that produced the coffee-pot of 1692, the
straight lines of which continued in vogue until the middle of the
following century, when a reaction in favour of bulbous bodies and
serpentine spouts set in.

[Illustration: WASTELL POT, 1720-21]

Some of the more notable of the coffee-house-keepers' tokens in the
Guildhall Museum were photographed for this work. They are described and
illustrated in chapter X.

There are illustrated other silver coffee pots in the Victoria and
Albert Museum, by Folkingham (1715-16), and by Wastell (1720-21), the
latter pot being octagonal.

There is illustrated also a design in tiles that were let into the wall
of an ancient coffee house in Brick Lane, Spitalfields, known as the
"Dish of Coffee Boy" in the catalog of the collection of London
antiquities in the Guildhall Museum. Mr. Ellis thinks this belongs to a
period a little earlier, but certainly not later, than 1692; the coffee
pot represented being exactly of the lantern shape. It is an oblong sign
of glazed Delft tiles, decorated in blue, brown, and yellow,
representing a youth pouring coffee. Upon a table, by his side, are a
gazette, two pipes, a bowl, a bottle, and a mug; above, on a scroll, is,
"dish of coffee boy."

[Illustration: "DISH OF COFFEE BOY" DESIGN IN DELFT TILES 1692]

Modifications of the lantern began to appear with great rapidity in
England. In the coffee pot of Chinese porcelain, illustrated, probably
made in China from an English model a few years later than the 1692 pot,
Mr. Ellis observes that "the spout has already lost its straightness,
the extreme taper of the body is diminished, and the lid betrays the
first tendency to depart from the straightness of the cone to the curved
outline of the dome." He adds:

These variations rapidly intensified, and at the commencement of
the eighteenth century we find the body still less tapering and the
lid has become a perfect dome. As we approach the end of Queen
Anne's reign the thumb piece disappears and the handle is no longer
set on at right angles to the spout. Through the reign of George I
but little modification took place, save that the taper of the body
became less and less. In the Second George's time we find the
taper has almost entirely disappeared, so that the sides are
nearly parallel, while the dome of the lid has been flattened down
to a very low elevation above the rim. In the second qu