In the reigns of Edward I., II., III., and Richard II., the brasses rose to their highest quality and magnificence. The figures were usually life-sized; the lines were deeply and boldly cut, and there was an absence of “shading,” the brass being usually a pure, outline, incised drawing. In the reign of Edward II., architectural canopies were often introduced (Fig. 1), and then the figures were consequently made less than life-size. At first only knights and ladies were represented, but in the reigns of Edward III. and Richard II., members of the great middle classes, which were increasing in power, wealth, and public influence, were included. From the time of Henry IV. to Richard III. the brasses were not of so high an order, and at the latter part of the period they began to deteriorate in quality and size. The Tudor period may be called the decadent period of brasses, for the drawings were often disproportionate and lightly cut, the figures crude, and the plates thin. There is often an excess of “shading” in them which detracts from the beautiful simplicity of the drawing. The practice of laying down these brasses, probably through these very causes, began to decay, the last known being laid in 1773 A.D. Copies of brasses, or _rubbings_, are made in a very simple and interesting manner by taking a sheet of white lining paper (plain wallpaper), laying it upon the brass, and carefully rubbing over it with a piece of shoemaker’s heel-ball. The flat portions of the brass “catch” the heel-ball during the process, while the incised lines are left white, and if care be taken that the paper does not shift, a very faithful copy of the brass can be made. The rubbing should be continued until a deep black tone is obtained, for the heel-ball does not smear on the paper. Most clergymen are proud of the brasses in their churches, and readily give permission for rubbings to be taken from them if a courteous application be made. Brasses are not scattered at random throughout the country. They are met with most frequently in the eastern and home counties. Probably this is because these parts are nearest to Flanders, and the cost of transporting the sheets of brass far inland would be a considerable addition to their cost. (For those who wish to pursue this subject, Macklin’s _Brasses of England_ (Methuen) and Suffling’s _English Church Brasses_ (Upcott Gill) will be found most useful, as in addition to other matter they contain a register of all brasses known in the British Isles.) [Illustration: PLATE 28.