to be equalled or attempted, have won a greater acclamation at auction than the originals. Technique is a factor and a great determining factor in collecting, and sound connoisseurship recognizes this. Old Sheffield plated ware in its finest period exhibits one of the most surprising techniques in metal work ever produced in this country. APPENDIX I EXAMPLES SHOWING TYPES OF HALL MARKS ON SILVER PLATE Used by the various Assay Offices in operation during the Manufacture of Sheffield Plated Ware II EXAMPLES OF MARKS Found on old Sheffield Plate during the period 1753 to 1840 I EXAMPLES SHOWING TYPES OF HALL MARKS ON SILVER PLATE[3] Used by the various Assay Offices: London, Exeter, Chester, Newcastle-upon-Tyne, York, Sheffield, Birmingham, Edinburgh, Glasgow, Dublin, and Cork [Footnote 3: _The Position of Marks._--Marks are not placed on old silver in a straight line. They are shown in this manner for convenience, and are the author's own arrangement. They are in practice irregularly stamped and sometimes upside down. The maker put his stamp on the piece prior to sending it to the Assay Office. The remaining stamps were done under the directions of the Wardens. Although the maker's mark was stamped first, some of the other marks were placed on either side of it.] The following series of Hall Marks on Silver by the various Assay Offices are given as they fix the exact date when certain types of silver were made, and the maker's stamp with initials enables identification. It is only by comparison with original examples of dated silver that approximate dates can be ascertained of old Sheffield plate which set out to copy silver. Accordingly, the work of the following London makers should be studied with a view to establishing the original designers of many of the old Sheffield replicas. The following great masters came on the threshold of the Sheffield plate invention: Paul Crispin (1743); Paul Lamerie (1746); John Cafe (1749); Peter Taylor (Tea Caddies) (1747); Frederick Kandler (Inkstands) (1757); Thomas Whipham (1747); John Swift (Coffee Pots) (1749); Richard Rugg (1754); William Grundy (1757); Edward Wakelin (1753); Isaac Duke (Sauce Boats) (1743); Simon Jouet (1747); George Wickes (Candlesticks) (1750); Samuel Taylor (Caddies, Sugar Basins) (1756); Henry Herbert (1753). When the Sheffield industry was at its height the following London makers had established a reputation for various classes of designs which they had made their own. =Sugar Basins= (Fine pierced and festoon work): Benjamin Gignac (1761); J. Denizlow (1781); Henry Chawner (1792); L. Herne and F. Butty (1750); Daniel Smith and Robert Sharp (1769); S. Herbert & Co. (1767). =Cream Jugs, Sauce Boats=: Samuel Meriton (1761); Walter Brind (1763); Parker and Wakelin (1775); James Wilkes (1784); Peter and Anne Bateman (1791). =Candelabra and Candlesticks=: Robert Hennell (1777); Wakelyn and Taylor (1782); John Tayleur (1786); John Schofield (1786).