Casting in bronze reached high perfection in England, where a number of monuments yet remain. William Torel, goldsmith and citizen of London, made a bronze effigy of Henry III, and later that of Queen Eleanor for their tombs in Westminster Abbey; the effigy of Edward III was probably the work of one of his pupils. No bronze fonts are found in English churches, but a number of processional crucifixes have survived from the 15th century, all following the same design and of crude execution. Sanctuary rings or knockers exist at Norwich, Gloucester and elsewhere; the most remarkable is that on the north door of the nave of Durham Cathedral which has sufficient character of its own to differentiate it from its Continental brothers and to suggest a Northern origin.
The Gloucester Candlestick in the Victoria and Albert Museum in South Kensington, displays the power and imagination of the designer as well as an extraordinary manipulative skill on the part of the founder. According to an inscription on the object, this candlestick, which stands some  high and is made of an alloy allied to bronze, was made for Abbot Peter who ruled from 1109 to 1112. While the outline is carefully preserved, the ornament consists of a mass of figures of monsters, birds and men, mixed and intertwined to the verge of confusion. As a piece of casting it is a triumph of technical ability. For secular use the mortar was one of the commonest of objects in England as on the Continent; early examples of Gothic design are of great beauty. In later examples a mixture of styles is found in the bands of Gothic and Renaissance ornament, which are freely used in combination. Bronze ewers must have been common; of the more ornate kind two may be seen, one at South Kensington and a second at the British Museum. These are large vessels of about  in height, with shields of arms and inscriptions in bell-founders' lettering. Many objects for domestic use, such as mortars, skillets, etc., were produced in later centuries.