Next in importance to these three great works were ten minor ones, made for the Jewish Temple by the same artist. These were lavers mounted on wheels,[752] which could be drawn or pushed to any part of the Temple Court where water might be required. The lavers were of comparatively small size, capable of containing only one-fiftieth part[753] of the contents of the “molten sea,” but they were remarkable for their ornamentation. Each was supported upon a “base;” and the bases, which seem to have been panelled, contained, in the different compartments, figures of lions, oxen, and cherubim,[754] either single or in groups. On the top of the base, which seems to have been square, was a circular stand or socket, a foot and a half in height, into which the laver or basin fitted.[755] This, too, was panelled, and ornamented with embossed work, representing lions, cherubim, and palm-trees.[756] Each base was emplaced upon four wheels, which are said to have resembled chariot wheels, but which were molten in one piece, naves, spokes, and felloes together.[757] A restoration by M. Mangeant, given by Perrot and Chipiez in the fourth volume of their “History of Ancient Art,” is striking, and leaves little to be desired. Hiram is also said to have made for Solomon a number of pots, shovels, basins, flesh-hooks, and other instruments,[758] which were all used in the Temple service; but as no description is given of any of these works, even their general character can only be conjectured. We may, however, reasonably suppose them not to have differed greatly from the objects of a similar description found in Cyprus by General Di Cesnola.[759] From the conjectural, which may amuse, but can scarcely satisfy, the earnest student, it is fitting that we should now pass to the known and actual. Phoenician metal-work of various descriptions has been found recently in Phoenicia Proper, in Cyprus, and in Sardinia; and, though much of it consists of works of utility or of mere personal adornment, which belong to another branch of the present enquiry, there is a considerable portion which is more or less artistic and which rightly finds its place in the present chapter. The Phoenicians, though they did not, so far as we know, attempt with any frequency the production, in bronze or other metal, of the full-sized human form,[760] were fond of fabricating, especially in bronze, the smaller kinds of figures which are known as “figurines” or “statuettes.” They also had a special talent for producing embossed metal-work of a highly artistic character in the shape of cups, bowls, and dishes or _pateræ_, whereon scenes of various kinds were represented with a vigour and precision that are quite admirable. Some account of these two classes of works must here be given.