mewhere about them: "an image of
St. Peter holding a church in one hand and the keys in the other,
trampling on Nero, who had a big sapphire on his breast;" and "the
Blessed Virgin with her Son, set with rubies, sapphires, emeralds,
and garnets," are among those cited. The whole shrine was described
as "a basilica adorned with purest gold and precious stones."

Odo the Goldsmith was in charge of the works for a good while. He
was succeeded by his son Edward. Payments were made sometimes in a
regular wage, and sometimes for "task work." The workmen were usually
known by one name--Master Alexander the King's Carpenter, Master Henry
the King's Master Mason, and so forth. In an early life of Edward the
Confessor, there is an illumination showing the masons and carpenters
kneeling to receive instruction from their sovereign.

The golden shrine of the Confessor was probably made in the Palace
itself; this was doubtless considered the safest place for so valuable
a work to remain in process of construction; for there is an allusion
to its being brought on the King's own shoulders (with the assistance
of others), from the palace to the Abbey, in 1269, for its consecration.

In 1243 Henry III. ordered four silver basins, fitted with cakes
of wax with wicks in them, to be placed as lights before the shrine
of Thomas a Becket in Canterbury. The great gold shrine of Becket
appears to have been chiefly the work of a goldsmith, Master Adam.
He also designed the Coronation Chair of England, which is now
in Westminster Abbey.

The chief goldsmith of England employed by Edward I. was one Adam
of Shoreditch. He was versatile, for he was also a binder of books.
A certain bill shows an item of his workmanship, "a group in silver
of a child riding upon a horse, the child being a likeness of Lord
Edward, the King's son."

A veritable Arts and Crafts establishment had been in existence
in Woolstrope, Lincolnshire, before Cromwell's time; for Georde
Gifford wrote to Cromwell regarding the suppression of this monastery:
"There is not one religious person there but what doth use either
embrothering, wryting books with a faire hand, making garments,
or carving."

In all countries the chalices and patens were usually, designed
to correspond with each other. The six lobed dish was a very usual
form; it had a depressed centre, with six indented scallops, and
the edge flat like a dinner plate. In an old church inventory,
mention is made of "a