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. 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.