IT is essential to make a distinction between bronzes properly so-called and works in repousse copper or brass; the latter more nearly approaching the massive wares of the goldsmith than castings, or the arts which are derived from statuary.

Yet this style of work had not been neglected by the ancients, who had even applied it to the construction of figures of gigantic size, the weight of which in common cast metal would have been too considerable. This was termed sphyrelaton, and, which is very remarkable, the rules to be observed in the proportions of their statues were so strictly defined, that different parts of the same colossal figure were intrusted to various artists without the necessity of rectifying a single error when the parts were brought together. This was possible in the primitive conditions of art, and for subjects devoid of either life or movement; but the Greeks must have early abandoned this elementary and mechanical method. The sphyrelaton, nevertheless, continued among ourselves to be used for statuary work, and the only fault which Benvenuto finds with artists in this style is the defective joining of the parts, which was effected by rivets.

In the Middle Ages, we seldom meet with repousse work, except in the leaden figures intended to adorn the roofs of churches, and which required to be of moderate weight. Ever since that time, however, we find it in uninterrupted use in the construction of the brasero, according to the Spanish term, the braciere of the Italians, an indispensable article of furniture in large interiors. The huge fire-places could radiate heat to those who drew round the hearth, but everywhere else it was necessary to be fortified against the effects of ill-fitting doors and windows, and this necessity was met by the brasier: it also served to warm the hands, and over the hot ashes and glowing charcoal it contained were often placed small vessels of perfumed water, which neutralised the fumes of the charcoal, or were, otherwise, used for ordinary purposes.

In Italy, examples of the brasero are met with, which, in the richness of their mouldings, gadroons, and wreaths of acanthus rival the finest bronzes;

France, following the same models, has her brasiers too, no less rich, and often embellished with the arms of their owners. But as we approach the epoch of Henry IV. and Louis XIII., we see introduced figures of mythological or historical subjects, which, treated by hands unaccustomed to the human form, often leave too much to be desired. It is this secondary art which now finds so many imitators, and which, under the forms of jardinieres, or large wall plaques for several lights, is introduced into many houses, where they are palmed off as originals; or, what is still more reprehensible, coppers of bad taste laying claim to be considered works of real elegance. Fortunately, they cannot deceive true connoisseurs. We may, moreover, add that many of the antique pieces made in Holland towards the period of the decadence arc no more worthy a place among really sumptuous furniture than this bad modern work. And yet we must learn to distinguish them : Flanders has produced, even in debased epochs, works which still bear an impress of the splendours of the best days of art. We will mention, among others, the great lam-padaries, in which the due proportion of the several parts, the richness of the gadroons and acanthus, the multiplicity of the branches twisted into candle-holders, combine to form a rich and splendid whole. When fixed in their proper places, such specimens produce the desired effect, and even if they fall short of perfection in details of refinement and excellence in the arrangement of their parts, we cannot refuse to them the merit of a species of monumental richness, which entitles them to acceptance with persons of taste.

The Oriental repousses are generally very remarkable. China has produced vases which might, at a first glance, be mistaken for the very finest chased bronzes. It is at the period of the Ming dynasty that we meet with the best: the Tai-Thsing perpetuated the style, and we have seen slender mountings enhanced by delicate reliefs, and richly coloured by the use of gilding and lacquer-work, the effect of which was decorative in the highest degree.

Persia, Asia Minor, and even Turkey were the favoured countries of beaten metal; it is from thence, as is well known, that we have borrowed the tea-kettle, and the coffee-cups which at first were called " of the Levant." We have seen elegant Persian ewers with their salvers, on which the gad-roon work and prominent edges relieved by touches of pale blue enamel, presented the effect of being studded with turquoises; others, whereon enamel played a still more important part, and completed the delicate embellishments due to the artist's hammer. Large basins analogous to the "braseros" of Europe, served to hold the fire upon which the coffee is kept constantly warm for the use of guests.

It is among the ewers with basins covered by perforated drainers (obdura-teurs) used for ablutions before and after meals that we meet with marvels of this class of work; some, surrounded by gadroons in their principal parts, and ornamented with spiral bands, present in each of their divisions highly executed subjects, alternating with intermingled groups of beasts and birds of microscopic dimensions; in others, the scenes represented are taken from the sacred traditions, and depict the combats of heroes with monsters; while in others, again, the handles are twisted into the shapes of frightful dragons, and the long and slender neck is terminated by a threatening head with ruby eyes and crest relieved with enamel and pearls.