Restlessness of invention seized the Sheffield and other platers. Old forms were discarded, not because they had outlived their usefulness, but because fashion demanded or appeared to demand something new. The decanter stand began to have its lip spread out more like a dish than like the early form of coaster. Some were decorated lavishly with scalloped floral design as in the example illustrated (p. 173), in date 1820. An illustration of the vessel upturned shows the crowded character of the design. The wooden turned base has the usual silver stud or boss in centre. The adjacent example, fifteen years earlier, shows a finely moulded edge broadly fluted. The character of this example is not open to any criticism as to over lavishness of ornament. It is true it exhibits a newer style, but it holds its own as a fine and comparatively reticent piece of design.

The Dish or Potato Ring.—The Irish silversmiths were particularly ingenious in their pierced work. Will Hughes at Dublin about 1770 made some interesting pieces reflecting the sanest art. There was always a dignity and grace in the decoration which was strongly classical in its lines, embodying medallions and rosettes and festoons of drapery. The Dish Ring or Potato Ring is a form peculiar to Ireland. It was only made for a comparatively short period, and has been revived again as a modern memory of old fashions, though its use is not quite understood nowadays. These rings are stands upon which bowls were placed to prevent the hot vessel from injuring the surface of the mahogany table. They are also believed to have supported wooden bowls containing potatoes. Genuine Irish examples are always circular. Bowl and dish were synonymous terms in the late eighteenth and early nineteenth centuries, hence probably the term "Dish Ring." They were made as early as 1760. There is a marked example with the Dublin hall mark for that year, together with the maker's mark, Robert Calderwood. Large prices have been paid for examples of old Irish silver dish rings. £129 was given for an example hall-marked 1757, and other prices range from £50 to as high as £250; in view of their slight weight this works out in some instances at two hundred and thirty shillings per oz.

Examples of Irish work are sometimes apparently simple, but having such careful technique and skilful manipulation of the design as to give the greatest opportunity for the effective play of light and shade and silhouette. Another form more intricate embraced the use of birds and flowers and miniature pastoral scenes embossed, while a more simple form yet capable of fine character was that which confined itself to basket work with round or flat wire interlaced.

It is natural therefore that the Sheffield silver workers saw in the Irish dish ring a design worthy of imitation; and imitate it they did. In consequence a great number of plated replicas were exported to Ireland. They have an interest, and the example illustrated (p. 175) shows the [179]
[181]class of work the Sheffield craftsmen turned out in emulation of their Irish silver prototypes. It is an ordinary pierced design embellished with festoons. Some of the Sheffield examples were finely pierced and chased in a manner no less perfect than the same class of work one finds on the sugar pails, the mustard pots, and the salt cellars of the best period. The Butter Dish illustrated (p. 175) fully exemplifies this type of work at its best. It is oval and finely pierced with an unusual design giving in silhouette the effect of diaper ornament. It is on four ball and claw feet, and the lid is chased and is surmounted by a pineapple. The handles are twisted. These vessels, like the others enumerated above with pierced work, are furnished with blue glass liners, and these collectors are fortunate who find bargains with the original glass liners.

Inkstands and Taper Holders.—The old Sheffield plated inkstand is beloved by collectors. The oval tray was always an elegant piece of work, either pierced with fine running design over an extended surface as border top and bottom and often chased with medallions. The three examples illustrated (p. 179) are from an eighteenth century Pattern Book issued in 1792 by Messrs. J. Parsons & Co. of Sheffield. Written in ink on the first page for information of continental buyers is "Jn. Green escompte 30%." Green was one of the partners of the firm. This little book in paper covers has no less than eighty-four copper plate engravings, and for the delectation of the later collector the prices are written in ink throughout. The prices of the examples illustrated are "21s. Each" the two top ones, and "30s. Each" the lower example.

It will be seen that the latter has three pots. The pounce pot was always a necessary portion to the old inkstand, being used as a sifter in the days before blotting paper was invented. Fine sand was dusted over the writing. It would appear that the pounce pot with its perforated lid is on the left in all the three examples. The centre pot in the lowest inkstand was additional, though not as one might at first assume for a different coloured ink as the lid has not the same cover as those for ink with a tiny hole in centre. It was apparently a receptacle for some of the appurtenances of the writing table, certainly not pens, for steel nibs were not then invented, and every one wrote with a quill pen which he could sharpen with a penknife. Nowadays the art of cutting a quill by hand is one of the lost arts.