Splendid bronzes, cast each in a single flow, are the recumbent figures of two bishops at Amiens; they are of the thirteenth century. Ruskin says: "They are the only two bronze tombs of her men of the great ages left in France." An old document speaks of the "moulds and imagines" which were in use for casting effigy portraits, in 1394. Another good English bronze is that of Richard Beauchamp at Warwick, the work of Thomas Stevens, which has been alluded to. In Westminster Abbey, the effigy of Aymer de Valence, dating from 1296, is of copper, but it is not cast; it is of beaten metal, and is enamelled, probably at Limoges. Bells and cannon are among the objects of actual utility which were cast in bronze. Statues as a rule came later. In the sixteenth and seventeenth centuries in England, bronze was used to such an extent, that one authority suggested that it should be called the "Age of Bronze." Primitive bells were made of cast iron riveted together: one of these is at the Cologne museum, and the Irish bells were largely of this description. A great bell was presented to the Cathedral of Chartres in 1028, by a donor named Jean, which affords little clue to his personality. This bell weighed over two tons. There is considerable interest attaching to the subject of the making of bells in the Middle Ages. Even in domestic life bells played quite a part; it was the custom to ring a bell when the bath was ready and to announce meals, as well as to summon the servitors. Church bells, both large and small, were in use in England by 670, according to Bede. They were also carried by missionaries; those good saints, Patrick and Cuthbert, announced their coming like town criers! The shrine of St. Patrick's bell has been already described. Bells used to be regarded with a superstitious awe, and were supposed to have the ability to dispel evil spirits, which were exorcised with "bell, book, and candle." The bell of St. Patrick, inside the great shrine, is composed of two pieces of sheet iron, one of which forms the face, and being turned over the top, descends about half-way down the other side, where it meets the second sheet. Both are bent along the edges so as to form the sides of the bell, and they are both secured by rivets. A rude handle is similarly attached to the top.