A second examination of the silver centre-piece, 1761, with the above notes in view, at once discloses its character--out of France and of Italy, with here a touch and there a touch from continental styles. If trivial toys such as the _pantin_, a pasteboard figure on strings, could take the town by storm, the craftsman in metal, with fashions streaming from over the Channel, could not and did not hold aloof. Traditional features linger or become rejuvenated, such as the sconces of the candlesticks which revert to the leaflike form of those of Charles II. The basket with interlaced work stands parallel with the similar work in porcelain from the Meissen factory with raised flowers at each intersection, just as in this silver centre-piece, and the old Saxon factory made this type of vase and basket as early as 1740 in the “Krinolinengrappen” period. But the feet might have come straight out of Chippendale’s _Director_, with their curves and shoulders and peculiar style. If Chippendale borrowed wisely from the cabinet-maker of France, the English silversmiths, many with French blood in their veins, found in French design something too alluring to ignore. [Illustration: SUGAR BOWL. With London hall-marks, 1773. Made by S. & J. Crespell. (Marks illustrated p. 377.) (_At Victoria and Albert Museum._)] [Illustration: SUGAR BOWL AND CREAM-PAILS. Pierced sheet silver with blue glass liners. LONDON, 1782. LONDON, 1786. LONDON, 1776. (_At Victoria and Albert Museum._)] Take another centre-piece, about 1775 in date (illustrated p. 279). Here are features equally interesting. The rococo form has become subdued. There are still branching curves, and plain baskets with interlaced work take the place of the floriated style candle-holders. The festoons with medallions indicate the classic style then in vogue. In this centre-piece the classic style is seen in combination with, almost in opposition to, the moribund rococo style. These may be compared with an earlier Irish centre-piece, 1740 in date (illustrated p. 335). The Sugar-bowl In the specimen illustrated (p. 283) the classic style is seen at its best. The body is decorated with festoons, rosettes, and the rim and foot have a plain bead ornament. The handles are snakes with the head terminating at the rim of the bowl. It suggests that it might be a bowl of Æsculapius rather than a homely sugar-bowl. Pompeii and Rome, translated through the brain of Sir William Hamilton, the Brothers Adam, and the metal-worker of the Louis Seize period, have each contributed to this composite style. It is not of the purity of form of silver vessels found in the tombs. It merely borrows ornament from classic originals; it is like Sir Bulwer Lytton’s translation of Horace, rather more Sir Bulwer than Horatius Flaccus. In date this is 1773 and was made by S. and J. Crespell. It belongs to the same period as the Sheffield silver candlestick illustrated on page 235.