"Master Hogge and his man John They did cast the first cannon"-- is not without reason, as in Bodiam Castle and elsewhere are mortars of Sussex work of fifteenth-century style. In the sixteenth century a considerable number of firebacks was made, some with the royal arms and with the royal cipher, "E.R.," and bearing dates and sometimes makers' names. [Illustration: COUNTRY FIREDOGS. EIGHTEENTH CENTURY.] [Illustration: FIRE GRATE. EIGHTEENTH CENTURY.] The earliest form was stamped with the _fleur-de-lys_ or with portions of twisted cable to form some sort of symmetrical design. We are enabled, by the kindness of Mr. C. Dawson, F.S.A., of Lewes, to reproduce some Sussex firebacks from his collection. An example of the first half of the sixteenth century, illustrated (p. 301), shows the rope-like border impressed on the sand mould, and the field impressed with repetitions of a _fleur-de-lys_ from a single stamp. Another interesting fireback is the "Royal Oak" design, with the initials "C.R." This is commemorative of the escape of Charles II. from pursuit by Cromwell's Ironsides and his refuge in the oak-tree. It will be observed that this specimen has a moulded edge, which is from a single wood pattern carved in one piece. Amidst the oak foliage will be seen three crowns, and this exuberance of loyalty bears a resemblance to certain chairs of the period (copied by the score nowadays), in which the crown finds a place in the stretcher. One fireback illustrated (p. 303) shows an ironmaster with his hammer at his forge. The adjacent piece has the Tudor rose surmounted by the royal crown, and bears the date 1650, slightly earlier than the "Royal Oak" example. All the foregoing specimens are native in their conception of design. They approximate closely to the Jacobean carved panel with its narrow range of subjects, and have a relationship to Stuart needlework with its royal symbolism. Later came the Dutch influence, most marked in its effect upon the shape, height, and character of these firebacks. This became especially noticeable in the eighteenth century, and in the illustrations (p. 303) of two wooden patterns from which the firebacks were made at Ashburnham, Sussex, this is clearly shown. The designs are ornate and represent either some scriptural or mythological subject. The woodcarving is of a style strongly under Dutch influence, and the tall proportions suggest gravestones (indeed, in Sussex there are headstones made of iron, with pictures and inscriptions).