The pattem of the perforations in circular lids ranges from radial to concentric, occasionally in the 
shape of a square (Fig. 312, p. 218, Fig. 332, p. 229) or polygon (Fig. 299, p. 211). The holes may vary 
from simple dredging holes to geometrical motives, or even elaborate bordered floral rosettes which 
give the impression of individually designed ornamental compositions (Figs. 381-321, pp. 222, 223). 
The lids of these castors offen combine sawn or punched, relieved, engraved and chased details 
which in some cases are in unity with the vessels themselves, and in others form a delightful con- 
trast with them. 
The connection between lid and Container is formed by bayonet, push, screw or hinged fastenings 
(Figs. 350, 351, p. 237). A variety of alignment marks (notches, grooves) were also emploved 
(Figs. 346-349, p. 236). 
Every conceivable technique was also used to produce the decoration of the body and the base 
(Figs. 352-355, pp. 238, 239): relieved, beaded, pressed, engraved, chased, guilloched. Intricate orn 
amental borders (Figs. 356-365, pp. 240-244) with star, leaf and flower motives lend themselves to 
the addition of heavily stylised individual shapes and display antique motives such as the palmette 
for an astonishingly long time (Fig. 361, p. 242). Simple grooves at the edges of mouth and base 
(Fig. 356, p. 244) are more severe, but more effective for all that, contrasting starkly with chased 
sweeping leaf tendrils (Fig. 364, p. 244). 
SUGAR CADDIES, BOWLS, VASES AND BASKETS 
An impression of the variety of shapes used for sugar receptacles in the 19th Century can be ob- 
tained from two price lists - one for Viennese porcelain, the other for Bohemian glass. 
The undated catalogue of the Viennese porcelain manufactory, though undated, probably comes 
from the first quarter of the 19th Century. It presents a well systemised OverView of the sugar vessels 
produced at the time (Figs. 366-369, pp. 246, 247). A differentiation is made between several variants 
of beaker shape , cup shape" and “jar shape”. The so-called “beaker” and “cup" chapes would 
probably be described today as bowls. The term jar is still used for "ordinary”, “bellied”, octagonal 
and cylindrical shapes (Fig. 367, p. 246). On the other hand, terms such as sugar vase, sugar um, su 
gar vessel and sugar centrepieces were used for more elaborate salver or vase type vessels, with 
rings, rosette handles, “larva" handles, “on three sphinxes" (Figs. 368, 369, p. 247). In the same price 
list, it is also worth referring to “consomme beakers” (Fig. 370, p. 248), soup bowls (Fig. 371, p. 248), 
sauce boats (Fig. 372, p. 249) and salt cellars (Fig. 477, p. 309), the vase or bowl shaped variations of 
which with lids are sometimes formally related to sugar receptacles. 
The Viennese price list clearly shows that the same shapes were produced in a variety of sizes. Size 
- and certainly also shape - were adapted to requirements. The beverage (coffee, tea, chocolate, 
etc.) was just as important to the shape and size of a sugar receptacle as the size of the Service and 
the quantity of sugar required for a certain number of people. The glass sugar jars by Jgnaz Vogel 
(Figs. 373-376, pp. 252, 253) are frequently covered vessels with saucers. Their shape was some 
times copied from Containers that originally served quite a different purpose, like the “butter tubs" 
which we find in Vogel's Preis Courant as sugar bowls (Figs. 375, 376, p. 253). They were produced 
in a variety of colours and decorations. In the section on “dessert pieces” we find an Illustration of a 
shape used for both fruit bowls and sugar bowls. 
The term bowl has undergone a steady change in meaning over the course of time. The Frauenzim 
mer lexicon defines a sugar bowl as a flat dish of porcelain, metal or silver in which sugar was served 
with coffee or tea, either finely cut or broken into small pieces. 
This description also applied to 18th Century porcelain bowls (Figs. 377 et seq., pp. 257 et seq.). As a 
fixed part of a Service in centrepiece form (Figs. 379, 380, p. 258), an open gallery sometimes gives 
them a basket like character, which may be emphasised by the structure of the sides (Figs. 382, 
p. 259). The basketwork structure of the surface of another bowl is subdued by the colourful paint- 
work (Fig. 381, p. 259). The fact that openwork is not confined to a specific material is illustrated by 
examples in porcelain (Fig. 387, p. 261) and silver (Fig. 384, p. 261). 
Bowls with feet may be of a shallower form, like one with two handles (Fig. 385, p. 261) or of propor- 
tions better suited to a deeper bowl (Fig. 389, p. 263). Two further bowls that sometimes also served 
as sugar bowls are characterised by distinctive high foot (Fig. 390, p. 263). 
The English “Britannia Metal" catalogue illustrates two bowls which may also have served as sugar 
bowls (Fig. 388, p. 262): a similar shape is found in Viennese porcelain dating from 1810 and 1817 
(Fig. 385, p. 261, Fig. 389, p. 263). 
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