fteen branched candelabrum
for the Cathedral. It is a rich Renaissance design, in remarkably
chaste and good lines, and holds fifteen statuettes, which are
displaced to make room for the candles only during the last few
days of Lent.

A curious form of mediaeval trinket was the perfume ball; this consisted
of a perforated ball of copper or brass, often ornamented with
damascene, and intended to contain incense to perfume the air, the
balls being suspended.

The earliest metal statuary in England was rendered in latten, a
mixed metal of a yellow colour, the exact recipe for which has not
survived. The recumbent effigies of Henry III. and Queen Eleanor
are made of latten, and the tomb of the Black Prince in Canterbury
is the same, beautifully chased. Many of these and other tombs were
probably originally covered with gilding, painting, and enamel.

The effigies of Richard II. and his queen, Anne of Bohemia, were
made during the reign of the monarch; a contemporary document states
that "Sir John Innocent paid another part of a certain indenture
made between the King and Nicolas Broker and Geoffrey Prest,
coppersmiths of London, for the making of two images, likenesses
of the King and Queen, of copper and latten, gilded upon the said
marble tomb."

There are many examples of bronze gates in ecclesiastical
architecture. The gates of St. Paolo Fuori le Mura in Rome were
made in 1070, in Constantinople, by Stauracius the Founder. Many
authorities think that those at St. Mark's in Venice were similarly
produced. The bronze doors in Rome are composed of fifty-four small
designs, not in relief, but with the outlines of the subjects inlaid
with silver. The doors are in Byzantine taste.

The bronze doors at Hildesheim differ from nearly all other such
portals, in the elemental principle of design. Instead of being
divided into small panels, they are simply blocked off into seven
long horizontal compartments on each side, and then filled with a
pictorial arrangement of separate figures; only three or four in
each panel, widely spaced, and on a background of very low relief.
The figures are applied, at scattered distances apart, and are
in unusually high modelling, in some cases being almost detached
from the door. The effect is curious and interesting rather than
strictly beautiful, on the whole; but in detail many of the figures
display rare power of plastic skill, proportion, and action. They
are, at any rate, very individ