This kind of work on a gold plate they call karrang papan: when the work is open, they call it karrang trus. In executing the latter the foliage is laid out on a card, or soft kind of wood covered with paper, and stuck on, as before described, with the paste of the red seed; and the work, when finished, being strewed over with their solder, is put into the fire, when, the card or soft wood burning away, the gold remains connected. The greatest skill and attention is required in this operation as the work is often made to run by remaining too long or in too hot a fire. If the piece be large they solder it at several times. When the work is finished they give it that fine high colour they so much admire by an operation which they term sapoh. This consists in mixing nitre, common salt, and alum, reduced to powder and moistened, laying the composition on the filigree and keeping it over a moderate fire until it dissolves and becomes yellow. In this situation the piece is kept for a longer or shorter time according to the intensity of colour they wish the gold to receive. It is then thrown into water and cleansed. In the manufacture of baju buttons they first make the lower part flat, and, having a mould formed of a piece of buffalo's horn, indented to several sizes, each like one half of a bullet mould, they lay their work over one of these holes, and with a horn punch they press it into the form of the button. After this they complete the upper part. The manner of making the little balls with which their works are sometimes ornamented is as follows. They take a piece of charcoal, and, having cut it flat and smooth, they make in it a small hole, which they fill with gold dust, and this melted in the fire becomes a little ball. They are very inexpert at finishing and polishing the plain parts, hinges, screws, and the like, being in this as much excelled by the European artists as these fall short of them in the fineness and minuteness of the foliage. The Chinese also make filigree, mostly of silver, which looks elegant, but wants likewise the extraordinary delicacy of the Malayan work. The price of the workmanship depends upon the difficulty or novelty of the pattern. In some articles of usual demand it does not exceed one-third of the value of the gold; but, in matters of fancy, it is generally equal to it. The manufacture is not now (1780) held in very high estimation in England, where costliness is not so much the object of luxury as variety; but, in the revolution of taste, it may probably be again sought after and admired as fashionable. IRON MANUFACTURES.