We may here say a few words on the art of inlaying one metal with another, in which, as in all ornamental branches of the working of metals, the ancient Italians possessed great skill. In the time of Seneca, ornaments of silver were seldom seen, unless their price was enhanced by being inlaid with solid gold. The art of uniting one metal to another was called by the general term _ferruminare_. Inlaid work was of two sorts; in the one, the inlaid work projected above the surface, and was called _emblemata_, as the art itself was called, from the Greek, _embletice_. It is inferred, from the inspection of numerous embossed vases in the Neapolitan Museum, that this embossed work was formed, either by plating with a thin leaf of metal figures already raised upon the surface of the article, or by letting the solid figures into the substance of the vessel, and finishing them with delicate tools after they were attached. In the second sort, the inlaid work was even with the surface, and was called _crusta_, and the art was called, from the Greek, _empaestice_. This is the same as the damask work so fashionable in the armour of the fifteenth and sixteenth centuries, which is often seen beautifully inlaid with gold. It was executed by engraving the pattern upon the surface of the metal, and filling up the lines with fine plates of a different metal; the two were then united with the assistance of heat, and the whole burnished. Pliny has preserved a receipt for solder, which probably was used in these works. It is called santerna; and the principal ingredients are borax, nitre, and copperas, pounded, with a small quantity of gold and silver, in a copper mortar. [The volume is enriched with four steel-plate engravings, and 154 cuts, of clever execution.] [4] Val. Max. vi. 8. * * * * * THE WONDERS OF THE LANE.