Close plating—The buckle makers—German silver and other white metals—The factory system—The end of the story.

Apart from the process of covering baser metals with silver by fusion and preparing sheets of copper superimposed with silver by rolling, there was the earlier process always designated as French plating. As we have shown, the plating of baser metals was nothing new, but the Sheffield process was a new invention which had far-reaching results. About the year 1800 a great many small articles in common use were manufactured by a method known as close plating. Knives, snuffers, skewers, buckles, spurs and harness were subjected to this means of silver plating. A great many of these articles have the name of the maker stamped upon them. Fruit knives, table spoons and forks, fish knives, sugar tongs, and in fact all small articles which it was easier to make in this manner than manipulate from the silver plated sheet.

Iron skewers were so plated with silver and steel blades of knives. An iron skewer made in Ireland is marked "Sly. Dublin," and the marks of the makers of the close plated work are as difficult to trace and identify as some of the others in the process of plating by fusion. Horday & Co. is found on some late examples, and the fleur-de-lys is another mark frequently seen. The close plating process seems to have been followed both at Birmingham and Sheffield from about 1795, and was subsequently employed in London. The base for close plating was mainly iron or steel. Instead of resorting to the longer and more expensive mechanical process of fusion and rolling, the article intended to be plated with silver was covered with a thin sheet of silver and while hot it was burnished down to the core of the baser metal, by means of a compound of lead and tin, which, employed at a low temperature, did not lessen the temper of the article thus plated.

It is to be observed, however, that the permanency of close plated articles cannot be compared with those produced under the rolling process. Whatever may be the reason there seems to be a weakness in the technique, for it is found that they are strongly affected by exposure to damp or extreme heat.

The Buckle Makers.—It has been asserted that Boulsover made buckles; this is unlikely. The trade had mainly settled in Birmingham and Wolverhampton, and there was an extensive trade carried on in London. The fashion of the buckle underwent many vicissitudes in fortune. The Puritans adopted shoe strings. It was in Stuart days that Herrick sang of his mistress:

A careless shoe string, in whose tie
I see a wild civility.

Silk laces with silver fringes and tags were in fashion on the eve of the Restoration, although the common folk confined themselves to leather laces.

All through the eighteenth century the buckle was worn. Sometimes, happily for the buckle makers, the fashions grew so extravagant that the ladies wore such large square buckles either of silver or silver plated as almost to conceal their feet. Towards the end of the century fashion deserted the buckle makers and they were in a parlous state. It was natural that they termed the displacement "the most ridiculous of all ridiculous fashions the effeminate shoe string." Birmingham, Walsall and Wolverhampton employed no less than twenty thousand workers in the buckle industry, and they could ill afford to be flouted by the fickle jade Fashion.

In 1792 the buckle makers of the provinces determined to enlist the sympathies of the First Gentleman in Europe on their behalf. They were introduced to the Prince of Wales by Sheridan. They represented that although the interest of the button manufacture had enlisted parliamentary assistance they had no redress against the shoestring. They did not desire sumptuary penalties, but they claimed the personal support of His Royal Highness to obviate the stagnation of trade causing "miseries, emigrations and other horrible consequences."

The buckle makers' petition runs as follows:

"We beg leave to observe, that when Fashion, instead of foreign or unprofitable ornaments, wears and consumes the manufactures of this country, she puts on a more engaging form, and becomes Patriotism. When Taste, at the same time and by the same means that she decorates the persons of the rich, clothes and fills the naked and hungry poor, she deserves a worthier appellation, and may be styled Humanity. We make no doubt but your Royal Highness will prefer the blessings of the starving manufacturer to the encomiums of the drawing-room. We know it is to no purpose to address Fashion herself; she is void of feeling, and deaf to argument; but, fortunately, she is subject to your control. She has been accustomed to listen to your voice, and obey your commands."

The Prince of Wales, followed by the Duke of York, ordered the discontinuance of the use of shoe-strings by members of his household.

The buckle makers of London and Westminster followed in the wake of their provincial brethren, by publishing an appeal to the public, complaining that, however mischievous the whim, however effeminate the appearance of shoe-strings, the wearing of them still increased, and hoping that henceforth no philanthropic friend to his country would, by following an evil example, virtually take part in snatching the bread out of the mouths of thousands of poor and industrious families. They also petitioned the King and Queen, the Prince of Wales, the Duke and Duchess of York, the Princess Royal, and her brothers Clarence and Gloucester, to aid them in their extremity. They unbosomed their cares to King George as a parent and protector whose soul was his people's. They assured Queen Charlotte that her disapproval of shoe-strings coming into her royal presence, would suffice to reinstate them in their former blessings; while they told the Princess that if she would but wear buckles, they should no longer remain monuments of silent grief, but commemorate with grateful peals of acclamation the annual return of the day which shone so propitious on their wants. Equally lavish of praise and prayer to the rest of the royal family, they reserved (for some unknown reason) the most extraordinary of their appeals for the Duke of York.

After informing him that "honour, dignity, and birth are like the landscape when the luminary is behind a cloud, without the rays of beneficence tinging each distinction with its inherent brightness," they remind him that ribbon, leather, and whipcord threaten to ruin a staple manufacture doing an incredible trade abroad, and humbly pray his Royal Highness to discourage shoe-strings "both militarily and domestically." Then they break out: "Conceive what immense numbers of persons have spent the prime of their youth and manhood; entered into connections; increased their families; and embarked their all, having this trade for a dependence. Their hearts bleeding at the cruel inconsiderate capriciousness of Fashion; difficulties and impossibilities rise in quick succession to defeat the probability of fixing on any other branch or occupation. The nuptial tie, pitiably relaxed by reiterated sorrows; the children cry louder and more vehemently for food; the husband unmanned; his wonted courage fails; the wife, more delicately sensible, is not able to resist one of the obtruding woes which crowd upon her mind. Few friends before! less than ever now! Demands come quickest upon the most needy, often reminded of their bereaved trade, and no philosopher's stone to smooth the creditor's brow! Now spread wide the happy cause, the prospect changes; Hope with cheering looks advances. A letter from the trade at large informs them of our appeal to your Royal Highness. Instantly they assemble, and congratulate each other they have so glorious a source of expectation! Hope, with magic power, appeased their hunger, removed their despondency, makes the manufacturer's heart dance with joy; and the Duke and Duchess of York echoes in their cups, toast after toast. And your petitioners will ever pray." The result of all this was that buckles were unusually prevalent at the Queen's birthday drawing-room, held soon afterwards, when the beauty and brilliancy of the buckles worn by the Prince of Wales, the Duke of York, and the Earl of Fife attracted general notice and admiration. It was but a transient triumph: Royalty failed to control Fashion; and although exceedingly small buckles were occasionally seen down to 1800, their fate was sealed, and by 1812 the buckle was extinct.

German Silver and White Metals.—The early silver plating was on soft copper, but towards the end of the plating period, an alloy was made with brass in order to give the base a greater strength and possibly for reasons of economy. Later German silver was introduced as a base. It was hard. It was not altogether a success, possibly by reason of its greater cost. But it had the quality of forming a hard solid basis beneath the silver plate, and when the latter showed signs of wear the German silver, being of a light colour, did not come into undue prominence in betraying the wear and tear.

There is also tutenag, an obscure metal, an alloy of antimony and zinc which was known to the Chinese, though not much has been written concerning this alloy and its employment in this country for articles of artistic excellence. But candlesticks and fenders have been made of pleasing appearance and having good wearing qualities. Then there is the Britannia metal period where pewter and Britannia metal met. In fact, during the latter days of Sheffield plating there were many minor competitors offering substitutes for the silver plating at a lower price. Commercialism was in the air, and at the flood the old methods of plating by fusion were swept away.

The Factory System.—Looked at from all points of view the Sheffield plating industry betrayed the rise of the factory system, as did also the great Wedgwood and other Staffordshire firms. The factory system, by reason of its systemization, apportions set tasks to a chain of individuals, so that no one individual can be said to be an artist-craftsman in the same sense that he would have been in the old days. The old Italian masters compounded their own pigments and carved and gilded their own frames. Life was then more crystallized. The viciousness of the factory system was that it destroyed the personality of the craftsman. In latter days strong movements have been inaugurated to attempt to revive art industries where the artist craftsmen will not be obliterated under the name of a firm or a syndicate.

The End of the Story.—It has been shown throughout this volume that old Sheffield plate by reason of its artistic excellence, should be treasured and loved. Its fashioning is most certainly a lost art. The old methods have disappeared for ever. It would be impossible to procure workmen nowadays with the fine instinct shown by those under the old rÉgime. If a return were made to the old process in lieu of the solid plate; if, let it be granted, that electro-plate were superseded by a freak of fashion which demanded Sheffield plate in the old manner, the operation would still be impossible. The cost of producing Sheffield plate by fusion and rolling would be greater than if it were solid silver. Hence collectors have realized the value, not only Æsthetically but the actual value of a fine series of wonderful works of art produced in an artistic manner which can never come again. It has been collected by far seeing enthusiasts, and they have bought at prices which will never occur again. Recently at Christie's a set of four Adam style candlesticks brought thirty-two pounds. But this was not too much for so splendid a technique. And without doubt old Sheffield plate, especially in examples that are not forthcoming as having been made in silver plate, will command much higher prices in the future. English earthenware in some instances has eclipsed porcelain in regard to prices under the hammer, and engravings after paintings in oil finely executed in a masterly technique, never again 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.