In the old days when costume determined the gentle from the simple, when demarcations of rank were definitely pronounced, when men wore feathers in their hats and swords at their sides, when retainers and menials sat at the same board with their lord and lady, the customs of the table were not our customs. It was only in Elizabeth’s day, when dinner was served at a long table, that the oaken floor replaced rushes. The diners threw bones to the dogs, and although sweet sounds came from the musician’s gallery, the scene one may recall is one rather of barbaric splendour than of luxurious refinement. To him who loves to quicken the dry bones of collecting into something pulsating with life, the salt cellar provides a delight which is not easily equalled. It was an honoured guest at every feast. It was the social thermometer which marked the exact degree of rank of the sitters. Persons of distinction sat above the salt, and between it and the head of the table. Those who sat below the salt were dependents and inferior guests. If only these salt cellars reproduced as illustrations could give tongue to the secrets they caught in whisper from the upper end of the table before the withdrawing chamber, prototype of our modern drawing-room, became a necessity! If walls had ears, and if the salt cellars of Tudor England or of the stormy days of the Stuarts could have been fitted with American gramophone wax cylinders, the by-ways of secret history would be less tangled to the historian. Had this been the case, modern millionaires would have been in competition with one another to secure precious records, as it is only a rich man who can afford to gather together a representative collection of old salt cellars. But for all that, the collector with small means, who is less ambitious, may obtain specimens that are of exceptional interest, and in his quest he may, even in these days when collectors scour Europe, come across an example which may be antique. As may be imagined, these “salts” are very varied in character. They may be of silver, of earthenware, or of ivory. They may be of simple form with little to distinguish them artistically, or, on the other hand, of such intricate design and rare workmanship as to make them superb examples of the art of the jeweller or silversmith. [Illustration: STANDING SALT CELLAR. GOTHIC PERIOD. _c._ 1500. Hour-glass form. Height 9ⁱ/₄ in. From a drawing by De la Motte. (_At Christ’s College, Cambridge._)] Take, for instance, the salt cellar sold at Christie’s in 1902 for £3,000. It was only 7⁵/₈ inches in height. It is silver-gilt, bearing the London hall-mark for 1577, and the maker’s mark, a hooded falcon, probably the work of Thomas Bampton, of the “Falcon.” The receptacle for the salt is of rock crystal, and the base stands upon claw feet, which are of crystal. The cover is square, having a circular dome top, above which stands a delicately modelled figure of a cherub as an apex.