To put together the results obtained in our examination of examples.
(1) The metal must be both good and carefully manipulated.
(2) The design must be thought out through the material and its traditional methods.
(3) The pattern must have the ornament modelled, not carved, as is almost universally the case now, carving in wood being entirely unfit to give the soft suggestive relief required both by the nature of the sand-mould into which it is impressed, and the crystalline structure of the metal when cast.
(4) Flat surfaces like grate fronts may be decorated with some intricacy if the relief is delicate. But the relief must be less than the basis of attachment, so that the moulding may be easily practicable, and no portions invite one to test how easily they might be detached.
(5) Objects in the round must have a simple and substantial bounding form with but little ornament, and that only suggested. This applies equally to figures. In them homogeneous structure is of the first importance.
(6) When possible, the surface should be finished and left as a metal casting. It may, however, be entirely gilt. If painted, the colour must be neutral and gray.
Casting in iron has been so abased and abused that it is almost difficult to believe that the metal has anything to offer to the arts. At no other time and in no other country would a national staple commodity have been so degraded. Yet in its strength under pressure, but fragility to a blow, in certain qualities of texture and of required manipulation, it invites a specially characterised treatment in the design, and it offers one of the few materials naturally black available in the colour arrangement of interiors.
Dyeing is a very ancient art; from the earliest times of the ancient civilisations till within about forty years ago there had been no essential change in it, and not much change of any kind. Up to the time of the discovery of the process of Prussian-blue dyeing in about 1810 (it was known as a pigment thirty or forty years earlier), the only changes in the art were the result of the introduction of the American insect dye (cochineal), which gradually superseded the European one (kermes), and the American wood-dyes now known as logwood and Brazil-wood: the latter differs little from the Asiatic and African Red Saunders, and other red dye-woods; the former has cheapened and worsened black-dyeing, in so far as it has taken the place of the indigo-vat as a basis. The American quercitron bark gives us also a useful additional yellow dye.