into England about 1607.

A curiosity in cutlery is the "musical knife" at the Louvre; the
blade is steel, mounted in parcel gilt, and the handle is of ivory.
On the blade is engraved a few bars of music (arranged for the
bass only), accompanying the words, "What we are about to take
may Trinity in Unity bless. Amen." This is a literal translation.
It indicates that there were probably three other knives in the
set so ornamented, one with the soprano, one alto, and one tenor,
so that four persons sitting down to table together might chant
their "grace" in four-part harmony, having the requisite notes
before them! It was a quaint idea, but quite in keeping with the
taste of the sixteenth century.

[Illustration: IVORY KNIFE HANDLES, WITH PORTRAITS OF QUEEN ELIZABETH
AND JAMES I. ENGLIS]

The domestic plate of Louis, Duke of Anjou, in 1360, consisted of
over seven hundred pieces, and Charles V. of France had an enormous
treasury of such objects for daily use. Strong rooms and safes were
built during the fourteenth century, for the lodging of the household
valuables. About this time the Dukes of Burgundy were famous for
their splendid table service. Indeed, the craze for domestic display
in this line became so excessive, that in 1356 King John of France
prohibited the further production of such elaborate pieces, "gold or
silver plate, vases, or silver jewelry, of more than one mark of gold,
or silver, excepting for churches." This edict, however, accomplished
little, and was constantly evaded. Many large pieces of silver made
in the period of the Renaissance were made simply with a view to
standing about as ornaments. Cellini alludes to certain vases which