The caster (illustrated p. 331) is in date 1699, and bears the Dublin hall-marks for that year and the maker’s initials G. L. (George Lyng). Marks illustrated page 409. This example is interesting as showing the type of art existing contemporary with English work. The grace and elegance of this caster stamp it as being the work of a practised artist, and though doubtless English fashions did affect the class of articles made, the native skill in the subtle use of ornament and the perfection of symmetry was in strong evidence across the Irish Channel. A loving-cup with two handles, in harp form, was made by Robert Goble, of Cork, about 1694, (illustrated p. 331). These cups are peculiarly Irish and were made nowhere else, except when the English silversmith or the Sheffield plateworker copied them. The harp to this day has remained symbolic of Erin, and Beleek teacups of delicate egg-shell porcelain sometimes have a harp handle. Throughout the eighteenth century a great number of these two-handled harp cups were made. They have a fine bold form and evidently fulfil the object for which they were made. The marks as shown in the specimen illustrated are usually at the top of the body near the rim. [Illustration: CREAM-JUG. CORK, 1764. Fine chased and repoussé work. Signed under lip, “Jonathan Buck, 1764.” (Marks illustrated p. 409.)] [Illustration: CREAM-JUG. DUBLIN, _c._ 1740. Maker, John Hamilton. Finely chased and embossed decoration. (_By courtesy of Messrs. Harris & Sinclair, Dublin._)] In the year 1740, when Frederick of Prussia seized the rich country of Silesia, young Oliver Goldsmith sat at the feet of his schoolmaster, that old soldier of fortune, Thomas Byrne, who had served with our army in Spain. He listened to “the exploits of Peterborough and Stanhope, the surprise of Monjuich, and the glorious disaster of Brihuega,” and he lent an ear to the stories of “the great Rapparee chiefs, Baldearg O’Donnell and galloping Hogan.” At fifteen he entered Trinity College, Dublin, as a poor scholar. To-day he rests on College Green, one of Ireland’s proud monuments. At this date the silversmith was doing great things; the Metropolitan Museum at New York has a fine centre-piece of these far-off days. It will be seen in the illustration (p. 335) to what refinement the art of the Dublin silversmith had attained. The maker is Robert Calderwood, and in such a specimen claims recognition for craftsmanship of a very high order. His mark is R. C. with a small crown between the letters, and his work is always prized by collectors. A cream-jug, made by John Hamilton, of Dublin about the same date (illustrated p. 339), may be compared, to the advantage of the Irish craftsmen, with work of the same period wrought in England or Scotland. There is a suggestion in the handle of the old harp design of the loving-cup, but the rich chasing and exquisite ornamentation of the body exhibit the finest touches of the silversmith’s art.