As another example of this same sort of thing, we may take the description of another object, a curious metal casket brought to Europe by a member of the Punitive Expedition. In design, according to Ling Roth, this casket "is bold and artistic; the high relief of the bizarre face and the zigzag conventionalized serpents and tadpoles being well thrown up by enchasing of the ground work. The proportions are all good, and this is especially the case with an enchasing of the enclosed lines." Ling Roth says that the relief portions are somewhat roughly cast, and the enchasing sometimes irregular, but, "on the other hand," he continues, "the great variety of objects exhibited without any over-crowding, the general grouping, the tones background, the real beauty" of the major portion of the design show that the artist was "a man of considerable taste, judged not only as a Negro, but as a man of culture."[45] Another object which Ling Roth mentions as being especially remarkable for its technique is that which he has ventured to call a _sistrum_. It consists of what appears to be two brass bell bodies, a larger and a smaller welded together at the tapering ends. On the face of the larger bell is represented the now well-known group of a king or chief with a sort of Persian head-dress, with a harpoon-like projection at the top. He is supported on both sides by similarly dressed individuals; somewhat above the level of his head the chief is flanked by two tablets, each upheld by a hand emerging from the background. The background is enchased with an elegant foliated design somewhat Bornean in character. The back of the bell, with a few exceptions, has a similar relief. After describing the smaller bell, which is of a somewhat different character, Ling Roth concluded with these rather significant remarks: "Taken as a whole the _Sistrum_ is an elegant piece of workmanship. The thoroughness of the details of execution is worthy of the Japanese, even the inaccessible and almost hidden portion of the smaller bell being enchased with a pattern."[46] As excellent as are these types of castings, the finest works of these Negro sculptors were achieved, not in works of this character, but, according to critics like Dalton, Read, and Ling Roth, rather in works that are done in the round.[47] Dalton, speaking of a bronze head of a Negro girl now in the British Museum, declares it to be "the most artistic and perfect of all the castings in the round." Ling Roth, speaking of the same head, declares it to be the "finest piece of cast bronze art obtained from Benin."