Not only Henry VIII., but his great lords and ministers, had extensive collections of plate. Cardinal Wolsey had a large safe or cupboard, barred all round for protection, in which was displayed a goodly show of gold cups and other sumptuous vessels for use at his table.

"Apostle spoons" were made at this and subsequent periods, and were so called from their having little figures of the Apostles modelled on the tops of the handles (Fig. 171).

The Silver, Gold, And Bronze Work In Queen Elizabeth's Time

The Silver, Gold, And Bronze Work In Queen Elizabeth's Time in England was made in the style of the Renaissance, like that of Germany. Italian and German work at this time was almost identical (Figs. 172 and 173); and even when the Rococo decadence was prevalent in architecture, both on the Continent and in England, goldsmiths' work was the last industry that fell under its influence, especially when we compare it with the contemporary pottery, furniture, and other decorative art. Of course, at the latter end of the seventeenth and during the eighteenth century, the design in metal work in France, and also in England, was sacrificed to display and ostentation; but at the same time a comparative purity of style is seen in much of the plate made in the reigns of William and Mary, James II., and Queen Anne, of English manufacture. The silver and gold plate of the "Queen Anne" period (1702-14) is highly prized for its beauty of design and massive character, some examples of which will be noticed presently.

In the metal work, especially in gold and silver of the seventeenth century, towards the middle of the century a certain heaviness of design gradually crept in; although a good deal of fine work was still produced by the artists who belonged to the older schools, and, as a matter of course, the best work belonged to the earlier part of the century.

A fine freedom of line and handling is seen in the Flemish salver (Fig. 174) of Renaissance design. The French example of a silver-gilt cup and cover is unusually simple for French work of this century (Fig. 175), and an English silver casket of the same date (Fig. 176) shows a similarity of style: the serpent handles and covers are almost identical.

About the middle of the seventeenth century silversmiths' work in Germany began to assume a bulbous or lobed character, and gradually became more florid in design (Fig. 177). This bulbous or gadrooned work was carried out to a greater degree in English work of this period, of which the gold cup at Exeter College (Fig. 178) is a good example. The decoration of metal work in England at this time consisted of flowers and foliage chased on the repouss*š surfaces, and often large rich acanthus-leaves were used, especially on the vases and silver furniture of Charles II.'s time. The lobed panel work of Germany was developed in England into lozenge and pine-shaped raised surfaces, and the details of the French Louis Quatorze were added as decoration.

Tankards

Tankards were made in silver, or sometimes in pottery richly mounted in silver or pewter. The tankard has a wide base, the body narrowing towards the mouth, and has usually a cover (Fig. 179), while the beaker or drinking cup is the reverse in shape - narrow in the base, and widening towards the mouth, and is without a handle or cover.

The English silver tankards were. straight-sided, with naturalistic decoration. Modern tankards for beer-drinking uses are made in pewter or Britannia metal.

In the Rhine Provinces, in Germany, and in Switzerland stoneware tankards with metal covers and mountings are still in use. Tankards in the seventeenth century were made with pegs inserted in the sides at regulated distances, so that each drinker might quaff his measured portion when the vessel was handed round.

In the reign of James I. many sumptuous objects in services and toilet furniture were made in gold and silver. The baronial halls in England were extremely rich in large pieces of plate: huge salvers, vases, basins, jugs, cups, toilet services, and even tables, chairs, mirror-frames, and fire-dogs were made in silver.

Fig. 172. Silver-gilt German Cup; Sixteenth Century.

Fig. 173. Bronze Candlestick; Italian; Sixteenth Century.

Fig. 174. Flemish Salver; Seventeenth Century. (S. K. M).

Fig. 175. Cup with Cover, Silver-gilt: French; Seventeenth Century. (J).

Fig. 176. Silver Casket; Seventeenth Century.

Fig. 177. Nuremberg Tankard.

Fig. 178. Cup of Gold, circa 1660-70, at Exeter College, Oxford. (C).

In France, during the reign of Louis XIV., similar gold and silver vessels and sumptuous furniture were made in the rich and massive style of the period. Balin and Delaunay are mentioned among others who were skilful goldsmiths to that monarch, and who worked under the directions of the chief painter and tapestry designer, Lebrun.

England not only made a good deal of this silver furniture, but also imported it largely from France; most of it, however, was melted down to pay for the wars of Charles I.

A few remaining examples are still at Knole Park, in Kent, consisting of silver tables, mirror-frames, fire-dogs, etc. (Fig. 180). Similar objects of this period are now at Windsor Castle (Fig. 181), of which copies in electrotype are in the Kensington Museum.

Some of the gold plate preserved in the Tower of London with the regalia is of this period.

After the date of 1660 gold and silver-smithery becomes fluted and less florid in decoration, but some of it still keeps the gadrooned and bulbous character. Towards the end of the century, in the time of William the flutings were less in number, and consequently became larger in scale, and in the early part of the eighteenth century the metal work in England became plainer, depending more on the lines of its contour for effect than on its decoration (Fig. 182). Mouldings were plainer, and broad spaces of convex and concave shapes producing a massive and, in many cases, an elegant appearance (Figs. 182, 183), which gave to the Queen Anne plate a mark of great distinction.