But this is not true of the vessels of gold and silver, which in the fifteenth and the early part of the sixteenth century attained so high a standard of excellence as regards taste, and in the course of the latter century such magnificent proportions, that they have remained models for all subsequent time. From the " maigelein," a small cup-like vessel, to the customary goblet (fig. 29) and the high double goblet called "schey ern," the shapes and classes of these vessels are so numerous that the description of them would require a special treatise. The cbefian awvre was the goblet-shaped Epergne, in which invention and workmanship rivalled each other to produce a magnificent result.
In the manufacture of such productions, in addition to the arts of cast ing, moulding, and encasing, that of enamelling was now made use of. This art had played an important role in Byzantium and during the earlier Middle Ages in the decoration of articles belonging to the ritual; it was again taken up in the sixteenth century, and, although somewhat changed, yet with decided success, especially in France, in order to provide drink ing and other vessels with ornamentation. Of this class of productions the Limoges majolica ware (figs. 14, 20) was especially valued. Besides the precious metals, other materials were used for drinking vessels, such as agate (fig. 18) and ivory (fig. 22).
With regard to a peculiar custom in vogue, the so-called "welcome cups" (figs. 31-33) are especially notable. They had no foot or base, and stood mouth downward, so that they had to be emptied before being set down. The most curious of these welcome cups was the double one shown in Figure 33; it consisted of a large cup in the shape of a female, supporting a smaller cup which swung on an axis: the custom was for a gentleman to drink from the larger one without spilling from the other, which he then presented to a lady.
Ordinary receptacles for liquids, such as pitchers or tankards, were made at an early period of the Middle Ages, chiefly of bronze, afterward of brass (pi. 42, fig. 17), and finally of tin (Jigs. 16, 23). As long as artistic forms seemed inseparable from technical handicraft, these too followed the prevailing style in shape and ornamentation; the latter consisted at first of plastic, afterward of engraved, decorations.
Table Ware was less developed. Spoons, indeed, were in use at an early date; the common people used wooden ones at first, and later those made of iron or tin; the wealthy had them of gold or silver and artistically carved (fig. 34). Forks were introduced in comparatively recent times,
and seem to have originated in the small spits or broaches which were used in eating larks and other small birds. Instead of forks, knives with sharp points were formerly employed. There are many specimens extant of the forks of the sixteenth century, but their costly material and decora tion show that they must have been in use only among the wealthy. At first they were made with but two long prongs (fig. 35), and then with three short ones, as is still the custom. Guests brought their own hand somely ornamented knives and forks (fig. 35), which were carried in sheaths (fig. 36) worn at the belt.
The before-mentioned majolica ware was highly prized for table uten sils (figs. 14, 15); such wares were imitated in almost all northern coun tries in and after the sixteenth century, but continued still to be imported from the East. Faience ware, generally blue in color, took the place of the former about the close of the seventeenth century. Porcelain, as is well known, was a discovery of the first half of the eighteenth century, but it did not come into general use before the end of that period. Still, dishes of this material soon came to be preferred for serving the food. In ordinary houses the family usually ate from a single large dish, com monly of wood or tin, but in exceptional cases perhaps of silver or gold.
Kitchen Utensils.—During the early Middle Ages the kitchen ware was common pottery; later it was made of bronze like the mortar (fig-. 12), and cooking-pots of this material also occur. The use of brass and copper was general long before the introduction of iron. The Nuremberg brass basins (fig. 13) were exported to all countries, and their use was by no means confined to church purposes.
Methods of Lichting.—The only artificial means of light consisted of tallow and wax candles. The shapes of the candlesticks were manifold; Figures 26 and 27 illustrate a couple of specimens. Chandeliers, fre quently arranged in connection with horns of deer or other animals, to whose trochings the candlesticks were attached, illuminated the festive hall. Figure 9 shows a magnificent specimen, which represents a finely carved dragon wound about the antlers of a reindeer. It was formerly in the castle of Gleishammer near Nuremberg (pi. 39, fig. 7), and now belongs to the collection in the Teutonic Museum.