Several publications have acknowledged the importance of these paintings within his career and have displayed the two together so that we can visually compare the two. In general, they are near identical, but elements of detail have been amended to give a slightly different finish. The first differences that you might notice would be the lack of floor tile detail in the follow up artwork as well as the additional tones of colour on the girl sitting by the table. Most of the objects remain much the same, but some of the angles differ, though it is difficult to know whether this was a conscious decision or just something that occurred naturally.

Chardin himself had received criticism from some quarters for his over reliance on the genre of still life art within his career and some questioned whether his persistent use of it was partly due to his own lack of versatility, even talent. Whilst he initially brushed these comments away without any action, he did eventually decide to concentrate on a second type of content, the like of which we see here with the two versions of Saying Grace. Many of this new string to his bow were portraits of domestic scenes which felt like a natural extension to his other work, which also tended to be produced indoors and captured the lives of normal people, albeit through their own kitchenware, too.

The two artworks can be found under the ownership of the Louvre in Paris and also the Hermitage Museum in St Petersburg. It is quite possible that there were actually more versions than just these two. One was gifted to Louis XV, which explains how one of them ended up at the Louvre. Many art followers in the present day will appreciate the moral nature of this setting, with Christian beliefs still being followed in many parts of the world. For a while, this series was actually regarded as the painter's pinnacle, though today we tend to refer to The Ray as his most impressive piece.