Catalooue 
 
 OK THE 
 
 (Sutmann Collection of plate 
 
Catalogue 
 
 OF THE 
 
 ©utmann Collection of UMate 
 
 NOW THE PROPERTY OF 
 
 3% flMerpont Morgan, Esquire 
 
 BY 
 
 E. Hlfreb 3ones 
 
 Author of 
 
 “ The Church Plate of the Diocese of Bangor ” 
 
 “ Old English Gold Plate"' 
 
 “ The Old Church Plate of the Isle of Man ’’ 
 
 “ The Old Silver Sacramental Vessels of Foreign Protestant 
 Churches in England ” 
 
 “ An Illustrated Volume on Mr. Leopold de Rothschild's Collection of Plate ” 
 
 AND 
 
 “ Old English Plate in the Possession of the Czar of Russia ” 
 
 etc., etc. 
 
 Xon&on 
 
 BEMROSE & SONS LIMITED, 4, SNOW HILL, E.C. 
 
 AND DERBY 
 
 1907 
 
V 
 
The references are to Dr. Marc Rosenberg’s 
 invaluable book, Der Goldschmiede Merkzeichen. 
 

INTRODUCTION. 
 
 T HE seventy-three specimens of old plate, mainly of German origin, which 
 are enumerated in this catalogue, were collected, together with a few other 
 objects of Art, by Herr Gutmann, of Berlin, and include some unique 
 pieces, and others of great rarity and value. 
 
 The earliest object in the collection, and the only piece of the Gothic period, is 
 the Horn with fine Gothic mounts in silver, dating from the early part of the fifteenth 
 century (Plate I.). The horn has, as is well known, been a popular form of drinking 
 vessel from early times. Its use existed among the Anglo-Saxons, and a fine one, 
 mounted in gilt metal, is in the British Museum. The ancient custom of tenure 
 by cornage in England is commemorated by the historic Pusey horn given by Canute. 
 The transference of estates by the cup or horn, sword or helmet, of the owner, without 
 the formality of a written charter, was continued by the Normans. Horns of ivory, 
 generally described as oliphants, such as the famous Bruce horn in the possession 
 of the Marquis of Ailesbury, of English workmanship, with exquisite enamelled 
 decoration, of the reign of Edward III., and the one at Ford Hall, with the seals 
 of John of Gaunt attached, are recorded. 
 
 The preservation to this day on the Continent of Europe of three of the most 
 notable horns mounted in silver is doubtless due to the fact that they have been 
 treasured as reliquaries — namely, those in the churches of St. Severin at Cologne and 
 St. Servais at Maestricht, and the one, richly mounted with silver, enamel and niello 
 work, in the magnificent treasury of Gran Cathedral in Hungary. Two other 
 examples of importance, and dating from about the same time, are the Oldenburg 
 Horn and the one mounted as a whale supported by a triton in the Kunstgewerbe 
 Museum at Berlin. Denmark, Norway, and Sweden each possess specimens of horns 
 carved and mounted in commemoration of the three Kings of Cologne. An elephant’s 
 tusk, with elaborate Gothic silver mounts, supported on elephants, known as the 
 Liineberg horn, was wrought in i486; and a fine one, also elaborately decorated with 
 Gothic architectural features, and supported on two grotesque animals, formerly in 
 the possession of Bishop Lorenz von Bibra of Wurzburg, was in the late Baron 
 Carl von Rothschild’s splendid collection of plate prior to its dispersal among the 
 members of his family. 
 
 VII 
 
The silver-mounted horns preserved in England at the present time include one 
 of late thirteenth century belonging to Christ’s Hospital, one of the fourteenth century 
 at Queen’s College, Oxford, and one of about the same period, with later mounts 
 of Elizabethan date, at Corpus Christi College, Cambridge. Others, with their 
 historic associations, have been described in archaeological journals. According to 
 Hcrnictnce , published early in the eighteenth century, their use as drinking vessels 
 appears to have survived in England until comparatively late times, for it is remarked 
 there that “ the ancients in their carowsings used horns (as mad Toms do now) instead 
 of cups ; and thence to powre out, or to mingle wine, is called ceraisi, of Ceras, an 
 home.” 
 
 It is impossible to say whether the “ cup of unicorn’s horn, richly garnished with 
 gold, and the rhinoceros cup graven with figures with a golden foot,” in the marvellous 
 collection of plate converted into money by Charles I. of England to meet the expenses 
 of the Civil War, were cups mounted from horns in their natural size, or beakers like 
 the one described in the same Royal inventory as a “ unicorn horn beaker and golden 
 cover, with a diamond ring on the top, supported by three unicorns.” 
 
 To pass on from the Gothic period to the silversmiths’ work of the Renaissance, 
 there are two flagons or tankards of the sixteenth century, the smaller, illustrated on 
 Plate II., being worthy of remark not only from its richly-decorated details, but also 
 from the fact that this form found its way across to England, and was there copied 
 by the Elizabethan silversmiths. The other flagon (Plate IV.), which is taller, is 
 also a very fine specimen of a type prevailing in North Germany and the Baltic 
 provinces. 
 
 More remarkable is the superb sixteenth century German tankard (Plate III.), 
 with a plain silver body enclosed in a framework of fine filigree, geometrical in its 
 general design, and embellished with embossed borders of amorini and set with 
 medallions of Hector and Paris, a band with a row of eight cupids’ heads in relief, 
 at intervals, encircling the centre of the body. This splendid tankard resembles in 
 its tall, cylindrical form, and in the style and design of the filigree work, the well- 
 known “Poison” tankard, given, with the “Falcon Cup,” “Serpentine Cup,” and 
 a plain gold chalice with paten, to Clare College, Cambridge, by one of its alumni , 
 William Butler, a noted physician. The Clare tankard, however, is of English work- 
 manship, and has a body of rock crystal, the frame supported by feet formed of 
 cupids’ masks, while an inserted piece of crystal — a charm against poison — takes the 
 place in the cover of the silver medallion in this tankard. Mr. Alfred de Rothschild 
 owns a German tankard with crystal body enclosed in a filigree frame, of similar work- 
 manship, and this also has a rough piece of crystal set in the cover; and another of 
 the same style, the cover surmounted by a vase, is included amongst the Imperial 
 collection of plate in the Kremlin. This fine filigree work originated in Italy, and 
 
 VIII 
 
it will be recalled that Benvenuto Cellini mentions Piero di Nino as “ a goldsmith 
 who worked only in filigree — an art which, while it affords great charm, is not without 
 its difficulties.” In the treasury of St. Antonio at Padua is a beautiful censer of the 
 fifteenth century, with designs in filigree similar to those on these tankards. Swedish 
 silversmiths of Stockholm of the end of the seventeenth century were influenced by 
 this openwork in the large covered silver beakers and boxes given in 1699 by 
 Charles XII. of Sweden to the then Czar of Russia, Peter the Great. 
 
 A tankard wholly different in style and character is the rare and interesting 
 specimen (Plate XXIII.), which is probably Hungarian of the early part of the 
 seventeenth century. It is of cast silver-gilt, octagonal in form, and entirely covered 
 with conventional representations of tears and small oval medallions in slight relief. 
 Catherine de Medici adopted tears as a badge on the death of Henry II. This vessel 
 is almost identical in form and in the peculiar style of decoration to one preserved in 
 the National Museum at Buda-Pest, and in outline to another tankard, also of 
 Hungarian workmanship and of about the same date, but set with coins, in the 
 Evangelische Kirche, Nagyszeben. 
 
 Later in the seventeenth century, the tankard gradually becomes larger in circum- 
 ference and shorter, and of this type there are two excellent and massive examples 
 in this collection. On Plate XXIX. is one of large size, with the body divided 
 into eight panels engraved with various subjects — figures, warriors, etc. — and with 
 smaller Vandyke panels on the body and cover, embossed with cherubs, fruit, and 
 different kinds of animals. The other tankard (Plate XLIV.) is decorated on the 
 body with a scene representing a victory of Alexander the Great, while in the cover 
 is a medallion with mounted figure of Alexander. This is of early eighteenth century 
 date, and was wrought at Danzig by one Haidt. 
 
 The partiality of the Renaissance artificer for mounting shells, nuts, and eggs — 
 then difficult to obtain — into all sorts of vessels for drinking and decorative purposes, 
 is familiar to students of the goldsmiths’ art. The exquisite pearly iridescence and the 
 beauty of the lines of the nautilus strongly appealed to his artistic feeling. This 
 collection contains seven shells mounted in different forms. The earliest (Plate V.), 
 which is a Conch Shell mounted in the sixteenth century, is secured by gilt straps, 
 embossed with masks, fleurs-de-lis, etc., which are studded with Roman denarii. The 
 turbinated Nautilus Shell Cup (Plate VIII.), with a stem supported by a figure of 
 Hercules, and with dolphins and sea monsters applied to the foot, was mounted by 
 Caspar Bendell, of Breslau, 1578-1 59^- 
 
 A Nautilus Shell mounted in an unusual and ingenious manner is figured on 
 Plate XIX. The whorl has been cut into wavy bands, revealing the yellow epidermis 
 alternate with the under nacreous layer. It is mounted with the aperture of the shell 
 turned downwards to represent a large snail, and ridden by a well-modelled figure of 
 
 IX 
 
a Nubian, enamelled in black, with dark red and green loin cloth, and carrying a bow 
 with a quiver of arrows on his back, in the act of driving the snail. It was mounted by 
 Jeremiah Ritter, of Nuremberg, early in the seventeenth century. 
 
 The Nautilus Shell illustrated on Plate XX. is of considerable interest in that 
 it is exquisitely engraved with emblematic scenes of Peace and War, one side having 
 a pastoral scene, with numerous women and children, and the other with horsemen 
 engaged in combat with firearms. An heraldic helmet with the barred vizor closed 
 is delicately carved and pierced from the whorl of the shell, and above is added an 
 engraved helmet with shield, while two female heads, carved from a conch shell, are 
 applied to the umbilicus. It is signed by the artist, a German, C. Bellekin, who 
 flourished in the seventeenth century. The dolphin stem, the foot, and the mounts 
 are the work of a Breslau craftsman early in the eighteenth century. 
 
 Four other specimens of Bellekin’s engraved work on nautilus shells are in 
 existence. Two are in the Kunstgewerbe Museum at Berlin, and both are signed 
 C. Bellekin , F., and engraved with scenes representing peasants drinking and 
 dancing. One of these is fixed on a simple, modern, wooden foot, and the other is 
 mounted in copper-gilt in the style of about 1740, a negro supporting the shell. 
 Two others, which are in the “Green Vaults” at Dresden, are engraved with 
 “ Triumphal processions,” one being signed with the artist’s name in full, while the 
 other bears his initials only. Both the shells at Dresden were mounted in 1724 by 
 a silversmith named Kohler, of that city. A fifth specimen of Bellekin’s work is in 
 the Ducal Museum at Gotha. 
 
 Other examples of nautilus shells engraved by unknown artists are preserved in 
 private and public collections, one of the finest in existence being one with the 
 “Triumph of Neptune and Amphitrite,” formerly in the Fonthill Collection. 
 
 The fourth nautilus cup contained in this collection is that on Plate XXV. It 
 has a cover with a large dolphin in the act of ejecting Jonah, and the shell is 
 supported by a seated figure of Neptune on a high pedestal repousse with marine 
 subjects and embellished with applied frogs, lizards, etc. — possibly Transylvanian 
 work of the seventeenth century. 
 
 The next (Plate XXXI.) has a shell which is surmounted by a figure of a whale 
 ridden by Neptune and vomiting Jonah, and which is supported by a graceful vase- 
 shape stem, with scrolled dragon brackets, set on a circular foot repousse with sea 
 monsters, and with four frogs applied — seventeenth century German work. 
 
 The seventh and last is the turbinated shell, mounted as a cup (Plate XLVII., 
 No. 3), which has a domed cover, decorated with strapwork, etc., and surmounted by 
 a seated boy. The stem is a tree trunk clasped by a boy, resting on a sexfoil foot. 
 This is of Austrian origin, circa 1700. 
 
 x 
 
The main decorative features of the supports, mounts, and embellishments of the 
 nautilus cup are, appropriately enough, marine subjects, such as dolphins, figures 
 of Neptune, sea monsters, and, frequently, a whale or dolphin vomiting Jonah. 
 Nuremberg goldsmiths are credited with the production of the finest specimens, and 
 the master-goldsmith, Nicholas Schmidt, of that famous guild, was one of the most 
 talented artificers in this branch of the art of the worker in the precious metals, one 
 of his finest examples being the sixteenth century nautilus cup, supported by a figure of 
 Neptune astride a sea-horse, on a base with sirens playing stringed instruments, in 
 the Royal collection at Windsor Castle ; while other specimens of his work are to be 
 seen in the “Green Vaults’’ at Dresden. 
 
 A nautilus shell, with silver mounts, formed as an ostrich, dating from the seven- 
 teenth century, is in the Kremlin. 
 
 The magnificent collection of plate at Munich belonging to the Kingdom of 
 Bavaria contains a remarkable vase formed of two nautilus shells, with siren top, held 
 by an eagle, with embellishments of a snail, serpents, etc., wrought in the sixteenth 
 century at Nuremberg; a nautilus cup, with elaborate mounts, the stem formed of 
 a figure of Diana with dogs ; a nautilus engraved with hunting and sea scenes, flowers 
 and fruit, mounted on a floreated scroll stem — seventeenth century ; and a nautilus 
 formed like a bird, of the sixteenth century. 
 
 Flemish goldsmiths also manifested a leaning towards the nautilus cup, and two 
 examples mounted by them — one bearing the year mark of Antwerp for 1581, and the 
 other dating from about 1590 — are included in the superb collection of plate bequeathed 
 by Baron Ferdinand Rothschild to the British Museum, which also contains a nautilus 
 cup of South German origin, of late sixteenth century date, interesting from the fact 
 that the ornament on the shell (representing dragons in clouds) was executed in 
 China. In the Victoria and Albert Museum is one with the mark of Utrecht of 
 about 1580. 
 
 Specimens of purely English work have not survived in a complete state. Mr. 
 Alfred de Rothschild owns a curious and unique cup and cover in the form of a melon 
 shell mounted as a sea monster, supported by four dolphins on a circular base, bearing 
 the London hall-mark for the year 1577. 
 
 Cocoa nuts have also been frequently mounted as cups in elaborate fittings by 
 German silversmiths, and a fine specimen in this collection is illustrated on Plate XXX. 
 The nut is carved with foliage, grotesque masks and birds, and with three devices 
 with names above, while the rich mounts were executed at Augsburg in the seventeenth 
 century. Among fine cocoa-nut cups with silver mounts of German origin in other 
 collections worthy of record are two with scenes from the Old Testament, one with 
 the Rape of the Sabines, and others with classical designs. 
 
 XI 
 
Cocoa-nut cups with English mounts are preserved at Cambridge, at 
 Gonville and Caius College, where there are two of the end of the fifteenth century; 
 and at Corpus Christi College, where there is one of about the same period. 
 At Oxford, two of the fifteenth century belong to New College, one of these being 
 engraved on the mount with the inscription, which also appears on an Old English 
 Mazer bowl, Benedicta Ave Maria gracia plena Dominus tecum. The same 
 College also possesses one dated 1584. Oriel College has one of late fifteenth 
 century, and Exeter and Queen’s Colleges each contain one of the early part of the 
 succeeding century. A cocoa-nut cup of 1578 is in the Victoria and Albert Museum, 
 and the following City Companies each boast the possession of one: — The Iron- 
 mongers, Vintners, Armourers, and Saddlers, dating respectively from 1500, 1578, 
 1579, and the seventeenth century. “ Four nuts with three covers” formed part of 
 the treasure of Winchester Cathedral, and another was included among the Abbot’s 
 plate at Peterborough. 
 
 The egg of the ostrich was extensively mounted as cups and other forms of 
 drinking vessels in Germany. The egg in the cup on Plate XXXII. is secured by 
 three enamelled and floreated straps, and decorated with other bands and panels of 
 painted enamel, festoons of fruit, grotesque masks, etc., while the stem takes the 
 form of an ostrich. This is German work of the seventeenth century. The enamel 
 panels on this ostrich-egg cup are done in a similar manner to those on the Muffels 
 cup and cover, of 1670, by Samuel Klemm, of Freiberg, in Saxony, in the Waddesdon 
 Room at the British Museum. An example of an ostrich-egg cup with English 
 mounts, dated 159 3, is at Corpus Christi College, Cambridge. 
 
 The plate of Charles I. of England contained an ostrich-egg cup, garnished with 
 enamelled gold, the cover gold, and the handle a green enamelled serpent. 
 
 An example of the employment of an ostrich egg in another kind of ornament 
 for the table is the Ostrich (Plate XXII.), the egg forming the body of the bird. 
 The fine silver-gilt mounts were wrought by Johannes Clauss, of Nuremberg, during 
 the second quarter of the seventeenth century. The base is embellished by craw- 
 fish, coloured red, a lizard, frogs, and tortoise, and applied with scrolls, female terminals, 
 etc. These curious little animals, often in natural colours, were highly favoured in 
 the embellishment of plate by the goldsmith of the German Renaissance. Similar 
 animals, insects, and fish appear on the group of Diana and the Stag, a Nautilus cup, 
 the Dancing Bear, and on the stands of the two Stags in this collection. 
 
 Allusion has already been made to the ostrich, with the body formed of a nautilus 
 shell, in the Kremlin at Moscow. Another made in Saxony in the seventeenth century 
 is in the Victoria and Albert Museum. 
 
 Though allusions are met with earlier, it was not until the sixteenth century that 
 the fantastic and grotesque forms of many of the silver drinking utensils in Germany 
 
 / 
 
 XII 
 
became general. The banqueting-rooms of the merchant princes of such important 
 centres of international commerce as Augsburg and Nuremberg in the sixteenth and 
 seventeenth centuries contained a brave display of these curious vessels, as well 
 as the ordinary kinds of standing cups, at their festive gatherings. 
 
 The numerous 1 rade Guilds and Companies of crossbow-men and arquebusiers 
 were also well furnished with fine plate, many of their cups being topical — for instance, 
 the cup and cover, dating from about 1670 (Plate XXXVI.), in this collection was 
 doubtless the prize cup of a miner’s guild. A large silver-gilt bull of the seventeenth 
 century, in the Bavarian Industrial Museum at Nuremberg, represents the cup of 
 the Butchers Guild at Reutlingen ; and numerous other guild cups exist. 
 
 Some of these quaint and interesting drinking vessels were fitted with clockwork 
 contrivances for moving along the highly-polished tables. They were wound up 
 and despatched, and the guest opposite whom the vessel stopped was compelled to 
 consume the entire contents, on pain of a forfeit. The fine group of Diana and the 
 Stag (Plate VI.), wrought by an unknown Augsburg master towards the close of the 
 sixteenth century, is fitted in the irregular octagonal base with clockwork. Three other 
 similar groups by the same silversmith are in existence to-day — namely, one in the 
 Imperial Armoury at Moscow, a second in the Museum at Darmstadt, and the third 
 was in the late Baron Carl von Rothschild’s collection. Among other examples of 
 the same group by other German goldsmiths are one in the Kunstgewerbe 
 Museum, Berlin, by Matheus Wallbaum, the celebrated artificer of the exquisite 
 ebony and silver triptych (Plates XII. and XIII.); two in the Ducal Treasury at 
 Gotha, which have an historic interest in that they were tilting prizes at the tourna- 
 ment at the election of the Emperor Mathias at Frankfort in 1612 ; one in the Museo 
 Nazionale at Naples; one, attributed to the famous Wenzel Jamnitzer, was in the 
 San Donato collection ; Mr. Alfred de Rothschild owns two — one with clockwork 
 mechanism, the other without; and others are recorded in private collections. An 
 imposing silver group of St. George and the Dragon, the charger richly caparisoned, 
 and Sabra kneeling in front, treated in the same manner, and with similar decorative 
 accessories, as the Diana and the Stag, and fitted in the stand with clockwork, by an 
 Augsburg craftsman of the end of the sixteenth century, is in the Grand Ducal 
 Treasury at Darmstadt; and a fellow one by the same maker belongs to Mr. Alfred 
 de Rothschild. 
 
 An interesting and unique specimen of early silver plate fitted with mechanism for 
 propulsion, is the car on four wheels carrying a tun, with several human figures, made 
 in the sixteenth century by a Breslau silversmith, in the possession of the Mercers 
 Company. This collection contains numerous animals formed as drinking vessels — 
 namely, the stag (Plate XV.) and the lion rampant (Plate LI.), both of the sixteenth 
 century ; the two stags (Plate LI I.) ; a lion holding a shell-shape bowl (Plate XXVII.) ; 
 
 XIII 
 
the massive lion seated upon instruments, cannon, etc., with a view of a Swiss city 
 below, wrought at Rappersweil, in Switzerland (Plate XXXV.) ; the goat and horse 
 (Plate LI.); the ram and partridge (Plate LIII.), all of the seventeenth century. 
 To these must be added the dancing bear, date 1737 (Plate XXXIV.). 
 
 Many kinds of animals, including horses in various attitudes, stags and unicorns, 
 lions in different positions, birds and dogs, have served as models for cups for the 
 German goldsmith. The lion would appear to have been the most popular animal, 
 the bear ranking next ; while the favourite bird was the owl. 
 
 An interesting cup is the “ Falcon Cup,” which, as its name signifies, takes the 
 form of a falcon, believed to be Flemish work of the sixteenth century, previously 
 mentioned, at Clare College, Cambridge. 
 
 Mr. Leopold de Rothschild owns a beautiful partridge, with the body and wings 
 carved and worked in mother-of-pearl, standing on an octagonal silver stand, on 
 which are lizards and frogs, by a late sixteenth century craftsman of Nuremberg; 
 and the same owner has a lion of gold, holding an enamelled shield of arms, seated 
 on a circular base, dating from the seventeenth century. Another member of the 
 Rothschild family has a crowned silver lion, with the arms of William III. of England 
 in translucent enamel, by a Swiss goldsmith of Berne. 
 
 A standing lion of Augsburg make, about 1650, was one of the pieces of plate 
 given in 1655 by King Charles XI. of Sweden to the Czar Alexis of Russia. This, 
 with some of the other gifts, is in the Kremlin Treasury. 
 
 A German silver camel, ridden by a Nubian, of considerable size, wrought at 
 Danzig in the seventeenth century, is preserved at the Kremlin. 
 
 Animals and birds — nor, indeed, any grotesque object — never became popular 
 articles of domestic or decorative plate in England, the only specimens that have 
 survived being the well-known cups, five in number, in the form of cocks, bequeathed 
 to the Skinners Company, of London, by Cockayne in 1598, though dated 1605, 
 and apparently made expressly as a topical allusion to his name ; and the silver cup 
 fashioned as a peahen, dating from the first half of the seventeenth century, also the 
 property of the same ancient city company. 
 
 A pigeon of agate, garnished with gold, was included amongst the marvellous 
 collection of gold and silver plate of Charles I. of England. 
 
 Worthy of note as curious and unique pieces of English plate in the form of 
 animals, and on account of their extraordinary size and immense weight, are the 
 two silver leopards in a seated position, with London hall-mark for 1600, which were 
 given by King Christian of Denmark to Peter the Great in 1690, and which are now 
 preserved in the Kremlin. Except a few pieces of furniture, such as tables, and 
 perhaps the enormous wine cistern of 1734 in the Winter Palace, St. Petersburg, these 
 leopards are the largest pieces of Old English plate in existence. 
 
Other quaint drinking vessels in this collection are the Wager Cups in human 
 form. One, which was made at Augsburg in the sixteenth century, is a female in 
 ruff, with a skirt embossed with scrolls, fruit, birds, and other devices, her raised 
 arms holding a small plain cup (Plate XVII.) The term “Wager Cup” has been 
 applied to this type of vessel because the lower part, the skirt, was supposed to be 
 emptied of its contents at one effort, without spilling the wine in the small cup, which 
 revolves on a swivel, and which likewise was drunk empty. Another of these cups, 
 different in its decorative features, by a Nuremberg silversmith of about 1550, is 
 figured on Plate XLVI., No. 3 ; a third, of another type, without the small revolving 
 cup, late sixteenth century, is illustrated on the same plate, No. 1 ; and a fourth, 
 a figure in Hungarian costume, wrought by Master Jorg Ruhel, of Nuremberg, about 
 1595, is No. 4 on the same plate. Another type of Wager Cup, shaped like a wind- 
 mill, of Dutch workmanship, dating from the seventeenth century, is also illustrated 
 on Plate XLVI., No. 2. 
 
 The Vintners Company in London possess the only genuine example of an old 
 silver Wager Cup, in the form of a woman, of English work. This unique piece dates 
 from the seventeenth century. It recalls the “ old woman of gold enamelled, with 
 a salt upon her head,” and “ a salt in a ladies’ arms of gold enamelled,” in the treasure 
 of Charles I. 
 
 One of the succeeding developments in the taste for showy pieces of plate in the 
 form of animals was that which prevailed from about the middle until the end of the 
 seventeenth century for large equestrian figures, like the statuette of a cavalier in 
 the costume of Louis XIV. on a prancing horse (Plate XXXVII.). Several of these 
 are preserved in the Treasury of the Kremlin. One which represents an Emperor 
 was made at Augsburg in 1674, and was given by Charles XI. of Sweden to the 
 Czar Alexis of Russia. Two others, wrought by Albrecht Biller the elder of Augsburg, 
 and H. Mannlich, of the same place, the author of a similar statuette now at Windsor 
 Castle, were the gifts of his successor, Charles XII., to the same Czar. Another of 
 these mounted figures on horseback in the same Treasury, popularly supposed to 
 represent Charles I. of England, was a gift from that monarch to the Czar. Almost 
 all these equestrian statuettes have the same high and broad elliptical bases, boldly 
 embossed with foliage. 
 
 This collection contains one example of what might be termed ecclesiastical art 
 in the fine ebony triptych, with silver-gilt enrichments, by the famous silversmith 
 of Augsburg, Matheus Wallbaum (Plate XII.). In its architectural features it follows 
 the well-known traditions of Northern Europe, treated, however, in the characteristic 
 manner of the Renaissance. The embellishments, which consist chiefly of elaborate 
 scrolly designs, rosettes and vases of flowers, cherubs, with numerous small obelisks 
 and suspending ornaments, are typical of this craftsman’s work. The triptych is 
 
 xv 
 
surmounted by a female figure, while immediately below in a gilt niche is an angel 
 pointing upward, a female saint standing on either side and holding symbols of the 
 Passion, the cup and tongs. The chief position on the stem is occupied by the Holy 
 Virgin supporting the body of the dead Christ, surmounted by a small standing 
 figure of the Saviour holding a cross. Applied to the exterior of the jointed ebony 
 panels are silver figures representing the Annunciation, flanked by figures of 
 St. George and the Dragon and St. Michael and the Dragon. Silver plaques of 
 the Four Evangelists are applied to the foot. The central panel is painted with 
 a representation of the Adoration of the Magi, the right with the Presentation 
 in the Temple, and the left with the Circumcision. The small rectangular panel 
 below contains a painting of the Flight into Egypt. These painted panels, which 
 are illustrated in an enlarged size on Plate XIII., were done by one Anton Mozart — 
 a follower of J. Breughel and D. Vinchebooms — whose initials and date, “A. M., 1598,” 
 are signed on the central panel. The only other example of silversmiths’ work 
 now extant where Matheus Wallbaum and Anton Mozart collaborated is probably 
 the almost exactly similar triptych preserved in the Hungarian National Museum at 
 Buda-Pest. The form and decorative details are practically alike in every detail, and 
 the small painted panel depicting the Flight into Egypt is similar, as are also the 
 subjects of the other panels. 
 
 Rosenberg, in Dcr Goldschmiede M erkzcichcn, enumerates a large number of 
 works executed by Wallbaum. Reference has already been made to the group of 
 Diana and the Stag, by this goldsmith, now in the Kunstgewerbe Museum at Berlin, 
 similar to the group in this collection (Plate VI.) by an unidentified Augsburg master. 
 
 Rose water-dishes and ewers, originating in Italy during the Renaissance, and 
 passing thence to other countries, Latin and Teutonic, the ewers noted for the 
 elegance and gracefulness of their form, have survived in goodly numbers. An 
 important example of a large circular dish of Spanish origin is included in this 
 collection. It is of silver-gilt, repousse, with a bold scroll design and oval bosses, 
 while applied to it are elliptical and rectangular panels of exquisite enamel. In 
 the raised centre is an enamelled shield with the arms of Castille, France, and Leon. 
 This fine dish, which has unfortunately been separated from the companion ewer, dates 
 from the early part of the seventeenth century (Plate XXL). 
 
 The beautiful dishes wrought by the German artificers of the sixteenth century 
 are succeeded in the following century by dishes or plateaus of much larger dimensions 
 and greater massiveness, with bold designs in coarser workmanship. An example 
 of these larger dishes is illustrated on Plate XXXIII., dating from the second quarter 
 of the seventeenth century. The centre is embossed with a campaigning scene, with 
 knights and Moorish horsemen and a chariot with a dead king, and the wide border 
 is embossed with cuttle-fish. It is twenty-six inches long by twenty-two inches wide. 
 
 xvi 
 
Larger and still more massive are the two immense dishes (Plates XXXIX. and 
 XL.), with groups of nymphs and warriors, accompanied by amorini embossed in 
 bold relief in the centre, and tulips and other flowers on the rims, measuring 36^ in. 
 long and 31^ in. wide, which were wrought by H. Lambrecht, of Hamburg, late in the 
 seventeenth century. 
 
 The enormous dimensions and massiveness assumed by these German-silver 
 dishes of this period is seen in one with a scene representing David with the Head of 
 Goliath, measuring 39 in. by 36 in., and another, some two inches larger, embossed 
 with a battle scene, both in the Kremlin. Another example of these great dishes, 
 with a battle scene occupying the centre, of Russian workmanship of 1736, obviously 
 inspired by German dishes, is in the Winter Palace at St. Petersburg. 
 
 Several causes combined in Germany to foster the production of cups in very great 
 numbers and in almost endless varieties of form. Foremost was the commercial activity 
 of such cities as Augsburg and Nuremberg, followed closely by the rivalry between 
 those two famous centres of the art of the goldsmith and of the iron-worker and other 
 crafts. Other potent factors w T ere the jovial, beer-drinking customs of the people 
 themselves, and the spirit of good-fellowship existing among the numerous 
 trade guilds, in whose possession were many fine loving-cups and cups of welcome, 
 decorated with suitable symbols, the gifts of members and others. The frequent 
 interchange of gifts, usually in the form of plate, among monarchs, ambassadors, 
 and other prominent personages, tended to encourage an art where Orders would 
 be bestowed in our own time. Included in this collection are a few choice standing 
 cups and covers. The earliest are the two silver-gilt double-cups (Plates IX. and X.) 
 of the last quarter of the sixteenth century. These double-cups fit over each other 
 at the lip, and were thus fixed together and placed on the sideboard or buffet as 
 ornaments when not in actual use. The two described in this catalogue are very 
 similar to each other, differing only in that the applied shredded leaf-work on one 
 is gilt, while in the other it remains ungilt, and also in the arrangement and size of 
 the leaf-work suspended from the bases of the bowls. German silversmiths of this 
 period and during the seventeenth century frequently inserted a silver medallion of some 
 important person, or, occasionally, one of the numerous religious medals common 
 in the second half of the sixteenth century in Germany, in tankards, cups, and other 
 vessels ; and these two double-cups have in one a medallion of Sigmund Richter, and 
 in the other, one of Hieronymus Loter, who was sous diacre of Augsburg. 
 
 These two double-cups, which, as will be observed from the illustrations, are 
 entirely covered with bold, plain bosses or lobes, are a development from the large 
 covered cups, likewise decorated with lobes, and with Gothic foliage frequently applied 
 between the lobes on the body and cover, extensively produced in Germany in the 
 fifteenth and in the first half of the sixteenth century. The cover, which was also boldly 
 embossed with lobes, and had a cresting of foliage, was surmounted by a very high 
 
 XVII 
 
stem, composed of foliage applied at various stages, and often terminating in a finial 
 in a variety of forms, generally human figures. 
 
 Another variety of double-cup, very different in its decoration, is afforded in this 
 collection by the one which is illustrated on Plate XVIII., and which also dates from 
 the end of the sixteenth century. The bowl is embossed with cherubs’ heads and strap- 
 work enclosing fruit, the upper part being supported by three applied cupids on 
 dolphins, while the lip is engraved with arabesque work. The stem is decorated in 
 relief with female terminal figures, amorini standing on escallop shells, and double 
 fleurs-de-lys, and the foot is embossed with cupids, strap-work, and fruit. 
 
 Under the head of tall standing-cups with covers, five specimens are here included 
 The earliest, an important example wrought at Nuremberg about 1550 by a master- 
 craftsman, Jacob Frohlich, is figured on Plate XI. It is very richly repousse 
 with small figures, plain bosses, and human masks, described in detail on page 11. 
 The graceful vase-shape stem is embossed with helmeted masks, with terminal satyr 
 brackets above. The foot is not circular, but hexagonal, richly embossed. A stag- 
 hunt is embossed on the cover, which is surmounted by a seal-like knob decorated 
 with female terminals in niches, projecting animals’ heads, and other embellishments. 
 
 A second variety of covered cup is the large one figured on Plate XVI. Here 
 the bowl resembles a beaker, widely curved at the lip, which is delicately engraved 
 with a hare-hunt. The main decorative features are fruit, strap-work, and busts 
 in relief. It is supported by a vase-shape stem, embossed with cupid masks, escallops, 
 and acanthus foliage, and supported by scrolled terms, resting on an embossed circular 
 foot. The cover is surmounted by the figure of an armed warrior, believed to represent 
 St. Theodorus. Eberwein Kossmann, of Nuremberg, was the artificer of this fine 
 cup about 1575. 
 
 Another cup with a beaker-shape bowl, of later date (seventeenth century), appears 
 on Plate XXVIII. On the bowl are three strap-work panels enclosing a lion-hunt 
 in relief, divided by winged female terminals, the other decorative features of the 
 bowl being arabesques, garlands, fruit, foliage, and strap-work. The stem is vase- 
 shape, embossed with masks and shells, and supported by three scrolled brackets, 
 while the high circular foot is embossed with cupids’ masks, conventional foliage, etc. 
 Three panels of landscapes and buildings, separated by fruit in garlands, are embossed 
 on the cover, which is surmounted by a Roman warrior holding a plain shield. 
 
 In this type of cup the bowl, as will be noticed, is very deep and the stem quite 
 short, and the subjects wrought on the bowl are of numerous kinds. A cup of the 
 end of the sixteenth century in the Bavarian National Museum at Munich is decorated 
 with figures of Justice, Temperance, and Constancy in relief ; and among others known 
 is one with a horse, stag, and camel in separate panels, with landscape backgrounds. 
 
 XVIII 
 
The fourth cup included here is embossed with plain bosses, palm leaves, and 
 strap-work on the body, foot, and cover, the stem being the conventional vase-shape, 
 embossed with grotesque masks and foliation ; a cupid on a pedestal surmounts the 
 cover. This cup (Plate XXVI.) dates from the seventeenth century. 
 
 These standing covered-cups often assumed cblossal proportions at the end of 
 the sixteenth and during the seventeenth century. One of these immense cups, 
 decorated with bands of enamel and engraved on the centre of the body with three 
 scenes: Judith before Holofernes, the Queen of Sheba before Solomon, and Esther 
 before Ahasuerus, with the arms of the Grand Duke Ferdinand of Tyrol, and given 
 by him in 1602 to the Dukedom of Stiermark, is in the Landesmuseum, Graz. 
 
 One of the finest standing cups known is one of the celebrated Nuremberg 
 goldsmith, Wenzel Jamnitzer’s, masterpieces, now in the possession of the Emperor 
 of Germany. It is surmounted by a figure of this craftsman’s royal patron, 
 Maximilian II., and below are figures of Philipp Ludwig, Count Palatine, and Duke 
 of Neuburg, of the Bishops of Bamberg, Salzburg, and Wurzburg, with their arms 
 on enamelled shields. Another important German standing-cup of the sixteenth 
 century, for long known as the “ Cellini Cup,” formerly at Warwick Castle, is now in 
 another portion of Mr. Pierpont Morgan’s collection. 
 
 A cup and cover of extreme rarity and the utmost value is depicted on Plate XIV. 
 The body, with cover, which is acorn-shape, or glandiform, is entirely covered with 
 a geometric and arabesque design, exquisitely executed in niello, similar work being 
 repeated on the border of the circular foot. The design of the niello decoration recalls 
 those of Peter Flotner and Androuet du Cerceau. This superb cup was executed 
 at Augsburg in the sixteenth century by an unknown artificer, whose mark remains 
 for the present unidentified. A silver cup with niello embellishments, by the same 
 craftsman, was in the late Baron Carl von Rothschild’s collection. 
 
 Fine niello cups of this period are exceedingly rare. The Spitzer collection at 
 its dispersal contained one of a different form, the bowl beaker-shape. In the Print 
 Room of the British Museum is a very fine beaker-like cup, the body and cover 
 decorated in niello with twelve scenes representing sports and occupations of children, 
 animals dividing the scenes; Flemish w r ork of the fifteenth century. 
 
 In the museum at Nuremberg is a cup of the seventeenth century decorated with 
 niello; and for another example with niello work we must turn to the fine German 
 covered-cup of the seventeenth century in the Louvre. 
 
 A curious type of cup is represented on Plate XXXVIII. The body, as will be 
 observed, is not unlike a turbinated shell, and each of the lobes is embossed with the 
 head of a monstrous cuttle-fish in low relief, supported by a stem in the form of a 
 dwarf fisher-boy, with large head and long body, standing upon cut leaves on a high 
 foot embossed with dolphins. It is of late seventeenth century date, of Augsburg 
 •make. One of the City Companies in London possesses a silver cup of this same 
 
 XIX 
 
singular form, and another is depicted in a painting by Pieter Roestraeten, a pupil of 
 Franz Hals, of a large group of seventeenth century plate, china, musical instruments, 
 etc., at the Duke of Devonshire’s at Chatsworth. 
 
 Another grotesque cup, tall and shell-shape, held by a figure of Neptune, with 
 an upper receptacle of a Bacchus astride a barrel, with a shell-like cup above, was 
 one of the gifts of Charles XI. of Sweden to the Czar of Russia in 1674. 
 
 A remarkable specimen of a drinking vessel is figured on Plate XLII., which, 
 as will be observed from the illustration, is a reproduction in a reduced size of one 
 of the well-known carved tuns seen in Germany, the enormous tun of Heidelberg, 
 made in 1751, being one of the most celebrated. The barrel of this silver reproduction 
 is richly decorated with applied vine, and is supported on four rampant lions, while 
 in front is an applied shield of arms, enamelled. The tap is in the form of a dolphin, 
 with a mermaid above and fruit below. A figure of Bacchus, forming a stopper, sits 
 astride the barrel, holding a plain silver goblet, which is removable for use as a funnel. 
 This curious piece of plate was wrought at Breslau early in the eighteenth century, 
 about 1710. 
 
 A table ornament of pearl shell and silver, with a figure of the youthful Bacchus 
 astride a barrel, made at Nuremberg about 1570, is in the Waddesdon Room at the 
 British Museum. 
 
 Quite personal in its use is the small cup, known as Hmifebecher in Germany, 
 of which eight specimens are included here, and illustrated on Plate XLV. This 
 type of little cup prevailed during the sixteenth century, but appears to have lost its 
 popularity after about the year 1610. Sets of six or twelve, as well as single cups, 
 were apparently made, and fitted into each other as far as the moulding encircling the 
 stem. They probably accompanied the owner on his travels, his hunting expeditions, 
 and perhaps on the battle-field. Numerous subjects were introduced as decoration, 
 scriptural and allegorical, feasting and hunting, engraved or embossed. The bowls 
 are invariably circular, though two in this collection have bowls of quatrefoil shape. 
 One of these cups is engraved with three scenes from the New Testament: the 
 Nativity of Christ, Christ in the Temple, and the Wise Men offering Gifts, each 
 scene divided by a pillar or pedestal with a vase on it ; while another cup is engraved 
 with scenes from the Book of Genesis : Melchizedek bringing bread and wine to 
 Abram, a son promised to Abram, and Sarah giving Hagar to Abram. A third cup 
 is engraved with festoons of fruit and flowers, while the lower part of the body is 
 repousse with plain bosses, divided by honeysuckle, the foot being open-work 
 decorated with cherubs and terminal figures. Two of the cups are alike, and have 
 the upper parts engraved with agricultural scenes, the short stems delicately pierced 
 with stags, bears, and other animals, and the feet embossed and chased with boar- 
 hunts. A third cup is engraved with three people in ruffs eating at a table, with 
 
 xx 
 
a stem and foot as the two just described. The remaining two cups are those with 
 the pointed quatrefoil-shape bowls, engraved with scenes from the Gospels — on one 
 the Sower, Herodias’ daughter with the head of John the Baptist on a charger, and 
 Christ and the nobleman of Capernaum ; and on the other, Mary Magdalene anointing 
 Christ’s feet, Christ curing the palsy, Christ and the ruler, Christ healing the blind, 
 and the Good Samaritan. These engravings recall the fact that other forms of German 
 cups are inscribed with quotations from Scripture, and occasionally with moral 
 apothegms. This type of small cup was confined entirely to Germany, and never 
 penetrated into other countries. 
 
 An example of these little cups in solid gold, of the sixteenth century, embossed 
 and chased with boar and stag-hunts, with landscapes in the background, the foot 
 pierced with scrolls and masks, and divided by three panels embossed with dogs and 
 game/ was exhibited at the Burlington Fine Arts Club in 1906. 
 
 The silver ornaments and drinking vessels in the form of ships, so frequent in 
 German plate, are doubtless a development from the incense-holder fashioned 
 like a boat or ship, in common use in the mediaeval Church, of which in England 
 an interesting example exists in the silver boat of the fourteenth century now in the 
 possession of the Earl of Carysfort; and in the Treasury of St. Antonio at Padua, 
 Italy, in the fine silver ship with female prow, of the fifteenth century. 
 
 To these incense-boats succeeded secular vessels like ships, described in inven- 
 tories as Nefs. The inventory of Charles V. of France speaks of five nefs of 
 enamelled gold for the King’s use, and twenty-one others of silver for the use of the 
 household; and it is on record that the Court of France continued their use until 
 towards the end of the eighteenth century. These curious vessels were fairly common 
 in the sixteenth and seventeenth centuries for holding confections and wine, and 
 next to the salt was the most important vessel at the banquet of the noble. 
 
 Some of the ships of the seventeenth century are mounted on wheels. The late 
 Duke of Saxe-Coburg-Gotha (the Duke of Edinburgh) had formed a large collection 
 of these curious vessels. 
 
 Three examples of different varieties of ships are included in this catalogue, the 
 first made at Nuremberg early in the seventeenth century (Plate XXIV.), the second 
 of Augsburg make of about the same date, and the third of rather more than a century 
 later, by Solomon Dreyer, of Augsburg (Plate XLVIII., Nos. 1 and 2). 
 
 The only example of the beaker form of cup shewn here is the fine massive piece, 
 of the early part of the eighteenth century, depicted on Plate XLIII. It is of more 
 than usual interest from the fact that the manner of the decoration is somewhat rare. 
 It is surrounded by figures of the Twelve Fathers of Israel — the twelve sons of 
 Jacob — in relief, with their names inscribed below in Hebrew. The Signs of the 
 Zodiac, which are often associated with the names of the sons of Jacob, are chased 
 
 xxi 
 
on the cover. This interesting cup was probably executed for a wealthy Jewish 
 family as a Kiddush, or sacred cup used in the home for the blessing and prayer recited 
 at the commencement of Sabbaths and festivals. 
 
 Ornaments of rock crystal and several varieties of agate were much in demand 
 during the Renaissance in Italy, Germany, France, and England. Many of them 
 were worked into various forms of vases and cups, bowls and ewers, and many were 
 exquisitely mounted in gold and enriched with enamel and jewels. The crystal 
 bowls, too, were frequently engraved with classical and allegorical subjects in the 
 most skilful manner by accomplished artists, most of whose names have, unhappily, 
 been lost for ever. One of the most superb examples of crystal carving may be 
 studied in the plaques representing numerous scenes — by the celebrated Italian 
 gem-engraver and medallist, Giovanni Bernardi — in the magnificent silver-gilt casket 
 made for Cardinal Farnese, in the Museo Nazionale, Naples, erroneously attributed 
 to Benvenuto Cellini. 
 
 A small room in the Uffizi at Florence is devoted to a collection of vessels of 
 many kinds in stone and crystal, mostly, however, unmounted. 
 
 It had long been the fashion to attribute all the finest cups, and numerous other 
 works of art of crystal and agate and other stones, to the artificers of the Italian 
 Renaissance, as was much of the plate, such as tazze, and cups, ewers, and basins 
 of the sixteenth century found in Italy, France, and England; and many of these 
 notable pieces were fondly associated with the great Cellini himself. It is now, 
 however, recognised by connoisseurs that the talented craftsmen of Germany, imbued 
 with Italian models, were responsible for a vast proportion of the most beautiful 
 specimens of this side of art ; and many of the royal and public museums in Germany, 
 in Vienna, and in the Waddesdon Room at the British Museum contain a large number 
 of exquisite examples. Repeated allusions have already been made to the numerous 
 vessels of all kinds, in glass, crystal, agate, and other stones, mounted in gold and 
 enamel, in the Treasury of Charles I. of England. 
 
 The Gutmann collection contains a tall crystal goblet (Plate VII.), probably 
 Transylvanian work of the late sixteenth century; a silver-gilt cup with agate bowl, 
 supported by a triton on an oval foot, which is decorated with marine subjects in 
 repousse ; and a cup with crystal bowl, slightly carved and engraved with acanthus 
 leaves and a bird and insects, mounted in silver-gilt, with a dolphin stem on an 
 embossed oval foot — both German work of the seventeenth century (Plate XLVII., 
 Nos. i and 2). 
 
 In the seventeenth century a goodly number of tankards of carved ivory were 
 mounted, as a result of the increased importation of ivory into Europe at a lower 
 cost. Many of these are of considerable size. This collection contains four 
 specimens of carved ivory tankards and two cups, all mounted in silver. The largest, 
 which is illustrated on Plate XLI., is elliptical in form, and is boldly carved with 
 
 XXII 
 
amorini at play, an infant Bacchus in ivory surmounting the cover. The silver-gilt 
 mounts are embossed with tulip and acanthus designs, while the handle is in the form 
 of a female term. This tankard was mounted by Johann Heinrich Mannlich, of 
 Augsburg, at the end of the seventeenth century. 
 
 A tankard of a different variety is No. 3 on Plate XLIX. Here the body is 
 carved with a representation of Esther before Ahasuerus, who is seated on a throne 
 embellished with lions sejant, the steps having lions couchant at the sides, surrounded 
 by numerous figures, camels, etc. It was mounted at Danzig in the seventeenth 
 century. 
 
 A third variety in the subject of the carving is furnished by the tankard (Plate 
 XLIX., No. 1), which is covered with boys playing instruments, drinking, etc., mounted 
 about 1720 by Philip Stenglin, of Augsburg. The tankard on Plate L., No. 1, is a 
 fourth variety, somewhat earlier in date than the last, and this is carved in high relief 
 with female figures in various attitudes. 
 
 One of the two ivory cups (Plate L., No. 2) is carved with four Bacchanalian figures, 
 richly mounted in silver-gilt by Albrecht Biller, of Augsburg, at the end of the 
 seventeenth century. The other cup (Plate XLIX., No. 2) is carved with a boar- 
 hunt, the silver-gilt mounts being new. 
 
 In no instance, unfortunately, can the name of the artist who carved these tankards 
 and cups be identified. 
 
 A fine tankard, dating from the seventeenth century, with a boldly-executed design 
 carved in high relief, while on the cover is a group of a combat between a lapith and 
 a centaur in ivory, in rich silver-gilt mounts by Bernard Strauss, of Augsburg, is in 
 the Victoria and Albert Museum. 
 
 The famous goldsmiths’ guilds of Augsburg and Nuremberg are represented in 
 this collection by twenty-one and thirteen specimens of plate respectively. German 
 silversmiths, whose place of abode cannot be determined, have produced twenty-two 
 pieces. Among the lesser German guilds whose artificers find a place here are 
 Breslau, represented by the Bellekin Nautilus, the sixteenth century Turbinated 
 Shell Cup, and the immense cup in the form of a great tun ; Danzig, by the tankard 
 with the victory of Alexander the Great depicted, and bv a carved ivory tankard ; 
 Freiberg, in Saxony, by the parcel-gilt cup of the Miners Guild, wrought by Andreas 
 Muller; and Hamburg, by the two massive gilt dishes. The collection includes a 
 specimen of Austrian silversmiths’ work in the turbinated shell cup, and of Hungarian 
 in the tankard; while that part of Hungary known as Transylvania is perhaps repre- 
 sented by the crystal goblet and a fine Nautilus cup. Switzerland provides the large 
 seated lion from the town of Rappersweil ; Holland the prancing horse made at 
 Amsterdam, and the windmill cup ; and Spain the fine large dish with beautiful 
 enamels. 
 
 
 XXIII 
 

Horn, with Silver-gilt Gothic Mounts. 
 
 The horn rests on two supports of Gothic architectural character with cusped pinnacles 
 and flying buttresses, joined together by an arch with pierced parapets, and on a 
 plain truncated stem with the base bossed into a cinquefoil with trefoil border. The 
 cover is domed, and is decorated with scales of fine fretwork, with a border of trefoil 
 foliage, and is surmounted by a cusped knob. The lip, which is mounted with a 
 band of scrolled vine on a matted surface, is joined to a band by pierced straps 
 bordered by cuspings. At the point of the horn is a grotesque animal’s head, the 
 eyes formerly set with stones. 
 
 Marks . — A Gothic ft under a crown. 
 
 Height, 14I in. 
 
 German work, early fifteenth century. 
 
 {PLATE I.) 
 
 1 
 
Plate I 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
Flagon or Tankard, Gilt. 
 
 The body is cylindrical, with a richly-decorated border, near the lip, of reclining 
 youths, masks, cupids, strapwork in relief, and a border with hunting scenes between 
 the applied cable moulding, with cupids’ masks, and the zig-zag moulding above 
 the base. The base is embossed with cupids, fruit and strap-work, which are repeated, 
 with additional decoration of sea monsters, ducks, and of a child riding sea monsters, 
 on the cover, the latter being surmounted by a boy with a shield standing on a pedestal 
 supported by scrolled brackets. On the drum is some delicate engraving in the 
 form of vases of flowers, scrolls, etc. The handle is scrolled and richly decorated 
 with arabesques, with twisted spiral wires below on either side terminating in fruits. 
 On the edges of the foot and cover are ovolo mouldings. Inside the cover is an 
 embossed medallion representing the Adoration of the Magi — a later addition. 
 
 Total height, i2§ in.; height of body only, yf in.; diameter of mouth, 3-g in. 
 
 M arks . — U nrecognisable. 
 
 German, sixteenth century. 
 
 {PLATE II.) 
 
 2 
 
 i 
 

 
 
 
1 
 
 Plate II 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
Tankard. 
 
 The body is tall, plain, and cylindrical, and is enclosed in a filigree frame-work, 
 geometrical in design, with a row of eight cupids’ heads in relief encircling the 
 centre ; plain and cable mouldings. Near the lip and base are gilt embossed borders 
 with armorini and set with medallions, rex Paris and hector. A similar embossed 
 decoration, with three medallions of Trojan war heroes, appears on the cover, in 
 which is inserted a silver medallion — a copy of Cavino’s reproduction of a sestertius 
 of Nero Drusus. The handle is richly foliated, and the thumb-piece is in the form 
 of a lion. 1530 scratched on the base. 
 
 Height, 8^ in. 
 
 No marks. 
 
 Augsburg, early sixteenth century. 
 
 {PLATE III.) 
 
 3 
 

Plate III 
 
 
 
 4 
 

 
 
Flagon or Tankard, Parcel Gilt. 
 
 The body, which is cylindrical, and tapers in the direction of the base, is divided 
 by a narrow band with arabesque decoration in relief and zig-zag mouldings, and 
 by a plain moulding with three applied cherubs, and the spaces between are engraved 
 with six busts of males and females, a band with a lying warrior and cupid, and the 
 gods, with their titles — saturnus, jupiter, mars, sol. A diamond-shape moulding 
 above the foot and near the lip. The foot embossed with masks and baskets of 
 fruit. The handle is richly scrolled with foliage, spiral wires below on either side 
 ending in scallops and terminal figures. Surmounting the domed cover, which is 
 embossed with arabesques and engraved with four circular panels enclosing human 
 busts, and has a cable moulding, is a rampant lion and shield on a pedestal supported 
 by three scrolled brackets. Inside the cover is one of the German religious medallions 
 — common in the second half of the sixteenth century — representing Christ as a 
 King holding an orb and sceptre, with this inscription: — “ ihesvs . christvs . ain . 
 
 KYNIG . IN . HIMEL . VND . DER . ERDEN, 1 550.” 
 
 Total height, iqf in. ; height of body, 9f in. 
 
 Marks. — (i) Mark of S. Petersburg, ? 1768; (2) M© (3) a confused mark; 
 (4) the new 7 mark of the Hague, V on a shield. 
 
 North German, sixteenth century. 
 
 {PLATE IV.) 
 
 4 
 
Plate IV 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
Conch Shell, Mounted as a Cup. 
 
 The shell is secured by gilt straps, embossed with masks, fleurs-de-lis, etc., and 
 studded with denarii of Roman Emperors and an Empress. Under the shell is a 
 circular embossed medallion, representing a feast, to which the embossed vase-shaped 
 stem is attached ; the base engraved. Standing on the top is a small figure of a 
 Roman warrior, on a chased ornament. 
 
 Height, 9! in. 
 
 German, sixteenth century. 
 
 {PLATE V.) 
 
plate V 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
Group of Diana and Stag, Parcel Gilt. 
 
 The figure of Diana is seated on the stag, a crescent on her forehead, set with a 
 large cabochon ruby and diamonds. Her right hand rests on the neck of the stag, 
 while her left holds a large arrow ; and a bow and quiver are slung at her back. The 
 figure is embossed, the hair, clothing and attributes gilt. The stag, which is gilt, 
 rests on its hind legs, and has a coronet below the antlers, an elaborate pierced 
 collar on the neck, and a lion mask with scrolls, gilt, on the breast. Seated on the 
 croup is a single cupid. The body of the stag is decorated with applied scroll-work 
 ornaments, with cherubs in the centres. Under the stag is a large hound in silver, 
 its head, with collar and chain, removable ; two other hounds — one seated, the other 
 running; and various lizards (coloured green), frogs and insects. The irregular 
 octagonal base is decorated with applied rosetted and geometric ornaments. The 
 head of the stag is removable, the body forming a flask. 
 
 Height, 14! in.; length of base, 9! in. 
 
 Marks. — (1) I F, in an oblong; (2) the pine-cone of Augsburg; (3) B, under a 
 crown; (4) TE, conjoined, under an Imperial crown. 
 
 Augsburg, late sixteenth century. 
 
 t 
 
 (PLATE VI.) 
 

 
 
 
 
Plate VI 
 
 < 
 
 

Goblet of Cut Crystal, on Gilt Stem. 
 
 The crystal is twelve-sided, with oval indentations, and is supported on a stem, divided 
 by a flat knop decorated with male, female, and cherub masks, and fruit ; and the stem 
 above the knop is embossed with fruit, strap-work, etc., and below it with grotesque 
 masks, fruit, etc. 
 
 Height, in. ; depth of crystal, 4f in. ; diameter of mouth, 4^ in. 
 
 Mark . — B above M, crowned. 
 
 Probably Transylvanian, late sixteenth century. 
 
 (PLATE VII.) 
 
 7 
 

 
 
 
 
 
 
 
 
 
 
 
 
Plate VII 
 
 
 4 
 
 « 
 
 
 
 
 
 
 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 ■ 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
Turbinated Shell, Mounted as a Cup, Gilt. 
 
 The rim, which is finely engraved with arabesques and five circular panels 
 enclosing male and female busts, and a rose, is secured by three narrow straps ter- 
 minating at the top in applied male masks. The stem is supported by a standing 
 figure of Hercules, encircled by a snake, and rests on a foot embossed with masks 
 of a male, female, and child ; it is engraved with strap-work and fruit, the edges 
 incised with rows of hyphens, and with three applied dolphins and sea-monsters. 
 
 Height, i of in. 
 
 Marks . — W in a circle, and CB, the C starting from the centre of the B, in a 
 circle; the mark of Caspar Bendell, of Breslau, 1578-1596. 
 
 Breslau, last quarter of sixteenth century. 
 
 (. PLATE VIII.) 
 
 8 
 

 
 
 
 M. 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
t 
 
 
 
 
 

 
 
 
 
 
 
 
 
 
 
 
 
Double Cup, Gilt. 
 
 The body is covered with bold, spiral bosses, and applied shredded leaf-work; the 
 lip is finely engraved with arabesques, and has two cable mouldings. The stem is 
 twisted, and rests on an octofoil foot with eight large bosses and with a moulding 
 composed of vertical reedings and diamond-shape ornaments. Inserted in one foot 
 is a medallion of Sigmund Richter, aged thirty-two, and arms dated 1562. 
 
 Height, 2of inches ; diameter of mouth, 5^ in. 
 
 Marks . — N in a circle (Nuremberg), and ME, conjoined, in an oblong — the mark 
 of Matheus Epfenhauser. 
 
 Nuremberg, circa 1580. 
 
 {PLATE IX.) 
 
 9 
 

 
 
 

 Plate IX 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
Double Cup, Gilt. 
 
 The body is covered with bold, spiral bosses, and applied shredded leaf-work, ungilt; 
 the lip is finely engraved with arabesques, and has two cable mouldings. The stem 
 is twisted and rests on an octofoil foot with eight large bosses, and with a moulding 
 composed of vertical reedings and diamond-shaped ornaments. Inserted in the foot 
 of one is a silver portrait medallion, with legend — “ ieronimvs loter ^tat • xxxxvi 
 1544,” and in the other an enamelled shield of arms, a bend between a stags head 
 cabossed and a horn. 
 
 Height, 17 in.; diameter of mouth, 5^ in. 
 
 Marks. — N in a circle (Nuremberg), and the mark of Caspar Beutmiiller the elder. 
 Nuremberg, late sixteenth century. 
 
 {PLATE X.) 
 
 10 
 
Plate X 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
Covered Cup, Gilt. 
 
 This cup is richly repousse with very small figures: cupids with grotesque animals, 
 female terminal figures, arabesques, etc., and with plain bosses and five human 
 masks on the shoulders. The stem is vase-shape and is embossed with three 
 helmeted masks, with terminal satyr brackets above. The hexagonal foot is embossed 
 with conventional scrolls, foliage, etc., and has a border of acanthus foliage. The 
 cover, which is embossed with a representation of a stag-hunt, and the border decorated 
 with strap-work, is surmounted by a seal-like knob, decorated with three female 
 terminals in niches, with projecting animals’ heads, and a male mask with laurel 
 leaves on the top of the button. Below the knob is a collar covered with egg and 
 tongue decoration. Inside the cover is an embossed medallion of Venus and Cupid. 
 
 Height, with cover, 13! in.; height, exclusive of cover, gf in.; diameter of 
 
 mouth, 5^- in. 
 
 Marks . — N in a circle (Nuremberg), and the mark of the maker, Jacob Frohlich, 
 who was master in 1555. 
 
 Nuremberg, circa 1550. 
 
 {PLATE XI.) 
 
Plate XI 
 
 
 

 
 
 
 
 
 
 
 
 
 
 
 
Triptych. 
 
 The framework is of ebony, mounted in parcel gilt mounts and embellishments of 
 elaborate scrolly Renaissance design, rosettes, vases, etc. It is surmounted by a 
 female figure, and below, in a gilt niche, is a figure of an angel pointing upward, with 
 a figure on either side of a female saint holding symbols of the Passion — the Cup 
 and tongs, with a gilt cherub below. On the corners stand vases of flowers, in 
 silver-gilt. Applied to the exterior of the jointed panels are silver figures represent- 
 ing the Annunciation, flanked by figures of S. George and the dragon and S. Michael 
 and the dragon. The central panel is painted with a representation of the Adoration 
 of the Magi; the right panel, the Presentation in the Temple; and the left panel, 
 the Circumcision; by Anton Mozart, whose initials and date (1598) are signed 
 on the centre panel. The small rectangular panel below contains a painting 
 of the Flight into Egypt. Occupying the chief position on the stem is a group of 
 the Holy Virgin holding the dead Christ, surmounted by a small standing figure 
 of the Saviour holding a cross, and above is a gilt cherub. Silver plaques of the four 
 Evangelists and several cherubs are applied to the foot, and on the back a vase 
 with flowers. It is stamped with the mark — a tree — of the famous silversmith, 
 Matheus Wallbaum. 
 
 Height, 17 in. 
 
 Augsburg, late sixteenth century. 
 
 {PLATES XII. and XIII.) 
 
 12 
 
Plate XII 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
Plate XIII 
 

Cup and Cover. 
 
 This is glandiform, and is decorated in niello with arabesque ornament, which is 
 repeated on the foot, in the manner of Peter Flotner. The stem is in the form 
 of a tree trunk supported on the back of a female peasant. Surmounting the cover 
 is a plain vase-shape knob on applied acanthus foliage. 
 
 Height, in. 
 
 Marks. — Pine-cone of Augsburg, and No. 119 in Rosenberg. 
 
 Augsburg, sixteenth century. 
 
 {PLATE XIV.) 
 
 13 
 

 
 
 
 
 1 
 
 feM 
 
Plate XIV 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
Cup, in form of a Stag, Gilt. 
 
 The forelegs of the stag rest on a tree trunk, and on the shaped stand are applied 
 lizards and a frog. The head is removable. On the neck is a collar with chains. 
 Height, 14 in. 
 
 German, sixteenth century. 
 
 {PLATE XV.) 
 
 14 
 
Plate XV 
 
 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
Large Covered Cup, Gilt. 
 
 The body is beaker-shape, with widely-curved lip, which is delicately engraved with 
 a hare hunt. The decoration consists of fruit, strap-work and busts, all embossed. 
 The stem, which is vase-shape, embossed with cupid masks, escallops, and acanthus 
 foliage, is supported by three scrolled terms, and rests on a circular base, embossed 
 with fruit and shells, and chased on the edge with a Greek palmette ornament. 
 Standing on a double pedestal, which is decorated with fruit, male, female, and 
 cupid masks, on the domed cover, embossed with strap and fruit ornament and busts, 
 is a figure of an armed warrior representing S. Theodorus. Inside the cover is a 
 medallion — Christ in the manger. 
 
 Height, to top of figure, 2 if in.; depth of bowl, 8f in.; height, exclusive of 
 cover, 14! in. ; diameter of mouth, 7-^ in. 
 
 Marks . — N in a circle (Nuremberg), and the mark of the maker, Eberwein 
 Kossmann. 
 
 Nuremberg, circa 1575. 
 
 (PLATE XVI.) 
 
 15 
 

 \ 
 
 ) 
 
 
 

 Plate XVI 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
Wager Cup, a Female in Ruff, Gilt. 
 
 A female in ruff, the skirt embossed with conventional scrolls, fruit, birds, etc. 
 The raised arms hold a small plain tumbler-shape cup. 
 
 Height, 8 in. 
 
 Marks . — The pine-cone of Augsburg and IH in an oval cartouche. (Jorg 
 Hanter)- 
 
 Augsburg, sixteenth century. 
 
 {PLATE XVII) 
 
 16 
 
Plate XVII 
 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
Double Cup, Gilt. 
 
 The bowl is embossed with cherubs’ heads, and strap-work enclosing fruit, and the 
 upper part is supported by three applied cupids on dolphins. The lip is engraved 
 with arabesque work. The stem is decorated with female terminal figures and amorini 
 standing on escallop shells ; and is also embossed with double fleurs-de-lys. The foot 
 is embossed with cupids, strap-work and fruit. 
 
 No marks. 
 
 Height, 1 8 in. 
 
 German, end of the sixteenth century. 
 
 {PLATE XVIII.) 
 
 17 
 


 Plate XVIII 
 
 

Nautilus. 
 
 A nautilus, partially stripped, mounted in silver-gilt, with the aperture turned down- 
 wards in the form of a snail, driven by a negro holding a bow with a quiver of arrows 
 on his back, in black and coloured enamel. The band which runs down the front 
 consists of a series of foliations with a graduated beading down the centre. Along 
 the inner border is a row of escallop shells. 
 
 Marks . — N in a circle (Nuremberg), and that of the maker, Jeremiah Ritter, who 
 was Master in 1605. 
 
 Nuremberg, early seventeenth century. 
 
 Height, 7f in. 
 
 {PLATE XIX.) 
 
 18 
 

 » 
 
 
 
 
Plate XIX 
 
 
 
 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
Nautilus Cup, with Parcel Gilt Mounts. 
 
 The shell, which is slightly cracked, is finely engraved with two scenes, symbolising 
 Peace and War, and is signed by the artist, C. Bellekin, /, who existed early in 
 the seventeenth century. The front of the whorl is delicately carved into a helmet, 
 and at each of the two corners at the sides of the whorl is a carved female mask, 
 with a helmet and shield above. The shell is surmounted by a nude male figure, 
 holding a dolphin, on scroll brackets, and the stem takes the form of a dolphin resting 
 on a circular domed foot with four scrolled brackets and foliated border. 
 
 Height, iif in. 
 
 Marks. — (i) C in a trefoil; (2) a human mask in an oval; (3) PB. These marks 
 show that it was stamped at Breslau early in the eighteenth century. 
 
 {PLATE XX.) 
 
 19 
 

 
 
 
 ‘ » 
 
 
 
 
 
 
 
 
 
 
 
 
 L 
 
Plate XX 
 
 
 

 
 
 
 
 
Dish, Circular, Gilt. 
 
 A large circular dish, with raised centre, decorated with eight panels of enamel in 
 elliptical and rectangular frames, surrounding a shield enamelled with the Arms of 
 Castille, France and Leon. The hollow is repousse with a bold scroll design, set with 
 eight large and four small elliptical and rectangular panels of enamel. On the rim, 
 which has a beaded border, are eight similar enamelled panels, alternate with panels 
 of repousse oval bosses and scrolls. The enamels are cloisonne arabesques, in 
 opaque white and blue on a ground of translucid ruby. 
 
 Marks on the back. — A DR’S and two other illegible marks. 
 
 Diameter, 26 in. 
 
 Spanish, early seventeenth century. 
 
 {PLATE XXI.) 
 

 Plate XXI 
 
 
 
 
 
 

 
 
 
 
 
 
 
 
 
 
 
 
An Ostrich, Gilt. 
 
 A standing Ostrich, the body formed of an egg, the head removable. It holds in 
 its beak a horseshoe, and in the right claw a stone, and on its neck is a collar of 
 Gothic cresting. The silver covering is attached to the egg by rosettes. Applied 
 to the base are two crawfish (coloured red), lizard, frogs, tortoise, etc., while the 
 foot, which is octofoil, and embossed with lobes, is richly embellished with applied 
 scrolls, female terminals, figures, etc. 
 
 Height, 19^ in. 
 
 Marks . — N in a circle (Nuremberg), and the mark of the maker, Johannes Clauss. 
 Nuremberg, circa 1635. 
 
 {PLATE XXII.) 
 
 21 
 

 
Plate XXII 
 
 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
Tankard or Flagon, Gilt. 
 
 It is octagonal in form, narrowing towards the middle, where it is encircled by a plain 
 moulding. The body and the domed cover are entirely covered with tears and oval 
 medallions in slight relief. The handle is scrolled in a terminal figure, and ends in a 
 human mask. The thumb-piece is a terminal figure, and the ends of the pins in the 
 joint of the cover have grotesque human masks. 
 
 Height, iof in. ; diameter of mouth, 2 \ in. 
 
 Probably Hungarian, early seventeenth century. 
 
 {PLATE XXIII.) 
 
Plate XXIII 
 
 
 
 
 
 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
Ship, with Single Mast and Two Sails, Parcel Gilt. 
 
 The hull is embossed with waves and dolphins, and has a terminal scroll at the 
 stern ; the stem is foliated, and has scrolled brackets. The oval base is embossed 
 in similar manner to the hull. On deck there are six figures and two cannon, while 
 two figures are climbing the ladders. 
 
 Height, igf in. 
 
 Marks . — N in a circle (Nuremberg), and a tree — the mark of Esaias Zur Linden, 
 who was master in 1609. 
 
 Nuremberg, early seventeenth century. 
 
 {PLATE XXIV.) 
 
 23 
 

 
 
 
 
Plate XXIV 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
Nautilus Cup, Parcel Gilt Mounts. 
 
 The whorl of nautilus shell is carved. The silver cover is embossed with waves, 
 and is covered by a large dolphin with Jonah, and on the apex is a rampant lion, 
 holding a sw'ord, on a pedestal supported by three scroll brackets, the shell secured 
 by three straps decorated with terminal figures. At the indentation of the shell 
 is an applied lizard on one side, and a frog on the other. The stem is formed by a 
 figure of Neptune seated on silver filigree work, on a high pedestal, repousse with 
 marine subjects and embellished with applied frogs, lizards, etc. 
 
 Height, 17-I in. 
 
 Mark . — MS linked, surmounted by a crown, in an oval, repeated twice. 
 
 (?) Transylvanian, seventeenth century. 
 
 (PLATE XXV.) 
 

 
 
 
 
 
 
 
 
4 
 
 Plate XXV 
 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
Covered Cup, Parcel Gilt. 
 
 This is embossed with bold, plain bosses, palm leaves and strap-work, and is sup- 
 ported on a vase-shape stem embossed with three grotesque masks, foliation, etc., 
 the stem having three brackets. The high foot and the domed cover, which is 
 surmounted by a cupid on a pedestal, are decorated in a similar manner to the body. 
 
 Height to top of cupid, 13^ in.; height of cup only, gf in.; diameter of mouth, 
 
 5 in. 
 
 Marks . — N in a circle (Nuremberg), and LT in an oblong. 
 
 Nuremberg, seventeenth century. 
 
 {PLATE XXVI.) 
 
 25 
 

Plate XXVI 
 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
Cup, a Lion holding a Shell, Gilt. 
 
 This cup is in the form of a lion rampant, with double tail, holding in its paws a 
 shell-shaped drinking cup. On the breast is an escutcheon with a six-pointed star 
 in the centre. The head is removable, and in the mouth is a small spout. The 
 oval base is embossed in imitation of ground. 
 
 Height, ii^ in.; base, 6f by 6 in. 
 
 Marks. — Pine-cone of Augsburg, and maker’s mark, MS, in an oval. 
 
 Augsburg, seventeenth century. 
 
 {PLATE XXVII.) 
 
 26 
 
 
 
Plate XXVII 
 

 
 
 
 
 
 
 
 
Cup and Cover, Gilt. 
 
 The bowl is cylindrical, beaker shape, and embossed with fruit, foliage, and strap-work, 
 and three large oval medallions representing a lion hunt, the hunter clad in eastern 
 dress. Each panel is separated by winged female terminals, with scrolled arabesques 
 and garlands. The vase-shaped stem is embossed with masks and shells, ovolo 
 mouldings, with three scrolled brackets, and rests on a spherical domed foot, embossed 
 with cupids’ masks, conventional foliage, etc. The depressed domed cover, which 
 is embossed with three panels of landscapes and buildings, divided by fruit in garlands 
 on a matted surface, is surmounted by a statuette of a Roman warrior holding a plain 
 shield, on a circular pedestal embossed with fruit and supported by three open scroll 
 brackets. The name Joh. Roland is engraved inside the cover. Around the rim 
 of the bowl several names are engraved. 
 
 Height to top of cover, 24^ in. ; height, exclusive of cover, 17! in. ; depth of bowl, 
 9 in. ; diameter of mouth, 6f in. 
 
 Marks. — (1) Pine-cone of Augsburg; (2) illegible; (3) ? a stork in shaped shield. 
 
 Augsburg, seventeenth century. 
 
 (PLATE XXVIII.) 
 
 27 
 
Plate XXVIII 
 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
Tankard of Large Size, Gilt. 
 
 A large tankard with the body divided into eight panels, which are engraved with 
 figure subjects, warriors, etc., while one is engraved with a shield of arms — three 
 fishes, crossed flags above, and the initials EG S; and another is engraved with 
 a shield containing a coronet and a coronet crest. The Vandyke panels above are 
 embossed with cherubs, fruit, etc., which are repeated on the domed cover, and the 
 panels below are embossed with cherubs, a hare, squirrel, hound, etc. A pine-cone 
 surmounts the cover, which has a double-volute thumb-piece. The handle, which is 
 scrolled and beaded, terminates in a shield, on which a stork is engraved. The base 
 has an egg and tongue moulding. 
 
 Dimensions . — Height to top of cover, ii£ in.; height of body, 7 in.; diameter 
 of mouth, 7 in. 
 
 Marks illegible. 
 
 German, seventeenth century. 
 
 {PLATE XXIX.) 
 
 28 
 
Plate XXIX 
 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
Cocoa Nut, Carved, with Silver-gilt Mounts. 
 
 The nut is secured by three bands with arabesque decoration in relief, and is supported 
 by a tall vase-shape stem, with three scrolled brackets, repousse with human masks 
 and fruit, on a circular embossed foot. The circular collar separating the stem from 
 the foot is decorated with cherubs’ heads and fruit. The lip, which is engraved with 
 delicate arabesque ornament, is inscribed — “ gratvlor • adventv • d • v • isten • 
 hozta • egesece • d-r. seit • mier • got • wil • rvmen.” The cover is embossed, 
 and is surmounted by a vase-shape knob. The nut is carved with foliage, grotesque 
 masks and birds, and in the centre of the three compartments, in an oval medallion, 
 is (i) a Pelican in her piety, with the name “anna merei ” above; (2) a bull’s head, 
 with six-pointed star and a half-moon on each side, and the name “ andreas • B/Lassa ” 
 above ; (3) a bird standing on a branch between a half-moon and star, and the name 
 
 “ KAT/RINA . MHOZEKIT.” 
 
 Marks. — P. PP. (HP conjoined) in a shield. 
 
 Augsburg, seventeenth century. 
 
 Height, 14^ in. 
 
 {PLATE XXX.) 
 
 29 
 

 
 * 
 
Plate XXX 
 
 
Nautilus Cup, Silver-gilt Mounts. 
 
 The shell is plain, and is surmounted bv a figure of a whale ridden by Neptune and 
 vomiting Jonah, and supported by a fluted vase-shape stem, with scrolled dragon 
 brackets, on a circular foot repousse with sea monsters, fluted edge, and with four 
 applied frogs. The lip is mounted by a wide engraved rim joined by straps richly 
 decorated with masks, terminal figures and arabesques. 
 
 Height, 1 in. 
 
 German, seventeenth century. 
 
 (. PLATE XXXI.) 
 

 Plate XXXI 
 
 
 
 
Ostrich-Egg Cup, Parcel Gilt Mounts. 
 
 The egg is secured by three enamelled and floreated straps and festoons of fruit, 
 with grotesque male masks applied at the top of the straps. A band of enamel, 
 similar to that on the straps, with a rope-like moulding, encircles the lip. The stem 
 is an ostrich holding a horse-shoe in the beak, and standing on a high base, embossed, 
 and set with enamelled panels, and applied with three ungilt festoons and scrolled 
 ornaments. Surmounting the cover, which is decorated with six grotesque masks, 
 ungilt, and with a rope moulding, is a small figure of a Roman warrior. 
 
 Height, 17-I in. ; height, exclusive of cover, 14 in. 
 
 No marks. 
 
 German, seventeenth century. 
 
 {PLATE XXXII.) 
 
 31 
 
Plate XXXII 
 
 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
A Large Dish, Elliptical, Parcel Gilt. 
 
 The centre is embossed with a campaigning scene, with knights and Moorish horse- 
 men, and a chariot with a dead king. The border is boldly embossed with cuttle-fish. 
 
 » 
 
 Length, 26 in.; width, 22 in. 
 
 Marks. — Pine-cone of Augsburg, and BD, in monogram, in a circle — the mark of 
 Balduin Drentwett, born 1545, died 1627. 
 
 {PLATE XXXIII.) 
 
 32 
 
Plate XXXIII 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
Cup, in the form of a Dancing Bear. 
 
 The bear is entirely of white silver except the collar, which is gilt. On the circular 
 stand is an applied lizard. 
 
 Height, iOg- in. 
 
 Makers Mark — C K, in an oblong. 
 
 Augsburg, 1737. 
 
 {PLATE XXXIV.) 
 
 33 
 

 
 / 
 
 
 
 > 
 
 
 * 
 
Plate XXXIV 
 
 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 . 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
Cup, in the form of a Seated Lion, Gilt. 
 
 This is a large massive cup in the form of a lion seated erect upon a stringed 
 instrument, cannon, tulip, and a number of mathematical instruments, a quill in 
 the left paw. On the stem are four embossed figures of the Deity and Saints in 
 clouds, with these Latin inscriptions engraved above: — 
 
 “ Si Deus Pro Nobis Quis Contra nos.” 
 
 “ Sub tuum Presidium confugimus sancta Dei Genitrix.” 
 
 “ O Beatissime Ioseph ora pro nobis.” 
 
 “ O Beatissime Patrone Dauriane Ora pro nobis.” 
 
 The circular base is entirely covered with a view of what is believed to be the 
 city of Bale. 
 
 Height, i in. ; diameter of base, in. 
 
 Marks . — The double flower of the town of Rappersweil, and the maker’s mark, a 
 fleur-de-lys. 
 
 Swiss, circa 1665. 
 
 {PLATE XXXV.) 
 
 34 
 
Plate XXXV 
 
 
 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
Cup, Parcel-gilt. 
 
 The body is fluted and embossed with festoons and panels containing the names of 
 winners. Suspending from the base of the bowl are shields engraved with names. 
 The stem is in the form of a hill-man holding an axe, with irregular specimens of 
 ore at his feet. On the circular foot and cover are several oval panels engraved 
 with names. The cover is surmounted by a wooden erection with bird, at which a 
 man with crossbows is shooting; other figures standing in various positions. 
 
 Height to top of cover, igf in.; height, exclusive of cover, 14! in.; diameter of 
 
 mouth, 5 in. 
 
 Marks . — F in an oval, and AM in an oval — the town mark of Freiberg, in 
 Saxony, and the mark of the maker, Andreas Muller, Master in 1675 or 1676. 
 
 Date, circa 1670. 
 
 {PLATE XXXVI.) 
 
 35 
 
Plate XXXVI 
 
 
 
Statuette of a Cavalier on Horseback. 
 
 A large and massive statuette of a cavalier in the costume of Louis XIV., seated 
 on a prancing horse, parcel- gilt, on a high and broad elliptical base, boldly embossed 
 with foliage. 
 
 Height, 15^ in.; base, iof by 9! in. 
 
 Marks . — The pine-cone of Augsburg, and the maker’s mark, IS, in an oval. 
 Augsburg, late seventeenth century. 
 
 {PLATE XXXVII .) 
 

Plate XXXVI! 
 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
Cup, Shell-shape, Parcel-Gilt. 
 
 The bowl is shell-shape, parcel-gilt, and embossed to represent a sea-monster. On 
 the flat of the cover is an embossed sea-monster escaping from a basket. The 
 handle is scrolled, and terminates in a merman among shredded leaves, ungilt. The 
 stem is in the form of a fisher-boy, with uplifted hand and bended knees, standing 
 on a high oval base with over-hanging acanthus leaves and embossed with dolphins. 
 
 Height, 15^ in. 
 
 Marks . — The pine-cone of Augsburg and BD interlaced, in circular cartouche. 
 (Rosenberg, 202.) 
 
 Augsburg, late seventeenth century. 
 
 {PLATE XXXV II I.) 
 

 
Plate XXXVIII 
 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
A Pair of Large Oval Dishes, CjILt. 
 
 These are embossed in bold relief with groups of nymphs and warriors, accompanied 
 by amorini, in the centre, and with tulips and other flowers on the rim. 
 
 Length, 36^- in.; width, 31-3- in. 
 
 Marks . — HLB conjoined, and town-mark of Hamburg — the mark of H. Lam- 
 
 brecht. 
 
 Hamburg, late seventeenth century. 
 
 {PLATES XXXIX. and XL.) 
 

Plate XXXIX 
 
 

 
 . 
 
 . 
 
 ' 
 
Plate XL 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
Ivory Tankard, with Silver-gilt Mounts. 
 
 The body is of ivory, elliptical in form and boldly carved with amorini at play. The 
 cover, which is domed and decorated with an embossed tulip design, is surmounted 
 by an infant bacchus in ivory. The mounts of the body are embossed with tulips, 
 acanthus, etc. The handle is a female term, boldly scrolled ; double volute thumb- 
 piece. 
 
 Height, 13 in. ; height of body only, 7! in. 
 
 Marks . — The pine-cone of Augsburg, and the maker’s mark, IHM, in mono- 
 gram — the mark of Johann Heinrich Mannlich, Master in 1698. (Rosenberg, 259.) 
 
 Augsburg, end of seventeenth century. 
 
 {PLATE XLI.) 
 
 39 
 

 
 
Plate XLI 
 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 . 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
Cup in the form of a Great Tun, Parcel Gilt. 
 
 The barrel, which is richly decorated with applied vine, not gilt, is supported on 
 four rampant lions, gilt. The front of the barrel is decorated with bands of applied 
 strap-work, and is embellished with an enamelled shield of arms — Quarterly, i and 4, 
 ... an eagle displayed ... 2, ... ID (?) conjoined or, 3 ... an embattled 
 gateway . . . On a?i inescutcheon , a raven (?) and a mullet. Crest— three ostrich 
 plumes issuant from a ducal coronet in an oval cartouche with scroll mantling. The 
 tap is in the form of a dolphin, with a mermaid above and applied fruit below. Seated 
 astride the barrel is a bacchus holding a plain silver goblet with tapering bowl, which 
 form a stopper and funnel. 
 
 Marks. — (1) a human face in a circle; (2) D, in a rectangular shield; (3) m-s in 
 a trefoil. 
 
 Height, 15^ in.; length of barrel, 7 in.; diameter, 6 in. 
 
 Breslau, early eighteenth century. 
 
 {PLATE XLII.) 
 

 
 
 
 
 - 
 
Plate XL 1 1 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 . 
 
Beaker-shape Cup and Cover, Gilt. 
 
 On the body, which is cylindrical, and tapers downwards, are the twelve fathers 
 of Israel in relief, with their names engraved underneath in Hebrew, in small, shaped 
 panels. Above each figure is strap-work decoration in the form of arches and scrolls, 
 divided by applied vase-shape ornaments on pedestals, from which foliage suspends. 
 The lip is decorated with strap-work panels enclosing quatrefoils. Two plain mould- 
 ings encircle the bowl, which is separated from the foot by a moulding decorated with 
 acanthus foliage in slight relief. The edge of the foot is vertically fluted. The cover 
 is decorated with bold, applied scroll-work and four human masks, and chased with 
 the signs of the Zodiac in circular cartouches of strap-work, and is surmounted by a 
 foliated vase-shape knob. The edge of the cover is fluted. 
 
 Height to top of cover, 14! in.; bowl only, 10 in. 
 
 Diameter of mouth, in. 
 
 German, probably Augsburg, early eighteenth century. 
 
 {PLATE XLIII . ) 
 
Plate XLIII 
 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
Tankard, Parcel-Gilt. 
 
 On the body is a scene representing a victory of Alexander the Great, crowded with 
 figures. On the cover is a medallion with mounted figure of Alexander, surrounded 
 by a gilt border embossed with trophies of arms. The border of the base is decorated 
 similar to the cover. The handle is a terminal figure, with clasped hands holding a 
 horn, a winged helmet on the head of this figure. The thumb-piece is a double volute. 
 
 Height to top of figure, 8| in. ; height exclusive of cover, 6f in. ; diameter of 
 mouth, 5| in. 
 
 Marks. — (i) the mark of Danzig; (2) the maker’s mark, haidt; (3) AH in a 
 pear-shape cartouche. 
 
 Danzig, early eighteenth century. 
 
 {PLATE XUV.) 
 

Plate XLIV 
 
 
 
 
 
Nos. i and 8 — A Pair of Small Cups, Gilt. 
 
 These are of pointed quat refoil shape, the bowl divided by a plain moulding, the 
 upper part minutely engraved with New Testament subjects, and with their references 
 to the chapters in the Gospels. On one cup — 
 
 “Matt. 13.” The Sower. 
 
 “ Marci 6.” Herodius’ daughter with the head of John the Baptist on a charger. 
 “ Joh 4.” Christ and the nobleman of Capernaum. 
 
 “ Lu. 8.” The Sower. 
 
 On the other cup — 
 
 “ Luc. 7.” Mary Magdalene anointing Christ’s feet. 
 
 “ Matt. 9.” Christ curing the palsy. 
 
 “ Matt. 9.” Christ and the ruler, and Christ healing the blind. 
 
 “ Luc. 10.” The good Samaritan. 
 
 The lower part fluted. The stems are supported by four female terms, and rest on 
 moulded quatrefoil feet. 
 
 Height, 4^ in. ; diameter, 3I in. 
 
 Marks. — N in a circle (Nuremberg), and a fish in an oval cartouche — the mark of 
 Franz Fischer, who was master in 1600. 
 
 Nuremberg, early seventeenth century. 
 
 {PLATE XLV., Nos. 1 and 8 .) 
 
 No. 2 — Small Cup, Parcel-Gilt. 
 
 The bowl is divided by a reeded moulding, the upper part engraved with scenes 
 from the New Testament — the Nativity of Christ, Christ in the Temple, and the wise 
 men offering gifts to the infant Jesus, and inscribed — 
 
 “ DIE GEBVRD CHRI '. WIRT OFFENBAR 
 CHR : WIRT IM TEMPEL BESCHNITEN 
 DIE DREI WEISEN VEREN CHR : GABEN.” 
 
 Each scene is divided by a pillar, with a vase on it, inscribed — 
 
 “ LVC. II. MAT. II. LVC. II.” 
 
 The plain bosses on the lower part of body are engraved with — 
 
 “ LG + ME.” “ HE,” with three half-moons below, in a laurel wreath. 
 
 Height, \\ in. ; diameter, 3 in. 
 
 German, sixteenth century. 
 
 {PLATE XLV., No. 2.) 
 
 43 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
Plate XLV 
 
 Nos. 2 and 3. Nos. 4, 5 and 6. No. 7. No. 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
No. 3 — Small Cup, Parcel-Gilt. 
 
 The bowl is divided by a reeded moulding. The upper part is engraved with 
 Biblical subjects, and inscribed — 
 
 “ KVNIG • MELCHISE • BRINGT • ABRAM • WIN.” 
 
 (Melchizedek bringing bread and wine to Abram.) 
 
 “ GOT • VERHEIST • A1RAM • MERW • SINST.” 
 
 (Abram promised a son.) 
 
 “ SARA • ERLAVPD • ABRAM • ZV • AGAR.” 
 
 (Sarah giving Hagar to Abram.) 
 
 Each scene is divided by a vase on a pillar which are engraved with these 
 references to the chapters in Genesis — 
 
 “G14. G 16. G 16.” 
 
 On the plain bosses on the lower part of bowl these initials are engraved — 
 
 “ LG + ME.” “VE ” and three half-moons in a laurel wreath. 
 
 The short stem is delicately chased with foliage and scrolls, and the foot embossed 
 with masks, fruit, strap-work, etc. 
 
 Height, 4^ in. ; diameter of mouth, 3 in. 
 
 Marks. — (1) I above H; (2) illegible, perhaps a wheel. 
 
 German, sixteenth century. 
 
 {PLATE XLV ., No. 3.) 
 
 Nos. 4, 5 and 6 — Three Small Cups, Parcel-Gilt. 
 
 The bowls are divided by reeded mouldings, the lower parts are plain and ungilt, 
 while the upper parts are engraved with agricultural scenes, and one with three 
 people in ruffs eating at a table. The short stems are delicately pierced with stags, 
 bears and other animals, and the feet embossed and chased with boar-hunts. 
 
 Height, 3! in. ; diameter, 3 in. 
 
 No marks. 
 
 German, sixteenth century. 
 
 {PLATE XLV., Nos. 4, 5 and 6.) 
 
 No. 7 — Small Cup, Gilt. 
 
 The upper part is delicately engraved with festoons of fruit and flowers, the lower 
 part repousse with plain bosses, divided by honeysuckle. The short plain stem is 
 supported by three scrolled brackets, and rests on a chased open-work foot, decorated 
 with cherubs and terminal figures. The lip moulded. 
 
 Height, 3I in. ; diameter of mouth, 3f in. 
 
 Marks. — N in a circle (Nuremberg), and HM in monogram, and a slipped flower 
 below, in a shaped shield — the mark of Heinrich Mack, Master in 1612. 
 
 Nuremberg, early seventeenth century. 
 
 {PLATE XLV., No. 7.) 
 
 44 
 

 
 
 
 
 
 
No. i — W ager Cup, Gilt. 
 
 The female is in ruff and embroidered skirt, holding gloves in her hand, with hat 
 and plume. 
 
 Height, in. 
 
 Mark. — HE conjoined. 
 
 German (? Constance) late sixteenth century. 
 
 {PLATE XL VI. , No. i.) 
 
 No. 2 — Wager Cup, Gilt. 
 
 This is in the form of a windmill with a tube extending downwards, which is probably 
 intended to blow down to set the sails in motion. On the house, opposite from the 
 arms of the windmill, is an engraved clock. A figure is climbing up the ladder. 
 The stem is a circular knop, pierced. The bowl is bell shape, and is fluted and 
 embossed, and also engraved with flowers, a female holding a lily, and a double- 
 headed eagle displayed. 
 
 Height, 9 in. 
 
 Marks. — A horse or lion rampant, crowned ; ? HS conjoined ; and modern Dutch 
 
 marks. 
 
 Dutch, seventeenth century. 
 
 {PLATE XL VI., No. 2.) 
 
 No. 3 — Wager Cup. 
 
 This is parcel-gilt, and is in the form of a female with ruff, holding above her head 
 a small fluted cup, and embossed with escallops, and supported by scroll handles. 
 The back of the skirt is pounced with floreated w 7 ork. 
 
 Height, 6f in. 
 
 Marks. — N in circle (Nuremberg) and MB conjoined — the mark of Melchior 
 Bayer of Nuremberg. 
 
 Nuremberg, circa 1550. 
 
 {PLATE XL VI., No. 3.) 
 
 No. 4 — Wager Cup, Gilt. 
 
 This is in the form of a figure with upstretched loose arms, in Hungarian costume, 
 part of the floreated design on w'hich is pounced. 
 
 Height, 6^ in. 
 
 Marks. — N in a circle (Nuremberg), and the mark of the maker, IR — the mark of 
 Jorg Ruhel, Master in 1598. 
 
 Nuremberg, end of sixteenth century. 
 
 {PLATE XL VI, No. 4.) 
 

 I 
 
 
No. 3. No. 
 

No. i — Cup, with Agate Bowl, Silver-Gilt Mounts. 
 
 The agate bowl, which is oval in form, is 6 § in. long and 4§ in. wide, and is sup- 
 ported by a triton on an oval foot, embossed with waves and acanthus foliage, and 
 with four panels of mermaids, flowers, a figure holding a dolphin, a man fishing, and 
 a child riding a dolphin. It has two scrolled handles. 
 
 Height to top of handles, 6|- in. 
 
 No marks. 
 
 German, seventeenth century. 
 
 (PLATE XL VII., No. i.) 
 
 No. 2 — Cup, with Rock-Crystal Bowl, Mounted in Silver-Gilt. 
 
 The crystal bowl, which is 7 in. long and is elongated and shell-shape, is carved 
 with an acanthus leaf on each side and acanthus foliage near the handle, and is 
 engraved with a bird and two insects. It is fitted into a mount decorated with 
 acanthus foliage, cornucopia, and flutings, and is supported by a dolphin on an oval 
 foot embossed with fruit, foliage, etc. The handle is in the form of a scrolled and 
 winged female term. 
 
 Height, 8 in. 
 
 Marks . — ^ and a female head in profile, looking to the right. 
 
 German, seventeenth century. 
 
 (PLATE XL VII., No. 2.) 
 
 No. 3. — Turbinated Shell, Mounted as a Cup, Gilt. 
 
 The cover is domed and decorated with strap-work, enclosing a quatrefoil, divided 
 by a rope and tassel, and is surmounted by a seated boy. The border of the cover is 
 incised with acanthus foliage. The stem is a tree trunk, clasped by a boy, and rests 
 on a sexfoil foot, with strap-work decoration as on the cover. 
 
 Height, 8 inches. 
 
 Marks . — A lined heart, with numbers above, 1. 13. 7. (? Vienna); and ZF, in 
 a heart (Rosenberg 2347). 
 
 Austrian, circa 1700. 
 
 (PLATE XL VII., No. 3.) 
 
 46 
 

 
 
 

 Plate XLVII 
 
 fA 
 
 6 
 
 £ 
 
 6 
 
 o 
 
 
 

 
 
 
 
 
 
 
 
I 
 
 No. i — Ship, with single Mast and Sail, Parcel-Gilt. 
 
 The hull is embossed with dolphins. There are two armed men on the deck, two 
 climbing the ladders, and one in the crow’s nest. The stem is supported by scrolled 
 brackets and terminals, on a high, oval base, embossed with scrolls of flowers. 
 
 Height, 14I in. 
 
 Augsburg, early seventeenth century. 
 
 {PLATE XL VIII , No . 1.) 
 
 No. 2 — Ship, Gilt. 
 
 The hull, which is boldly embossed with tritons, sea-horses, and other monsters, and 
 with cannon projecting from the sides, is supported on a dolphin stem on a high, 
 oval foot, embossed with shells and waves. It has a single mast and sail, w r hich is 
 inscribed — 
 
 “ Georg Christoph Neymer Schiiffmeister von Regensspurg, p.b.n. 1744.” 
 
 There are five figures on the deck, and two climbing the ladders. 
 
 Height, 15! in. 
 
 Marks. — Pine-cone of Augsburg, and SD — the mark of Salomon Dreyer. 
 Augsburg, middle of the eighteenth century. 
 
 {PLATE XL VIII ., No . 2 .) 
 
 47 
 

 
 
 
 
 
 / 
 
 
 
 
Plate XLVIII 
 

 
 
 
 
 
 
 
 
 
No. i — Tankard, of Ivory, with Silver-Gilt Mounts. 
 
 The body, which is of ivory and is oval, is carved with boys playing instruments, 
 drinking, etc. The flat, slightly-domed cover, which is surmounted by an ivory cupid 
 standing on chased arabesques, is decorated with sheaves of corn, baskets of flowers, 
 etc. ; the thumb-piece is a double volute, chased with acanthus. The handle is a 
 scrolled terminal figure, with a rosette applied at each side near the top. 
 
 Height, to top of cupid, 9^ in. ; height, exclusive of cover, 6f in. 
 
 Marks. — Pine-cone of Augsburg and P S — the mark of Philip Stenglin. 
 Augsburg, circa 1720. 
 
 {PLATE XLIX ., No. 1.) 
 
 No. 2 — Cup, of Ivory. 
 
 The ivory is carved wnth a boar and bear hunt. The cover is surmounted by an 
 ivory figure of a warrior holding a shield in the form of a mask. The silver-gilt mounts 
 are new. 
 
 Height 11 in. ; exclusive of cover, 5^ in. 
 
 German, seventeenth century. 
 
 {PLATE XLIX., No. 2.) 
 
 No. 3 — Tankard, of Carved Ivory, with Gilt Mounts. 
 
 The body is carved with a scene representing Esther before Ahasuerus, who is 
 seated on a throne with lions sejant, and six lions couchant, below each other, at the 
 sides of the steps. There are numerous figures, with camels, etc. The cover, which 
 is surmounted by a statuette of a mounted Roman warrior on an hexagonal pedestal, 
 has a floreated embossed border. The thumb-piece is in the form of two birds’ heads 
 and necks, with acanthus foliage. The handle is a dolphin and scroll, and round 
 the base of the tankard is an embossed laurel wreath border. 
 
 Height, to top of statuette, 8-|- in. ; height, exclusive of cover, 5| in. ; diameter 
 of mouth, 4! in. 
 
 Marks. — The mark of Danzig, and ,.T K in a trefoil (Rosenberg, 532). 
 
 Danzig, seventeenth century. 
 
 {PLATE XLIX., No. 3.) 
 
 48 
 
Plate XLIX 
 
 No. 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
No. i — Ivory Tankard, Parcel-Gilt Mounts. 
 
 The body is elliptical and carved in high relief with female figures in various attitudes. 
 In the cover, which is embossed with floreation, is a carved ivory plaque with amorini 
 seated and playing ; double volute thumb-piece. The handle is scrolled with a female 
 terminal figure. The upper mount of the body is plain, while the base is embossed 
 with acanthus leaves. 
 
 Height to top of thumb-piece, ii£ in.; height of body only, 8f in. 
 
 Marks. — Pine-cone of Augsburg, and EH in an oval. 
 
 Augsburg, seventeenth century. 
 
 {PLATE L ., No . i.) 
 
 No. 2 — Covered Cup of Ivory, with Parcel-Gilt Mounts. 
 
 The centre of the body is of ivory, carved with four bacchanalian figures, and is 
 supported by a cupid, ungilt, on a high, shaped-oval foot, embossed with fruit, flowers 
 and acanthus. The upper mount is embossed with fruit, divided by acanthus, and 
 the lower mount is plain, alternate with acanthus, while under the bowl is a radiating 
 acanthus decoration. The domed cover is treated in a similar manner to the foot, 
 and is surmounted by a boy with a drum, ungilt. 
 
 Height, with cover, 14^ in.; without cover, uf in. 
 
 Marks . — The pine-cone of Augsburg, and the mark of Albrecht Biller. 
 
 Augsburg, late seventeenth century. 
 
 {PLATE L. t No . 2.) 
 
 49 
 

 

 
 No. 
 

 
No. i — C up, Gilt. 
 
 This is in the form of a prancing horse on an oval foot, embossed with fruit; the 
 head is removable. 
 
 Height, 7f in. 
 
 Marks. — F, in a circle, and the mark of Amsterdam ; date, 1637 or 1668. 
 Amsterdam, seventeenth century. 
 
 {PLATE LI No. 1.) 
 
 No. 2 — Cup, in form of a Sitting Goat, Gilt. 
 It has a plain collar on neck. 
 
 Height, 4 in. 
 
 German, seventeenth century. 
 
 {PLATE LI, No. 2.) 
 
 No. 3 — Lion, Gilt. 
 A lion rampant, formed as a cup. 
 
 Height, 8 in. 
 
 Augsburg, late sixteenth century. 
 
 {PLATE LI., No. 3.) 
 
 50 
 

 
Plate LI 
 
 
 
 
 No. 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
No. i — C up, in form of a Stag, Gilt. 
 
 The stag has a plain collar on the neck; the head is removable. The stand is 
 embossed with lizards, frogs, shells, etc. 
 
 Height, io in. 
 
 Marks. — Pine-cone of Augsburg, and CB in an oval— (?) the mark of Christoff 
 Beheim, died 1610. 
 
 Augsburg, early seventeenth century. 
 
 {PLATE LII . , No. i.) 
 
 No. 2 — Cup, in form of Stag, Gilt. 
 
 The head of the stag is removable, and on the neck is a decorated collar. On the 
 long oval base are a lizard, frog, etc., enamelled. 
 
 Height, 9 in. 
 
 Marks. Pine-cone of Augsburg, and CB in an oval— (?) the mark of Christoff 
 Beheim, died 1610. 
 
 Augsburg, early seventeenth century. 
 
 {PLATE Z/Z, No. 2.) 
 
 51 
 

 
 
 
 
 
 
 
 
 
Plate Lll 
 
 N 
 
 6 
 
 * 
 
 No. 
 
No. 1 — Cup, in the form of a Partridge, Gilt. 
 
 This has no stand, the head is removable. * 
 
 No marks. 
 
 Height, 7 in. 
 
 German, seventeenth century. 
 
 (- PLATE LIU., No. i.) 
 
 No. 2 — Cup, in the form of a Peacock, Parcel-Gilt. 
 
 The peacock, which has a crest of flowers on its head, stands on a shaped oval base 
 embossed with a frog, insect, floreations, etc. 
 
 Marks illegible. 
 
 Height, 8f in.; length, ii^ in. 
 
 (PLATE LIU, No. 2.) 
 
 No. 3 — Small Cup, Gilt. 
 
 In the form of a ram, standing on hind legs on a domed circular base. 
 Marks illegible. 
 
 Height, 5| in. 
 
 German, seventeenth century. 
 
 (PLATE LI 1 I., No. 3.) 
 
 52 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
Plate LIU 
 
 No. 
 

 
 
 V 
 
 * 
 
 ■ 
 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
institute 
 
 3 3125 01310 9745