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11. [i]
12. ii
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18. viii
19. [ix]
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21. [xi]
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39. xxix
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42. xxxii
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56. xlvi
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59. xlix
60. l
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62. lii
63. [1]
64. 2
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144. Page
145. Plate No. 2
146. Plate No. 3
147. Plate No. 4
148. Plate No. 5
149. Plate No. 6
150. Plate No. 7
151. Plate No. 8
152. Plate No. 9
153. Plate No. 10
154. Plate No. 11
155. Plate No. 12
156. Plate No. XIII
157. Plate No. 14
158. Plate No. 15
159. Plate No. 16
160. Plate No. 17
161. Plate No. [18]
162. Plate No. 19
163. Plate No. 20
164. Plate No. 21
165. Plate No. 22
166. Plate No. 23
167. Plate No. 24
168. Plate No. 25
169. Plate No. 26
170. Plate No. 27
171. Plate No. 28
172. Plate No. 29
173. Plate No. 30
174. Plate No. 31
175. Plate No. [32]
176. Plate No. 33
177. Plate No. 34
178. Plate No. 35
179. Plate No. 36
180. Plate No. 37
181. Plate No. 38
182. Plate No. 39
183. Plate No. 40
184. Plate XLI
185. Plate 42
186. Plate No. 43
187. Plate No. 44
188. Plate No. 45
189. Plate No. 46
190. Plate No. 47
191. Plate No. 48
192. Plate No. 49
193. Plate No. 50
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Section
1. [Cover]
2. I. The frontispiece: being a design for a precious book-cover, introducing many of the most elaborate processes of metal working
3. [Title Page]
4. To the right hon. Henry Labouchere
5. Preface
6. Table of contents
7. List of the plates
8. Analysis of the subjects of the plates
9. Theory
10. General principles
11. I. Iron-work, and the principles of its treatment
12. II. Bronze-work, and the principles of its treatment
13. III. Gold-work, and the principles of its treatment
14. IV. Silver-work, and the principles of its treatment
15. Practice
16. General principles
17. Formative processes
18. I. Iron-working
19. II. Casting in bronze, as practised in the present day
20. III. Casting in bronze, as practised in the time of Cellini (sixteenth century)
21. IV. Ornamental brass-work
22. V. Goldsmiths' work
23. VI. Silversmiths' work, as practised in the present day
24. VII. Silversmiths' work, as practised in the time of Theophilus (twelfth century)
25. VIII. Cellini's method of making large silver vessels by repoussé, and various processes of casting
26. IX. The arts of chasing, joining, soldering, sanding, and graining, or giving texture, burnishing hatching, and colouring plate of the cinque-cento period
27. X. The art of die-sinking (as practised by Cellini in the making of cardinals' seals), containing also his method of sand-casting
28. XI. Electrotype
29. Decorative processes
30. Enamelling generally
31. I. Byzantine filagree, or cloisonné enamel
32. II. Early Limoges, or champlevé enamel
33. III. Early Italian, or translucent enamel
34. IV. Late Italian, or jewellers' enamel
35. V. Late Limoges, or grisaille enamel
36. VI. Miniature enamel
37. VII. Niello
38. VIII. Damascening
39. IX. Gilding and parcel-gilding, according to Cellini and others
40. History
41. Introduction
42. I. Italy
43. II. England
44. III. France
45. IV. Germany
46. V. Spain
47. Description of the plates
48. II. Iron screen, for the Church of Santa Croce, Florence
49. III. Bronze candelabrum, in the possession of Lewis Wyatt, Esq.
50. IV. Italian enamelled chalices and ciboria
51. V. Iron grilles from Venice, Verona, Florence, and Sienna
52. VI. English and German door-handles, and lock-escutcheons
53. VII. Venetian and Bolognese knockers, in bronze
54. VIII. Reliquaries and thurible, from near Düsseldorf
55. IX. Hinges from Frankfort-on-Maine and Leighton Buzzard
56. X. Locks and keys, from the Hôtel de Cluny, Paris, and in private possession
57. XI. Bronze figures, from the gates of the Baptistery at Florence
58. XII. Chalice, brought from La Marca, in the possession of the Marquis of Douglas
59. XIII. Hinges, --English, French, and Flemish
60. XIV. Burettes and thuribles, from the Louvre and Hôtel de Cluny, Paris
61. XV. Bronze door-handle, from the Rath-haus, at Lubeck
62. XVI. Processional cross, from the Museum of Economic Geology, London
63. XVII. German and Italian bracket-lamps
64. XVIII. Bronze figures, from the Font at Sienna and Shrine of San Zenobio, at Florence
65. XIX. English and German locks and keys
66. XX. Pastoral staff of San Cerboni, preserved in the cathedral at Sienna
67. XXI. Italian chalice and ciborium, with German monstrances
68. XXII. Pendant lamps, from Venice, Rome, Perugia, and Nuremberg
69. XXIII. German and Flemish hinges and door-latches
70. XXIV. Double reliquary, from the treasury of St. Mark's at Venice
71. XXV. A group of enamelled objects exhibited at the Salisbury meeting of the Archæological Institute of Great Britain and Ireland, held in 1849
72. XXVI. Bronze ornaments, from the gates of the Baptistery, Florence, and from a candelabrum (l'Albero) in Milan Cathedral
73. XXVII. Pendant and processional lamps, from the Cathedral of Lubeck
74. XXVIII. Silver-gilt reliquary, from the Cathedral of Pistoia
75. XXIX. Details of door-furniture from St. George's Chapel, Windsor
76. XXX. Chalice and paten, from Randazzo, in Sicily
77. XXXI. English and German door-handles
78. XXXII. A group of chalices and patens, from Randazzo, in Sicily
79. XXXIII. Wrought-iron grilles, from Rome and Venice
80. XXXIV. Hinges, and details of iron-work, from Oxford
81. XXXV. Lectern in brass, from the Cathedral at Messina
82. XXXVI. A group of Flemish drinking-cups; wiederkoms and hanaps
83. XXXVII. Lock-plate and key, formerly belonging to an old house at Wilton, in Wiltshire
84. XXXVIII. Portions of the screen surrounding Edward IV.'s Tomb, in St. George's Chapel, Windsor
85. XXXIX. Specimens of jewellery, executed by Froment Meurice, of Paris
86. XL. Chalice, brought from La Marca, in the possession of the Marquis of Douglas
87. XLI. Wrought-iron gates of the Clarendon printing-office, Oxford
88. XLII. Sicilian chalice and Venetian drinking-cup
89. XLIII. Locks, from Nuremberg
90. XLIV. Italian reliquaries, pix and crystal vase, mounted in gold
91. XLV. Italian silver dagger, and coins by Cellini; and bronze ornament, from the Church of La Madeleine, Paris
92. XLVI. Chalice, from the treasury of the Cathedral at Pistoia
93. XLVII. Filagree enamel brooch, German jewellery, and enamels from the altar frontal of San Giacomo, Pistoia
94. XLVIII. Italian, German, and Flemish door-handles, finials, and crockets, all in wrought-iron
95. XLIX. A group of objects, the principal being the enamelled chalice and paten, from Mayence Cathedral
96. L. Wrought-iron doors, from the cathedrals of Rouen and Ely
97. [Cover]
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