346 Notes on the Church Plate of North Wilts. 
century, but the bowl is rudely made and has a curious travesty of 
the Elizabethan strap-work belt upon it. 
Lydiard Tregoze has a large and massive cup in which the pro- 
jecting flange which is placed close under the rather short square 
bowl on the otherwise plain stem is a more marked feature. It is hall 
marked 1649. No other occurs like it in North Wilts, but similar 
specimens are engraved in the Carlisle Church Plate and elsewhere. 
Alderton and Langley Burrell have cups bearing no hall marks, 
the former inscribed 1663, which, without being remarkable in 
shape, are singular in having a belt of engraving round tbe bowl in 
poor imitation of the Elizabethan ornament. 
In the eighteenth century the cup loses its straight sides, which 
instead bulge out somewhat towards the bottom. The knot re- 
appears on the stem in the form of a fillet or band, and the sacred 
monogram with rays almost invariably ornaments one side of the 
large bowl. About 1790 a number of goblet-shaped cups with 
slender stems and sometimes square bases are found, accompanying 
the classical flagons of that date. They are much the shape of the 
ordinary modern prize cups, and are seldom very large. Some, 
however, of the chalices given to small parishes during the last half 
of the eighteenth century are of huge size, and though during the 
first half of the nineteenth century the size of the bowl was generally 
reduced, the type was by no means improved,—the vessels of this 
period being undoubtedly in many cases the most hideous of any. 
About 1840-50, however, ecclesiastical art began to revive, and the 
medieval shapes have come more and more into fashion, until some 
of the modern plate rivals the ancient medieval work in beauty and 
excellence of workmanship. 
Handsome modern sets exist at Marlborough College, the two 
Savernake Churches, East Grafton, Wootton Bassett, and other places. 
The presence, however, of a modern medieval chalice—by no 
means always of excellent workmanship or design—too often means 
that the sixteenth or seventeenth century plate has been ruthlessly 
got rid of to make way for it,—a thing to he greatly regretted, from 
an historical, an archeological, and I cannot help thinking also, 
from an ecclesiastical point of view. 
