The method of working is simple, entailing manipulation from the face of the metal only, and the detail is left in slight relief by the ground being set back in the texturing. This treatment is only suitable where the ornamented area is enclosed. When the design is freely displayed on a ground without enclosing lines, it should appear in relief, the result of raising from the back; and texturing should be employed only on the details in contrast to the smooth ground. As in all applied work, the economic result is slight occupation. [Illustration: No. 280. Oak Box decorated with flat carving. Icelandic. 18th Century.] _Metal, Cast_ Cast metal is produced in sand moulds, a model or pattern being employed of which the casting is a reproduction. The [Illustration: No. 281. Repoussé Work. A. Pattern defined by tracing tool and interest imparted by different textures of ground. B. Pattern raised from back, and defined and enriched by tracing and matt tools on face, affording textural contrast with plain ground. (Photo of A. V & A Museum).] pattern may be originally modelled or carved, and this determines the character of the metal result, though it is a matter of indifference when the necessary finishing is by turning or filing. Castings in iron are left as they leave the mould, but in bronze, except in Cire Perdu casting, the surface has to be entirely worked down. In common work, however, this is accomplished by means of small files or riffles and by chasing the more elaborate details. [Illustration: No. 282. Wrought Iron, simple form enriched by use of punches.] _Character of Cast Work_ [Illustration: No. 283. Gondola Prow. Wrought Iron, comparative flat surface enriched by chiselled work.] As a matter of opinion it is consistent that the [Illustration: No. 284. Surface Interest in Metal. A. Blade of State Battle-axe, damascened with silver, Indian. B. Blade of Khyber Knife, engraved, Indian. C. Hilt of Tulwar, damascened with gold, Indian. D. Vase, Bidri Ware, pewter inlaid with silver, Indian. E. Scabbard End, gold inlay, Indian. F. Ornament on Gauntled Sword, damascened with gold, Indian.] character of cast work should be plastic, and if the original pattern is the result of carving, care should be taken to impart the desired feeling, the pattern being merely a means to the end. Much depends upon the final finish; if this is to be bright, surface modelling should be a secondary consideration to surface interest resulting from contrast of textures. It, however, becomes of proportionate importance as the work is dull or toned, and therefore is subject to the ordinary conditions of Light and Shade. CHAPTER VIII MYTHOLOGY AND SYMBOLISM Traditional ornament is replete with forms and details that were originally invested with meaning, though in the later employment this was disregarded, being used for the sake of variety and their æsthetic value.