We are indebted to Catherine of Braganza, the Queen of Charles II, for the introduction of tea. Edmund Waller, the Court poet, who made an oration to the Puritan Parliament and saved his neck, has an “Ode on Tea” eulogizing Catherine and the herb. By the time of Queen Anne tea-drinking had become a fixed habit. Bishop Burnet, who died in 1715, drank twenty-five cups in a morning. There was Dr. Johnson at the other end of the century who drank his sixteen cups at a sitting. [Illustration: COFFEE-POTS. GEORGE III. _c._ 1770. GEORGE II. _c._ 1730. GEORGE III. _c._ 1775.] [Illustration: COFFEE-POTS AND TEAPOTS. LATE GEORGE III PERIOD. (_By courtesy of Messrs. Crichton Brothers._)] A page of teapots and coffee-pots of varying periods of the eighteenth century shows the styles in vogue (illustrated p. 255). The upper group shows a coffee-pot about 1730 with ebony handle, and rather smaller than some of the later forms. This may be compared with the Newcastle coffee-pot, of 1737, showing similar character (p. 243). This really is the established form of the coffee-pot, which has lasted to the twentieth century, in spite of various deflections in style which were only transitory. By the last quarter of the eighteenth century it had become more ornate in character. Its decoration was rococo in style, and it became massive and impressive in size. It will be observed that in the specimen of about 1775, on the right, the festoons had become a prominent form of ornament. The handles in both these larger and later types are broken, with a point on the lower half turning outwards. The Edinburgh example of 1769 (illustrated p. 321) shows the same character. An illustration of a fine coffee-pot with the London hall-mark for 1741 is given as a Frontispiece to this volume. It was made by Peter Archambo, and bears his initials ~P.A.~ in script in an oval, broken shield. The lines of this example are of exceptional grace. The proportions of the body are well balanced. The circular foot with its fine gradations adds a lightness to the design. The lid is of fine proportions, and is terminated by a plain cone ornament giving height to the piece. The handle is of ebony and of pleasing curves. The shaped spout has a terminal ornament of baluster form joined to the body, which produces an effect at once original and exquisitely harmonious.