Many delightful examples of the coppersmith's art were until recently condemned by the travelling tinker as being no longer repairable, with the natural consequence that, their value as antiques being unknown, they were eventually sold for an "old song." Those pioneers of collecting who had time on their hands and foresaw an accruing value of even old metal went about from town to town examining the marine stores and visiting villages and farmhouses in search of anything old and curious. To-day there are few genuine antiques without some one to value them. Nearly every collection belongs to an appreciative owner, and when curios change hands it is generally at a premium instead of at "a bargain price." Hitherto reference has been made chiefly to metal curios of British make, and to those objects with which Englishmen have become familiar. The collector, however, is cosmopolitan in his aims, and cheerfully searches the world over for objects of interest. His curios come from the Far East, from Central Africa, and from all parts of Europe, and to some extent from the American continents. There have been many methods of producing metal-work, yet native workers in all countries have had but two processes upon which they have based their plans, and it is from the smiths who hammered copper and brass into shape, and in later days stamped it, and the founder who cast the metal in moulds, that all our curios come. The Engraver's Art. This outline of the hunting-ground of the collector would be incomplete without some mention of the products of the graver's tool which has produced so many works of art. The much prized mezzotints, stipples, and line engravings are pictures for the most part printed from copper plates. The metal rolled in sheets and planished becomes a work of art in itself when covered with those beautiful pictures so cleverly wrought upon the metal by the light touch of the graver.