In conclusion, it may be pointed out that there is no branch of curio collecting which has such a close and intimate touch with modern art as that of copper and brass. The tools with which the ancient coppersmiths wrought and fashioned their most beautiful works are still used by the coppersmiths of to-day, for although in the eyes of some the traces of machine-stamped or pressed ornament in the so-called reproductions of the antiques are noticeable blemishes, there are few distinguishing marks between the old and the new. Those modern artists who specialize in providing those who furnish their houses in antique style with replicas of the domestic copper-work of a century or two ago, are very careful to produce their "modern antique" by the use of tools which produce precisely similar effects to the hammered-by-hand copper-work of days gone by. In the production of such work the repoussé enrichments are wrought by hand, the anvil still holding sway in the modern coppersmith's shop. Rarely is soldering used, the parts being riveted together. In many cases although jardinieres and other vessels have the appearance of being cast in a mould they are really hollowed up under the rim by hammer and block, and are without seam or joining. They are fashioned exactly the same way as the beaten work of old. Collectors may be warned against these modern reproductions in that they should be careful to pay a modern price for a modern antique. The styles reproduced are chiefly those of the sixteenth and seventeenth centuries, particularly those of the Elizabethan and Cromwellian periods. Thus electroliers are made to match antique furniture, the difference being that instead of holding electric bulbs the antique would have been fashioned for candles or oil lamps. Many of the modern reproductions of copper panels used for letting into mantelpieces are designs, carefully copied, taken from old baronial halls. The very grates of ormolu and brass and the canopies of hammered copper and brass are being made to-day by the same firms who manufactured the metal-work designed by the Adam Brothers, and who in the eighteenth century had already become famous as makers of coal stoves and hob-grates. Then, again, in the utilitarian reproductions of to-day there are the copper and brass fender kerbs, reproducing the eighteenth-century fenders without their bottom plates, and for use with them the modern manufacturer makes fire-dogs and fire-brasses of antique styles. Even the builder's brasswork for ornamenting the interiors of houses, such as finger-plates and door handles, are exact copies of the old door-plates and lock-plates found on doors and cupboards in existing houses built in the seventeenth and eighteenth centuries, and in their designs and processes of manufacture it is difficult to distinguish the genuine antique from the modern replica. Again, the buyer of such things is warned against the unscrupulous