The same story is told of St. Eloi, and probably of most of the mediaeval artistic spirits who were unfortunate enough to be human in their temperaments and at the same time pious and struggling. He was greatly troubled by visitations such as persecuted St. Anthony. On one occasion, it is related that he was busy at his forge when this fiend was unusually persistent: St. Dunstan turned upon the demon, and grasped its nose in the hot pincers, which proved a most successful exorcism. In old portraits, St. Dunstan is represented in full ecclesiastical habit, holding the iron pincers as symbols of his prowess. He became Archbishop of Canterbury after having held the Sees of Worcester and London. He journeyed to Rome, and received the pallium of Primate of the Anglo-Saxons, from Pope John XII. Dunstan was a righteous statesman, twice reproving the king for evil deeds, and placing his Royal Highness under the ban of the Church for immoral conduct! St. Dunstan died in 988. [Illustration: WROUGHT IRON HINGE, FRANKFORT] Wrought iron has been in use for many centuries for hinges and other decorations on doors; a necessity to every building in a town from earliest times. The word "hinge" comes from the Saxon, _hengen_, to hang. Primitive hinges were sometimes sockets cut in stone, as at Torcello; but soon this was proved a clumsy and inconvenient method of hanging a door, and hinges more simple in one way, and yet more ornate, came into fashion. Iron hinges were found most useful when they extended for some distance on to the door; this strengthened the door against the invasion of pirates, when the church was the natural citadel of refuge for the inhabitants of a town, and also held it firmly from warping. At first single straps of iron were clamped on: then the natural craving for beauty prevailed, and the hinges developed, flowering out into scrolls and leaves, and spreading all over the doors, as one sees them constantly in mediaeval examples. The general scheme usually followed was a straight strap of iron flanked by two curving horns like a crescent, and this motive was elaborated until a positive lace of iron, often engraved or moulded, covered the surface of the door, as in the wonderful work of Biscornette at Notre Dame in Paris.