The impetus which has been given to modern copper smithing by the Arts and Crafts Society through its exhibitions has given quite a different conception of the art from that which was formerly held. Instead of being a common craft, working in copper and brass has become one of the fine arts, a hobby much practised, and the results appreciated. The late William Morris, at one time President of the Society, and Walter Crane, artists of no mean order, exerted a great influence on the work of exhibitors. They have raised the tone of the work done by amateurs and have been the means of guiding modern workers in these metals in their efforts to reproduce the antique. Curios and antiques have served a double purpose associated with crafts such as those under review, as they give the present-day artist the foundations upon which to work. They give them evidence of styles and designs which have prevailed in the past and models upon which to build the art of the future. Briefly, among the best works of to-day fashioned on the arts and crafts of the coppersmiths of old are the beautiful metal dogs and fire-hearth appointments. There are the copper grilles, exquisite in design and useful for many purposes; copper lanterns and brass lamps of great variety; copper candlesticks, as well as the beaten metal candelabra and electroliers, also overmantel panels and beaten copper roundels, all worthy objects for the craftsmen of the present day to follow. Perhaps the most elaborate productions based on the antique are the ecclesiastical brasses of which there is ample choice in the old brasswork in so many cathedrals and parish churches. Architectural Metal-Work. Many years ago architects not only designed the main fabric and supervised the building of houses, such as those incidentally referred to being erected in the days of Queen Anne, but they were deeply interested in the metal-work which acted as exterior ornamentation, and to a large extent contributed to the beauty of their architectural designs. After the Great Fire of London swept away so much of the ancient residential portion of the old city, and took with it the Gothic and early mediæval churches, there was a great revival in building operations. Sir Christopher Wren and his fellow-workers put up more than sixty new churches within the City, and although to some extent the contour of the old streets was observed, the newer buildings must have presented an astonishing transformation scene, for from the few old relics left of London before the Fire we can form some slight idea of what the City must have looked like then.