An interesting Tureen exhibiting the restlessness of motifs and the travail of the artist in his search for new designs is exemplified in the specimen illustrated (p. 229) where an excellence of technique is at once apparent. There is a beauty and a grace in the cover with its delicate incised chain ornament, its repoussÉ floral design and the striking godroon edge. The cover is surmounted by a ball on a leaf base. On the body the raised design, especially with the fruit and foliage, resembles that found on posset pots of the seventeenth century, but it is marred by an unfortunate leaf in the centre with a rib so prominent as to suggest casting. This is an undoubted blemish in ornament as the eye cannot leave this spot. But a bold attempt to win originality is shown in the legs and feet, which are of a curious and striking floral design, boldly rococo and somewhat Italianate in character; at first glance one expects to find them to be cherubs.

EntrÉe Dishes are always, when at their best, ripe with well-conceived and well-balanced ornament. The illustration (p. 233) shows a specimen, one of a set of four, with delightful design. The richly ornamented rims and the finely considered balance in regard to the double-tier effect make this especially acceptable. The cover has a finely ribbed effect which catches the play of light and displays its full effect and the ribs are so unobtrusive as almost to escape notice, but the full bodied effect is carried out to perfection.

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Another example of a later date, 1825, stands on its fine perforated ornament in the body. The feet are somewhat close together, and are made to appear more so by the dome-like cover swelling almost pear-shaped to an apex decorated by a cone. It is an unusual form, and free, notwithstanding its idiosyncrasies, from the glaring evils of elaborate and feeble decoration found at a slightly later date which impoverished design for the next thirty years.

Hot Water Jugs.—The form of the jug offers endless possibilities to the artist who designs practical shapes that the metal worker, the glass-blower, or the potter can bring into being, each according to his technique. It is the duty of the artist, if he be practical as well as ideal, to offer only such designs as can be easily worked in the particular craft for which he is drawing his designs. In regard to narrow-necked vessels there is the suggestion that they are more suited to the potter than to the metal worker. In the East, where metal workers carry on traditions that go back long ages, we do not find that wide-mouthed vessels claim preference. It is not so much that the craftsmen are conservative and do not seek new forms, but rather that, having mastered their technique, they confine themselves to its limitations recognized centuries ago. There is no doubt that the narrow-necked jar in the old fable of the Fox and the Crane was one made by the potter. The difficulties in technique in manipulating a jug such as is illustrated (p. 235) must have been great, though not insuperable.

But the fine Adam jug, with this premiss as to narrow vessels in general, offers a superlative example of the Adam style executed as early as 1770 (illustrated, p. 235). The square base with ball feet, the simple festoon of drapery, encircling rosettes but not being supported by them, the band of ribbed ornament placed just at that position where it attains the maximum effect, the fine exquisitely balanced proportions of the neck as natural and wonderful as nature in graceful birds such as the swan, and the pleasing lines in the curve of the spout—all these points are points of beauty impossible to describe in words, but quick to strike the trained eye satiated with improper ornament and feverishly awaiting the advent of pure unalloyed beauty of form. One never grows weary of contemplating such a perfect example as this of the art of the modern metal worker, that is modern since the old days of Greece and Rome, and modern as in comparison with the outburst of the great Italian Renaissance.

Two other hot water jugs are illustrated (p. 229) each typifying forms into which the metal worker converted his sheet silver. That on the left is severe in form. It represents the spirit of classicism cold and unsatisfying. The absence of the curve in the body and the straight lines at the shoulder might have proved, had Hogarth seen it, some of his points as to the line of beauty. [229]
[231]The plane surfaces are too few to be attractive, to increase their number would be to depart from a simplicity of outline at which the artist-designer has aimed. The elongated handle striking a sharp acute angle adjacent to the edge of the broad facetted body offers a inharmonious note. The space between the handle and the body is not a pleasing space to the eye. In technique the jug is perfect, as perfect as the silversmiths could fashion it, and as representative a replica as Sheffield could turn out. The eye wanders to the upper portion and finds restfulness, and it is this upper portion which makes the jug lovable and beautiful.

Its fellow on the same page affects a new form. Its handle carries one back to the porringer of Stuart days with its out-turned terminal. The body swells with beautiful symmetrical curves. Its plain cold effect is relieved by the broken flutings carried part of the way up. The spout again is reminiscent of the earlier forms in the flagon of bye-gone days. The cover has a delightful pineapple ornament of sufficient size to give character to the piece. Although composite in its conception it takes its place on a plane indubitably its own.

The Marks of Makers.—Having extolled the object made, it would be delightful to be able to extol the maker. But the records of the copyist platers of Sheffield are not in such an exact state as to determine this. Even when certain initials and marks identify a particular firm, and one has run it to earth, one is confronted with the proposition as to who did actually make the piece. At what particular part of the chain, leaving out the drawers of the ingot from the charcoal fire and the mechanical rollers, was it fashioned by the man whom we wish to admire. Names of firms we know are hall marks as to quality. In silver formerly the maker did make the piece to which he was proud to stamp his initials, but even then the law conspired to cheat him of the guerdon of posterity's worship. The initials of Christian name and surname that is sensible enough. We all are aware of that abbreviation, and of accredited signs, from E.R., Elizabeth Regina, to the butterfly of Whistler. But disguised under the first two letters of his surname the silversmith in 1697, by William III, 8 & 9, cap. 8, left little evidence of his personality. William Keith becomes KE and Robert Cooper is CO, and Seth Lofthouse is L.O. In 1739 by George II, 12, cap. 26, just before the Sheffield period, the first two initial letters of Christian name and surname became compulsory. So that there is every reason why at Sheffield, the workmen who executed the mouldings and the craftsmen who pierced the design or chased it, should have added their initials. The die sinker might go by the board, but the artisan who with the highest art concealed art with his die work and his wire, he too might place his sign. There are [233]
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[237]workmen's marks, but nowadays they mean nothing except that they are "workmen's marks." On Worcester porcelain it is the same, certain symbols are believed to be workmen's marks. That is all. The French were wiser. At SÈvres the marks of each painter, decorator, and gilder of the porcelain from 1753 to 1800 is duly recorded. A crescent denoted that Ledoux painted the birds, LG tells that Le Guay did the gilding, a pair of compasses show that Mutel painted the landscapes, LR stands for La Roche and his medallions and emblems, F is Falot for butterflies, and so on. There are over a hundred and twenty known workmen's marks. And in 1750 the French cabinet-makers stamped their names on their works.

That certain workmen's marks did appear on the old Sheffield plate indicate pride of work of execution. But specialization should not have stamped out personality to the extent that it apparently did. Even names of firms are forgotten and initials of producers are not always readily traceable. There is much research needed in regard to old Sheffield plate. Much has already been done. But the idolatry of the Sheffield replica standing as it does on its perfect technique, should be carried back a stage. We have said nothing of the artist designer and draughtsman who carefully, with skilled pencil, worked out the drawings to be carried out by the craftsmen. He it was who stood between the silver plate prototype and the silver plated translation. The admiration should be extended to the original makers of the models. A scientific classification of old Sheffield plate should set out to identify what particular makers and designers of silver plate were copied by the silver platers of Sheffield and elsewhere. A collection of Sheffield plate without the knowledge as to the fount from which it came is like a collection of interpretative engravings from old masters' paintings with the old painters' names omitted.

The Supper Table.—In an age when a considerable amount of inventiveness was displayed in regard to economical forms of furniture, such as folding tables, library steps which shut up, dressing tables with wings that pulled forward, telescopic dining tables were invented and patented in 1830 by Richard Gillow, and nests of drawers arranged as though space were as great a desideratum as it is in a modern flat, it is not surprising to find that the metal workers at Sheffield came into line with the fashion for neat and ingenious contrivances for the table. A special feature was made of small delicate fitted appurtenances for the card room and the supper table. Collapsible toast racks were made about 1825 to 1830 standing on four ball and claw feet, by a firm stamping its name as R.C. & Co. Tinder-boxes with candlesticks were cunningly contrived. Reading shades came into being with circular green silk guards, capable of being raised and lowered and manipu[239]
[241]lated in a variety of positions. Many of these articles only achieved a momentary success. But among those remaining are certain supper dishes for serving cheese. In the example illustrated (p. 239) it is seen that it has six compartments for toasted cheese to be served hot and kept hot. These cheese dishes are uncommon. The handle is wood. In date this is about 1800, the adjacent example is about 1810 and has applied shell and foliage at the corners of the cover, and a similar wooden handle.

A fine specimen of a little known article of former use is illustrated on the same page. It is a Pipe Lighter, with pierced and escalloped edge. It has three ball and claw feet. It stands on a circular tray finely pierced having ball and claw feet. It might at first glance suggest to the collector that it was Dutch in origin, and suggests some form of charcoal brazier, but it is indubitably a remarkable specimen of old Sheffield plated work in date about 1783.

VIII

CENTREPIECES
THE CENTREPIECE
THE DESTRUCTION OF OLD DIES
THE MELTING DOWN OF MASSIVE SHEFFIELD PLATE
THE PASSING OF THE DINNER TABLE