As it has been intimated already, the fireplace was a centre of attraction in all old houses. It was customary on a winter's night to draw up close to the fire, and in so doing it was only natural that the chimney piece and those objects which rested thereon would be constantly looked at. This probably gave makers the cue when designing ornamental brasswork which could be used as household decoration. The ornaments of those days were substantial, and the chimney ornaments solid and lasting. It was a common thing to see a row of brass figures or pairs of brass ornaments on the chimney-piece. Such designs as those shown in Figs. 43 and 44 were popular. Our illustrations represent one only of each fashion; the pairs, however, were usually designed opposite hands, looking to right and left. Such ornaments were seen on the kitchen mantelpieces of the well-to-do and on the hob-grates of the houseplaces of the middle classes. This was the prevailing custom from fifty to seventy years ago, and still earlier similar ornaments, cruder in design, evidently modelled after the style of the Bow pottery figures, were in use. In Lancashire and in the manufacturing districts of the Black Country brass ornaments of similar and more modern types have always been favoured, and they are still sold as ornaments to well-to-do artisans and mechanics. The modern castings are rougher and not so decorative or beautifully designed as the tooled castings of earlier days. The peacock was a favourite bird and shared with the pheasant popularity. These designs are easily recognizable among the genuine antiques. There were larger animals, too, such as the horse, an example of which is given in Fig. 45. This favourite beast of burden was oftentimes represented as a dray horse; in more sporting circles as a hack or a hunter. In agricultural districts the wagoner, the huntsman, and dogs and hounds were chiefly favoured. They were generally set on a base or plinth, an exceptionally good country brass of the earlier type representing a shepherd with his typical crook. Little statuettes represented politicians and historical and even allegorical figures. Among the portrait brasses Napoleon was a favourite subject in the days when his name was familiar in every household. Izaac Walton, the exponent of the gentle art, was often modelled in brass, and even Robinson Crusoe and his man Friday formed the subject of a rare group. The Continents of America, Africa, and Asia are rare and interesting allegorical groups. Other brasses show traces of Chippendale influence, especially those in miniature which represent familiar household objects, among which are wonderful little models of circular tables and of the oval loo tables, like those then seen in the best parlour. There are also miniature brass trivets and stools and models of grandfather chairs.