
 179. ’64 
 
 » * 
 
 if 
 
 a 
 
 165 
 
 180. ’72 
 
 Spoon . 
 
 German 
 
 17th 
 
 201 
 
 181. ’66 
 
 Crucifix 
 
 if 
 
 1 5 th 
 
 96 
 
 181. ’72 
 
 Spoon . 
 
 if 
 
 17 th 
 
 202 
 
 182. ’66 
 
 Pyx 
 
 French 
 
 14th 
 
 64 
 
 182. ’72 
 
 Spoon . 
 
 German 
 
 17 th 
 
 202 
 
39 8 
 
 Index of Numbers 
 
 Number. 
 
 Name of Objeft. 
 
 Country. 
 
 Century. 
 
 Page. 
 
 i 83 . ’66 
 
 Pyx 
 
 French 
 
 14th 
 
 65 
 
 184. ’66 
 
 55 
 
 55 • • 
 
 1 3 th (?) 
 
 38 
 
 i 85 . ’66 
 
 55 
 
 German 
 
 
 37 
 
 186. ’66 
 
 
 Rhenifh 
 
 
 36 
 
 186. ’69 
 
 Spoon . 
 
 Abyffinian . 
 
 
 284 
 
 190. ’66 
 
 Monftrance . 
 
 Spanifh 
 
 1 6th 
 
 t 65 
 
 195. ’69 
 
 Paftoral staff 
 
 French 
 
 1 3 th 
 
 35 
 
 197. ’72 
 
 Badge . 
 
 German 
 
 1 8 th 
 
 242 
 
 207. ’74 
 
 Tankard 
 
 55 
 
 1 6 th 
 
 146 
 
 212. ’74 
 
 Diptych 
 
 French 
 
 1 3 th 
 
 44 
 
 21 3 . ’66 
 
 Bowl . 
 
 Spanifh 
 
 1 6th 
 
 167 
 
 213- ’74 
 
 Diptych 
 
 French 
 
 1 3 th 
 
 46 
 
 214. ’66 
 
 Bowl . 
 
 Spanifh . 
 
 1 6th 
 
 168 
 
 214. ’69 
 
 Jug . 
 
 Englifh 
 
 17 th 
 
 217 
 
 214. ’74 
 
 Diptych 
 
 French 
 
 1 3 th 
 
 45 
 
 2 l 5 . ’69 
 
 Jug • 
 
 Englifh 
 
 17 th 
 
 215 
 
 215 . ’74 
 
 Diptych 
 
 French 
 
 1 3 th 
 
 40 
 
 216. ’74 
 
 55 
 
 55 
 
 55 
 
 43 
 
 217. ’74 
 
 Reliquary 
 
 55 
 
 55 
 
 47 
 
 218. ’74 
 
 55 
 
 German 
 
 55 
 
 48 
 
 219. ’74 
 
 Medallion 
 
 55 * * 
 
 55 
 
 47 
 
 221. ’74 
 
 Morfe . 
 
 Italian 
 
 14th 
 
 S 3 
 
 223 . ’74 
 
 Tablet . 
 
 German 
 
 1 3 th 
 
 37 
 
 22S. ’66 
 
 Medallion 
 
 
 1 6th 
 
 125 
 
 226. ’66 
 
 Triptych 
 
 Spanifh 
 
 1 6th 
 
 171 
 
 229. ’74 
 
 Plaque 
 
 French (?) . 
 
 13th 
 
 46 
 
 233 . ’74 
 
 Chalice 
 
 Italian 
 
 14 th 
 
 55 
 
 234. ’74 
 
 55 • • 
 
 55 
 
 55 
 
 56 
 
 235 . ’74 
 
 55 
 
 55 • • 
 
 1 3 th 
 
 42 
 
 236 . ’53 
 
 Reliquary 
 
 French 
 
 i 3 th 
 
 33 
 
 236 . ’64 
 
 Image . 
 
 Spanifh 
 
 17th 
 
 I08 
 
 236 . ’74 
 
 Chalice 
 
 German 
 
 14th 
 
 56 
 
 237. ’74 
 
 55 
 
 Italian 
 
 1 3 th 
 
 4 i 
 
 238 . ’74 
 
 Tankard 
 
 German 
 
 1 6 th 
 
 147 
 
 239. ’74 
 
 55 
 
 55 
 
 55 
 
 147 
 
 240. ’74 
 
 Salt-cellar 
 
 55 • • 
 
 17 th 
 
 194 
 
 241. ’74 
 
 55 
 
 55 • • * 
 
 55 
 
 194 
 
 242. ’74 
 
 55 
 
 55 • • 
 
 55 
 
 213 
 
 243. ’69 
 
 Bowl . 
 
 Englifh 
 
 1 8 th 
 
 260 
 
 244. ’69 
 
 Urn . 
 
 55 • • 
 
 19 th 
 
 262 
 
 244. ’74 
 
 Crofs . . . 
 
 Italian . 
 
 14th 
 
 53 
 
 245. ’74 
 
 Hanap . . 
 
 German 
 
 1 5 th (?) 
 
 1 1 2 
 
 246. ’74 
 
 Reliquary 
 
 55 
 
 1 5 th 
 
 IOO 
 
 249. ’74 
 
 55 • 
 
 55 
 
 74 th 
 
 70 
 
 z 5 o. ’74 
 
 Triptych 
 
 Englifh 
 
 1 5 th 
 
 79 
 
 a 5 i. ’74 
 
 Book cover . 
 
 French 
 
 17th 
 
 i 83 
 
 252 . ’74 
 
 Vafe . 
 
 55 • * 
 
 1 5 th 
 
 102 
 
 255 . ’64 
 
 Spoon . 
 
 Italian 
 
 1 6 th 
 
 i 4 3 
 
 257. ’69 
 
 Crown 
 
 Abyffian 
 
 17 th (?) 
 
 281 
 
 260. ’64 
 
 Cup 
 
 German 
 
 1 8th 
 
 240 
 
 262. ’75 
 
 55 
 
 Ruffian 
 
 55 
 
 259 
 
 274. ’66 
 
 Medallion 
 
 German . 
 
 17 th 
 
 I90 
 
 285. ’74 
 
 Salt cellar 
 
 Englifh 
 
 55 
 
 184 
 
 287. ’54 
 
 Tankard 
 
 German 
 
 55 
 
 224 
 
 287. ’64 
 
 Monftrance . 
 
 Italian 
 
 i 5 ch 
 
 IOI 
 
 288. ’74 
 
 Paftoral ftaff 
 
 French 
 
 1 3 th 
 
 43 
 
 289. ’64 
 
 Bell . 
 
 Englifh 
 
 19 th 
 
 274 
 
 290. ’54 
 
 Cup 
 
 55 • • • 
 
 17 th 
 
 208 
 
 291. ’54 
 
 Tankard 
 
 German 
 
 55 
 
 225 
 
 292. ’54 
 
 Cup . . . I 
 
 55 
 
 1 8 th 
 
 239 
 
Index of Numbers , 
 
 399 
 
 Number. 
 
 Name of Objeft. 
 
 Country. 
 
 
 Century. 
 
 Page. 
 
 293. ’54 
 
 Plates 
 
 Dutch . 
 
 
 1 8 th 
 
 236 
 
 293. ’64 
 293. ’66 
 
 Holy water vefiel . 
 
 Flemilh . 
 
 
 17 th 
 
 187 
 
 Crofs . 
 
 Spanilh 
 
 
 1 6th 
 
 i 65 
 
 297. ’66 
 
 Box 
 
 99 
 
 
 17 th 
 
 192 
 
 298. ’66 
 
 Crofs . 
 
 99 
 
 
 99 
 
 197 
 
 3 oo. ’74 
 
 Toilet pot . 
 
 Greco-Roman 
 
 
 2nd 
 
 2 
 
 302. ’66 
 
 Chalice 
 
 Spanilh 
 
 
 1 6th 
 
 160 
 
 3 o 3 . ’74 
 
 Monftrance . 
 
 99 • • 
 
 
 17 th 
 
 196 
 
 304. ’70 
 
 Book cover . 
 
 Italian . 
 
 
 19 th 
 
 276 
 
 3 o 5 . ’66 
 
 Crofs . 
 
 Spanilh 
 
 
 1 6th 
 
 162 
 
 312. ’74 
 
 Patera 
 
 Antique Greco- 
 
 Roman. 
 
 — 
 
 290 
 
 3 i 3 . ’74 
 
 99 
 
 Greco-Roman 
 
 - 
 
 — 
 
 29I 
 
 314. ’64 
 
 Pax 
 
 Spanilh 
 
 
 1 6th 
 
 l6l 
 
 314. ’74 
 
 Patera 
 
 Greco-Roman 
 
 
 — 
 
 29I 
 
 3 i 5 . ’64 
 
 Dilh . 
 
 Spanilh 
 
 
 17th 
 
 i 99 
 
 3 iS- ’74 
 
 Patera . 
 
 Greco-Roman 
 
 
 — 
 
 29I 
 
 3 1 6. ’74 
 
 Vafe . 
 
 99 
 
 
 — 
 
 29I 
 
 317 - ’54 
 
 Tankard 
 
 German 
 
 
 17 th 
 
 221 
 
 317. ’64 
 
 Dilh . 
 
 Spanilh 
 
 
 99 
 
 198 
 
 3i7r ’67 
 
 Bowl . 
 
 Mexican 
 
 
 99 
 
 200 
 
 317. ’74 
 
 Cup 
 
 Greco-Roman 
 
 
 — 
 
 292 
 
 3 1 8. ’54 
 
 99 
 
 German 
 
 
 17th 
 
 174 
 
 3 i 8 . ’64 
 
 Dilh . 
 
 Spanilh 
 
 
 99 
 
 197 
 
 3 1 8. ’74 
 
 Cup . 
 
 Greco-Roman 
 
 
 — 
 
 292 
 
 3 i 9 - ’54 
 
 99 • • • 
 
 German 
 
 
 1 6th 
 
 157 
 
 319. ’74 
 
 99 
 
 Greco-Roman 
 
 
 — 
 
 292 
 
 320. ’54 
 
 99 • • 
 
 German 
 
 
 17 th 
 
 222 
 
 320. ’66 
 
 Box 
 
 Moorilh 
 
 
 14th 
 
 40 
 
 320 . ’74 
 
 Cup 
 
 Greco-Roman 
 
 
 — 
 
 293 
 
 321 . ’74 
 
 99 
 
 99 • 
 
 
 — 
 
 293 
 
 322 . ’74 
 
 99 • • 
 
 99 
 
 
 — 
 
 293 
 
 323. ’74 
 
 Dilh . 
 
 99 
 
 
 — 
 
 294 
 
 324. ’66 
 
 Calket 
 
 Spanilh 
 
 
 19 th 
 
 273 
 
 324. ’72 
 
 Frame 
 
 Italian 
 
 
 1 8 th 
 
 245 
 
 324. ’74 
 
 Stew pot 
 
 Greco-Roman 
 
 
 — 
 
 294 
 
 325 . ’74 
 
 99 • • 
 
 99 
 
 
 — 
 
 294 
 
 326. ’74 
 
 99 • 
 
 99 
 
 
 — 
 
 294 
 
 327 - ’74 
 
 99 • 
 
 99 
 
 
 — 
 
 294 
 
 328. ’74 
 
 Ladle . 
 
 99 • 
 
 
 — 
 
 295 
 
 329. ’74 
 
 99 • 
 
 99 • 
 
 
 — 
 
 295 • 
 
 330. ’64 
 
 Crofs . 
 
 Spanilh 
 
 
 17 th 
 
 195 
 
 33 o. ’74 
 
 Salt cellar 
 
 Greco-Roman 
 
 
 — 
 
 295 
 
 3 3 1 . ’74 
 
 99 • 
 
 99 
 
 
 — 
 
 295 
 
 332. ’74 
 
 Bowl . 
 
 Antique 
 
 
 — 
 
 295 
 
 333 . ’74 
 
 99 
 
 99 
 
 
 — 
 
 296 
 
 334 . ’74 
 
 Dilh . 
 
 Greco-Roman 
 
 
 — 
 
 296 
 
 335 . ’74 
 
 99 
 
 99 
 
 
 — 
 
 296 
 
 336 . ’74 
 
 Tripod 
 
 99 
 
 
 — 
 
 296 
 
 337 - ’74 
 
 „ (foot) 
 
 99 • 
 
 
 — 
 
 297 
 
 338 . ’74 
 
 Handle of vafe 
 
 99 
 
 
 — 
 
 297 
 
 339 . ’74 
 
 Tripod (toot) 
 
 99 
 
 
 — 
 
 • 297 
 
 340. ’74 
 
 Vafe . 
 
 99 • 
 
 
 — 
 
 297 
 
 34 1 - ’74 
 
 Plaque 
 
 Antique 
 
 
 1 5 th 
 
 298 
 
 350. ’70 
 
 Bells . 
 
 Spanilb 
 
 
 17 th 
 
 193 
 
 358 . ’64 
 
 Reliquary 
 
 Italian 
 
 
 14th 
 
 52 
 
 35 9 . ’64 
 
 Knife . 
 
 99 
 
 
 1 5 th 
 
 no 
 
 368 . ’74 
 
 Pipe 
 
 Alhanti 
 
 
 19th 
 
 287 
 
 369. ’74 
 
 Round ornament . 
 
 99 • 
 
 
 99 
 
 287 
 
 370. ’74 
 
 99 * 
 
 99 
 
 
 99 
 
 287 
 
400 
 
 Index of Numbers 
 
 Number. 
 
 Name of Object. 
 
 Country. 
 
 Century. 
 
 Page. 
 
 371. ’74 
 
 Round ornament . 
 
 Aihanti 
 
 
 1 8th 
 
 286 
 
 372. ’74 
 
 11 
 
 11 
 
 
 10th 
 
 286 
 
 373 . ’74 
 
 Badge . 
 
 11 
 
 
 11 
 
 286 
 
 374 - ’74 
 
 Plates . 
 
 11 
 
 
 11 
 
 287 
 
 375. ’74 
 
 11 • . • 
 
 11 
 
 
 11 
 
 288 
 
 376. ’74 
 
 Bead . 
 
 11 
 
 
 „ 
 
 2S8 
 
 377 - ’74 
 
 Head-drefs . 
 
 11 
 
 
 11 
 
 288 
 
 378. ’74 
 
 Flat ornament 
 
 11 
 
 
 11 
 
 288 
 
 379 - ’74 
 
 Strainer 
 
 11 
 
 
 19 th 
 
 289 
 
 38 o. ’54 
 
 Reliquary 
 
 Swifs . 
 
 
 1 5 th 
 
 93 
 
 3 80. ’74 
 
 Anklet 
 
 Aihanti 
 
 
 19 th 
 
 289 
 
 382. ’54 
 
 Diptych 
 
 Italian 
 
 
 1 6 th 
 
 134 
 
 384. ’71 
 
 Vafe . 
 
 Englifh 
 
 
 1 8th 
 
 252 
 
 38 s- ’ 7 i 
 
 Snuffers 
 
 11 
 
 
 17th 
 
 214 
 
 386 . ’71 
 
 Candleltick, seven 
 branched. 
 
 11 
 
 
 1 8 th 
 
 258 
 
 38 7 . ’71 
 
 » 11 
 
 11 
 
 
 11 
 
 25 7 
 
 388 . ’71 
 
 11 11 
 
 11 
 
 
 11 
 
 256 
 
 392 . ’72 
 
 Cover of cup 
 
 Byzantine 
 
 
 1 2 th 
 
 21 
 
 3 g 3 . ’S 3 
 
 Cup 
 
 French 
 
 
 17 th 
 
 206 
 
 393. ’64 
 
 Coffee pot . 
 
 Englifh 
 
 
 1 8th 
 
 25 i 
 
 394 - ’53 
 
 Chalice 
 
 German 
 
 
 1 6th 
 
 146 
 
 394. ’64 
 
 Ewer . 
 
 Englifh 
 
 
 19th 
 
 262 
 
 394. ’72 
 
 Morfe . 
 
 German 
 
 
 1 5 th 
 
 98 
 
 395 - ’S 3 
 
 Vafe . 
 
 Dutch 
 
 
 17th 
 
 181 
 
 395. ’72 
 
 Image . 
 
 French 
 
 
 14th 
 
 60 
 
 397. ’54 
 
 Tankard 
 
 German 
 
 
 17th 
 
 224 
 
 398. ’ 5 4 
 
 Beaker 
 
 11 
 
 
 1 8 th 
 
 239 
 
 401. ’72 
 
 Pax 
 
 Italian 
 
 
 1 6th 
 
 126 
 
 402. ’69 
 
 Slippers 
 
 Abyffinian 
 
 
 19th 
 
 285 
 
 403. ’72 
 
 Cup 
 
 Burgundian 
 
 
 15 th 
 
 79 
 
 404. ’54 
 
 Box 
 
 Italian 
 
 
 17th 
 
 191 
 
 434 . ’73 
 
 Polyptych 
 
 Ruffian 
 
 
 11 
 
 228 
 
 435 . ’73 
 
 Triptych 
 
 11 
 
 
 11 
 
 226 
 
 436 . ’65 
 
 Statuette 
 
 Italian 
 
 
 1 8 th 
 
 244 
 
 439. ’73 
 
 Sugar fifter . 
 
 German 
 
 
 11 
 
 247 
 
 440. ’73 
 
 Spoon . 
 
 11 
 
 
 17 th 
 
 194 
 
 449. ’65 
 
 Cruet . 
 
 Englifh 
 
 
 1 5 th 
 
 104 
 
 449 - ’73 
 
 Spoon . 
 
 German 
 
 
 17th 
 
 189 
 
 4 Sr. ’65 
 
 Bottle . 
 
 11 
 
 
 11 
 
 195 
 
 460. ’75 
 
 Chocolate pot 
 
 Englifh 
 
 
 18th 
 
 256 
 
 461. ’73 
 
 Water veffel 
 
 German 
 
 
 1 5 th 
 
 io 3 
 
 461. ’75 
 
 Vafe . 
 
 Englifh 
 
 
 1 8th 
 
 232 
 
 469. ’64 
 
 Bafin . 
 
 11 
 
 
 17 th 
 
 2 l 3 
 
 469. ’69 
 
 Crofs . 
 
 German 
 
 
 11 
 
 188 
 
 472. ’64 
 
 Tureen 
 
 Englifh 
 
 
 1 8th 
 
 258 
 
 481. ’75 
 
 Chalice 
 
 Spanifh 
 
 
 17th 
 
 197 
 
 484. ’75 
 
 Tankard 
 
 German 
 
 
 18 th 
 
 242 
 
 485 . ’65 
 
 Spoon . 
 
 Englifh 
 
 
 1 5 th 
 
 82 
 
 485 . ’73 
 
 Cup . 
 
 German 
 
 
 1 6th 
 
 1 55 
 
 486. ’ 7 3 
 
 11 
 
 11 
 
 
 11 
 
 154 
 
 487 .. ’ 7 3 
 
 Book . 
 
 French 
 
 
 11 
 
 145 
 
 489. ’75 
 
 Cup . 
 
 Dutch 
 
 
 1 8 th 
 
 249 
 
 49°. ’75 
 
 Tankard 
 
 German 
 
 
 17 th 
 
 204 
 
 491. ’75 
 
 55 * * 
 
 Flemifh 
 
 
 11 
 
 187 
 
 492. ’75 
 
 Spoon . 
 
 11 
 
 
 11 
 
 186 
 
 49 s - ’75 
 
 Vafe . 
 
 Englifh 
 
 
 1 8th 
 
 255 
 
 494. ’75 
 
 Coffee pot . 
 
 11 
 
 
 11 
 
 252 
 
 5 oi. ’69 
 
 Pantoor 
 
 Syrian 
 
 
 19th 
 
 280 
 
 501. ’ 7 5 
 
 Tankard 
 
 Flemifh 
 
 
 17 th 
 
 205 
 
Index of Numbers , 
 
 401 
 
 Number. 
 
 Name of Objedt. 
 
 Country. 
 
 Century. 
 
 Page. 
 
 5o2. ’55 
 
 Hanap 
 
 German 
 
 1 6 th 
 
 119 
 
 5o2. ’75 
 
 Bafin ‘ 
 
 Englilb 
 
 1 8th 
 
 253 
 
 503. ’j 5 
 
 Vafe . 
 
 33 • • 
 
 33 
 
 257 
 
 504. ’75 
 
 )) 
 
 35 • • 
 
 33 
 
 244 
 
 5 o 8 . ’69 
 
 Crofs . 
 
 Ruffian 
 
 17 th 
 
 23i 
 
 509. ’69 
 
 33 
 
 33 • • 
 
 „ 
 
 23 I 
 
 5 io. ’69 
 
 » * 
 
 33 • • 
 
 33 
 
 23i 
 
 Six. ’69 
 
 5 ) • 
 
 33 • 
 
 33 
 
 23i 
 
 5l2. ’69 
 
 J) * • 
 
 33 • • 
 
 33 
 
 23i 
 
 5 i 3 . ’69 
 
 
 55 * * 
 
 33 
 
 232 
 
 S14. ’69 
 
 )) 
 
 55 • • 
 
 33 
 
 232 
 
 514. ’73 
 
 J) 
 
 Spanilh 
 
 14th (?) 
 
 70 
 
 520. ’68 
 
 Triptych 
 
 Italian 
 
 17th 
 
 181 
 
 S21. ’72 
 
 Cup 
 
 German 
 
 33 
 
 ^3 
 
 S22. ’68 
 
 Head of cane 
 
 French 
 
 1 8th 
 
 246 
 
 524. ’72 
 
 Altar-piece . 
 
 Italian 
 
 17 th 
 
 179 
 
 542. ’(>% 
 
 Crucifix 
 
 French 
 
 33 
 
 1 83 
 
 546. ’68 
 
 Shield 
 
 53 • • 
 
 19th 
 
 274 
 
 549 - ’72 
 
 Book mounts 
 
 Italian 
 
 14th 
 
 76 
 
 549 - ’74 
 
 Salver 
 
 Englilh 
 
 17 th 
 
 203 
 
 55 o. ’74 
 
 Chalice 
 
 German 
 
 1 6th 
 
 120 
 
 55 i. ’74 
 
 Sugar caller . 
 
 Englilh 
 
 „ 
 
 160 
 
 552 . ’74 
 
 Tankard 
 
 German 
 
 17th 
 
 204 
 
 553 . ’74 
 
 Cup 
 
 33 * 
 
 „ 
 
 204 
 
 554. ’74 
 
 
 Ruffian 
 
 18th 
 
 25o 
 
 555 . ’74 
 
 
 German 
 
 1 6th 
 
 145 
 
 556 . ’74 
 
 33 * 
 
 Englilh 
 
 17th 
 
 21 1 
 
 557. ’74 
 
 Tankard 
 
 33 * * 
 
 1 8th 
 
 239 
 
 558 . ’74 
 
 „ 
 
 33 
 
 „ 
 
 * 3 5 
 
 55 9 . ’53 
 
 Pyx . 
 
 French 
 
 1 3 th 
 
 36 
 
 559. ’74 
 
 Bell . 
 
 Ruffian 
 
 1 8th 
 
 248 
 
 56 o. ’72 
 
 Water veflel . 
 
 German 
 
 1 5 th 
 
 io 3 
 
 5 60. ’74 
 
 Hanap 
 
 33 
 
 33 
 
 106 
 
 5 60a. ’74 
 
 5) 
 
 33 
 
 33 
 
 107 
 
 56 i. ’72 
 
 Water vefiel . 
 
 33 * * 
 
 33 
 
 107 
 
 56 i. ’74 
 
 
 
 33 
 
 25o 
 
 562. ’74 
 
 Vafe . 
 
 Englilh 
 
 1 8th 
 
 25o 
 
 563 . ’74 
 
 
 33 * * 
 
 33 
 
 25i 
 
 564. ’74 
 
 » 
 
 33 * • 
 
 33 
 
 253 
 
 565 . ’74 
 
 Sugar caller * 
 
 French 
 
 33 
 
 248 
 
 568 . ’74 
 
 Cup 
 
 Dutch 
 
 17th 
 
 208 
 
 569. ’74 
 
 Tankard 
 
 Englilh 
 
 33 
 
 212 
 
 57 °. ’74 
 
 Cup 
 
 33 * * 
 
 1 8 th 
 
 255 
 
 571. ’74 
 
 » * * * 
 
 33 * 3 
 
 33 
 
 257 
 
 572. ’74 
 
 Ewer . 
 
 Dutch 
 
 33 
 
 249 
 
 573. ’74 
 
 
 German . , 
 
 33 
 
 248 
 
 574 - : 74 
 
 Vafe . 
 
 Englilh 
 
 33 
 
 257 
 
 575. ’74 
 
 
 33 
 
 33 
 
 255 
 
 576. ’74 
 
 J) • * ‘ 
 
 33 * * 
 
 33 
 
 256 
 
 577 - ’74 
 
 Sauce boats . 
 
 33 
 
 33 
 
 24I 
 
 578. ’74 
 
 
 33 * 
 
 33 
 
 258 
 
 599. ’64 
 
 Crucifix 
 
 French 
 
 1 6th 
 
 143 
 
 602. ’64 
 
 Pail . 
 
 Flemilh 
 
 1 5 th (?) 
 
 93 
 
 604. ’64 
 
 Mount of fcabbard . 
 
 German 
 
 1 6 th 
 
 172 
 
 610. ’64 
 
 Plaque 
 
 Italian 
 
 1 5 th 
 
 84 
 
 614. ’72 
 
 Hanap 
 
 German 
 
 1 6th 
 
 117 
 
 623 . ’65 
 
 Cup 
 
 33 
 
 33 
 
 1S9 
 
 624. ’65 
 
 Salt-cellar 
 
 Italian 
 
 33 
 
 139 
 
 626. ’65 
 
 33 
 
 33 
 
 33 
 
 140 
 
 36105. 
 
 c c 
 
Index of Numbers 
 
 402 
 
 Number. 
 
 Name of Objedl. 
 
 Country. 
 
 Century. 
 
 Page. 
 
 627. ’65 
 
 Salt-cellar 
 
 Italian 
 
 
 1 6th 
 
 i39 
 
 627. ’72 
 
 Cup 
 
 German 
 
 
 
 i56 
 
 628. ’65 
 
 Salt-cellar 
 
 Italian 
 
 
 
 138 
 
 63 o. ’65 
 
 99 
 
 99 
 
 
 
 i 3 g 
 
 63 i. ’68 
 
 Chalice 
 
 German 
 
 
 i 5 th 
 
 80 
 
 632 . ’65 
 
 Salt-cellar 
 
 Italian 
 
 
 1 6 th 
 
 1 3 8 
 
 633 . 72 
 
 Triptych 
 
 German 
 
 
 1 5 th 
 
 106 
 
 634. ’70 
 
 Reliquary 
 
 Englifh 
 
 
 14th 
 
 52 
 
 648. ’65 
 
 Stylus . 
 
 Italian 
 
 
 1 6th 
 
 142 
 
 649. ’65 
 
 Holy-water veflel - 
 
 99 
 
 
 99 
 
 124 
 
 654. ’70 
 
 Tankard 
 
 Dutch . 
 
 
 1 8 th 
 
 233 
 
 690. ’68 
 
 Salver . 
 
 Irifh . 
 
 
 
 25i 
 
 692. ’68 
 
 99 • 
 
 Englifh 
 
 
 99 
 
 241 
 
 6 9 3 . ’68 
 
 Cup 
 
 99 
 
 
 
 240 
 
 708. ’68 
 
 Box 
 
 
 
 17th 
 
 180 
 
 728. ’69 
 
 Vafe . 
 
 French 
 
 
 1 9th 
 
 276 
 
 736 . ’64 
 
 Book cover . 
 
 French (?) 
 
 
 1 6th 
 
 144 
 
 737. ’64 
 
 Vafe . 
 
 Greco-Roman . 
 
 — 
 
 I 
 
 745 . ’?5 
 
 Tankard 
 
 German 
 
 
 17th 
 
 195 
 
 757. ’64 
 
 Crofs . 
 
 Italian . 
 
 
 1 6th 
 
 121 
 
 769. ’69 
 
 Vafe . 
 
 French 
 
 
 19th 
 
 276 
 
 779. ’64 
 
 Knife-handle 
 
 Italian 
 
 
 1 6th 
 
 1x9 
 
 792. ’65 
 
 Plates . 
 
 99 
 
 
 1 3 th 
 
 33 
 
 809. ’64 
 
 Cup 
 
 Englifh 
 
 
 1 8th 
 
 234 
 
 810. ’64 
 
 Difh 
 
 99 
 
 
 99 
 
 235 
 
 8ir. ’64 
 
 Nutmeg grater 
 
 99 
 
 
 „ 
 
 235 
 
 848. ’68 
 
 Cup 
 
 Abyflinian 
 
 
 19 th 
 
 283 
 
 847. ’68 
 
 Arm guard . 
 
 99 
 
 
 — 
 
 284 
 
 847. ’70 
 
 Mace . 
 
 Englifh 
 
 
 17 th 
 
 176 
 
 849. ’68 
 
 Fly flapper . 
 
 99 
 
 
 99 
 
 285 
 
 855 . ’73 
 
 Difh . 
 
 Spanifh 
 
 
 17 th 
 
 198 
 
 8 9 5 . ’75 
 
 Band . 
 
 Afhanti 
 
 
 19th 
 
 289 
 
 902. ’75 
 
 Salt-cellar 
 
 Florentine 
 
 
 1 6 th 
 
 169 
 
 9 I 9 - ’44 
 
 Bottle . 
 
 French 
 
 
 19 th 
 
 267 
 
 976. ’69 
 
 Jar . . . 
 
 Ruffian 
 
 
 99 
 
 277 
 
 977. ’69 
 
 
 99 
 
 
 99 
 
 278 
 
 978. ’69 
 
 99 
 
 99 
 
 
 99 
 
 278 
 
 979. ’69 
 
 Spoon . 
 
 99 
 
 
 99 
 
 279 
 
 980. ’69 
 
 » * • * 
 
 99 
 
 
 99 
 
 . 278 
 
 993. ’72 
 
 Fifh flice 
 
 Englifh 
 
 
 1 8th 
 
 246 
 
 1007. ’69 
 
 Frame . 
 
 Spanifh 
 
 
 19 th 
 
 273 
 
 1025 . ’69 
 
 Knife . 
 
 Turkifh 
 
 
 99 
 
 280 
 
 io 56 . ’71 
 
 Cup 
 
 German 
 
 
 16th 
 
 168 
 
 1057. ’71 
 
 Book cover . 
 
 Englifh 
 
 
 1 5 th 
 
 82 
 
 io 58 . ’53 
 
 Difh . 
 
 Dutch 
 
 
 17th 
 
 226 
 
 1129. ’64 
 
 Incenfe holder 
 
 Italian 
 
 
 1 6 th 
 
 123 
 
 Il 32 . ’64 
 
 Box . 
 
 French 
 
 
 17 th 
 
 i 85 
 
 1148. ’64 
 
 Pax 
 
 99 
 
 
 14th 
 
 64 
 
 1149. 64 
 
 Medallion . 
 
 German 
 
 
 JJ 
 
 7S 
 
 ii5o. ’64 
 
 Image . 
 
 99 
 
 
 1 5 th 
 
 III 
 
 n 53 . ’53 
 
 Salver . 
 
 Flemifh 
 
 
 17 th 
 
 ax6 
 
 1166. ’71 
 
 Reliquary 
 
 Spanifh 
 
 
 1 6th 
 
 166 
 
 1171. ’46 
 
 Bowl . 
 
 German 
 
 
 14th (?) 
 
 76 
 
 1172. ’64 
 
 Crucifix 
 
 99 
 
 
 99 
 
 73 
 
 1181. ’64 
 
 Spice box 
 
 Flemifh 
 
 
 1 6th 
 
 1 35 
 
 1191. ’64 
 
 Bell . 
 
 99 
 
 
 1 8th 
 
 233 
 
 1192. ’64 
 
 Pax 
 
 Spanifh 
 
 
 1 6th 
 
 135 
 
 1198. ’64 
 
 Image . 
 
 French 
 
 
 14th 
 
 6l 
 
 1201. ’64 
 
 Holy-water veflel . 
 
 99 
 
 
 1 8th 
 
 247 
 
Index of Numbers , 
 
 403 
 
 Number. 
 
 Name of Obje£t. 
 
 Country. 
 
 Century. 
 
 ' 
 
 lO 
 
 O 
 
 Pax . 
 
 Italian 
 
 1 6th 
 
 1219. ’71 
 
 Vafe . 
 
 Spanifh 
 
 17 th 
 
 1259. ’55 
 
 Salt-cellar . 
 
 German 
 
 1 6th 
 
 1280. ’72 
 
 Cup 
 
 German 
 
 99 
 
 1283. ’55 
 
 Spoon . 
 
 Italian , . . 
 
 59 
 
 1291. ’54 
 
 Salt-cellar . 
 
 Englifh 
 
 19 th 
 
 1292. ’54 
 
 Ewer . 
 
 99 * * 
 
 99 
 
 1301. ’54 
 
 Box 
 
 95 • • 
 
 95 
 
 1323. ’54 
 
 Dinner fervice 
 
 Italian 
 
 17th 
 
 1327. ’ 5 i 
 
 Chalice 
 
 Englifh 
 
 19 th 
 
 1328. ’ 5 i 
 
 » 
 
 99 
 
 99 
 
 1329. ’52 
 
 59 
 
 95 
 
 55 
 
 1330. ’71 
 
 Tea pot 
 
 French 
 
 1 8th 
 
 i 33 i. ’71 
 
 Milk jug 
 
 Dutch 
 
 1 8th 
 
 i 332 . ’71 
 
 Candleftick, feven- 
 branched. 
 
 Auftrian ( ? ) . 
 
 17 th 
 
 1 333 . "71 
 
 55 99 
 
 Englifh 
 
 1 8 th 
 
 1471. : 70 
 
 Cruet . 
 
 German . . 
 
 13th 
 
 1482. ’ 5 i 
 
 Shield . 
 
 French 
 
 19th 
 
 i 5 o 3 . ’55 
 
 Book-cover . 
 
 German 
 
 17th 
 
 x 5 1 2. ’55 
 
 Tankard 
 
 
 59 
 
 i 5 x 3 . ’55 
 
 Box 
 
 Dutch . . . 
 
 59 
 
 x 556 . ’56 
 
 Altar-piece . 
 
 Italian . 
 
 95 
 
 1568. ’73 
 
 Pantoor 
 
 Syrian . 
 
 19 th 
 
 i 586 . ’55 
 
 Morfe . 
 
 French 
 
 13 th 
 
 i 58 7 - ’ 5 s 
 
 
 99 
 
 99 
 
 i 58 9 . ’55 
 
 Candleftick, fever.- 
 branched. 
 
 99 • * 
 
 99 
 
 i 6 i 5 . ’55 
 
 Triptych 
 
 Byzantine . 
 
 1 2th 
 
 1676. ’71 
 
 Arm guard . 
 
 Abyffinian 
 
 99 
 
 1732. ’69 
 
 Crofs . . . 
 
 99 * * 
 
 5 > 
 
 1733. ’69 
 
 
 99 * ' 
 
 95 
 
 1916. ’55 
 
 Tankard 
 
 German 
 
 17th 
 
 2040. ’55 
 
 Plaque 
 
 French 
 
 1 5 th 
 
 2077. ’55 
 
 Reliquary 
 
 German . . 
 
 59 
 
 2078. ’55 
 
 
 French . . 
 
 14th 
 
 2090. ’55 
 
 
 German 
 
 13 th 
 
 2091. ’55 
 
 Crucifix 
 
 French 
 
 99 
 
 2092. ’55 
 
 
 59 * 
 
 59 
 
 2093. ’55 
 
 
 Flemifh 
 
 1 5 th 
 
 2097. ’55 
 
 Crofs . 
 
 Italian 
 
 1 3 th (?) 
 
 2100. ’55 
 
 Paftoral ftafF 
 
 French 
 
 1 3 th 
 
 2102. ’55 
 
 Chalice 
 
 German 
 
 15th 
 
 2io3. ’55 
 
 . 
 
 Italian 
 
 1 6th 
 
 2104. ’55 
 
 Reliquary 
 
 French 
 
 1 5 th 
 
 2109. ’55 
 
 Salt-cellar . 
 
 German 
 
 1 6th 
 
 2110. ’55 
 
 „ 
 
 99 
 
 99 
 
 2111. ’55 
 
 , 
 
 59 
 
 95 
 
 2112. ’55 
 
 Hanap 
 
 99 
 
 1 5 th (?) 
 1 6 th 
 
 2113. ’55 
 
 . 
 
 
 2114. ’55 
 
 
 99 
 
 1 5 th (?) 
 
 2 ii 5 . 55 
 
 Spoon . 
 
 59 * 
 
 17th 
 
 2117. ’55 
 
 Cup 
 
 Dutch - 
 
 1 6th 
 
 2119. ’55 
 
 Jug . 
 
 German 
 
 99 
 
 2120. ’55 
 
 
 Englifh 
 
 17 th 
 
 2122. ’55 
 
 Hanap . 
 
 German 
 
 1 6 th 
 
 2123. ’55 
 
 5) * 
 
 99 * * 
 
 59 
 
 2124. ’55 
 
 Salt-cellar 
 
 99 
 
 99 
 
 2125. ’55 
 
 Cup 
 
 95 * * 
 
 17th 
 1 6th 
 
 2127. ’55 
 
 Salt-cellar 
 
 99 
 
 Page. 
 
 123 
 
 217 
 
 148 
 
 210 
 
 188 
 
 270 
 
 264 
 
 263 
 
 182 
 
 268 
 
 268 
 
 263 
 
 244 
 
 245 
 203 
 
 260 
 
 25 
 
 264 
 219 
 224 
 
 180 
 
 181 
 281 
 
 32 
 
 32 
 
 26 
 
 3 
 
 285 
 
 283 
 
 284 
 191 
 
 88 
 
 93 
 
 63 
 
 24 
 
 43 
 
 38 
 
 92 
 
 39 
 34 
 
 100 
 
 161 
 
 90 
 
 149 
 
 148 
 x 5 o 
 
 116 
 
 117 
 114 
 216 
 172 
 171 
 2 l 5 
 
 118 
 118 
 
 149 
 222 
 
 1 5 0 
 
 c c 2 
 
Index of Numbers , 
 
 404 
 
 Number. 
 
 Name of Objeft. 
 
 Country. 
 
 Century. 
 
 Page. 
 
 2128. ’55 
 
 Salt-cellar 
 
 German 
 
 1 6th 
 
 i 5 o 
 
 2129- ’55 
 
 „ 
 
 Italian 
 
 if 
 
 140 
 
 2 1 3 1 . ’55 
 
 Tea caddy . 
 
 Dutch . 
 
 1 8 th 
 
 245 
 
 2162. ’55 
 
 Cup 
 
 33 
 
 15th 
 
 107 
 
 2169. ’j5 
 
 Reliquary •. 
 
 » 
 
 1 3 th 
 
 24 
 
 2187. ’55 
 
 Dagger 
 
 33 
 
 1 6th 
 
 173 
 
 2188. ’55 
 
 33 * • 
 
 33 
 
 a 
 
 iSz 
 
 2248. ’55 
 
 Spoon . 
 
 Italian 
 
 17 th 
 
 189 
 
 225 o. ’55 
 
 Sugar tongs . 
 
 Englilh 
 
 55 
 
 178 
 
 2251. ’55 
 
 Spoon . 
 
 Italian 
 
 „ 
 
 189 
 
 2252 . ’55 
 
 33 
 
 33 
 
 1 6th 
 
 i 4 i 
 
 2256 . ’55 
 
 Fork . 
 
 33 
 
 3 ? 
 
 143 
 
 2258. ’55 
 
 Spoon . 
 
 a 
 
 if 
 
 174 
 
 2259. ’55 
 
 33 * . • 
 
 Dutch . 
 
 17 th 
 
 209 
 
 2261. ’55 
 
 „ . 
 
 Italian , 
 
 
 186 
 
 2263. ’55 
 
 33 • 
 
 Norwegian . 
 
 if 
 
 182 
 
 2264. ’55 
 
 JJ 
 
 German 
 
 1 5 th 
 
 82 
 
 2265. ’55 
 
 „ 
 
 Norwegian . 
 
 17th 
 
 1 8 3 
 
 2266. ’55 
 
 33 
 
 Flemifh 
 
 1 6th 
 
 141 
 
 2267. ’55 
 
 
 French 
 
 17th 
 
 176 
 
 2268. ’55 
 
 
 Italian 
 
 33 
 
 142 
 
 2274. ’55 
 
 33 • . • 
 
 German 
 
 17th 
 
 190 
 
 2342. ’55 
 
 5 ) 
 
 if 
 
 1 6th 
 
 142 
 
 2345 . ’55 
 
 33 
 
 a • • 
 
 33 
 
 142 
 
 2346. ’55 
 
 33 • 
 
 a • • 
 
 17 th 
 
 189 
 
 2434.. ’56 
 
 Crols . 
 
 „ 
 
 1 5 th 
 
 104 
 
 2441. ’56 
 
 Book cover . 
 
 French 
 
 13 th 
 
 29 
 
 2547. ’56 
 
 Reliquary 
 
 German 
 
 1 5 th 
 
 94 
 
 2552 . ’56 
 
 Plates . 
 
 Italian 
 
 1 6th 
 
 1 34 
 
 2576. ’56 
 
 Bofs . 
 
 if • • 
 
 1 5 th 
 
 88 
 
 258 i. ’56 
 
 Crofs . 
 
 German 
 
 33 
 
 96 
 
 2639. ’55 
 
 Book cover . 
 
 Dutch . 
 
 17th 
 
 218 
 
 2648. ’56 
 
 Crucifix 
 
 French 
 
 19 th 
 
 272 
 
 2653 . ’56 
 
 Tankard 
 
 if • 
 
 33 
 
 271 
 
 2654. ’56 
 
 Vafe . 
 
 „ 
 
 33 
 
 272 
 
 2655. 56 
 
 Powder fialk . 
 
 Spanilh 
 
 33 
 
 272 
 
 2705. ’56 
 
 Mirror 
 
 French 
 
 33 
 
 271 
 
 2743. ’ 5 1 
 
 Fialk . 
 
 Englilh 
 
 „ 
 
 263 
 
 2816. ’56 
 
 Plates . 
 
 Flemilh 
 
 17 th 
 
 188 
 
 2817. ’56 
 
 33 * • • 
 
 if • • 
 
 33 
 
 187 
 
 3005. ’57 
 
 Monftrance . 
 
 French 
 
 1 5 th 
 
 89 
 
 3237. ’56 
 
 Chalice 
 
 Italian 
 
 1 6th 
 
 120 
 
 3269. ’56 
 
 Frame 
 
 
 i 5 th 
 
 no 
 
 3580. ’56 
 
 Pax 
 
 )) • • 
 
 1 6th 
 
 I24 
 
 ' 35«3- ’53 
 
 Book clafp . 
 
 French 
 
 17 th 
 
 219 
 
 3610. ’56 
 
 Plates . 
 
 Italian 
 
 1 6 th 
 
 134 
 
 3633 . ’55 
 
 Medallion 
 
 German 
 
 1 8th 
 
 236 
 
 363 s. ’56 
 
 Cup 
 
 Englilh 
 
 33 
 
 237 
 
 3636 . ’56 
 
 33 * • 
 
 German 
 
 17th 
 
 201 
 
 3637. ’ 5 6 
 
 Tankard 
 
 if • 
 
 33 
 
 225 
 
 3638 . ’56 
 
 Cup 
 
 a 
 
 33 
 
 210 
 
 3641. ’56 
 
 33 • • • 
 
 a • • 
 
 1 6th 
 
 168 
 
 4012. ’52 
 
 Capital of a column 
 
 French 
 
 14 th 
 
 59 
 
 4041. ’56 
 
 Plates . 
 
 a • • 
 
 1 3 th 
 
 3 o 
 
 4 o 53 . ’56 
 
 Medallion . 
 
 German 
 
 1 6th 
 
 i 5 o 
 
 4054. ’56 
 
 Water velTel 
 
 a • • 
 
 15 th 
 
 103 
 
 4096. ’57 
 
 Salt-cellar 
 
 Italian 
 
 16th 
 
 1 38 
 
 4097. ’57 
 
 Tablet 
 
 German 
 
 1 2 th 
 
 21 
 
 4246. ’56 
 
 Sugar bafin . 
 
 French 
 
 1 8th 
 
 247 
 
 4260. ’57 
 
 Cruet . 
 
 Flemilh (?) . 
 
 15th 
 
 IO4 
 
Index of Numbers. 
 
 4°S 
 
 Number. 
 
 Name of Objeft. 
 
 Country. 
 
 Century. 
 
 Page. 
 
 4271. ’57 
 
 Teapot 
 
 French 
 
 1 8th 
 
 247 
 
 4278. ’57 
 
 Girdle 
 
 Italian 
 
 14th 
 
 5 ° 
 
 4285. ’57 
 
 Pyx . 
 
 55 * * 
 
 1 6 th 
 
 i 36 
 
 4287. ’S7 
 
 Medallion 
 
 German 
 
 55 
 
 i 5 i 
 
 4288. ’57 
 
 Urn . 
 
 Dutch . 
 
 1 8th 
 
 233 
 
 4292. ’57 
 
 Cup 
 
 German 
 
 17th 
 
 206 
 
 4294. ’57 
 
 J) • * • 
 
 55 
 
 ,, 
 
 223 
 
 4295. ’57 
 
 Tankard 
 
 
 1 5 th 
 
 I 9 3 
 
 4297. ’57 
 
 „ 
 
 1 6th 
 
 1 5 5 
 
 4298. ’S7 
 
 Salt-cellar 
 
 J) 
 
 „ 
 
 148 
 
 4303. ’57 
 
 Knife . 
 
 Italian 
 
 1 5 th 
 
 I IO 
 
 4 3 o 8 . ’57 
 
 Morfe . 
 
 German 
 
 1 3 th 
 
 32 
 
 4310. ’57 
 
 Monftrance . 
 
 Spanilh 
 
 1 6 th 
 
 129 
 
 4355 . ’ 5 7 
 
 Diptych 
 
 Italian 
 
 1 5 th 
 
 83 
 
 4 358 . ’57 
 
 Monument . 
 
 Englilh 
 
 1 6th 
 
 i 3 c 
 
 4395 - ’57 
 
 Cup 
 
 German 
 
 55 
 
 157 
 
 4408. ’57 
 
 Pax 
 
 Italian 
 
 1 5 th 
 
 io 5 
 
 4425. ’58 
 
 Bowl . 
 
 Englilh 
 
 55 
 
 109 
 
 4428. ’ 5 o 
 
 Plaque 
 
 Italian 
 
 55 
 
 108 
 
 4437. ’57 
 
 Candleftick, feven- 
 branched. 
 
 Byzantine 
 
 1 2th 
 
 26 
 
 4441. ’57 
 
 Pax . 
 
 Italian 
 
 1 6th 
 
 128 
 
 4442. ’58 
 
 Spoon . 
 
 German 
 
 17th 
 
 190 
 
 44 5 o. ’58 
 
 Crofs . 
 
 » * 
 
 1 5 th 
 
 97 
 
 4 5 o 6 . ’58 
 
 Box 
 
 Italian (?) 
 
 17 th 
 
 192 
 
 4508. ’58 
 
 Plaque 
 
 55 
 
 14th 
 
 So 
 
 4 523 . ’58 
 
 Chalice 
 
 German 
 
 „ 
 
 74 
 
 4524. ’58 
 
 Altar . 
 
 55 
 
 1 2th 
 
 7 
 
 4 525 . ’58 
 
 Finial . 
 
 55 
 
 1 3 th 
 
 26 
 
 4527. ’58 
 
 Inkftand 
 
 Italian 
 
 1 6th 
 
 1 35 
 
 453i. ’58 
 
 Difli . 
 
 German 
 
 1 8th 
 
 243 
 
 4558. ’58 
 
 Tea canifter . 
 
 Dutch 
 
 55 
 
 245 
 
 4633 . ’58 
 
 Chalice 
 
 Italian 
 
 1 5 th 
 
 84 
 
 4634. ’58 
 
 55 * * 
 
 German (?) . 
 
 55 
 
 9 1 
 
 4635 . ’58 
 
 » 
 
 55 * • 
 
 55 
 
 99 
 
 4 636 . ’58 
 
 „ and paten . 
 
 Englilh 
 
 1 6th 
 
 159 
 
 4654. ’59 
 
 Plaque 
 
 Italian 
 
 1 5 th 
 
 84 
 
 4684. ’59 
 
 Triptych 
 
 French 
 
 14th 
 
 67 
 
 4687. ’58 
 
 Reliquary 
 
 55 * * 
 
 1 6 th 
 
 55 
 
 4688. ’58 
 
 Cup 
 
 German 
 
 157 
 
 4689. ’58 
 
 Relinquary . 
 
 Flemilh 
 
 1 5 th 
 
 91 
 
 4707. ’59 
 
 Plates . 
 
 Italian 
 
 1 6th 
 
 1 33 
 
 4708. ’59 
 
 » * 
 
 55 
 
 19th 
 
 133 
 
 4754- ’58 
 
 Triptych 
 
 Ruffian 
 
 277 
 
 4757. ’58 
 
 5 > 
 
 German 
 
 1 3 th 
 
 27 
 
 4860. ’58 
 
 Tankard 
 
 55 
 
 17 th 
 
 175 
 
 4861. ’58 
 
 Cup 
 
 55 
 
 55 
 
 221 
 
 4865. ’58 
 
 Spoon (fork and 
 knife). 
 
 55 * 
 
 1 6th 
 
 193 
 
 4869. ’58 
 
 Cup 
 
 Dutch . 
 
 I72 
 
 4893. ’58 
 
 >5 
 
 Englilh 
 
 55 
 
 170 
 
 4903. ’59 
 
 Chalice 
 
 French 
 
 14th 
 
 60 
 
 5414. ’59 
 
 Crucifix 
 
 Italian 
 
 1 5 th 
 
 77 
 
 5415. ’59 
 
 Knife . 
 
 55 
 
 I IO 
 
 5416. ’59 
 
 Chalice 
 
 55 
 
 1 6th 
 
 85 
 
 5418. ’59 
 
 Cenfer 
 
 55 
 
 137 
 
 55 9 3 . ’59 
 5727. ’59 
 
 Spoon . 
 
 55 
 
 55 
 
 141 
 
 Perfume burner 
 
 55 
 
 1 5 th 
 
 141 
 
 5780. ’59 
 
 Chalice 
 
 55 
 
 86 
 
406 
 
 Index of Numbers, 
 
 Number. 
 
 Name of Objedl. 
 
 Country. 
 
 Century. 
 
 Page. 
 
 5964. ’59 
 
 Cup . . 
 
 Englilb 
 
 1 7th 
 
 176 
 
 5993. ’58 
 
 Spoon . 
 
 99 • 
 
 17 th 
 
 214 
 
 6558 . ’ 5 9 
 
 Cup 
 
 German 
 
 99 
 
 178 
 
 656 o. ’55 
 
 Book mounts 
 
 Italian 
 
 1 6th 
 
 127 
 
 65 8 1 . ’59 
 
 Cup 
 
 German 
 
 99 
 
 1 5 8 
 
 6744. ’51 
 
 Incenfe burner 
 
 Belgian 
 
 19 th 
 
 269 
 
 6745. ’ 5 i 
 
 Vafe . 
 
 99 • 
 
 99 
 
 271 
 
 6767. ’60 
 
 Box 
 
 Englilh 
 
 17th 
 
 180 
 
 6770. ’60 
 
 Image . 
 
 German 
 
 1 5 th 
 
 112 
 
 68 i 5 . ’60 
 
 Tablet 
 
 
 1 2th 
 
 22 
 
 6816. ’60 
 
 Plaque 
 
 French 
 
 1 3 th 
 
 3 i 
 
 6821. ’60 
 
 Cup 
 
 German 
 
 17th 
 
 223 
 
 6960. ’60 
 
 Chalice 
 
 Italian 
 
 1 6th 
 
 121 
 
 6963. ’60 
 
 Reliquary 
 
 99 * 
 
 1 5 th 
 
 87 
 
 6971. ’61 
 
 Chalice 
 
 German 
 
 1 6th 
 
 146 
 
 6977. ’60 
 
 Pax 
 
 Italian 
 
 99 
 
 125 
 
 6980. ’60 
 
 Candleftick, feven 
 branched. 
 
 German 
 
 1 3 th 
 
 2 5 
 
 6990. ’60 
 
 Reliquary 
 
 Italian 
 
 1 5 th 
 
 III 
 
 6997. ’60 
 
 Pyx 
 
 German 
 
 99 
 
 92 
 
 7148. ’60 
 
 Triptych 
 
 Italian 
 
 14th 
 
 49 
 
 7234. ’60 
 
 Crofs . 
 
 Rhenilh 
 
 1 2th 
 
 i 3 
 
 7236. ’60 
 
 Paftoral Half 
 
 German 
 
 1 3 th 
 
 35 
 
 7237. ’60 
 
 Crefting 
 
 99 
 
 „ 
 
 38 
 
 7241. ’61 
 
 Salver 
 
 Englilh 
 
 j8th 
 
 254 
 
 7242. ’61 
 
 Cup 
 
 99 
 
 17th 
 
 202 
 
 7243. ’61 
 
 Chrifmatory 
 
 German 
 
 1 5 th 
 
 9 s 
 
 7244. ’61 
 
 Salt cellar 
 
 99 
 
 1 6 th 
 
 149 
 
 7352 . ’61 
 
 Crucifix 
 
 Italian 
 
 1 5 th 
 
 85 
 
 7465 . ’61 
 
 Badge . 
 
 99 
 
 99 
 
 87 
 
 7466. ’61 
 
 99 • * 
 
 99 
 
 99 
 
 88 
 
 7467. ’61 
 
 Reliquary 
 
 99 
 
 99 
 
 III 
 
 7544. ’61 
 
 Dilh . 
 
 German 
 
 14th 
 
 76 
 
 7546. ’61 
 
 Reliquary 
 
 Italian 
 
 „ 
 
 5 i 
 
 7648. ’61 
 
 Mirror 
 
 99 
 
 1 6th 
 
 1 3 1 
 
 7649. ’61 
 
 Candleftick . 
 
 Englilh 
 
 ■ 1 2th 
 
 17 
 
 765o. ’61 
 
 Reliquary 
 
 Rhenilh 
 
 99 
 
 4 
 
 7704. ’55 
 
 Crucifix 
 
 Italian 
 
 1 6th 
 
 122 
 
 7872 . ’61 
 
 Cenfer 
 
 » (?) • • 
 
 
 i 36 
 
 7873. ’61 
 
 Incenfe holder 
 
 German 
 
 1 5 th 
 
 94 
 
 7874. ’61 
 
 Holy-water veffel . 
 
 Italian 
 
 1 6th 
 
 124 
 
 7906. ’63 
 
 99 
 
 German 
 
 14th 
 
 75 
 
 7914. ’62 
 
 Cruet . 
 
 99 
 
 1 5 th 
 
 95 
 
 7915. ’62 
 
 Jug . 
 
 Englilh 
 
 1 6th 
 
 173 
 
 7919. ’62 
 
 Image 
 
 Italian 
 
 99 
 
 119 
 
 7920. ’62 
 
 Book mounts 
 
 99 
 
 99 
 
 127 
 
 7936. ’61 
 
 Box 
 
 99 
 
 17 th 
 
 192 
 
 7938. ’62 
 
 Crucifix 
 
 German 
 
 1 2th 
 
 i 5 
 
 7939. ’62 
 
 99 • 
 
 99 
 
 14th 
 
 72 
 
 7941. ’62 
 
 Hanap 
 
 99 
 
 I 5 th (?) 
 
 1 1 5 
 
 7942. ’62 
 
 Pyx . 
 
 99 
 
 1 2th 
 
 l6 
 
 7943. ’62 
 
 Crucifix 
 
 Byzantine 
 
 10th 
 
 2 
 
 7944. ’62 
 
 Reliquary 
 
 German 
 
 1 2th 
 
 16 
 
 7945. ’62 
 
 99 
 
 French 
 
 1 3 th 
 
 34 
 
 7946. ’62 
 
 99 
 
 99 
 
 14 th 
 
 61 
 
 7947. ’62 
 
 Triptych 
 
 Rhenilh 
 
 12th 
 
 II 
 
 7950. ’62 
 
 Crozier 
 
 German 
 
 14th 
 
 69 
 
 7951. ’62 
 
 Paftoral ftaff 
 
 Italian 
 
 74 
 
 7952. ’62 
 
 » 
 
 French 
 
 99 
 
 57 
 
Index of Numbers 
 
 407 
 
 Number. 
 
 Name of Objedt. 
 
 Country. 
 
 Century. 
 
 Page. 
 
 79SS. ’62 
 
 Calket 
 
 Rhenifh 
 
 1 3 th 
 
 23 
 
 7956. ’62 
 
 Bowl . 
 
 German 
 
 15th 
 
 109 
 
 7958. ’62 
 
 )) • • 
 
 M • • 
 
 99 
 
 IO9 
 
 8028. ’62 
 
 Cup 
 
 French 
 
 19th 
 
 270 
 
 8118. ’63 
 
 Flagon 
 
 Englifh 
 
 99 
 
 273 
 
 836 z. ’63 
 
 Crown 
 
 German 
 
 99 
 
 277 
 
 84S7. ’63 
 
 Ewer . 
 
 Englifh 
 
 1 6th 
 
 173 
 
 84S8. ’63 
 
 Cup 
 
 Dutch 
 
 17th 
 
 207 
 
 8494. ’63 
 
 „ . 
 
 German 
 
 1 6th 
 
 1S8 
 
 8499. ’63 
 
 Buft . 
 
 French 
 
 1 8 th 
 
 246 
 
 8879. ’63 
 
 Badge . 
 
 Englifh 
 
 99 
 
 242 
 
 8880. ’63 
 
 Book cover . 
 
 German 
 
 1 2th 
 
 22 
 
 8991. ’63 
 
 Crofs . 
 
 French (?) 
 
 1 3 th 
 
 27 
 
 9015. ’63 
 
 Cup 
 
 German 
 
 17th 
 
 2 l 3 
 
 9016. ’63 
 
 „ 
 
 99 • 
 
 99 
 
 20 s 
 
 9017. ’63 
 
 Powder flalk 
 
 Ruffian 
 
 19 th 
 
 279 
 
 9019. ’63 
 
 Book clafp . 
 
 German 
 
 1 8th 
 
 234 
 
 9026. ’63 
 
 Book mounts 
 
 99 
 
 99 
 
 235 
 
 9o3o. ’63 
 
 Jug . 
 
 „ 
 
 99 
 
 260 
 
 9o3i. ’63 
 
 Difh . 
 
 99 
 
 17 th 
 
 219 
 
 9075. ’63 
 
 Medallion 
 
 „ 
 
 99 
 
 i52 
 
 9083. ’63 
 
 Spoon . 
 
 Italian . 
 
 1 8 th 
 
 261 
 
 9084. ’63 
 
 Book clafp . 
 
 German 
 
 17th 
 
 220 
 
 9094. ’63 
 
 Box 
 
 Dutch . 
 
 99 
 
 185 
 
408 
 
 GENERAL INDEX. 
 
 Abbo, lxxxvii, xcix. 
 
 Abraham, xviii, ci. 
 
 Academy, Irilh. 
 
 Acerra. See vafes. 
 
 Acragea, xl. 
 
 Adam, makes deligns of plate, cxli. 
 
 Agincourt, Hift. de l’Art, lxl. 
 
 Aglie, C., count de, 126.J 
 
 Aix la Chapelle, cx, xii, xv, xxxlii. 
 
 Alchemy, in q. Elizabeth’s time, clxxviii. 
 Aldefonfus, x. 
 
 Alfred, king, xcvii, his jewel, ib. 
 
 Alonzo, cxi. 
 
 Altars, lxvii, xci, xcviii, xcix, cix, cxi, of 
 filver in Pistoia and Florence, cliii. 
 
 Altars, portable, cxii. 
 
 Altar veffels, lxvii. 
 
 Altis, xxxvii. 
 
 Ambo, lxvii. 
 
 Ambrofe, St., altar of, xcviiii. 
 
 Amman, Joft, clxix. 
 
 Andrea del Verrocchio, goldfmith, civ, clix. 
 Angelelme, xcix. 
 
 Angelbertus, xcviii. 
 
 Anglofaxon enamel, &c., lxxviii. 
 
 Animal life, lxix. 
 
 Animals, cups in lhape of, cl. 
 
 Anne Boleyn, q., clxxiv. 
 
 Antellotto, Bacciaforte, civ. 
 
 Antipater, xl. 
 
 Antonio del Pallaiolo, civ, 1 10. 
 
 Antonio Salvi, civ. 
 
 Antony, liv. 
 
 Apostle fpoons, clxxvi. 
 
 Arcadius, lxviii. 
 
 Area Santa, in Spain, cxi. 
 
 Architectural character of metal work, cxiv, 
 exxi, cxxxiv. In Spain, cxxxv. on a 
 morse, czxxix, cxi. In Italy, cliii. 
 Architecture, pointed, lefs general in Italy, 
 cliii. 
 
 Ardagh cup, lxxviii, cl. 
 
 Arditi, civ. 
 
 Arfe, family of goldfmiths, clxv. 
 
 Ark, xx. 
 
 Armour, of gold, xxxii, lxxxiii. Its Ggnificanca 
 in middle ages, exxx, cxlii. In 1 7th centy 
 clxxxiv. 
 
 Arenfberg, Weftphalia, cxiv. 
 
 Arifton, xii. 
 
 Artifts, Greek, names of, xxxix. 
 
 Artifts of middle ages, well trained, cxxxv. 
 Artifts names, French, c. lxxxv. 
 
 Arundel, earl of, cl. Gives plate to q. Eliza- 
 beth, clxxviii. 
 
 Aryballus. See Vafes. 
 
 Aryfticus. See Vafes. 
 
 Alhmole. See Mufeums. 
 
 Aflyria, xxvii. 
 
 Athenaeum, xxir. 
 
 Athens, xvii. 
 
 Athos, mount, cxxxiv. 
 
 Attalus, liii. 
 
 Attica, xvii. 
 
 Atto, Braccini, cliii. 
 
 Auglburg cup, cixx. 
 
 Auglburg, goldfmiths’ names, clxx, clxxxs, 
 cxci. 
 
 Auguftus the ftrong, his goldfmiths, clxxxix. 
 Auxerre, xcix, cvi. 
 
 Aylmer de Valence, monument, cxxix. 
 
 Babylon, bankers in, xxv ; ftatues, xxix ; 
 
 temple in, xxxviii. 
 
 Badges, cxliii. 
 
 Baldacchino, exxvi. 
 
 Balin, clxxxv. 
 
 Banks, xxx. 
 
 Baroque, clxiv, clxxxviii. 
 
 Bartholi, G., civ. 
 
 Bartolommeo Cenni, civ. 
 
 Balil the Macedonian, lxviii. 
 
 Balin, bowls, Sec., Ch., cli. 
 
 Bade, golden altar in, evii. 
 
 Baffin, clxxxv. 
 
 Becerril, artift, clxvi. 
 
 Beckmann, xlii. 
 
 Befto, civ. 
 
 Belts, cxliii. 
 
 Benediftines, cv. 
 
 Berenguer, count of Barcelona, cxi. 
 
General Index 
 
 409 
 
 Beresford Hope, A. J. B., lxxix, clxii. 
 
 Berlin. See Mufeums. 
 
 Bernward, St., cviii. 
 
 Birch, Dr. S., xxviii, xxxi. 
 
 Blacas collection, lxii. 
 
 Blitherus, cx. 
 
 Bock, Franz., cxiii ; his account of a reliquary, 
 
 7, 3 o 6 . 
 
 Boethus, xl. 
 
 Bohun, H. de, cl. 
 
 Bologna, clviii. 
 
 Bonaventura, E. and N., civ. 
 
 Book covers, cix. 
 
 Breaking up old jewels, clvi. 
 
 Briot, Fr., goldfmith, clxiv. 
 
 Brithnodus, cx. 
 
 Brittany, John duke of, cxlv. 
 
 Brooch, lxxxiii. 
 
 Brunfwick, candleftick, cxx. 
 
 Buchareft, lxxxii. 
 
 Burgundy, dukes of, their fplendour, clxii. 
 
 Burgundian enamel cup, cxlvi. 
 
 Byzantine art, lxii ; compared with claffic, 
 lxiii. 
 
 Byzantine artifts, cvii, driven from Conftan- 
 tinople, lxviii. Models and teachers in the 
 weft, lxxxiv, v. Luxury and fplendour, 
 Ixix. Traditions ftill living, lxiv. 
 
 Caefar, lv. 
 
 Calamis, xl. 
 
 Cambridge, C. C t! coll faltcellar, clxxxiv. 
 
 Candleftick, mofaic, xx. Description and hif- 
 tory, xxiii, cxix. cviii, ix, cxv. Eafter, 
 cxvii, cxxi. In mofques, cxvii. Of mar- 
 ble, ib. Seven branched, cxvii. At Prague, 
 cxix. In arch of Titus, ib. at Brunfwick 
 and other places, cxx. 
 
 Canterbury, cx. 
 
 Cant harm. See V afes. 
 
 CaradofTo, clix. 
 
 Carchesiutn. See Vafes. 
 
 Carlyle, silver furniture at Berlin, clxxxviii. 
 Meltings by Louis, xv, cxc. 
 
 Carrion, artift, clxvi. 
 
 Carthage, xxv. 
 
 Calket, bridal, lx. 
 
 Caftellani, Signor, xliii, lxxv, cxciii. 
 
 Catalonia, corporation of filverfmiths, with 
 artifts names, clxxii. 
 
 Cellini, Benvenuto, his hiftory, clix ; works 
 extant by him, clxii. Recommends proofs 
 in pewter to be kept, clxiv ; garter jewel by, 
 clxxiii ; names of fucceflors, cxliv. 
 
 Cenfers, architectural and other, cxxi. 
 
 Chains, lxxxiii ; and badges, cxliii : of the 
 old manner, cl ; given by Henry 8 th , 
 clxxvi. 
 
 Chancel fereen, cix. 
 
 Chalices, Abyffinian, lxv, cix, Latin, cxxiii ; 
 two-handled, ib., ufe in pontifical mafles, 
 cxxiv ; of S. Remi, ib. ; rules for making, 
 cxxiv; of various materials in poor churches, 
 cxxiv ; ufed for offerings, and for decora- 
 tion, exxv ; of 1 3 th centy., exxv ; of X4 U * 
 and 15 th centuries, cxxxviii ; architectural 
 ornament of, cxl ; of Tudor period, clxxviii. 
 Champollion, Figeac, lxxv. 
 
 Charles 5 tb , emperor ; his fplendour, clxviii. 
 Charter jewels, cl. 
 
 Charlemagne, emperor, xcii ; crown, xciii ; 
 treafure, xclv, cxiv, cxv; his tomb violated, 
 cxv ; ihrine at Aix, ib. 
 
 Chalfes, cxiii, cxv, cxxxvi. 
 
 Cherubim, xxii, xxiv. 
 
 Childeric, tomb of, Ixxx. 
 
 China, lxxv. 
 
 Churches, S. John Lateran, lix ; S. Peter, 
 lix. 
 
 Ciborium, lxvii, of marble, exxvi. 
 
 Cicognara, civ, cvii. 
 
 Cione, cliii. 
 
 Cipriano, cliv. 
 
 Clarence, duke of, cl. 
 
 Claffic art, decay of, lviii ; caufes, lx. 
 
 Clinton, xxx. 
 
 Cloth of gold, field of, clxxiv. 
 
 Coelatores. See Vafes. 
 
 Cochleare. See Vafes. 
 
 Coffin of gold, lix, lxviii. 
 
 Coins, fhowered down at coronation, cxlviii. 
 Colbert encourages art, clxxxv. 
 
 Cologne, cx, xii, xiii, xiv, cxxxiii. 
 
 Colonies of Rome in England, Ixxxv ; their 
 art deftroyed, Ixxxvi. 
 
 Comes, G., clxvii. 
 
 Conill, A., clxvii. 
 
 Conrad, of Ratilbon, 7S. 
 
 Conftantine, emperor ; ftate of art in his time, 
 lix ; founds capital, lix ; Porphyrogenitus, 
 lxviii. 
 
 Conftantinople, xxv, lxii ; facked by Vene- 
 tians and French, lxxi. 
 
 Cordova, cathedral of, clxvi. 
 
 Cornelius, goldfmith of Henry 8 th , clxxvii. 
 Corona lucis, cviii, cxv. 
 
 Coronation offerings, cxlix ; ceremonies, 
 clxviii. 
 
410 
 
 General Index , 
 
 Cothon. See Vafes. 
 
 Cotylte. See Vales. 
 
 Cotylifci, liii. 
 
 Courtois family, clxxxv. 
 
 Crater. See Vafes. 
 
 Crolfes, cx ; true Crofs, cxvii. 
 
 Crown, of Abyffinia, lxxxv ; Hungary, lxxxi ; 
 Guarazzar, lxxxix ; of Charlemagne, xciii ; 
 at Toledo, xci; iron and other crowns at 
 Monza, lxxxvii ; hung over altars, xci ; 
 crowns of William I., Matilda, Stephen, 
 John, and other medkeval princes, cxxxi,- 
 iii ; crown jewels fold and given in the 
 middle ages, cxxx ; Englilh crown jewels 
 not old, cxliij in Charles I st reign, 
 clxxxiv. 
 
 Crowns worn on helmets, cxxxii. 
 
 Croziers, cxxvi ; of Lifmore, cxxviii. 
 
 Crucifix at Mayence, cix. 
 
 Cunegunda, cviii. 
 
 Cupboards of plate, clxxiv. 
 
 Cups given as perquifites, cxlviii ; German, of 
 various lhapes, clxx. 
 
 Cuftodias, Spanilh, clxv. 
 
 Cylix. See Vafes. 
 
 Cyrus, treafure of, xxix. 
 
 Dagobert, chair of, lxxxvii. 
 
 Damafcening, liii ; procefies of execution, 
 clxiv ; names of artifts, ib . ; objedts in the 
 colledtion, 1 3 1— 1 3 5 . 
 
 Dandalo, A., civ. 
 
 Darius, xxix, xxxvi. 
 
 Dati, Vincenzo, clxiv. 
 
 Defontaine, clxxxv. 
 
 Delahaie, goldfmith, clxiv. 
 
 Delaunay, clxxxv. 
 
 Delos, Ihip of, xxxvii; furniture in, liii. 
 
 Delphi, ftatues at, xxxvi. 
 
 Denmark, king of, gives prefents to James I., 
 clxxxiv. 
 
 Desjardins, Franyois, goldfmith, clxiv. 
 
 Die finking, civ. 
 
 Dinglinger, J. M., of Drefden, cxc. 
 
 Dinner furniture, cxliv. 
 
 Di/hes, lxxxii, cxliv. 
 
 Drake, Sir W., vafe, xlvi, 362. 
 
 Drapery and drefs in middle ages, cxxxi. 
 
 Drawings of plate, See., in South Kenfington 
 mufeum, clxiv. 
 
 Drefden. See Mufeums. 
 
 Drufillanus, liv. 
 
 Dueuas, Alonfo, clxvi, 163-4. 
 
 Durer, Albert, clxix. 
 
 Dunraven, earl of, cii. 
 
 Du Sommerard, E., lxxxix, xeix, cv. 
 
 Ecbatana, walls of, xxviii. 
 
 Edward I., plate of, cxli-iii ; lhip of filver 
 belonging to, cxlviii. 
 
 Effigies, monumental, cxxix. 
 
 Egypt, xviii. 
 
 Egyptian antiquities, xviii ; jewels exhibited in 
 London, xix ; kings, xviii j fculpture in 
 gold and filver, xix. 
 
 Eleanor, queen, cxlv. ; of Provence, her coro- 
 nation, cxlv ; her jewels, cxlvii. ■ 
 
 Eledtrum, xxxviii ; candlefticks of, cviii, 306. 
 Elizabeth, queen, extravagance of her reign, 
 clxxvii ; fends plate to Scotland, clxxviii. 
 Eloi, St., lxxxvii. 
 
 Ely, abbey, cvi. 
 
 Emden in Hanover, nef at cxlviii. 
 
 Emperor of Germany, feudal fplendour of, 
 clxviii. 
 
 Enamels, xliii, lxxiii ; various kinds, lxxvii ; 
 on relief, cxxxv ; Byzantine examples, lxxix, 
 ciii 5 invention of N.Pifano, cxli j flite-a-jour, 
 tranfparent fetting, cxlvi, clxii. 
 
 End of the world, xeix. 
 
 Engraved and beaten work, cxxii ; plates, civ. 
 Ellen, lxxxi ; feven-branched candleftick, exxi ; 
 
 treafures at, cxl. 
 
 Ethelwulf, xcvii. 
 
 Eunicus, xli. 
 
 Exodus, xx. 
 
 Falz, goldfmith, cxc. 
 
 Feafts given in middle ages, cxlv. 
 
 Feretra, cxxxvi. 
 
 Figino, Giov. Pietro, clxv. 
 
 Figure modelling, cxxxv. 
 
 Filigree, Irilh, ci, vii ; Moorilh, cxii. 
 
 Filippo, cliv. 
 
 Fiftula in papal facrifty, exxiv. 
 
 Flabellum, liii. 
 
 Flamen, liii. 
 
 Flaxman. defigns for plate, cxcii. 
 
 Florence, filver altar at, cliii. 
 
 Font, Joan, clxvii. 
 
 Foppa, Ambrogio, clix. 
 
 Foreign artifts in England, clxxiii. 
 
 Forks, cxliv. 
 
 Fortnum, C. D., xlvi, 363 . 
 
 France, art, 6th and 7th centuries, lxxx, 
 lxxxvii. 
 
 Francefco, clx. 
 
 Francia, Francefco, clviii. 
 
General Index , 
 
 Francis 1 ., clxii. 
 
 Franks, A., lxi, lxxvi. 
 
 Frauds of goldfmiths, cxl. 
 
 Frederic William, king of Pruflia, filver 
 furniture, clxxxviii. 
 
 Froilfart, cxliv. 
 
 Fugger family, their wealth, clxxi. 
 
 Fulda, cvi. 
 
 Furniture, all kinds in filver, clxxxv ; examples : 
 Windfor, &c., clxxxvi ; melted by Louis 
 1 5 th, clxxxvi-viii. 
 
 Gallo-Roman enamels, lxxvi. 
 
 Gaudry, xcix. 
 
 George 4th encourages filverfmiths, cxcii. 
 
 German, confervative traditions, cxiv ; gold- 
 fmiths, cxiii. 
 
 Germany, church treafures in, cvl. 
 
 Gerona, cathedral altar, cxi. 
 
 Ghent, goldfmiths’ guild, clii. 
 
 Ghinello, Martino, clxv. 
 
 Ghiberti, Lorenzo, civ. 
 
 Ghirlandajo, D., clix. 
 
 Gibbon, xxv, lxix, lxxi. 
 
 Giglio, of Pifa, cliii. 
 
 Giovanni da Ferenzuola, clxiv. 
 
 Giovanni del Tavolaccio, clxiv. 
 
 Girolamo del Prato, clxiv. 
 
 Gilding, Nineveh, xxvii, xlii. 
 
 Gloucefter candleftick, cxvi. 
 
 Gold, ftamps on, ix ; caufes of its value, ix ; 
 colour, xi ; leaf, x ; diftribution of, xii ; 
 form of ore, xiii 5 quantity in Ireland, xiv ; 
 California, xv ; Collegium aurariorum under 
 Trajan, xv ; quantities in India, xvi ; in 
 the eaft, xxx ; gold tbearing fands, xv ; 
 inlay found in Nineveh, xl ; quantities in 
 the world, Iv ; ftatues, liv ; vafes, xxxviii ; 
 ancient methods of working, ?xxxiii. 
 
 Goldfmiths, Hebrew, xxi ; names of, cxii ; 
 Spanilh, clxvii, trainers of artifts, clviii. 
 
 Gothic art, xcii. 
 
 Gourdon, lxxx. 
 
 Graves, Rev. J., 3 1 3 . 
 
 Greeks, xxxi ; gold workers, ib. ; furniture 
 arms, jewels, xxxii. 
 
 Greek lhrines broken up, lix ; artifts in Rome, 
 xlv. 
 
 Greek fret, in Ardagh cup, cii. 
 
 Greek vafes, extant, xlv. 
 
 Guarazzar, treafure of, lxxxiii-viii. 
 
 Guilds founded, cxl 5 badges of, clii; names of 
 towns where they were, clxxi, 
 
 Guy, xcix. 
 
 41 I 
 
 Halberftadt, candlefticks, cxxi, cxl. 
 
 Hall-marks, cxciii. 
 
 Hammer, clxiii. 
 
 Hanap, cxliv, clxix. . 
 
 Harry, the Great. See Crowns. 
 
 Havearing bower, origin of name, cxlix. 
 Hebrews, xx. 
 
 Hecatceus, xli. 
 
 Hedyftratides, xli. 
 
 Helmet in the tower of London, cxliii. 
 
 Henry 2nd, king, cvii ; 3 rd, feaft given by, 
 cxiv; 7th, provides an image in his will, 
 cxxxii ; his wealth, clxxiii ; 8th, in Weft- 
 minfter hall, clxxiv ; his feftivities, ib . ; at 
 Calais, ib. 
 
 Herbert, cxiv. 
 
 Herculaneum, difcoveries in, cxci. 
 
 Hezilo, bilhop, cviii. 
 
 Hibernian academy, xiv. 
 
 Hildefheim treafures, xlvi, lxxxi, cxl. 
 
 Hincmar, bilhop of Rheims, xcix. 
 
 Hoffmann, J., clxix. 
 
 Holbein defigns jewels, clxxvi. 
 
 Homeric defcriptions, xxxii.j 
 Horfes, armour and accoutrements for, cxliii. 
 Howard, admiral, his chain and whiffle, clxxvi. 
 Hungerford, Walter, his bequefts, cli. 
 
 Iconoclafts, lxviii. 
 
 Images, cix, cxlix, cli ; Spanilh, clxv. 
 
 India, gold furniture of, xxvi, 376 ; enamel in, 
 lxxv. 
 
 Ireland, amounts of gold found in, c. 
 
 Irene, emprefs, civ. 
 
 Irilh academy, c'l ; goldfmiths, c ; jewels c. 
 
 Iron crown, lxxvii. 
 
 Ifabella, queen, her plate, cxliv. 
 
 Italian ftates, wealth of, cxli. 
 
 Italy, condition of, lxiii ; art of, lxxxvi. 
 
 James 5 th, xiii; ift, of England, font for, 
 clxxviii ; wealth of county families in his 
 reign, clxxxiii. 
 
 Jamnitz or Jamnitzer, Albrecht, Chriftoph, 
 and Wenzel, artifts, clxix. 
 
 Jerufalem, church of, xxv. 
 
 Jewels in the middle ages pawned by princes, 
 cxxxiii. 
 
 John Baptift, goldlmith, clxxvii. 
 
 Johnfon of Dublin, filverfmith, cii. 
 
 Juftinian, times of, lxv. 
 
 Kaiferwerth, cxl. 
 
 Kettle, clxxxviii. 
 
 Kings, (hrine of, at Cologne, cxiv. 
 
General Index , 
 
 41 2 
 
 Kornemann, J., clxx. 
 
 Kronenburg, caftle of, furniture, clxxx. 
 
 Krug or Kruger, H. and L., clxix. 
 
 L'abarre, clxxxv. 
 
 Labarte, J., lxxx, civ, v, cxxi, iii. 
 
 Laborde, count, J., de, xcvi. 
 
 Lamps, lxvii. 
 
 Lanx, lxi. See Vafes. 
 
 Laurium, mines, of, xvii. 
 
 Lautizio di Perugia, clxiv. 
 
 Lawyers, their wealth, cli. 
 
 Layard, H. A., xxvii, lxxii, clxv. 
 
 Le Brun, fuperintends filverfmiths, clxxxv. 
 Leonardo di fer Giovanni, cliii. 
 
 Letters, Guarrazar treafure, lxxxix. 
 
 Leyland, nef, exhibited by, cxlviii. 
 
 Liber pontificalis, lxv. 
 
 Lille censer, cxxi. 
 
 Limburg, cxl. 
 
 Limoges enamel, lxxviii, lxxxviii, cxxix. 
 Lifmore crozier, cxxviii. 
 
 Lombard ftyle, cvi. 
 
 Lombard damafceners, clxv. 
 
 Lorenzo del Nero, cliv. 
 
 Luca Agnolo, clxiv. 
 
 Luca della Robbia, civ. 
 
 Ludovico Buoni, cliv. 
 
 Lutheran churches, old velfels in, cxl. 
 Lyttleton, Sir Th., his plate, cli. 
 
 Macedonia, xli. 
 
 Magnac, c, cxxviii. 
 
 Marci, Giovanni, civ. 
 
 Maria Therefa, xvii. 
 
 Mariette, Augufte, xvlii. 
 
 Martino. See Ghinello. 
 
 Martin, A., cxxviii. 
 
 Martin, P., 72. 
 
 Mary Tudor, queen, her jewels, clxxvii ; of 
 Modena, her crown, &c., clxxxv ; her 
 filver toilet fervice, clxxxv ii. 
 
 Mafanell, Joan, clxvii. 
 
 Mafo, Finiguerra, civ. 
 
 Mazer bowls, cxlvii. 
 
 Medici family, clix, clxi. 
 
 Melper, H. and J., clx> i. 
 
 Mentor, xxxix. 
 
 Meo, Riccardi, cliv. 
 
 Merino, artift, clxvi. 
 
 Meyrick collection, lxxvi. • 
 
 Michelozzo, cliv. 
 
 Michelangelo di Giuliano, lxix. 
 
 Milan goldfmiths, xcviii, clix ; candleftick, 
 cxix, artifts, clxv. 
 
 Milano, cliv. 
 
 Mirrors, Etrufcan, xlii. 
 
 Monaftic fchools of art, lxxxviii. 
 
 Moneta, Juno, xvii. 
 
 Monte Caffino, cvi, cix. 
 
 Monftrances, clxv. 
 
 Montesquieu, on Spanifh laws, clxxx. 
 
 Monza treafures, lxxxvi ; Chalices at, cxxiii. 
 Moorilh letters, ornament, cxi. 
 
 Moorifh artifts, cxii. 
 
 Morse, cxxxix. 
 
 Mofes, xix ; facred velfels made by, xx. 
 Mountcharles, countefs of, her necklace, clxi. 
 Moya, marquis of; his plate, cxcii. 
 
 Muller, xli, 1 . 
 
 Munich, lxxxi, clxii. 
 
 Munfter, lxxxi, cxxi, cxxvi. 
 
 Museum, Ashmolean, xcvii ; Berlin, xlvi, 
 clxix, clxxxi ; British, jewels in, xxxiii, 
 xlii, lx, lxxii. vi ; reliquary in, cxv ; cup 
 in, clxix ; jewels in, clxxvi ; of Buchareft, 
 lxxxii ; of hotel de Cluny, Paris, Ixxxiii, ix, 
 cviii ; of Kertch, xxxvii, xlii ; of the 
 Louvre, Paris, lxxx ; Green vaults, Dres- 
 den, clxx, cxc. 
 
 Mycenae, difcoveries at, xxxii. 
 
 Myron, xxxix. 
 
 Names of artifts in Nuremburg, clxix. 
 
 Nef., examples of, cxlviii. 
 
 Neptune, frieze of temple, lii. 
 
 Nero, lv. 
 
 New world, silver in, xvii. 
 
 Nicolas, Sir N. H., clxxvii. 
 
 Niello, xliii, lxxiii. 
 
 Nimroud, xxvii. 
 
 Niniveh, xviii, xxvii. 
 
 Norman, style in goldlmith’s work, cvi. 
 Norwich ewer and salver, clxxvii. 
 
 Nuremberg, cxxvi ; cups, clxix ; names of 
 goldfmiths, clxix. 
 
 Offerings at coronations, cxlix. 
 
 Olympia, coloflus and temple at, xxxv, 
 xxxvii. 
 
 Olympus, claffical, of renaiflance artifts, clxiii. 
 Opus entrecofeum, cvii. 
 
 Ordelafo Faliero, civ. 
 
 Orfeolo. cv. 
 
 Orvieto, reliquary at, cxxxvii. 
 
 Otho 3 rd emperor, marries Theophania ; in- 
 troduces enamel into Germany, cvii ; Otho 
 4 lh , cxiv. 
 
 Oxford, fait cellar at All Souls’ college, 
 cxlviii. 
 
General Index 
 
 413 
 
 Paderborn, cxl. 
 
 Paolo, Azzimino, clxv. 
 
 Paris, cxii. 
 
 Pafiteles, xli. 
 
 Paftotal ftaff, cxxviii; at New college, Ox- 
 ford, cxxxix. 
 
 Patens of gold, cxxv. 
 
 Patera. See Vafes. 
 
 Pau, J, clxvii. 
 
 Paufanias, xvii ; xxxvi ; treafuries he faw, 
 xxxvii. 
 
 Pax, cxxxix ; clviii ; clx. 
 
 Pecunia, origin of, the term, ix. 
 
 Pegolt, Hans, clxxxi. 
 
 Pellizzone, Francifco, clxv. 
 
 Perez. 
 
 Pericles, xxxvi. 
 
 Petit, clxxxv. 
 
 Petrie, Dr., ciii. 
 
 Petroffa, treasure of, lxxxv. 
 
 Pewter and lead proofs of artifts’ work, cxlx ; 
 
 recommended to be kept by Cellini, clxxxi. 
 P haler a, lxi. 
 
 Phiale. See Vafes. 
 
 Phidias, xxlx, xxxiv ; gold and ivory ftatues, 
 
 XXXV. 
 
 Philip II. of Spain fends treafure to London, 
 clxxvii. 
 
 Phillips, profeflor, liii, xvii. 
 
 Philoftratus, xxxvi ; on enamel, lxxxvi. 
 
 Piatti, Bartolommeo, clxv. 
 
 Piero di Mino ; Piero del Tavolaccio, clxiv. 
 Piers Gavefton, cxlv, viii. 
 
 Pietro Tedefco, cliii. 
 
 Pietro of Pifa, cliii. 
 
 Pilote, clxiv. 
 
 Piftoia, filver altar in, cliii. 
 
 Platsea, fpoils of, xxxii. 
 
 Plate in feudal houfes, cxliv ; difplay of, clxxiv. 
 Platerefca, name given to archite&ure ' in 
 Spain, cxxxv. 
 
 Pliny, the elder, x, xvi, xxxiv, xl, xli, ii, iv ; 
 
 the younger, xxxvii. 
 
 Plite or plique, enamel fo called, clxii. 
 
 Poch, P. J., clxvii. 
 
 Pomeranian cabinet in Berlin, clxxxi. 
 
 Pompeii, difcoveries in, cxc. 
 
 Pope Sixtus 4th, clix ; 7th, clxii ; popes pro- 
 moters of art, clvii. 
 
 Popprea , liv. 
 
 Portugal, plate made there, clxxxi. 
 
 Pofidonius, xli. 
 
 Poynings, charter ring of, cl. 
 
 Prague, candleftick in, cxix. 
 
 Praxiteles, xxxix. , 
 
 Precious ftones, Ixxi. 
 
 Prochous. See Vafes. 
 
 Prunl, Georg., clxxi. 
 
 Pugin, cxxi, cxxviii. 
 
 Pytheus, xli. 
 
 Pyx, cxxv. 
 
 Quattrocento ftyle, clviii. 
 
 Quincy, Quatremere de, xxxv. 
 
 Rainoud, cxc. 
 
 Ramel, Benedift, goldfmith, clxiv. 
 
 Rapier given to king James I ft, clxxxv. 
 Recefvinthus, lxxix. 
 
 Reliquaries, cxii, cxlv, xv, cxxxvi. 
 
 Remi, St., xcix. 
 
 Renaiffance, clvi ; countries that firft took it 
 up, clvi"; in England, clxxxiii. 
 
 Rhenilh Byzantine enamel, lxxvx. 
 
 Riano, J., xcii, cx, clxv, cxci. 
 
 Richenau, cvi. 
 
 Ring of St. Edward the confeffor, cxlix. 
 
 Ritz, Heinrich, of Leipfic, clxxii. 
 
 Roach Smith on Saxon jewels, xcv. 
 
 Romans, xliv ; difplay of gold by them, lv ; 
 civilization and art in the provinces, lxxxv ; 
 Roman pontiffs encourage art, lxxxiv. 
 Roman damafceners, clxv. 
 
 Romolo del Tavolaccio, clxiv. 
 
 Ros, F., clxvii. 
 
 Rouflel, clxxxv. 
 
 Rundell and Bridge, cxcii. 
 
 Sabat, B., clxvii. 
 
 Saint Alban’s, cv, cix, x j candlefticks at, 
 cxxi ; fhrine, cxxxvii. 
 
 S. Benedict, cix ; S. Cuthbert, St. Denis, cvi ; 
 St. Edward, St. Eckenwald, St. Frideswide, 
 St. Hugh, St. Mary, St. Thomas, of Canter- 
 bury, cxxxvii. 
 
 St. Eulalia, relics of, cxi. 
 
 St. Louis, cxii. 
 
 St. Peter’s church, lix ; candlefticks for, cxxi ; 
 St. John Lateran, lix, civ ; St. Patrick, 
 bell of, cvi. 
 
 Sts. Peter and Paul, heads of, civ. 
 
 Salamanca, clxvi. 
 
 Sales, prices given at, in Rome, xliv. 
 
 Saltcellars in middle ages, cxlvii, clxxvii. 
 
 Sandro Botticelli, pax by, clviii. 
 
 Saragofla, jewels from, clxviii. 
 
 Sarazin, clxxxv. 
 
 Sardanapalus, death of, xxix. 
 
414 
 
 General Index, 
 
 Saxon jewels, xcv. 
 
 Sceptres, xlii, cxliii, 340 ; in the tower of 
 London, clxxxv. 
 
 Schliemann, xxxii. 
 
 Schweinberger, A. and F., clxxi. 
 
 Scopas, xxxix. 
 
 Scutelhe , lxi. 
 
 Scyptius. See Vafes. 
 
 Sens, altar at, C. 
 
 Seven, the number, xxiv. 
 
 Seville, cx ; cathedral, clxvi. 
 
 Sevin, c. 
 
 Shield, Wellington, cxcii. 
 
 Siegburg, treafures at, cxl. 
 
 Shrines of various faints in England, cxxxvii ; 
 money bequeathed to them at intervals 
 during the [middle ages, ib. ; images be- 
 queathed to them, cli. 
 
 Sicily, queen Johanna of, cxxxiii. 
 
 Silber, Jonas, clxx. 
 
 Silver, its diftribution, xvii ; money, xvii ; 
 preferred by Greek artifts for vafes, &c., 
 xxxix. 
 
 Silver plate in Rome, xlvii ; furniture, liii ; 
 ftatues, liv ; filver [treafure in Britilh mu- 
 feum, lx ; quantities among the ancients, lv. 
 
 Silver furniture in modern times, means of 
 hoarding, clxxxix. 
 
 Sinai, veffels made in the delert of, xx. 
 
 Simpuvium. See Vafes. 
 
 “ Small mafters,” clxxii. 
 
 Soden Smith, R. lxxxiii. 
 
 Soeft, chalices at. cxl ; tabernacles at, cxxvi. 
 
 Soldering, xxxiv. 
 
 Solomon, king, xvii, xx ; xxx ; his treafure, 
 xxvi, xxvii, lv. 
 
 Spain, quantity of plate in, clxxx ; deftruction 
 of plate there, cxci. 
 
 Spanilh dominion in Italy, degraded art, 
 clxxxi. 
 
 Spanilh cuftodias and images, clxv. 
 
 Spanilh goldfmith’s names, cx, clxv, clxvii. 
 
 Spoon, coronation, cxli. 
 
 Spoons, cxliv. 
 
 Spurs, cxliii. 
 
 Stamps on gold, cxli. 
 
 Stamps, Englilh. See Hallmarks, cxciii and 
 following pages ; German, 101 ; Spanilh, 
 72.' 
 
 Statues of gold and filver in Athens, xxxvi. 
 
 Stothard defigns plate, cxcii. 
 
 Strabo, xvii. 
 
 Stratonicus, xl. 
 
 Stuarts, plate of their time, rare now, clxxxiv. 
 Swinthila, xc. 
 
 Synagogues, objects ufed in, xxvii. 
 
 Tabernacles, cxxvi ; by Krafft and de Vriendt, 
 cxxvi ; at Soeft and other places, ib. 
 
 Tables, offerings at altars, cxxxii ; note, cli. 
 Tables of filver, clxxxvi. 
 
 Table plate, cxli. 
 
 Tankards, clxxxi. 
 
 Taurifcus, xl. 
 
 Tedefco, H. and P., cliii. 
 
 Temple of Solomon, xxvi. 
 
 Thelot, cxc. 
 
 Themiftocles, xvii. 
 
 Theodora, emprefs, jewels in her portrait, 
 lxxxiii. 
 
 Theodofius, column of, Ixvi. 
 
 Theophania, emprefs, cvii. 
 
 Theophilus, emperor, his palace, throne, Sec., 
 lxix, lxxiii, cxxiv, clxiii. 
 
 Throne of Tippo Sahib, xxvi. 
 
 Titus, arch of, xxii, cxix. 
 
 Toilets, filver, in England, clxxxii ; of queen 
 Mary of Modena, clxxxvii. 
 
 Toledo, cxi, clxvi. 
 
 Toreutores, xxix. 
 
 Torque, lxxxii. 
 
 Torrigiano, employed in England, clxxvii. 
 Tours, cvi. 
 
 Trajan, emperor, xv, xxxvii. 
 
 Trautmann, goldfmiths’ names given by, clxxi. 
 Treafures carried about in the middle ages, 
 cxxx ; treafure of Joanna, queen of Sicily, 
 cxxxiii. 
 
 Tree of gold, xxix. 
 
 Treves, cxii, cxl; cenfer at, cxxi ; St. Peter’s 
 staff, cxxviii. 
 
 Tripod, lii. 
 
 Tureens, clxxxvii. 
 
 Turner, domeftic archite&ure, cxliv, vii. 
 Tufcan damafceners, clxv. 
 
 Ugolino of Siena, cxxxvii. 
 
 Urban, Sth, civ. 
 
 Vala, xcix. 
 
 Valder, A., de, clxvii. 
 
 Valerio Vicentino, clxiv. 
 
 Valla, N., clxvii. 
 
 Valladolid, number of filverfmiths there 
 clxvi. 
 
 Vafari, clix, clxi. 
 
General Index 
 
 415 
 
 Vafes, names and kinds, xlvii, lxxxii. 
 
 Venice, St. Marks, lxvii, cix, fala doro, c, 
 ciii, intercourfe with Conftantinople, cvii. 
 Vergen del Pilar, Saragoffa, jewels for her 
 lhrine, clxvii. 
 
 Vefiels, facred, cxii. 
 
 Vida, F., clxiii. 
 
 Vienna, clxii. 
 
 Vincenzo. See Dati. 
 
 Vifconti, Ixi. 
 
 Vitreous palles, lxxiv. 
 
 Wallbaum, Matthias, clxxxi. 
 
 Warwick, earls of, their plate, cl. 
 
 Waterton, E., rings of, xxvii. 
 
 Weftern Europe, art of, lxxxiv. 
 
 Whittle, admiral’s, clxxvi. 
 
 Willigis of Mayence, cix. 
 
 Wills, difpolition of plate in mediaeval wills, 
 cl to clxxvi. 
 
 Windfor caftle, examples of plate there, 
 clxxxvi. 
 
 Wilten in the Tyrol, two-handled chalice at, 
 cxxiii. 
 
 Wolfey, cardinal, his plate, clxxv. 
 
 Wolvinus, artift, xcviii. 
 
 Wyatt, fir M. Digby, 1S4. 
 
 Xanten, cxl. 
 
 Xenophon, xvii. 
 
 Ximenes, Juan, clxvii ; Rafael, clxvii. 
 
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