Borders generally consist of ornaments regularly repeated on one, or between two frame rods, Fig. 35. Wherever a rectangular space is to be filled, a border adds greatly to the appearance, and for this reason is particularly applicable as a frame for a picture or mirror. Borders may be filled with inscriptions in letters, as well as with ornaments.

Borders, or rather plain bands of brass, may be slipped over cylindrical cups or square objects of iron, or tin, or copper: or copper bands on other metals. They may be riveted on with boss-headed nails. Such bands may be ornamented in repousse, by engraving, or with acids.

Any tinsmith will make to order cylindrical tankards, cups, or boxes, etc., and solder them. These you can ornament in many ways, with strip metal or in other fashion, for there is really no ordinary object of the kind which may not be made attractive by the exercise of a little ingenuity.

Another writer on the subject has said wisely and well, that the excellence of bent iron-work depends on the correctness of the curves, the firmness of the bindings, and the gracefulness of the forms. I am particularly struck with this, as I here write in Florence, having before me not only a very large number of exquisite and elaborate specimens of such work, but also a large collection of photographs, in which there is displayed such luxuriance and variety of invention and of ornament, such grace

of fresh and startling curves, that one is astonished to find so much art and beauty in such cheap material. I would add to what is here stated, that after having examined a vast amount of such work here in Italy, where it originated, and with beautiful and very elaborate specimens of it before me, I have found nothing in it all which is not clearly described in the instructions given in this book.

I have not given minutely detailed directions as to how every twist shall 'be made, and every rivet and clamp put into every piece of work depicted. Such directions, even when accompanied with illustrations, are very difficult even for a master of arts to understand, although they have a very practical appearance in type. But if the pupil has perfectly practised and mastered as I have certainly clearly explained - how to bend, twist, ply, recurb and smooth iron strip, all that he can possibly need is to have before his eyes the design, and to imitate it. The best way to teach this, or any other art, is to carefully teach the pupil to observe and think how anything should be done.