At one time there was quite a rage for miniatures in metal-work. Artists in copper and brass vied with one another in working microscopically. They were very fond of making use of some recognized piece of metal, the size, weight, and substance of which was well understood by the public; hence the difficulties of manipulating the works of art they produced would be realized. Thus, out of a copper farthing, a worker in metal would with very tiny hammers and a still smaller soldering-iron and miniature blow-pipe, fashion a complete copper teakettle with a tiny spout out of which liquid could be poured, a loose lid, a correctly formed knob, and a beautifully shaped handle. Another would make a similar kettle out of a similar piece of metal, and leave some portion of the farthing, perhaps the date, uninjured as the central ornament on the side of the kettle, or on the top of the handle; others would add a stand, like the then fashionable toddy-kettles and stands. In a similar way other little domestic utensils were made by the worker in copper, who used watchmakers' hammers and tools such as jewellers employed in the setting of precious stones. A collector at one time had in his possession a beautifully shaped coffee boiler of the type used on the open fire when coffee was boiled and afterwards allowed to stand on the hob for some time before it was deemed sufficiently brewed. Another charming miniature novelty was a brass stool, perforated, and made to revolve just as the larger toasting stool once common in every fireplace. Fenders and fire-brasses were favourite objects for miniature metal ornaments, and the way in which the skilled worker manipulated the copper "sheets" hammered out by hand from small coins showed mastery of the craft and great patience. Such little objects were frequently displayed on the "parlour" table under a glass shade, the woodworker being sometimes requisitioned to make a stand, possibly a canopied top, on which to show off to the best advantage these tiny ornaments. In the same way the engraver of brass and copper worked under a strong lens, and sought to produce whole texts of Scripture and quite long inscriptions on an almost impossibly small surface. These little pieces of metal were worn as charms, and similar objects were displayed as trophies. Many of our readers have seen no doubt the whole of the Lord's Prayer or the Ten Commandments engraved on a threepenny-piece or a copper farthing. It is said such microscopic engraving took its rise in the reign of Charles II when Thomas Simon, a noted engraver of the Mint, engraved in double lines on his famous "Petition Crown" a petition to the king. Specimens of the crown are very rare, and are regarded as the scarcest treasures in a numismatic cabinet. Replicas.