TRURO.

(1). 1787. Eliot, Praed & Co. Then Praed, Basset and Praed until 1801, when Lord de Dunstanville and H. M.

Praed retired. Then Praed, Rogers and Co.

(2). 1790. Rodd, Williams and Gould. The Miners' bank. (3). 1812. Daniell & Co. The Miners' bank. (Now Barclay's).

Since the foregoing list was compiled, a very interesting "History of Barclay's Bank Ltd." has been published, in which the various amalgamations between the early Cornish Bankers are explained in detail.

Mediaeval Fron Fire-backs

With special reference to those in The Dorset County Museum.

By CAPT. J. E. ACLAND, F.S.A.

(Read 14th December, 1926.

N Archæologia, Volume LVI., there is an Article by Mr. J. S. Gardner, entitled "Iron casting in the Weald " which deals with all the early work of the Sussex Iron-founders, including the casting of many objects besides "Fire-backs," the subject of this paper. I feel safe however in making use of such parts of the article as will help me to describe the fine examples in the County Museum, all of which have a definite connection with Dorset, though no doubt cast in Sussex.

Mr. Gardner claims that when the large iron-foundries were started elsewhere in England, the methods of designs were first obtained from The Weald, and he believes that the earliest fire-backs may date from the end of the fourteenth century, and that the art continued to improve all through the following centuries. In the seventeenth and eighteenth centuries the influence of foreign models began to be specially felt, and the taste for Dutch Art led eventually to the importation of fire-backs from the Continent, with designs of an elaborate

character, superior in many ways to what had been attempted by the Sussex craftsmen, until finally owing to greater facilities in other parts of England the Sussex trade died out.

It is thought that when first fire places were used for warming houses, they were of a very simple character, perhaps nothing more than a large hearth stone laid on the floor close to one of the walls, and a projection built above to collect the smoke. This would soon have suggested a recess being made in the wall covered with an arch, which would develope naturally into the formation of a chimney. Then later when the decoration of houses received more attention, and efforts were made for increased comfort, the large fire places with their stone canopies provided ample scope for artistic treatment.

The next step would be to add some ornamentation to the back of the fire place itself, and iron would be the most suitable material for the purpose.

This gave the opportunity to the iron-founders of the Sussex Weald who had previously specialized in the casting of guns

and shot.

No doubt the earliest fire-backs were of a very simple character, the founders having acquired neither the art of design, nor the necessary appliances. The first attempts would have been made with single, moveable "stamps," cut out of slabs of oak, or moulded from boards made to the required size and shape. These were pressed into beds of sand, face down, and when removed the moulten metal was poured into the cavities.

Any simple ornament would have been used, such as initial letters, crosses, fleurs de lis, or numerals, and twisted bars of iron or rope might have served to produce an edging. Judging from the appearance of some of these castings, the stamps were used haphazard, without any method or connection.

As the founders became more expert, and obtained better tools, the stamps were cut deeper, and definite designs were

invented to occupy the whole field symmetrically. Finally most elaborate subjects were evolved, many of great artistic interest. Coats of Arms were specially popular; examples still exist of the Arms of Queen Elizabeth and the Stuart Kings, and of the great nobles and families of that period, and still later Biblical and mythological subjects were produced.

The size and shape of the fire-back itself seems to have passed through the same development; at first a simple square, or rectangle, it became later much larger, and the upperside was greatly improved by being arched or semi-circular in the centre, and elaborate scroll work round the edges, with floral devices, mottoes, and dates.

The Fire-backs in the Museum are examples of different types but do not any of them fall under the earliest period of simplest castings. A mere verbal description would not convey at all a satisfactory impression of the designs, but the principal features may be mentioned in connection with the illustrations. No. 1. The specimen which is probably the earliest and on the whole the most artistic, has attracted much notice, and although there is no date, it may safely be attributed to the period of the Stuart Kings. It measures 3ft. in width, 1ft. 6in. high at the sides, the centre rising to 2ft. The surface is occupied throughout by boughs of oak, springing from a central stem. smaller sprays terminate in acorns, but the centre and two side branches carry large crowns. The lower part of the casting has been broken off, but the word "Royal" can be seen, and it is considered probable that the word Oak' was also a part of the design. *On one side there is the upper part of the letter "R," and on the other side what seems to be the remains of letter "C." This fire-back came from a house in South Street, Dorchester, in 1895.

*Referred to in Archæologia, Vol. LVI., p. 153.

The