relief borders (Figs. 210-215, pp. 164-166). This contrasts strongly with the angular polygonal shape
(Figs. 216, 217, p. 167).
Another group of castors tends to accentuate the middle of the body with ridges, floral and other
motifs (Figs. 218-225, pp. 168-174). One silver castor (Fig. 219, p. 168) is analogous with that shown
in a working drawing (Fig. 218, p. 168) in that it also features four palmette like motifs.
Castors of polygonal cross-section can be dated around the middle of the Century, and often have
flat lids. There are comparable examples of glass (Figs. 226-230, pp. 172-174).
A particularly elegant Variation of the high shouldered vase shape is to be found in castors dating
from the period of the Diana's head hallmark (1872-1922) (Figs. 233, 234, p. 176). These would ap-
pear to have been modelled on an older castor (Fig. 236, p. 177). A spiee pot dating from 1819
(Fig. 235, p. 177) and a guilloched castor (Fig. 247, p. 182) are examples of simplicity of contour. The
conical glass castors with metal lids look wide and compact (Figs. 237 et seq., pp. 178 et seq.).
These have flat bottoms wthout a base. The polygonal cross-section of the vertically cut facets of
glass castors (Figs. 237, 238, p. 178) finds its counterpart in the ribbing of metal (Fig. 240, p. 179).
Single or multiple cased glass makes it possible to set off the colour of the upper layer - usually in
ground geometrical shapes — against the colourless or differently coloured glass body (Figs. 242,
243, p. 180). Alternatively, this impression may be further heightened by partial gilding (Figs. 244,
245 p 181), or a double casing with a decorative seam (Figs. 248, 249, p. 183). The crackled glass of
a castor is an exception here (Fig. 246, p. 182). The metal lids (silver and various base metals) are at-
tached to the glass by push and screw fastenings.
Two flacon like castors whose purpose is not quite clear (Figs. 250, 251, p. 184) are of cut cased
glass with metal lids. A cased glass castor with a concave neck and decorative seam (Fig. 252,
p. 185) leads us to a group of castors in which the shoulder and neck are emphasised. Strawberry
diamond Segments highlight the sides and shoulder of two castors (Fig. 253, p. 186, Fig. 256, p. 187).
In silver the horizontal structure may extend over the entire side (Fig. 255, p. 187), or may be limited
to specific edge zones.
A very widespread type of castor was one of glass with a round or polygonal base and a short, con
cave shaft surmounted by a conical, polygonal cut body (Figs. 258-262, pp. 189-191). In the Preis
Courant of one glass refiner (Fig. 257, p. 188), we find two sugar castors of different sizes illustrated
which are basically similar to the castors pictured, especially those with a low, cylindrical lid
(Figs. 258, 259, p. 189). u . . . , . .
In the late 19th Century the polygonal or cylindrical castor shape began to be given historical paint-
ings (Fig. 264, p. 192) or cut decorations typical of the time (Figs. 265-267, pp. 192, 193). We find re-
presented until the 20th Century conical castors (Fig. 269, p. 194, Figs. 276, 277, p. 198), castors
where the side beilies out just above the bottom (Figs. 268, 270, 271, pp. 194, 195). The same applies
to castors of optically blown glass (Fig. 275, p. 197) and polygonal shapes (Fig. 278, p. 199), which
stylistically can already be classified as art deco.
The Berndorf catalogue of 1893 - already mentioned several times above - gives a historical Over
View of the sugar castors and pepper pots in common use at this time. However, it is interesting to
note that there are only very few illustrations of salt pots and salt cellars (Fig. 281, p. 200). Otherwise
it contains many of the castor shapes which we are already familiär with from earlier periods
(Figs. 280, 282, pp. 200, 201). We also come across the basic conical shape of the cinnamon dredger
(Fig. 283, p. 201), both as a pepper pot (Fig. 280, p. 200) and as a sugar castor (Fig. 282, p. 201).
The four-sided counterparts to the guilloched conical castor (Fig. 287, p. 204) are straight or convex
in Silhouette (Figs. 289, 290, p. 205). One castor with a tower like lid and polygonal cut sides bellying
out towards the bottom is remarkable for its formal compactness (Fig. 291, p. 206). The stepped
structure of the surface and square cross-section distinguish an art deco castor (Fig. 292, p. 207)
from the other objects already described.
In the “cahier” published by Johann Baptist Hagenauer there is a large section devoted to “poutons”
(buttons). These display a great variety of ornamentation, mostly of motives enclosed in circular bor
ders (Figs. 293, 294, p. 208). Such rosettes - many of them based on a wealth of antique ornamenta
tion - are frequently encountered in 18th and 19th Century pattern books. Sometimes they are also
used for lids, as in the “Ideenmagazin” by Matthäy, which gives a representative selection of lids for
tureens, bowls, chalices, cups, etc. (Fig. 295, p. 209). These lids were designed to be used for the
various vessels presented in the publication.
It is logical to compare Johann Baptist Hagenauer’s “poutons” with the lids of castors, with their im
aginative patterns of perforations. Hagenauer taught at the Vienna Academy from 1774, and from
1780 to 1810 was head of the school of engraving there.
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