Page:EB1911 - Volume 08.djvu/607

 interesting silver vessel, probably a chalice, found at Trewhiddle in Cornwall, is in the British Museum. It is of plain semi-oviform shape, and dates from the 9th century. The 13th century chalice was usually a broad somewhat shallow cup, on a conical base, and squat in its general lines as compared with those of later date. These gradually became taller, and with a bowl smaller in proportion, following the tendency of the civil vessels towards more elegant lines. Both civil and religious vessels eventually carried this tendency to an extreme point, so that in the 17th century the continental chalices and standing cups had lost all sense of true artistic proportions; the bowl of the chalice had greatly shrunk in size while the foot had become huge and highly elaborate, both in general form and in ornamental details. In Britain chalices ceased to be used in the English church in the reign of Edward VI., and were replaced by communion cups. These were much plainer in make, recalling in their outlines the goblet form of about a thousand years earlier, the sides of the bowl being concave, or nearly straight, as opposed to the convexity of the chalice, while the paten was reversed over the mouth and so arranged as to form a closely fitting cover. With the beginning of the 17th century English communion cups again followed the civil fashion in adapting the outline of the Venetian drinking glass, a shape which has survived to our own days.

The materials of which chalices were made in the early centuries seem to have been as various as those of ordinary vessels. Glass was undoubtedly a favourite substance, perhaps from its lending itself readily to scrupulous cleanliness; but wood, horn, ivory and similar materials were undoubtedly in use, and were from time to time condemned as improper by the Fathers of the Church. Pewter was in common use, and it was not an unusual practice in the 12th and 13th centuries to place sacramental vessels, of this or more precious metal, in the grave of an ecclesiastic. Bronze was also used, and the Kremsmünster chalice is of that metal, which was a favourite one in the Celtic church. But gold or silver chalices were no doubt always preferred when they could be obtained.

It may be mentioned here that it was a common practice in the 16th century and later in England for laymen to make gifts to the church of vessels of an entirely domestic character for use in the service. Many of these from their associations, and in the character of the designs upon them, were entirely unsuited for such purposes, and in our own time, when a healthy desire has sprung up for the proper investigation of such matters, many such unsuitable vessels have been withdrawn from use. Domestic plate, however, being much more highly appreciated by collectors, there has been a regrettable tendency on the part of the holders of such pieces to sell them to the highest bidders; the tendency is to be deplored, for while they remain the property of the church, they are a national asset; if sold by auction, there is a great probability of their going abroad.

It would seem fairly certain that the ordinary drinking vessel of medieval times was, like the trenchers of wood, turned on the lathe. Of these the commoner varieties have entirely disappeared, having become useless from distortion or other damage. Such as have come down to our own time owe their preservation to the added refinement of a silver mount. Vessels of this kind are known as mazer bowls, a word of uncertain origin, but undoubtedly, in the medieval sense, indicating wood of some more or less valuable kind, and not improbably, in the 16th century, maple or a wood of that appearance. Spenser in the “Shepherd’s Kalendar” speaks of “a mazer ywrought of the maple warre.” Although such vessels are mentioned in the inventories and other contemporary records as far back as the 12th century, no example is known to exist of an earlier date than the 14th century, of which date there are two in the possession of Harbledown hospital. This type of drinking vessel was in common use in well-to-do households until the 16th century, when a change of fashion and the greater luxury and refinement dictated the adoption of more elegant and complex forms. The ordinary mazer was a shallow bowl (see, Plate II.) about 6 in. in diameter, with a broad expanding rim of silver gilt often engraved with a motto in black letter or Lombardic capitals, at times referring to the function of the cup, such as:— or, Within the bowl, in the centre is often found a circular medallion called a “print” with some device upon it, engraved and filled with enamel. The reason of this addition may conceivably be found in the fact that such bowls were sometimes made from the lower half of a gourd or calabash, in the centre of which would be a rough projection whence the fibres of the fruit had diverged. A rarer form of mazer has the characters just mentioned and in addition is mounted upon a high foot, bringing it nearer to the category of standing cups or “hanaps.” The famous Scrope mazer belonging to York Minster (early 15th century) stands upon three small feet. Of the hanap type examples are in the possession of Pembroke College, Cambridge (the Foundress’ Cup), and All Souls’ College, Oxford, the former an exceedingly fine specimen, of the third quarter of the 15th century. The form dictated originally by the simple wooden cup was at times carried out entirely in silver, or even in stone, mazer-like cups being found either entirely in metal or with the main portion made of serpentine or some other ornamental stone. An example of the former from the Hamilton Palace collection, as well as several ordinary mazers, are to be seen in the British Museum. The types above described are of English origin, with the exception of that made entirely of silver, which is thought to be French. Most of the continental forms differed from the English, and were more elaborately finished. One of the finest is that which belonged to Louis de Male, last count of Flanders. It is an exceedingly thin, shallow bowl of fine-grained wood, with a cover of the same make. The latter is surmounted by a silver figure of a falcon holding a shield in its mouth with the arms of the count. The foot is of silver with lozenge-shaped panels inserted, bearing in enamel the arms of the count. A German form of the 16th century consisted of a depressed sphere of wood for the bowl, with a silver rim, and a cover formed of a similarly shaped sphere, called in France a “creusequin.” Such mazers were furnished in addition with a short metal handle turned up at the end, a feature unknown in the English types. All of these again are to be seen in the British Museum series.

Although the use of wooden vessels more or less elaborately mounted was continued well into the 16th century as a fashion, many other materials of far greater value were in use among the wealthy long before that time. Crystal, agate and other hard stones, ivory, Chinese porcelain, as well as more ordinary wares, were all in use, as well as the precious metals. The inventories of the 14th and 15th centuries are full of entries showing that such precious cups were fairly common. Of gold cups of any antiquity naturally but few remain; the intrinsic value of the metal probably is a sufficient explanation. One of the most important in existence is however preserved in the British Museum, viz. the royal gold cup of the kings of England and France. It is of nearly pure gold with a broad bowl and a high foot, the cover pyramidal. The whole is ornamented with translucent enamels of the most perfect quality, and with a little damage in one part, absolutely well preserved. The subjects represented on it are scenes from the life of St Agnes, in two rows, one on the cover and one outside the bowl; on the foot are the symbols of the four Evangelists, and around the base a coronal of leaves alternating with pearls; the cover originally had a similar adjunct, but it has unfortunately been cut away. This is the only piece of royal plate of the treasures of the kings of England and France that now remains, and its history has been traced from the time it was made, about the year 1380, to the present time. It was made by one of the goldsmiths of the luxurious Duc de Berri, the brother of Charles V. of France, no doubt to offer as a gift to the king, whose