In these finials applied castings were also used, and at the end of the fifteenth century they superseded repoussé for a time. Many of the moulds in stone and plaster, for the ornaments which were used on the roofs and finials at Beaune are preserved. The castings were not so free and decorative however as those done by repoussé. Of piercing into delicate tracery the pipe-heads at Haddon give many charming examples. At Aston Hall, Warwickshire, the curved lead roofs of the turrets have all round the eaves a brattishing of pierced sheet in simple scroll work, it stands up freely and gives a dainty finish: the pattern is something like that above. In the East pierced valances of this kind are very general; the roofs of the larger fountains at Constantinople are usually finished in this way. Fig. 38 is from the portico roof of the Dome of the Rock at Jerusalem drawn from a photograph. Casting and piercing were also combined, the pattern being strengthened thus by ribs and the veins, and interspaces being cut away. In small Japanese work brass is sometimes inlaid into lead or pewter in the form of flowers, which are further defined by surface engraving. Engraving on sheet lead similar to the old memorial brasses has been mentioned before, and we may go on to look at the decorative processes in which lead was used applied to other materials. § XI. OF LEAD ORNAMENTATION OF OTHER MATERIALS. Lead trappings and appendages have often been applied to stone statues. The sceptres and bishops’ crosses of the fine fourteenth century statues of St. Mary’s spire at Oxford are of wrought lead. The leaves of the sceptre heads and the crosses are embossed out in two pieces and then soldered at the edges. Inlaying of lead in stone slabs making grisaille designs was a method much used--a magnificent example remains in the pavement at St. Remy, Rheims (formerly in the choir of St. Nicaise in the same town), where foliated panels with figure subjects from Scripture are made out on the stones; it is a work of the early fourteenth century.[22] We have in England an example of this treatment in a tomb slab at St. Mary Redcliffe, Bristol, and there is mention of the process in the account by William of Malmesbury of the Saxon part of the “Ealde Chirche” at Glastonbury. We may well suppose this was an imitation in the national material of Roman mosaic. The floor was “inlaid with polished stone ... moreover in the pavement may be remarked on every side stone designedly _interlaid in triangles and squares and figured with lead_, under which if I believe some sacred enigma to be contained I do no injustice to religion. The antiquity and multitude of its saints have endowed the place with so much sanctity that at night scarcely anyone presumes to keep vigil there or during the day to spit upon its floor ... and certainly the more magnificent the ornaments of churches are the more they incline the brute mind to prayer and bend the stubborn to supplication.”