A salt cellar of Rouen faience is illustrated (p. 161) of the early eighteenth century. In height this is 3 inches. It shows the square form, with slight depressed surface at apex for the salt, as though the salt were a rare commodity. It is interesting, and should help the student to cast his eyes farther afield in attempting to arrive at conclusions in regard to definite styles. Of Trencher salts there is much to say. All that is not poetry is prose, as Monsieur Jourdain found out. A salt may be Standing--that is, it may be a ceremonial piece demanding the ritual of its order--or it may be a mere trencher salt; the name indicates its usage. Instead of being among the great folk, it was among the dependents at the lower stratum of the table. Trencher salts were once menial in the earlier periods, but as time went on the great standing salt disappeared and trencher salts became general for gentle and simple. Throughout the eighteenth century, from Queen Anne to George IV (1820), and in succeeding years the salts were all trencher salts--because there were none other. In the early days trencher salts were associated with servility or with dependence, but later the salt at the elbow of the master of the feast carried with it nothing derogatory. From Queen Anne, 1702, to the end of the reign of George I, 1727, little difference is noticeable and the lowly trencher salt changes very slightly. It is oblong or it becomes octagonal. But in practical form it is substantially the same. Two specimens exhibiting this are given (p. 165). The circular salts, with three feet, belong to the early George III period. The feet in these are in hoof form with cone-shaped terminals (see illustration, p. 165). The early George III period exhibits other varieties of the salt cellar. There was the wire-work cellar with cast additions, and the pierced and cut sheet silver. Most of these types are oblong in shape and were designed to receive a glass liner. These specimens are usually with four feet. The example dated 1769 is of wire work. The other example adjacent with floral wreath, dated 1785, is in the French style, which became prevalent at the last quarter of the eighteenth century. The feet of these examples are usually claw-and-ball or lion’s paw feet. It may be interesting to note the contemporary styles of the chair maker. The same influences were at work governing the worker in wood and the craftsman in metal. [Illustration: TRENCHER SALTS. QUEEN ANNE. 1712. GEORGE II. 1730. CIRCULAR SALT WITH THREE FEET. EARLY GEORGE III. 1768. GEORGE III. 1785. Feet with hoof-shaped and cone-shaped terminals. (_By courtesy of Messrs. Elkington & Co._)] [Illustration: SALTS WITH GLASS LINER AND FOUR FEET. EARLY GEORGE III. 1769. Floral wreaths and chain period in French style. GEORGE III. 1785. Claw and ball feet and lion’s paw feet. Wire work with cast additions and pierced and cut sheet silver.]