302 PROCEEDINGS AT MEETINGS OF whilst one of the new form, No. 2, was made in 1667. The shape was altoo-ether changed. The stem and handle became flat and broad at the extremity, which was divided by two clefts into three points, slightly turned up, whilst the bowl was elongated into a regular oval, and strengthened in its construction by a tongue which ran down the back. Two silver spoons of this form bore the portraits of William and Mary, and Queen Anne, respectively. This form of spoon remained till the reign of George I., when a new fashion was introduced. It is a curious circumstance that the first chano^e in form occurred at the Restoration, and the second at the accession of the House of Hanover. Did the spoons brought over with the plate of the respective courts, at these periods, set the new fashions ? In the new form. No. 3, the bowl was more elongated and oval in form, and the extremity of the handle was quite round, turned up at the end, having a high sharp ridge down the middle. This form continued to be made cer- tainly as late as 1767, but towards the end of the reign of George II., another new fashion came into use, and has continued to the present time. The bowl became more pointed, or egg-shaped, the end of the handle was turned down instead of up, and a sharp angular shoulder was intro- duced on either side the stem, just above the bowl, whilst the tongue which extended down the back of the bowl, giving it strength, was shortened into a drop, and thereby caused weakness. The fiddle-head pattern came into fashion in the early part of the present century. Previous to the Restoration the leopard's head, crowned, was always stamped in the bowl, l)ut since that time it has always been placed with the other marks on the back of the stem. Apostle spoons continued to be made as late as 1665, which was the date of one exhibited, bearing the figure of St. James. Mr. Octavius Morgan also exhibited a silver ornament in the form of a square tower, having a high conical roof and turrets, surmounted by vanes at each corner ; the tower was mounted on a stem and foot, the sides were pierced with windows, and there was a door which opened. These orna- ments are usually called fumigatories or pastille-burners, but they are very ill adapted for burning perfume, as there is no vent for the smoke but through the windows, nor any draught for a supply of air but through the door when open ; and as there is no trace of discoloration of the interior from burning, it is more probable that they were used for holding dry perfume, such as musk, which vas much used in the sixteenth century, when this was probably made. It was marked with a punch of the letter N, which Mr. Morgan thought most piobably indicated Nuremberg as the place of the manufacture. Nuremberg and Augsburg were, in the middle ages, renowned for their artists who worked in metals, especially in gold and silver. The most common marks on old German plate are this N and the fir-cone, which is the mark of Augsburg, being the arms of the city. The ornament in question is made in the similitude of some of the towers attached to the ancient houses at Nuremberg. By Mr. Brailsford. — A collection of bronze celts, of the socketed type, palstaves, fragments of sword-blades, a broken spear, <kc., of bronze, and a chisel (here represented). An implement of similar fashion occurred with gouges, square-edged chisels, celts, <kc., in the deposit found at Carlton Rode, Norfolk, in 1844.* Another, found in Ireland, is in Mr. Wardell's collection, and is represented amongst drawings lately presented by him to ■J See :i note of this discovery, by Rev. T. P. Slapp, Arcluuologia, vol. xxxi., p. 4fM-
