Pewter reached the height of its popularity during the sixteenth and seventeenth centuries, though its use for household purposes continued throughout the eighteenth and the first part of the nineteenth centuries. In the sixteenth century the artistic quality of the ware was greatly improved, for by an act of James VI the ware was divided into two grades, the best to be marked with a crown and hammer, and the second with the maker's name. Specimens of this century are to-day extremely scarce, those few examples that do remain being for the most part found in museums or in old English castles, where they have remained in the same family from generation to generation. No doubt, specimens would have been more plentiful had not the greater part of the church plate in England and Scotland been destroyed during the Reformation.
After 1780 pewter was but little used among the wealthy classes, except in their kitchens and servants' quarters, where it held sway for a considerable length of time. In fact, in some of the larger establishments, it continued to be used regularly until within the last thirty-five years, and even now it is used in the servants' hall in two or three of the large old country houses. It lingered longest in the taverns and inns, and in the London chop-houses, being used in the last named until they were forced out of business through the introduction of coffee palace and tea rooms.
English pewter differs materially from that made in other countries, the workmen employing designs characterized by a sturdiness and sedate dignity that raised the ware above that made in other lands. Almost every conceivable domestic utensil was made of pewter as well as garden ornaments, and it is interesting to note, in connection with the latter, that several urns were designed by the brothers Adam.
The history of pewter making in England might almost be said to be that of the London Guild or Worshipful Company of Pewterers, so closely is the ware allied with it. For a long time this company or guild controlled the manufacture and sale of the ware in England, and during the days of its greatest influence it did much to improve the quality. At one time it attempted to make general the employment and recording or marks, but the rule was not enforced, and an excellent opportunity of insuring the exact date of manufacture of a certain piece was thus lost.
Several private touch marks were registered at Pewterers' Hall, but these, together with important records that the company had compiled, were destroyed in the great London fire of 1666. Very few pieces now in existence bear any of these touch marks, though occasionally a piece will be found that shows the regulation London Guild quality mark, a rose with a crown. The touch mark was the mark of the maker. This was generally his name alone, though sometimes his name was combined with some device, like an animal or flower.
Scotland boasted a guild at Edinburgh that at one time enjoyed a fame second only to that of the celebrated London Company. Touch plates of the pewterers that were registered here are no longer in existence, and, indeed, much of the pewter made in this country bears no mark at all. The usual hallmark was a thistle and a crown, though there were several local marks that were frequently used, which are sometimes found on Scotch pieces.
France, too, had its guilds, but they were abolished by Turgot on the ground that the free right to labor was a sacred privilege of humanity. Gradually the influence of all the guilds was less keenly felt, and in time the majority were abolished. After this the quality and use of pewter steadily declined, and with the coming into favor of china and other ware, pewter grew to be considered old-fashioned, and its use was discontinued during the first years of the nineteenth century.
Plate LXI.—Pewter half-pint, pint and quart Measures, one hundred years old; Three unusual-shaped Pewter Cream Jugs; German Pewter, Whorl pattern.