Their shapes varied with varying fashions. The illustration (p. [145]) taken from an old Design Book by J. Parsons and Co. of Sheffield, about 1784, shows the type then fashionable. All these are of oblong form. The lids spring up with fine contour and are chased with various patterns, all of them terminate in an urn pediment, following the prevailing note in decoration. As was shown with salt cellars in regard to these old pattern books the designs are only slight variations from each other, differentiated from each other by numbers for trade reasons. But the differences are trifling, as will be seen from the illustration. The middle examples on the two rows illustrate this. The same ostrich feathers, a simulation of the fleur-de-lys, and later in Hepplewhite manner to be affiliated with the Prince of Wales's feathers as a permanent feature in design. In both examples this is a feature as a pierced medallion. The floral festoons are the same in both cases, but the only variation is the chasing in the upper and lower bands. The other examples show similar relationship.
During the period of classic design there was a drum-shaped upright form as is shown in the illustration (p. [149]) with handle and lid, by the way, which go to an earlier period. The adjacent example, 1785 in date, is oval, like the copper-plate pattern book examples illustrated, but its character is finer. The pierced designs as in the 1775 example are of a fine quality. The thumb piece at the handle, it may be noted, goes back to seventeenth century days and is found in flagons.
Other drum forms are shown in the illustration (p. [151]) and the same slight variations appear in trade differentiations in this copper-plate catalogue of examples ready for export. Some of these, it will be noticed, have flat lids and one example has the dome-shaped lid of the flagon of earlier days. The tall urn-form offers another variety of shape. It is here shown in the engraved examples and it is further exemplified in two fine examples in date 1785 and 1790, illustrated (p. [149]). In the left hand specimen the pierced work exhibits an originality and beauty in its curved perforations. The other mustard pot has pierced star ornament and delicate beaded decoration, on body and handle. In regard to the handles of these urn mustard pots there is a departure from exact classic countour. The illustration (p. [151]) shows the handles in fine curve, but severely classic. The practical examples have lost this severity, the handles are more the handles of the working silversmith than the designs of the drawing master. In regard to Sheraton's design books there are similar differences. The practical craftsman did not always live up to the ideal of the designer.
A page of mustard pots illustrated (p. [155]) shows the diversity of the styles, and collectors can compare their Sheffield plate not only with marked examples of silver but with designs that were issued from Sheffield in the series of Pattern Books which happily have not been destroyed. A page of pepper castors illustrated (p. [155]) shows similar inventiveness in design and ornament.
GROUP OF OLD SHEFFIELD PLATED PEPPER CASTORS.
(In the collection of B. B. Harrison, Esq.)
GROUP OF OLD SHEFFIELD PLATED MUSTARD POTS.
(In the collection of B. B. Harrison, Esq.)