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Glass

INDEX

Reading edition

A B C D E F G H I J K L M

N O P R S T U V W X Z

Achmin, glass from, 105, 163

Agricola, De Re Metallica, 260-262

Air-drawn stem, 326-327

Alabaster, imitation of, in glass, by Egyptians, 22

Alabastra, see Unguentaria.

Alchemists and glass in Germany, 288

Alchemy, early mediæval works on, 119-124

Aldrevandini beaker, 179

Alembics of mediæval alchemists, 125

Alembics and aludels of modern Indian glass, 346

Alexandria, importance in history of glass, 44

Alexandria, glass of mediæval time, 149 note

Alkali, source of, 12-13

Almeria, glass made near, 246-247

L’Altare, 174-175

L’Altare versus Murano, 224

L’Altare, glass-workers from, in France, 223-224

Altarist families settled in France, 227

Altarists, difficulties with, in France, 236

Altarists in Netherlands, 240-241

Aludels of mediæval alchemists, 125

Alumina in glass, effect of excess of, 132

Ammonitrum, 78

Amsterdam, glass-houses at, 294

Analyses of glass, 9, 26, 53 note, 151, 335, 353 note

Anglo-Saxon glass, 107-113

Anglo-Saxon glass, where found, 110-111

Anglo-Saxon ‘prunted’ beakers, 110-111

Anglo-Saxon drinking-cups, 112-113

Anne Boleyn, glass with her initials, 306

Anthology, Greek, poem on glass-furnace, 80

Antimony as source of yellow in primitive glass, 29

Antwerp, glass made at, 241-242, 262

Antwerp, mediæval glass found near, 252 note

Antwerp, metropolis for glass, 303

‘Arena’ at Padua; lamps in fresco, 158

Aristophanes, possible mention of glass in, 41

Arles, Roman glass from, 81-82

Ascension Day, display of glass at Venice, 216, 261 note

Asiatic influence in Europe, 89-90

Assyrian glass, 39-40

D’Azeglio, Marquis Emanuele, his collection of painted glass, 142-143

Azurro da vetro, 218

Babylonia, turquoise-glass slabs from, 40-41

‘Balance-pan’ lamp-stands, 97 note, 101, 104, 158

Barbaro, Venetian ambassador to the Porte, 171

Barcelona, glass of, 247-249

Barcelona, opaque white glass, 249

Barilla, term explained, 13

Barilla, how prepared, 227

Barilla, Howell’s account of, 312

Barillet, or Baril, French form, 134, 238

Bavaria, Dukes of, introduce Venetians, 270-271

Bead, origin of English word, convenience of term, 184

Beads of early Egyptian Dynasties, 20

Beads from tombs of Mycenæan age, 35

Beads from early Rhodian tombs, 38

Beads in form of satyr masks, 38

Beads from Frankish and Germanic tombs, 109

Beads, guilds at Venice and Murano, 183

Beads, early distribution from Venice, 183, 190

Beads, Venetian, grinding by water-power, 185

Beads, process of manufacture, 185-187

Beads, process of manufacture from hollow cane, 185-186

Beads, process of manufacture from solid rod, 186-187

Beads, stores in London and Amsterdam, 189

Beads made at Nuremberg; at Amsterdam, 292

Beads, Bohemian industry, 292-293

Beads from India, 343

Beads, see also Chevron beads.

Bede on glass-workers brought from Gaul, 113

Bekerschroeven, or ‘Beaker screws,’ 295

Berovieri, his enamelled cup, 194-195

Berthelot, M., on chemistry of Middle Ages, 120-125

Bidoro, Japanese name for glass, 354

Biringuccio on Venetian glass, 215

Blancourt, de, Art of Glass, 316 note, 319

Blowing of glass, 7-8, 14

Blowing of glass, importance of discovery of process, 19

Blowing of glass, probable origin in Western Asia, 42

Blowing of glass, when and where discovered, 44, 59

Blowing of glass, at first supplementary to moulding, 47

Blowing of glass, first described by Theophilus, 128-130

Blowing-iron, how used, 14

Blown glass unknown in Ancient Egypt, 19-20

Blown glass, when first made, 20

Blown glass, early simple forms, 59

Blue colours in Egyptian glass, 26-27

Bohemia, engraved glass of, 286

Bohemian frontier, German glass from, 258-260

Bohemian frontier glass where made, 258-260

Bohemian glass, properties of, 11

Bohemian glass, imitated in Belgium, 242

Bohemian glass, use of term, 258-260

Bohemian glass, exported to East, 287-288

Bohemian glass beads, 292-293

Bohemian glass, pastes for false jewels, 293

Bones, glass from human, 291-292

Bonhomme, de, firm, 242, 287

Bonhomme, de, at Amsterdam, 294

Bonhomme, de, make flint glass, 315

Bracken, ashes used for making glass, 136

Briati, Venetian glass-worker, 212-213

Bristol, glass made at, 334-336

Bristol, enamelling on glass, 335

Bristol, wine-glasses made at, 324 note, 328 note

Bristol, opaque white glass, 334-335

Britain, Roman glass in, 61, 81, 85-87

Brocard, M. P., imitation of Saracenic glass, 152, 353

Broken glass, hawkers of, 82 note, 228

Buckholt Wood, glass furnace at, 304-305

Buckingham, Duke of, his glass-houses, 314, 318

Bushell, Dr., on glass in China, 347 note, 348 note

Byzantine art, term, how used, 89

Byzantine glass in St. Mark’s treasury, 99-102

Byzantine glass from Egypt, 105, 149

Byzantine glass from South-Saxon cemetery, 107

Byzantine glass in illuminated MSS., 102-103

Byzantine glass medallions, 94

Byzantine influence in mediæval Germany, 114

Byzantine mosaic workers, 96

Byzantine stained glass windows, 96-97

Calcedonio of Venetians, 206

Calcedonio used in two senses, 206 note

Calcedonio, preparation of, 218-219

Cameos and intaglios of late Greek glass, 47-48

Canosa, glass from tombs at, 45-46, 68

Carré, Jean, 303-304

Carving of glass unknown in later Middle Ages, 116

Catalonia, glass made in, 247-249

Catalonia, green enamels on glass, 247

Catalonia, relation of enamels to Saracenic, 248

Cemetery glass, 90-95

Cemetery glass, where found, 91

Cemetery glass, how made, 92-93

Cemetery glass, enamelling on, 93-94

Cemetery glass, Jewish symbols, 94

Cemetery glass, stipple process, 93

Chalices, early, of glass, 94-95, 97-98

Chalices, early forms and materials, 97-98

Champlevé enamel in Britain, 86

Chandeliers of Venetian glass, 211-212

Changes of colour in glass, 17

Chardin, Sir John, on Persian glass, 341-342

Charles VI. of France, interest in glass-workers, 137, 230

Charnock on Chiddingfold glass, 302

Chastleton, glass at, 321-322, 331

Chevron beads, how made, 188

Chevron beads, structure described, 188

Chevron beads, still made at Venice, 189

Chevron beads, found at Treviso, 189

Chevron beads, where found, 190-191

Chiddingfold, early glass manufacture, 139, 301-302

China, relations with Roman empire, 347

China, glass in, 347-354

China, glass authorities, 347 note

China, glass, Jesuits make glass, 348-349

Chinese glass, 347-354

Chinese glass, date-marks on, 349

Chinese glass, the Von Brandt collection, 349

Chinese glass, at South Kensington, 349-350

Chinese glass, technical triumphs, 350

Chinese glass, original methods, 350-351

Chinese glass, native stones imitated, 351

Chinese glass, snuff-bottles, 351-352

Chinese glass, snuff-bottles, varieties of technique, 352

Chinese glass, composition, 353

Chinese glass, made in Shantung, 353

Chinese glass, where made, 353

Chinese glass, snuff-bottles, analyses of, 353 note

Chinese glass, relation to contemporary French glass, 354

Chinese motives on Saracenic glass, 155

Chinese porcelain, enamelling on, 170

Christian subjects on engraved Roman glass, 75, 94

Church, Professor, analyses of glass, 335, 353 note

‘Claw’ handles on Roman glass, 62, 83

Cluny Museum, Saracenic glass, 166

Coal, use of, for glass furnace, 309-310

Coal, involves ‘closed pots,’ 310

Cobalt in Venetian glass, 218

Cobalt blue of mediæval window-glass, 133

Cogoli, white pebbles, 215, 317

Coin-like discs of glass in Egypt, 146-147

Colbert and plate-glass, 210, 235

Colchester, Roman glass from, 86

Colours of primitive Egyptian glass, 26-29

Colours of Roman glass, 52-53

Comarmond collection in British Museum, 81

Composition of glass, 8-9, 12-13

Composition, normal type, 9

Compositiones ad Tingenda, quoted, 120-121

Constantinople, influence of, 95-96

Contemporary glass, 356-360

Conterie, a class of Venetian beads, 183

Coppa Nuziale, 194-195

Copper, importance of, in colouring of ancient glass, 26, 35 note

Copper, the red suboxide in Egyptian glass, 27-28

Copper, the red suboxide in Roman glass, 52-53

Coptic glass from Egypt, 105

Coptic churches, lamps from, 106

Coptos, enamelled glass cup from, 163

Corundum or emery used in cutting glass, 74 note

Cosmati mosaics, 140

Crackle or frosted glass of Venice, 203

Crimea, primitive glass from, 37

Cristallo of Venice, 200

Cristallo, how decorated, 201-202

Cristallo, in pictures of Venetians, 202-203

Cristallo, glasses broken at feasts, 203

Cristallo, replaces verre de fougère, 220-221

Cristallo, spread over Western Europe, 220-222

Cristallo, in Low Countries, 241

Cristallo, in Germany, 256-258

Cros, Henri, his pâte de verre, 359-360

Crotchet Friars, glass made at, 308

Cuthbert on glass-workers brought from Mainz, 113

‘Cylinder-process’ described by Theophilus, 128-129

‘Cylinder-process’, used for mirror-glass, 209, 210 note

‘Cylinder-process’, used by Lorrainers, 303

Cyprus, primitive glass from, 36, 37-38

Cyprus, enamelled glass from, 47

Czihak, Von, Schlesische Gläser, 259 note

Damas, verre de, 136

Damas, façon de, 181

Dante on glass mirrors, 138

Decay of glass, 15-17

Decay of glass, apparent capricious action, 15-16

Decay of glass, chemical process involved, 16

Decay of glass, follows internal structure, 16

Decay of glass, iridescence, 16-17

Decay of glass, fissuring or crackle, 17

Denderah, primitive glass of Roman times from, 32

Destruction of timber, outcry against, 309

Diamond-scratched Venetian glass, 209

Diamond ‘scratching’ on glass, 276, 277

Diamond ‘scratching’ in Holland, 295

Diatretum work, how made, 64 note

Diatretum carving, 71-73

Dispersion of light by glass, 320, 332

Dossie, Handmaid to the Arts quoted, 333 note, 335 note, 353 note

Dou, Gerard, engraver on glass, 296

‘Doubled glass’ from tombs at Canosa, 46

‘Doubled glass’, German, 274-276

Dresden Hof-kellerei glasses, 269

Drinking-glasses, English, 322-332

Drinking-glasses, stem or shank, 314, 323, 326-327

Drinking-glasses, form of stem, 315

Drinking-glasses, development of form, 322-323, 325

Drinking-glasses, how made, 323-324

Drinking-glasses, division of English, 324-325

Drinking-glasses, high quality of metal, 325

Drinking-glasses, the foot, 325-326

Drinking-glasses, the bowl, 327-330

Drinking-glasses, engraving on, 328-330

Drinking-glasses, inscriptions on, 329-330

Drinking-glasses, the square plinth foot, 332

Dudley, Bub, and pit-coal, 309

Dutch glass, 294-298

Dutch glass, diamond-scratched, 295-297

Dutch glass, engravings on plaques, 296

Dutch glass, engraved ‘flutes,’ 296

Dutch glass, stip engraving, 297-298

Dutch glass, how done, 298

Dutch glass, prototype of English wine-glass, 298

Dutch influence on English arts, 321

Dutch school, glass in pictures of, 244, 254, 255

Edkins, glass enameller of Bristol, 335

Églomisé, verre, Gothic representative, 140, 142-143

Églomisé, verre, late Venetian, 208

Églomisé, verre, German type, 273-274

Egypt, coin-like discs of glass only found in, 146-147

Egypt, modern, conical lamps, 342

Egypt, modern glass found in, 342-343

Egyptian primitive glass, 19-33

Egyptian primitive glass, earliest examples, 19

Egyptian primitive glass, how made, 22-23, 24-25

Egyptian primitive glass, possible foreign origin, 23-24

Egyptian primitive glass, of XVIIIth Dynasty, 23-24

Egyptian primitive glass, source of materials, 25

Egyptian primitive glass, comparative rarity of, 26

Egyptian primitive glass, colours of, 26-29

Egyptian primitive glass, inlay, how applied, 31-32

Egyptian primitive glass, of Ptolemaic times, 32

Egyptian primitive glass, of Roman times, 32

Egyptian primitive glass, ‘fused mosaic,’ 33

Egyptian blue of ancients, 27, 56

Ehrenfeld, modern glass made at, 356

Enamelled glass from Greek tombs in Cyprus, 47

Enamelled glass of French, 237-238

Enamelled glass of Catalonia, 247-248

Enamelled glass of Germany, 264-273

Enamelling on glass, 65

Enamelling on glass, origin of art, 170

Enamelling on metal in Britain, 86

Enamels on Saracenic glass, 151-153

Enamels on Venetian glass, practical difficulties, 197-198

Enamels on Venetian glass, compared to Saracenic, 198

Enamels on Venetian glass, thinly painted enamels, 198-199

English glass, 139-140, 299-336

English glass, heavy taxes on, 10 note, 334

English glass, mediæval, 139-140

English glass, late development, 299

English glass, momentary pre-eminence, 299

English glass, Elizabethan period, 300-302, 308

English glass, the wine-glass of the collector, 300

English glass, Elizabethan period, what glass made, 302

English glass, the Lorrainers, 303-305

English glass, Venetian glass-makers, 307-308

English glass, early examples, 308-309

English glass, use of coal, 309-310

English glass, patents, 311-314

English glass, flint glass, origin of, 314-319

English glass, rarity of early specimens, 321-322

English glass, drinking-glasses, 322-331

English glass, change towards end of eighteenth century, 332

English glass, facetted glass, 332-333

Engraving on glass, division of technique, 276-277

Ennion, his name found on Syrian glass, 87

Escurial, glazing of windows, 234 note

Etching on glass by acid, 277, 281-282

Evelyn, John, on English glass, 314, 331

Facetted English glass, 332-333

Facetting, how made, 332

Facetting, when first in fashion, 332

Fatimi caliphs, their engraved rock crystal, 145, 146

Fatimi caliphs, glass coin-like discs, 146-147

Favrile glass, 357, 359

Fern ashes, used for making glass, 136

Fiala, word, how used by Dante, 176 note

‘Fiat’ or Jacobite glasses, 330-331

Fichtelgebirge glasses, 267-268

Fillon, Benjamin, on glass in Western France, 84-85

‘Flashing’ or ‘spinning’ to form a disc of glass, 14

Flemish school, glass in pictures of, 244

Flints, early use in English glass, 317

Flint-glass, à l’Anglaise, 242

Flint-glass, beauty of English, 299-300

Flint-glass requires ‘closed pots,’ 310

Flint-glass, when first made, 314-319

Flint-glass, composition, 319

Flint-glass, optical qualities, 320

Flint-glass, materials used, 334

Flügel-gläser, 257

‘Flutes,’ Dutch, diamond-scratched, 296

‘Forest glass,’ see ‘Verre de Fougère.’

Fostat or Old Cairo, fragments of glass from, 173

Frankish glass from the Meuse valley, 107-108

Frankish princes in Syrian coast towns, 176-180

Franko-Saxon glass, 107-108

French glass of Renaissance, 220-239

French glass, advance of cristallo, 220-223

French glass, Altarists, 223-224

French glass, rarity of, 225

French glass, literature, 225

French glass, hawkers of glass, street cries, 228

French glass, claims to nobility, 230-231

French glass, local glass-works, 232-234, 236, 238

French glass, plate-glass, 235

French glass, inscriptions on, 237-238

French glass, enamelled glass, 237-238

French glass, opaque white glass, 239

French mediæval glass vessels, 134-135

Friolaro, meaning of term, 176 note

Frit-ware of early Egyptians, 21

Frontinus, his name found on Gaulish glass, 88

Frosted or crackle glass of Venice, 203

Gallé, Émile, his glass, 358-359

Garzoni on Venetian glass, 215-216

Gaul, Roman glass in, 81-85

Gentilshommes de verre, 230-231

German mediæval glass, 137

German mediæval glass mirrors, 138

German glass, 251-293

German glass, mediæval forms, 251-252

German glass, green glass, 252-255

German glass, Venetian influence, 255-258

German glass, rivalry to Venice, 258

German glass, from Bohemian frontier, 258-260

German glass, glass furnaces, 261, 263

German glass, how made, 263

German glass, enamelling on, 264-273

German glass, origin of enamelling, 264-265

German glass, poorness of enamels, 265

German glass, names of various glasses, 266

German glass, South German glass, 270-273

German glass, painted and gilt glass, 273-275

German glass, cut and engraved glass, 276-288

German glass, cut and engraved, introduced from Italy, 279

German glass, machinery for engraving, 281, 283-284

German glass, engraving, division of work, 281

German glass, ruby glass, 289-294

German glass, opaque white glass, 291

German glass beads, 292-293

Gilding on Saracenic glass, 153

Gilding on Venetian glass, 195

Gilding on German glass, 274-275

Gilt glass of cemeteries, 90-95

Glaze, relation to glass, 2

Glaze, early use of, in Egypt, 20-21

Glaze, applied to stone or fritty base by Egyptians, 21

‘Goblet of Charlemagne,’ 161

‘Goblet of the Eight Priests,’ 161

Gold, ruby glass coloured by, 289-290

Gottefle, nature of vessel so called, 135

Graal, Holy, 98 note

Gréau collection of glass, 51, 53

Greek glass, of Mycenæan age, 33-36

Greek glass, bowls moulded and turned, 45, 47

Greek glass, intaglios and cameos, 47-48

Greeks, glass little appreciated by, 33-34, 44

Greeks, vague use of name for glass, 45

‘Green Glass’ of Rhine and Netherlands, 252-255

‘Green Glass’, colour specially added, 252

Greene, John, orders glass from Venice, 314-315

Greenwood, engraver by stip process, 297

Grisaille painting of Schaper, 272-273

Grüne Gewölbe, Saracenic enamelled glass in, 162

Hæmatinon of Pliny, 53, 79, 94

Hall, near Innsbruck, glass made at, 271

Hampton Court, window and mirror glass, 321

Hardness of glass, 11

Hartshorne, Mr. Albert, Old English Glasses, 324 note

Hartshorne, quoted, 111

Hartshorne, on English drinking-glasses, 324

Hebrew literature, doubtful mention of glass in, 41

Hebron, glass made near, 42, 342

Hebron, glass-works in Middle Ages, 148

‘Hedwig glasses,’ so-called, 114-117

Hedwig, patron saint of Silesia, 115 note

Helbig quoted on term Kyanos, 34-35

Henry VIII., his collection of glass, 306

Heraclius or Eraclius, 121

Heraclius on gilt glass, 92

Heraclius, his treatise on Arts of Romans, 121-122

Heraclius, on carving of glass, 121-122

Heraclius, Pseudo, 121

Heraclius, his glass furnace, 127

Heraclius, on glass of lead, 130-131

Hirshvogel family, 256, 271

Holy Graal, 98 note

Hope collection, enamelled beaker from, in the British Museum, 163-164, 179-180

Houghton, John, on English glass, 317-319

Howell, James, Epistolæ Ho-Elianæ, 312

Hu, the glass made by, at Pekin, 349

Humpen, cylindrical beaker, 266-268

Hydrofluoric acid, used for etching glass in seventeenth century, 281-282

Hydrofluoric acid, glass etched by, 287-288

Indian glass, 343-347

Indian glass, no early glass known, 343

Indian glass, engraved glass of Mogul times, 343

Indian glass, enamelled glass of Mogul times, 343

Indian glass, contemporary native glass, 344-346

Indian glass, how made, 345

Indian glass, the furnaces, 345

Indian glass, its artistic qualities, 346

Industrial period in history of glass, 18

Inlay of glass, Roman, 53-55

Inlay of glass, Gothic, 140-142

Inlay of glass, on church furniture, 140-141

Inscriptions on Syrian glass, 58

Inscriptions on Roman glass, 58, 87-88

Inscriptions on French glass, 237-238

Inscriptions on English glass, 329-330

Intaglios and cameos of late Greek glass, 47-48

Ireland, glass made in, 336

Iridescence of glass, 16-17

Iron oxides, colours derived from, 17

Jacobite glasses, 329-330

Japan, practically no native glass, 354

Japan, glass from Dolmen tombs, 354 note

Japan, glass in Shoso In treasury, 354-355

Japan, Sassanian influence, 355

Japan, glass from prehistoric tombs, 355

Jasper-glass of Venetians, 207

Jeremiah on the manufacture of soap, 41

Jewish glass-makers in Syria, 118, 148

Jewish pedlars of glass, 82 note

Jewish symbols on cemetery glass, 94

Junius Bassus, the opus sectile in his Basilica, 54-55

Kent, North, Roman glass from, 86

Kent, North, glass from Jutish tombs, 110, 113

Khosrau, Nassiri, travels of, 149 note

Khosroes, bowl of, 104-105

Kinsky family and the Bohemian glass industry, 286

Kouyunjik, glass from, in British Museum, 39-40

Krautstrunk, a German form of beaker, 255, 262

Kreybich, wandering glass-hawker, 286

Kugler, a class of engravers on glass, 284

Kundmann’s glass from bone and tobacco ash, 292

Kunckel, Johann, 288-291

Kur-fürsten Humpen, 267

Kyanos, probably blue glass, 34-35

Lace glass, 40, 46, 205-206

Lace glass, how far made in Germany, 269-270

Lamp, master form in Saracenic glass, 156-157

Lamp, conical cup, the typical form in glass, 157

Lamp, Saracenic, wick, how fixed, 157, 342

Lamps of St. Sophia, 97

Lamps in Venetian pictures, how suspended, 156

Lannoy, Cornelius de, 307

Lapis lazuli, imitation of, in glass, 22, 32, 35, 56

Lapis lazuli, enamel on Saracenic glass, 152

Latticinio or Lattimo, 203-205

Latticinio imitating porcelain, 204-205

Latticinio, festooned, 205

Latticinio, recipe for preparation, 217

Lattimo, see Latticinio.

Lattisuol, see Latticinio.

Lead, amount in flint-glass, 319

Lead-glass made by Jews, 118, 131

Lead-glass, Neri and Merret on, 316-317

Lead-glass, see also Flint-glass.

Lehmann, Caspar, engraver on glass, 279-280

Lennard collection, glass from, 332

Liao, Chinese name for glass, 353 note

Liége, glass made at, 242, 315

Lily of the Valley, on enamelled glasses, 267

Lime, importance in composition of glass, 8-9, 227-228

Literature of glass, essentially French, 226

Liu-li, old Chinese name for glass, 347

Lorraine, charter granted to glass-workers, 230

Lorraine, importance in history of glass, 231-232

Lorraine, tables quarrées of, 234 note, 303

Lorrainers in England, 303-305

Lorrainers driven from Sussex, 304

Lorrainers, their wanderings, 304-305

Lotus decoration on Saracenic glass, 154

‘Luck of Eden Hall,’ 161-162

‘Lustre’ and lustro, 212 note

Lyons, Roman glass from, 82

Magic, early mediæval works on, 119

Magnesia in Pliny means manganese, 77 note

Magnesia in Saracenic glass, 151

Malleable glass, 78-79

Manganese in glass, changes of colour, 17

Manganese purple in primitive glass, 28-29

Manganese in Roman glass, 77

Manganese and Magnese, 218 note

Mansell, Sir Robert, 311

Mansell, Sir Robert, his patents, 305, 311-314

Mansourah, glass made at, 149, 167

Mappæ clavicula, notices on glass, 121

Mariegole, rules of Venetian glass-workers’ guilds, 181-182

Martial on Roman glass, 73-74, 82 note

Mathesius quoted, 253, 262, 264

Mathesius, Sermons for Miners, 262-263

Matricole, rules of glass-workers’ guilds in Venice, 181-182

Mazer-like forms in glass, 252

Mediæval treatises on alchemy, etc., 119-124

Mediæval glass, rarity of, 133-134

Memlook Sultans, art of, 147-148

Merret, Art of Glass quoted, 7

Merret, on properties of glass, 7

Merret, on glass of lead, 316-317

Mesomedes on glass-houses, 80

Milanesi, treatises on preparation of glass, 217

Milch-glas, 291

Millefiori glass of Romans, 49-52

Millefiori glass, Madrepore patterns, 49

Millefiori glass, relation to Egyptian ‘fused-mosaics,’ 49

Millefiori glass, how built up, 50-51

Millefiori glass, peacock patterns, 51

Millefiori glass, agate patterns, 51

Millefiori glass of Venetians, 207

Mirror of Catherine of Arragon, 306

Mirrors of glass from Roman tombs, 55-56

Mirror of glass in Middle Ages, 138-139

Mirror Venetian, 209-211

Mirrors, Venetian, imitated by Germans, 209

Mirrors, Venetian, frames of, 210

Mirrors, Venetian, of ‘steel,’ 210 note

Mirrors, Venetian, exported to East, 211

Mirrors of plate-glass, 210, 235-236

Monza, glass in treasury, 99

Mosaic-workers from Constantinople, 96

Moret collection in British Museum, 85

Moselle district—Roman glass, 83

Mosque lamps or lanterns, 155-156

Mosque lamps suspended from spheres, 156

Mosque lamps from Sultan Hassan mosque, 156, 168

Mosque lamps from Cairo, 167-169

Mosque lamps inscription on, 167-169

Mosque lamps abnormal types, 169-170

Mosque lamps made in Venice for the Turks, 171-172

Moulded glass of Phœnicians and Romans, 56-58

Munich Schatzkammer, glass in, 280

Murano, furnaces stopped in late summer, 182

Murano, the guilds, how organised, 182-183

Murano, description of, 201, 216

Mycenæan age, glass of, 33-37

Mycenæan glass from bee-hive tombs, 35-36

Nailsea glass-works, 336

Natron as a source for soda in glass, 13, 26, 77

Natron Lakes of Lower Egypt, 106

Neri, Antonio, his Arte Vetraria, 219

Neri, various translations of, 289

Neri, upon glass of lead, 316-317

Nesbitt, Mr., catalogues by, 51 note

Netherlands, glass of, 240-244

Netherlandish glass, mediæval forms, 252

Netherlandish school, glass in pictures of, 243, 244, 251-252

Nevers, glass made at, 232-234

New Testament, allusion to glass in, 42 note

Nineveh, glass from, 39-40

Nobility, claims to, by glass-workers, 230-231

Norman versus Lorraine glass, 234 note

Normandy, glass made in, 234-235

Normandy, glass-workers from, in England, 304-305

Nuppen or ‘Prunts,’ 253

Nuremberg mirrors, 138-139

Nuremberg, Venetian glass imitated, 256

Nuremberg, enamelled glass of, 271-272

Ochsenkopf humpen, 268

Onyx glass, Greco-Roman, 68-70

Opus sectile as wall-covering, 54-55

Oriental influence, in Europe, 89-90

Oriental influence, on Germanic jewellery, 107-108

Oriental influence, on Mediæval German glass, 114-117

Orleans, glass made at, 238-239

Orschall’s Sol sine veste, 290

‘Painted’ enamels on Venetian glass, 208

‘Painted’ enamels on German glass, 273-274

Palissy on cheapness of glass, 228

Paraison, term explained, 14

Papyrus of Leiden, 120

Pass-glas, narrow cylinder, 269

Passini, on the Treasury of St. Mark’s, 100 note

Pâte de Verre of Henri Cros, 359-360

Patents and licences to ‘adventurers,’ 311-314

Paternoster Kugel, 292

Paternosters, a kind of bead, 184

Paul the Silentiary quoted, 97

Pax, Gothic, how painted at back, 141-142

Percivall, Thomas, 309, 310, 311

Perle a rosette, see Chevron beads.

Persian glass, 172, 338-342

Persian glass, rarity before seventeenth century, 172

Persian glass, Venetian origin, 338-341

Persian glass, earlier examples, 339

Persian glass, enamelling on, 339

Persian glass, shapes of blown glass, 339-340

Persian glass, engraved glass, 340-341

Persian glass, Chardin quoted, 341-342

Petrie, Dr. Flinders, on manufacture of glass in Egypt, 22-23, 24-25

Phœnician coast towns, early moulded glass, 57-58

Phœnician glass-makers, Pliny on, 76-78

Physical properties of glass, 10-12

Pictures of old masters, glass in, 202-203, 243, 244, 251-252, 254-255

‘Pillar moulding’ on early Roman glass, 63

‘Pillar moulding’ on Byzantine glass from Egypt, 106

Plate-glass, 210

Plate-glass, French invention, 235

Pliny on preparation of glass, 76-79

Pliny on magnes lapis and magnesia, 77

Podgoriza bowl, 95

Pointillé engraving on glass, 297-298

Poitou, Roman glass found in, 84-85

Po-li, Chinese name for glass, 347

Pompeii, glass from, 60, 69-70

Pontil or punto, 14

Porcelain, relation to glass in history, 3

Porcelain, imitated by lattimo glass, 205-206, 239, 249, 290, 291, 334

Portland or Barberini vase, 68-69

Potash used for inland glass, 11, 136

Potash, source of, 13

Potash, glass maintained in Germany, 257-258

Pottery, relation to glass in history, 2-3

Pretender, the, his head on wine-glasses, 330

Primitive glass, 18-42

Primitive glass, restricted use of, 20

Primitive glass, Greek and Egyptian names, 20

Primitive glass, of Egyptians imitates native stones, 21-22

Primitive glass, late survivals, 37-38

Primitive period in history of glass, 18

Procello or ‘spring-tool,’ 15

‘Prunted’ beakers, of Anglo-Saxons and other Germanic tribes, 110-112

‘Prunted’ beakers, how made, 111

‘Prunted’ beakers, found in Illyria, 111

‘Prunts,’ on German glasses, 253

‘Prunts,’ restriction of term, 253 note

‘Prunts,’ practical use of, 253 note

Rabanus, Maurus, glass furnace in MS. of, 124-25

Ravenscroft, his flint-glass, 318

Red colours in Egyptian glass, 27-28

Red opaque glass confined in Egypt to inlays, 28

Reichenau, Byzantine glass on island of, 114

Reichs-adler Humpen, 267

René, King, patron of glass-makers, 135, 229

Retabulum from Westminster Abbey, 141

Reticelli, vetro a, 205-206

Rhages or Rhé, fragments of glass from, 173

Rhodes, primitive glass from, 36, 37-38

Rhodes, glass from, 342

Riaño, Don Juan, on Spanish glass, 246, 247

Rib-twisted stem, 326

Rings (Annuli) of glass, 131

Rock-crystal, glazed by Egyptians, 20

Rock-crystal, carvings in, 70

Rock-crystal, Byzantine school of carving, 103-104, 118

Rock-crystal, carvings from Western Asia, 118

Rock-crystal, engraved by Saracens, 145-146

Rock-crystal, Italian engravers on, 279

Roemer, how built up, 254-255

Roemer, a form exceptional in England, 315

Roemer, in pictures of Dutch school, 244

Roemer-shaped goblets, 254-255

Roemer Vischer, his three daughters, 295

Roman glass, 48-88

Roman glass, the earliest Hellenistic in character, 48

Roman glass, in the main not dependent on Greece, 48-49

Roman glass, Millefiori glass, 49-52

Roman glass, colours of, 52

Roman glass, glass in floor-mosaics, 53 note

Roman glass, wall decoration, 53-54

Roman glass, Opus sectile in glass, 54-55

Roman glass, window-glass, how made, 55

Roman glass, mirrors, 55-56

Roman glass, coloured pastes, Lapis lazuli, 56

Roman glass, moulded glass, 56-58

Roman glass, moulded ‘hollow-ware,’ 57-58

Roman glass, from Britain, blown into moulds, 58

Roman glass, blown into silver casing, 58 note

Roman glass, spread of manufacture, 60-61

Roman glass, in Britain, 61, 81, 86-87

Roman glass, cinerary urns, 61

Roman glass, early spread in Gaul and Spain, 61, 78

Roman glass, relation of shapes to pottery, 63

Roman glass, stringings and threadings, 64

Roman glass, enamelled glass, 65-67, 102

Roman glass, engraved and sculptured, 67-75

Roman glass, engraved and sculptured, from Canosa, 68

Roman glass, engraved and sculptured, onyx or cameo carved, 68-70

Roman glass, engraved and sculptured, ‘Diatretum’ carved, 71-73

Roman glass, engraved and sculptured, late carvings in low relief, 74-75

Roman glass, engraved and sculptured, engraved by wheel, 74-75

Roman glass, method of preparation, 76

Roman glass, Pliny quoted, 76-79

Roman glass, first made near Cumæ, 78

Roman glass, glass-houses, 80

Roman glass, in Gaul, 81-85

Roman glass, abundance in Eastern and North-eastern Gaul, 81

Roman glass, in West German Museums, 83-84

Roman glass, chronological classification, 83-84

Roman glass, in Western Gaul, 84-85

Roman glass, inscriptions on, 87-88

Roquetta, term explained, 13

Rothschild, Lord, carved cup of Roman glass, 73

Ruby-red, perhaps known to Ancients, 52

Ruby-red, in mediæval window-glass, 133

Ruby glass of Kunckel, 289-291

Ruby glass examples of, 291

Rudolph II. patronises carving of rock-crystal, 278-279

Rui or rulli, small window-panes, 182

Ruimer or roemer of Dutch, 295

Sabellico on Venetian glass, 201

Sacro catino of Genoa, 98-99

Saladin brings new influence to Egypt, 171

Salviati, 214, 227 note

Samarkand, glass-makers transported to, 168

Samarkand, description of glass of, 339

Sandrart on engraving of glass, 279-282

‘Sapphirus’ altar of St. David’s, 98 note

Sapphirus, term used for blue glass paste, 131

Sapphirus, see Lapis lazuli.

St. Anastasia, Rome, glass bowl at, 98

St. Gobain, plate-glass of, 210, 235

St. Ildefonso, royal glass-works, 250

St. Mark’s treasury, enamelled Roman glass, 66-67

St. Mark’s treasury, Diatretum glass, 71-73

St. Mark’s treasury, description of glass in, 99-102

St. Sophia, lamps and windows, 96-97

Saracenic art, revolution in twelfth century, 170-171

Saracenic art, influence of Mongol invasion, 171

Saracenic carved glass, earlier than enamelled, 144-146

Saracenic enamelled glass, where made, 149

Saracenic enamelled glass, nature of ‘metal,’ 150-151

Saracenic enamelled glass, composition of, 151

Saracenic enamelled glass, magnesia in, 151

Saracenic enamelled glass, nature of enamels, 151

Saracenic enamelled glass, use of Lapis lazuli, 152

Saracenic enamelled glass, use of gold in decoration, 153

Saracenic enamelled glass, motives of decoration, 154-155

Saracenic enamelled glass, ‘canting badges’ of Sultans, 155

Saracenic enamelled glass, Chinese motives in decoration, 155

Saracenic enamelled glass, signatures of artist, 155

Saracenic enamelled glass, forms of lamps, 157

Saracenic enamelled glass, wick of lamps, how fixed, 157

Saracenic enamelled glass, beakers of lamp-like form, 158-160

Saracenic enamelled glass, construction of base of beakers, 159

Saracenic enamelled glass, famous beakers, 161-164

Saracenic enamelled glass, vessels filled with holy earth, 164-165

Saracenic enamelled glass, long-necked bottles, 165-166

Saracenic enamelled glass, bowls and dishes, 166-167

Saracenic enamelled glass, mosque lamps, 167-169

Saracenic enamelled glass, decline of, 168-169

Saracenic enamelled glass, origin of art, 170

Saracenic enamelled glass, found in China, 348

Sargon, glass engraved with name of, 40

Saroldo family at Nevers, 233

Sassanian glass, 104-105

Sassanian influence in Japan, 355

Scarpaggiato making glass in Bavaria, 271

Schaper, Johann, painter on glass, 272-273

Schmelz glass of the Venetians, 207-208, 218-219

Schmoranz, G., work on Saracenic glass, 150 note

Schuermans, Judge, 222, 241

Schurman, Anna Maria van, 295

Schwanhart family, engravers on glass, 280-283, 288

Schwinger, Hermann, engraver on glass, 283

Shantung, glass made in, 353

Sherbet-jugs of opaque white glass, 342-343

Sidon, Pre-Roman glass, 57, 59, 78

Sidon, inscription on glass from, 87

Sidon, Venetians at, 176

Signatures of makers on Roman and Phœnician glass, 87-88

Signatures, rarely found on glass, 88

Signatures on Saracenic enamelled glass, 155

Silesia, engraved glass of, 285

Silica, amount of, in glass, 9-10

Singer, Mr. J. Webb, his collection of glasses, 324 note, 328

‘Singing glasses,’ 331

Slade collection, catalogue of, 51 note

Slavonic tombs, no glass in, 114 note

Snuff-bottles, Chinese, 351-352

Soap-making, its relation to glass, 41-42

‘Soap of glass’ (manganese), 77

Soda, the normal alkali of glass, 9-10

Soda, or maritime group of glass, 10-11

Soda, source of, 12-13

Soda, in Venetian glass, 214

South-Saxon Cemetery, Byzantine glass from, 107

Southwark, early glass-houses, 302, 312

Spanish glass, 245-250

Spanish glass, green glass of south, 245-246

Spanish glass, literature, 246 note

Spanish glass, Catalonia, 247-249

Spanish glass, Altarists and Muranists, 249-250

Spanish glass, decline in eighteenth century, 250

Spanish Netherlands, glass of, 240-244

‘Spear-butt’ shaped lamps, 97

‘Spear-butt’, in use in Italy, 158

Spechter, cylindrical beaker, 266

Specific gravity of glass, 12

Spessart forest, glass from, 266

Spheres in connection with suspended mosque lamps, 156-172

‘Spinning’ or ‘flashing’ to form a disc of glass, 15

Splashed decoration on Egyptian cosmetic pots, 31

Splashed decoration on Roman glass, 64

Splashed decoration on Venetian glass, 208

Splashed decoration on French Renaissance glass, 238

Splashed decoration on glass made at Bristol, 335-336

Stained glass windows, of St. Sophia, 96

Stained glass, French, composition of, 131

Stained glass how coloured, 132-133

Steinschönau, glass industry, 286, 293

Stimpler, bungling workman, 281, 285

Stip engraving of Dutch, 297-298

Strabo on Roman glass, 60-61, 80

Strabo on glass of Alexandria and Syria, 80

Sulphur in glass, changes of colour, 17

Suppialume process, 187

Susa, glass from, 41 note

Susa, Sassanian or Byzantine glass from, 104

Sussex glass-work, 139-140, 301-302

Switzerland, glass painters of, 263-264

Synesius, treatise on alchemy, 120

Syria, glass early made in, 38-39, 44-45

Syria, importance in history of glass, 122-123

Syria, glass made during Frankish occupation in coast towns, 180-181

Syrian glass of Middle Ages, 118, 148-149

Syrian glass-workers in Gaul and Rome, 82-83

Syrian tombs, glass from, 59-60

Syrian treatises on alchemy, etc., 122-124

Syrian manufacture of glass vessels, 123-124

Syrian glass-furnace described, 124

Tassie, James, his glass paste, 336

Tell-el-Amarna, glass from, 22, 23-25

Theophilus, his Schedula Diversarum Artium, 126-130

Theophilus on gilt glass, 92-93

Theophilus, his glass furnace, 127-128

Theophilus, materials for glass-making, 128

Theophilus, blowing of glass, 128-129

Theophilus, the ‘cylinder process,’ 128-129

Theophilus on enamelling of glass vessels, 130

Theophrastus on the word Kyanos, 35

Tiffany, Messrs., favrile glass, 357, 359

Timur or Tamerlane, his conquest, 168

Timur transplants glass-workers, 338

Tobacco ash, glass from, 292

Treviso, discovery of chevron beads, 189

Trionfi di Tavola, 213

Turkish element in later Saracenic art, 147-148

Tyre, glass-works in Middle Ages, 148-149

Tiryns, glass inlay in alabaster slabs, 34

Ultramarine, source of blue in Saracenic enamels, 152

Unguentaria or Phialæ of primitive glass, 22, 23, 29-30, 33, 36-37

Unguentaria, wavy decoration of, 23

Unguentaria, inscriptions on Egyptian, 30-31

Unguentaria from tombs in Southern Italy and Greek islands, 36-37

Unguentaria from Crimean tombs, 37

Uranium, opal glass from, 206 note

Urinalia of glass, 134, 139 note

Varpelev, enamelled glass from tombs at, 66

Veneer of glass used by Romans, 52-54

Venetian glass, 174-219

Venetian glass, made for Turks, 171-172

Venetian glass, sources of information, 176 note

Venetian glass, early mention of, 177

Venetian glass, German pedlars, 177

Venetian glass, manufacture forbidden in Venice, 177

Venetian glass, early manufacture of beads, window-glass, and spectacles, 178

Venetian glass, Germans export glass, 178-184

Venetian glass, competition with crystal-cutters, 178-179, 184

Venetian glass, early commerce with Syrian ports, 179

Venetian glass, early enamelled glass, 179

Venetian glass, little Oriental influence in fifteenth century, 181

Venetian glass, Muranese and Venetian guilds, 183

Venetian glass, manufacture of beads, 185-187

Venetian glass, exported to England and Low Countries, 192

Venetian enamelled glass of fifteenth century, 192-199

Venetian enamelled glass imitates enamels on copper, 193

Venetian enamelled glass, semé gilding, 195

Venetian glass, Cristallo, 200-202

Venetian glass, Cristallo, varieties of, 203-209

Venetian glass, Cristallo plaque engraved in intaglio, 209

Venetian glass, Cristallo mirrors, 209-211

Venetian glass, Cristallo chandeliers, 211-212

Venetian glass, Cristallo, attempts to check decline, 212-213

Venetian glass, Cristallo, cut and engraved, 213

Venetian glass, Cristallo, revival of nineteenth century, 213-214

Venetian glass, Cristallo, special qualities of, 214

Venetian glass, Cristallo, literature of, 214-219

Venetian glass, Cristallo, preparation, 215, 217-219

Venetian glass, Cristallo, early practical treatises, 217

Venetian glass in Western Europe, 220-223

Venetian glass, Cristallo, early importation to Germany, 256

Venetian glass, Cristallo, importation into England, 314-315

Venetian glass-workers, restrictions on emigration, 222-223

Venetian glass-workers, in Netherlands, 240-241

Venetian glass-workers, in England, 307-308

Venetian school, suspended lamps in pictures of, 156

Venetian school, glass in pictures of, 202-203

Verre or voirre, use of the French word, 135-136

Verre de fougère, 221, 234

Verre de fougère, in mediæval times, 113-114

Verre de fougère, in France, 134-135, 136

Verrerie, term explained, 1

Verroterie, term explained, 1, 19

Verzelini, Jacopo, 307-308

Vetro di trina from Nineveh, 40

Vetro di trina from Canosa, 46, 50 note

Vetro di trina of Murano, 205-206

Vienna, Saracenic enamelled glass in cathedral, 164-165

Vienna, Schatzkammer, glass from, in Museum, 280

Waddesdon collection, glass in, 163, 193, 206, 252 note

Walloon Church at Southampton, 304-305

Warmbrunn in Silesia, glass engraving, 285-286

Waterford, glass-houses at, 336

Webb of Stourbridge, his cameo glass, 358

Weights for coins in glass, 146-147

Westminster retabulum, inlay of glass, 141

Willkomm humpen, 266

Windows of French churches, composition and colours, 132-133

Wine, when first bottled, 322

Wine-bottles, early English, 322

Wine-bottles, stamps on, 322

Wine-glasses, see Drinking-glasses.

Winter, Friedrich, Silesian glass engraver, 285

Wolf, engraver by stip process, 297-298

‘Würzburg’ flask in British Museum, enamels on, 153

Yard, a form of drinking-glass, 331

Yellow from antimony in primitive glass, 29

Yellow, source of, in mediæval window-glass, 133

Zozimus, treatise on alchemy, 120

Zunft-becher or guild glasses, 270

Zwischen gläser, 274-275

Printed by T. and A. Constable, Printers to His Majesty

at the Edinburgh University Press

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Notes in this chapter

Note 1 · It would be quite beside the mark to search for a chemical formula to express such a combination of silica, soda, and lime. I have little doNote 2 · The alumina here is probably not to be regarded as a base, but rather as taking the place of the silica. Hence the exceptionally low percentNote 3 · It had its origin in great measure in the arbitrary regulations laid down by the fiscal authorities at the beginning of the last century. ThNote 4 · In the Museum at Kew may be seen specimens of Spanish barilla made from the Halogeton sativa, as well as large crude cakes of roquetta from Note 5 · ‘The Processes of Decay in Glass’ is the subject of an elaborate paper by Mr. James Fowler, to be found in the forty-sixth volume of ArchæolNote 6 · Good instances of both these changes may be observed in the windows and chandeliers of the Galerie des Glaces at Versailles.Note 7 · I know at least of no example of a vessel or bead of glass of an earlier date. That the molten material of the glazes—known from the earliesNote 8 · It should be borne in mind that colourless rock crystal was at all times ‘taboo’ to the Egyptians, and this fact may partly account for the Note 9 · In most cases, I think, the comparatively hard arragonite, the carbonate, and not the sulphate of lime that we know by that name.Note 10 · There is, however, some reason to believe not only that the salt lakes of the Delta were exploited at a very early date, but that the natronNote 11 · Professor Buckman, in a paper in the Archæological Journal so long ago as 1851 gives some valuable analyses of ancient glass, the main resulNote 12 · Antimony has been found in the glaze of Assyrian bricks, as well as in the yellow enamel of mediæval Saracenic glass. The Egyptian name was Note 13 · This, however, is not quite certain, for the prænomen of Thothmes III.—Men-cheper-Ra—was assumed, I am informed, by one of the priest kings Note 14 · I had proposed to include this example and the two little vases previously described among my coloured illustrations. I have, however, not bNote 15 · This is the expression used in the official catalogue of the Museum, from which I borrow this description.Note 16 · Glass-workers’ moulds have been found at Mycenæ, and it has been claimed for this glass that it was made as well as melted on the spot. But Note 17 · All this bears out what I have said above upon the relation of the earliest glass to the metallurgy of copper, and the probability that the Note 18 · It is a remarkable fact that somewhat similar beads, of clear, colourless, facetted glass, evidently of great age, have lately been brought Note 19 · Such a comparison may indeed be made in the case of the bulk of the ‘primitive’ glass of which we treat in this chapter, and may help to accNote 20 · Some fragments of a conical vessel of clear thin glass, evidently formed by the blowing-tube, have lately been found by M. de Morgan at SusaNote 21 · See Chapter XXI. for some further account of this glass.Note 22 · On the other hand, in the First Epistle to the Corinthians and in the Epistle of James, there are references to mirrors that may have been oNote 23 · This arrangement in spiral coils is very characteristic of the glass of this period, though it is generally only to be seen on close examinaNote 24 · This collection, which contains many fine examples of ancient glass, has been bought en bloc by Mr. Pierpont Morgan, and is likely to followNote 25 · The basis of this collection was formed by Mr. Nesbitt many years ago; it was presented to the Museum, in 1887, by his brother-in-law, the lNote 26 · The evidence, however, on this point is very conflicting.Note 27 · The pale rosy tint seen in a few rare specimens of classical glass, as in some pieces lately brought from Egypt, I should rather attribute tNote 28 · The presence of tin in this glass which I have already mentioned in speaking of its Egyptian prototype (p. 27), has been confirmed by analysNote 29 · In the Roman floor mosaics the tesseræ are almost invariably of stone, but occasionally fragments of glass are found, as in the famous ‘MosaNote 30 · We may compare this use of glass with the kyanos studs of the Mycenæan period, or again with the blue glass inlaid between the volutes of thNote 31 · In the glass coffin from the Temple collection in the British Museum we have an example of the use of such glass on a comparatively large scNote 32 · Mr. Kennard has a plaque of clear white glass, some six inches in length, with the bust of a faun in high relief. This plaque is pierced on Note 33 · We may regard the little ovoid vase in the British Museum, made by blowing a thin vesicle of deep blue glass into a casing of silver, pierceNote 34 · How far the so-called diatretum work is based upon such appliqué or added portions of glass is a much disputed point. Mr. Nesbitt appears toNote 35 · The Egyptians, too, as we have seen, sometimes decorated their glass with similar splashes, but we never find that these are distorted.Note 36 · There are many allusions to the painting of glass, in some cases merely by varnishes, in the early mediæval treatises on glass (see Chap. VINote 37 · The contents have been described by the late Canonico Passini, in a magnificent work published by Ongania of Venice, in which nearly every pNote 38 · There is among the Roman glass in the museum at Cologne a shallow bowl about a foot in diameter, painted on the back, as in the later verre Note 39 · This part is stated to be a distinct piece cemented on to the bottom of the vessel. So at least says Mr. Apsley Pellatt in his Curiosities oNote 40 · I shall return to this sculptured work when treating of Byzantine glass in the next chapter.Note 41 · By the courtesy of Lord Rothschild I have had an opportunity of examining this wonderful cup. It is undoubtedly carved from one piece of glaNote 42 · The abrading material employed along with the wheel was probably in most cases corundum or emery (the adamas of the ancients) in a powdered Note 43 · Compare what is said below on p. 82 of Greek-speaking Syrian artisans.Note 44 · For some account of what these writers tell us about glass, see below, Chap. VII.Note 45 · Theophilus, however, writing a century earlier than the pseudo-Heraclius, appears to speak of the marver as a slab of stone (see below, ChapNote 46 · The sand of this river as a material for the manufacture of glass is already mentioned by Theophrastus, a pupil of Aristotle.Note 47 · Glebas nitri. This is doubtless the natron (impure carbonate of soda) exported from the Egyptian natron lakes, which have been worked from aNote 48 · This again must not be confused with the white earth, which we now know under that name, a substance unknown to the ancients.Note 49 · By this is probably meant three parts in twelve or ten, i.e. 25 or 30 per cent. of the whole.Note 50 · Great care must be exercised in translating the names of the precious stones and marbles mentioned by Greek and Roman writers. These names aNote 51 · Among others, from the early history of the Christian Church in these parts.Note 52 · At Rome, too, there is some reason to think that the working of glass—the minor departments of that art, at least—was long in the hands of SNote 53 · See p. 88.Note 54 · Compare with these the bottle from Cologne in the British Museum containing a hardened mass of some yellow substance, and closed by a decayeNote 55 · Both these forms are found in Anglo-Saxon and Frankish graves. It will be remembered that in France there was no sudden break in the Roman cNote 56 · Philostratus describes the process by which the ‘barbarians of the ocean’ spread colours upon heated bronze so as to form a hard enduring deNote 57 · The famous enamelled bowl, however, found in a Roman tomb of the time of Hadrian, at Bartlow, Essex, was accompanied by a cinerary vase and Note 58 · The chapter dealing with these marks, together with that on the geographical distribution, forms the most valuable part of M. Froehner’s alrNote 59 · So when some of our leading archæologists saw at first in the discoveries of Schliemann at Mycenæ and Troy the work of wandering tribes of tNote 60 · The glass from the catacombs has long attracted notice, with the result that many more or less clever forgeries, dating from the seventeenthNote 61 · ‘... quo facto desuper ipsas Armavi vitrum docto flatu tenuatum Ignis; sed post quam pariter sensere calorem Se vitrum fialis tenuatum junxiNote 62 · There is a good example, a bearded man, in the Glass Room at the British Museum. Some clever imitations were made in the eighteenth century.Note 63 · As examples of this, note the gladiator glass and the Anatoli Gaudens portrait from the Tyskiewitz collection. This last example, of quite eNote 64 · I am inclined to connect the cemetery glass as a whole with the Judaising Christians of the old narrow school, who had long been settled in Note 65 · Formerly in the Basilewski collection, now, I think, in the Hermitage, St. Petersburg. This cup, which is also of interest for the inscriptiNote 66 · In the Theodosian code, however, we find, among the craftsmen who are freed from personal taxes, Vitrearii, vasa vitrea conflantes.Note 67 · A disc of this description, pierced to receive glass cups, is apparently an earlier form than the well-known corona, the polycandela, so lonNote 68 · Its relation to the Queen of Sheba we may dismiss. The other two uses that have been assigned to this bowl may be reconciled, if we accept oNote 69 · Il Tesoro di San Marco illustrato da Antonio Passini, Canonico della Marciana. Published by Ferd. Ongania, Venice, 1886. As in both the textNote 70 · This dish should probably rather find a place among the hanging lamps of the next section. There are others of these so-called chalices and Note 71 · This vase has been classed by Von Czihak with the so-called Hedwig glasses (see below, p. 115); the resemblance, however, to the German glasNote 72 · Note in this connection the inscription on the mounting of the lamp of carved glass (IV. 1 in our list) in St. Mark’s treasury, referring toNote 73 · The contents of these graves have been described in a paper read before the Society of Antiquaries by Mr. C. H. Read (Archæologia, vol. lv.)Note 74 · I use the term Saxon here to include also the Angles and Jutes.Note 75 · In this widely spread class of jewellery, both true enamel and glass are conspicuous by their general absence.Note 76 · I have seen, in the collection of Mr. Kennard, the lower part of a vase of thickish clear green glass, from an Anglo-Saxon tomb. On this theNote 77 · Note in this tapestry, in more than one feast scene, the swaggering action with which the guests raise the drinking-horns, either to drink fNote 78 · In the sacristy of the church at Mittelzell, where I recently had an opportunity of examining it. This is an irregular oblong slab, about twNote 79 · The Slavonic tribes before their conversion do not appear to have had any knowledge of glass; it is not found in any of their tombs to the eNote 80 · Apart from a few examples of enamelled glass of Saracenic origin preserved in church treasuries; these probably came in somewhat later.Note 81 · There are, beside these, five other glasses that may be connected with this saint, but these are of a different character. Hedwig was the wiNote 82 · For example, on Gallic and British coins derived from Greek types, or again on some English porcelain where an Oriental design has been uninNote 83 · Les Origines de l’Alchimie, 1885; La Chimie des Anciens et du Moyen Age, 1889; La Chimie au Moyen Age, 1893.Note 84 · This I shall refer to later on as the pseudo-Heraclius; it contains several sections treating on the manufacture of glass, and forms a valuaNote 85 · Compare with this account the furnace now used in Northern India described in Chapter XXI.Note 86 · At South Kensington, in the Indian section, may be seen some native distilling apparatus of glass, which follows very closely in the line ofNote 87 · For the relation of Theophilus to his predecessor, Bishop Meinhart of Paderborn, and to the Greek influence still prevailing in Germany, seeNote 88 · Much of this latter sort, however, was to be greedily absorbed in Germany at a later date.Note 89 · Are we to take this acquaintance with the Agia Sophia in a material as well as a symbolical sense? Does Theophilus in this passage claim to Note 90 · Not long after this a German poet writes to this effect— ‘Gott hat erschaffen manchen Mann Der Glas aus Asche machen kann Und dass kan schöpNote 91 · This is, of course, the ‘marver,’ not yet of iron as in the thirteenth-century writer (cf. p. 76).Note 92 · From the expression used, ‘quam fistulam,’ etc., it would seem that the identical hollow tube was used again and not replaced by a simple roNote 93 · The literal statement is that ‘the painted gold figures are covered with the clear fusible glass of which we have already spoken’; over thisNote 94 · There annuli probably included also bracelets or bangles of glass. We may perhaps compare them to those still worn by Arab women. Margaret, Note 95 · Yet in France much of the old glass was sacrificed at the Revolution in order to extract the gold. See Appert, Les Vitraux Anciens, for the Note 96 · Early in the eleventh century, a saintly German bishop, Bernard of Hildesheim, is said to have made for himself a chalice of glass, and a feNote 97 · M. Schuermans, however, brings forward passages to show that in early days the term was applied to a small flask carried about the person.Note 98 · What little we have comes mostly from the Venetian archives. We hear already in the fourteenth century of German hawkers of glass, and of thNote 99 · To hollow ware, that is to say. Stained glass for windows, of which examples still survive, was made in England in the fifteenth century, anNote 100 · Compare with these the four hundred and thirty-two urinalia supplied to the Dauphin of the Viennois for a year’s consumption. Glass, it woulNote 101 · The village of Kirdford is situated about four miles to the north of Petworth.Note 102 · It stood for long against the wall of the South Ambulatory. As in this position the paintings appeared to be suffering from the damp, it hasNote 103 · A fifteenth-century plaque at South Kensington is possibly an exception. Here the gold leaf lies between two sheets of glass, the lower one Note 104 · In shape they resemble the little bottles in which attar of roses is still sold in Oriental bazaars, and this resemblance may give a hint asNote 105 · Schefer, Relation des voyages de Nassiri Khosrau(1035-1042 A.D.), pp. 42 and 46. The information from Arab writers collected in the notes toNote 106 · We may find, perhaps, what is the last reference to Alexandria in connection with glass in ‘the most precious vase, Alexandrini generis,’ thNote 107 · Gustav Schmoranz, Old Oriental Gilt and Enamelled Glass Vessels, 1899. One hundred and forty glass lamps are accounted for, of which number Note 108 · There was only one, for instance, in the Slade collection. There are now seven in the British Museum and nine at South Kensington, without cNote 109 · For the important bearing of this point, see my book on Porcelain in this series.Note 110 · Note that the use of cobalt as an overglaze enamel on Chinese porcelain did not come in until the seventeenth century, and that this enamel Note 111 · I use this term for the writing with tall perpendicular strokes, although much of it, I understand, should not strictly bear the name.Note 112 · A good example may be seen in a large picture of the Circumcision by Marco Marziale in the National Gallery.Note 113 · Glass lamp-cups of this form are still made in India; Mr. Forrest, ex-Director of Records at the India Office, has shown me a specimen brougNote 114 · The magnificent specimen of enamelled glass with geometrical decoration, which belonged to the late Baron Alphonse de Rothschild, figured inNote 115 · A good example of the first is reproduced by M. Gerspach (L’Art de la Verrerie, p. 100) from a manuscript of the famous story-teller Hariri.Note 116 · The construction, indeed, closely resembles that of the Cairo cup-lamp described above.Note 117 · The oldest of these ballads only dates back to the time of the Duke of Wharton, at the beginning of the eighteenth century. The ‘wicked DukeNote 118 · This is the goblet figured in Schmoranz, p. 29. It belonged at the time, he tells us, to an unknown collector, who gave £1600 for it at ChriNote 119 · Illustrated in Archæologia, vol. lviii., where it forms the starting-point of the paper by Mr. C. H. Read, that I have quoted from above.Note 120 · In this respect differing from the other cup in this collection to which the same date and origin are ascribed. I refer to the Aldrevandini Note 121 · He reigned during the temporary deposition of Malek Nasir.Note 122 · This lamp also has, I think, passed into the Pierpont Morgan collection.Note 123 · The badge of a sword is very frequent upon these later lamps, but it can hardly in all cases refer to the same sultan or emir.Note 124 · The only other lamp, as far as I know, that has been obtained from Syria, is one from Damascus, presented to the British Museum by the late Note 125 · The words on the document as I read them are ‘parte schietti et parte à rediselli.’ The ambassador at the same time sends an order for windoNote 126 · We should have looked rather for some trace of Oriental influence. Freeman (Historical Geography, p. 240) speaks of the marquisate as ‘a feuNote 127 · The Consolato dell’ Arte was yearly elected on Christmas Day amid great festivities. In the statutes of the Arte Vitrea, drawn up or revisedNote 128 · The results are perhaps best summed up in the memoir contributed in 1872 by Cecchetti to the Reale Instituto Veneto. See also the MonographiNote 129 · A possible exception has been found in a document of the year 1090, in which a certain citizen adds the word fiolarius to his name. This worNote 130 · As early as 1175 it is mentioned that the Venetians had certain privileges in the Daciones de Vitro at Tyre.Note 131 · Ayas, Tripoli, Tyre, and Acre remained under Frankish rule during the greater part of the thirteenth century. Acre, the last to fall, was taNote 132 · My point is that in this beautiful cup the scheme of decoration is essentially French, while the technique of both glass and enamels points Note 133 · They have been analysed by Cecchetti in the paper quoted above.Note 134 · This word was the source of much embarrassment to Merret, the translator of Neri’s little manual on glass, of which I shall have more to sayNote 135 · The term ‘bead’ was early transferred from the ‘bid’ or prayer to the small spherical bodies strung on a cord by which these prayers were coNote 136 · These canne are described as ‘de vero [vetro] commun, Christallini et colorade de diversi sorti.’Note 137 · Note in this connection the recent discovery of ‘chevron’ beads at Treviso, referred to below.Note 138 · Something like the apparatus used for roasting coffee, it would seem. I do not attempt to give any explanation of the two rival processes—a Note 139 · It is not, I think, generally known that beads were made in the east of London, early in the last century, by this process—by dropping off tNote 140 · According to Dr. Petrie’s interpretation (see above, Chapter II.). It is difficult to understand how the elaborate beads found in Etruscan aNote 141 · Now preserved in the local museum at Treviso, where I lately had an opportunity of examining them. Nothing was found with them except a few Note 142 · A fine specimen has found its way into the collection of Egyptian antiquities in the British Museum.Note 143 · The term ‘Aggri’ should, perhaps, be reserved for large beads, of which the colours extend right through the mass, but the term is not very Note 144 · Some of this enamelled glass no doubt dates from the early years of the next century. On the other hand, some of the thin white glass of capNote 145 · I have seen, however, in a fourteenth-century manuscript, glasses with well developed stems carefully depicted.Note 146 · It was on the strength of the armour borne by this figure that M. Labarte attributed this cup to the early part of the fifteenth century. I Note 147 · James Howell, Epistolæ Ho-elianæ.Note 148 · This vessel appears to be sometimes filled, not with water, but with moist sand or earth.Note 149 · In the Louvre, the nymph of Giorgione’s ‘Fête Champêtre’ holds a jug of glass of graceful form over the well to the left, and in Titian’s ‘SNote 150 · The quotation is from the Appendix to Vicenzo Cervio’s Il Trinciante, Venice, 1593.Note 151 · ‘Ma quando particolarmente se voglion’ far vetri bianchi di smalto vi s’aggiunge calcina di stagno e questo si chiama latticinio del quale sNote 152 · But in the earlier writers this name is given rather to the imitations of agate—what was afterwards known as schmelz (cf. p. 218).Note 153 · A similar effect is obtained nowadays by means of a salt of uranium, but as is so often the case in the modern handling of old decorative syNote 154 · Laborde, Les Émaux au Louvre, Part II. No. 498, and the same author’s Les Ducs de Bourgogne (Archives of Lille).Note 155 · In the museum at Murano is, or was, a similar plaque thus described by Zanetti, ‘Una grossa piastra col busto incavato del Doge Andrea GrittNote 156 · By the eighteenth century, however, they had adopted the German system. The President De Brosses, in one of the admirable letters that he wrNote 157 · Not really steel, of course, but a kind of speculum metal containing about one part of tin to two of copper. Fioravanti, in his Specchio di Note 158 · A word that must not be confused with the term luse or lustro, applied by the Venetians to a mirror.Note 159 · There is a magnificent chandelier of this class in the drawing-room of Mr. Beaumont’s house in Piccadilly. It dates probably from the early Note 160 · ‘Notizia delle opere d’arte.’ I quote at second-hand, as I have not been able to find a copy of this work.Note 161 · The learned Cardanus, physician, mathematician, and astrologer, has a section on glass both in his De Subtilitate (1551) and in the somewhatNote 162 · Not to be confounded, says the writer, with the stone known as Magnese, found ‘nella Magna’ (Allemania or Germany). ‘Quite other are the virNote 163 · In the fourth section of the second treatise the author speaks of ‘azurro della Magna del quale si tinge il vetro.’ There is also a section Note 164 · In spite of what Milanesi says in his introduction, I strongly suspect this third treatise to be of a later date than the others; the whole Note 165 · See above, p. 174, for an account of L’Altare.Note 166 · But much the same might be said of the potter’s art; in this case, however, the artistic history is far more continuous and inter-connected Note 167 · It is not less interesting to hear, in a letter (dated 1572) from the governor of Poitou, of ‘Fabian Salviate, escuyer, gentilhomme de MyranNote 168 · This bed of sand extends eastward through the forest of Fontainebleau, and at the present day it is this sand of Fontainebleau that the glasNote 169 · Truguet, Les Cris de Paris—no date, but soon after 1600. Verre de pierre we may compare to our expression ‘flint’ or ‘pebble glass.’ It has Note 170 · It was a Ferro who, as far back as the fourteenth century, taught the glass-workers at L’Altare the Venetian methods of making glass. The glNote 171 · In the west also, René, who we must remember was head of the house of Anjou, in consideration of the ‘gentilesse et noblesse qui est l’ouvraNote 172 · At this time—in the sixteenth and early seventeenth century—Lorraine was not yet an integral part of France. It formed part of the Holy RomaNote 173 · The Abbé Boutellier has made a special study of the Nivernais glass, but I have not had an opportunity of seeing his Histoire des GentilshomNote 174 · In distinction from the Verre en tables quarrées made in Lorraine. I am unable to say whether the latter was at so early a date made by the Note 175 · Among the documents relating to glass, collected by the Baron Davillier, was the report of the commission of inquiry appointed by Philip II.Note 176 · These canons, I think, correspond to the Italian canni, the glass rods from which beads were made. We hear of these canons being supplied toNote 177 · It seems to me, however, very doubtful whether flint-glass was at this time necessarily glass of lead. I return to the point in the chapter Note 178 · I use the term Bohemian, here as elsewhere, for brevity’s sake. The more correct expression would be—the frontier lands of Germany and BohemNote 179 · So in the important collection of the Musée des Arts Décoratifs at Brussels, especially strong in examples of ‘winged’ beakers, little attemNote 180 · Attributed to the painter known as ‘The Master of the Death of the Virgin.’ In other works of this painter, who was working during the firstNote 181 · I do not know why this essentially Teutonic form is described in the official catalogue as a ‘Venetian green glass goblet.’Note 182 · Riaño, The Industrial Arts of Spain. The little that we know, on the documentary side, of Spanish glass is derived for the most part from thNote 183 · In 1324 the glass-makers were ordered to remove their furnaces from the inside of the town (Riaño, p. 234).Note 184 · A surviving vessel of this shape, as well as some examples taken from pictures by Bouts and by the so-called Mostaert, is illustrated by Mr.Note 185 · Quite a number of little vessels of this dark green glass, ornamented with prunts and quillings of various forms, have been dredged up from Note 186 · The term prunt should perhaps be restricted to those cases where the ‘blob’ is sufficiently large and hot to melt away the subjacent glass. Note 187 · Every art, he says, must adapt itself to the country where it is practised; and so we Germans have set all kinds of knobs and rings on our gNote 188 · The seventeenth-century roemer has been revived in Germany of late, and at Ehrenfeld, near Cologne, this form, as well as other old models, Note 189 · This later arrangement is well seen in a still-life piece in the Jones collection, signed ‘J. W. Preyer, 1854.’ Compare the carefully painteNote 190 · Already in the fifteenth century the vitra Veneciana are distinguished from the Vitrum silvestrum sive montanum, otherwise wald-glas.Note 191 · For this district we have in the excellent work of E. von Czihak—Schlesische Gläser, Breslau, 1891—a better source of information than is avNote 192 · Published by Froben at Bâle in 1556; the dedication, however, is dated 1551.Note 193 · So Agricola states in the very last paragraph of his book. As this passage seems to have been sometimes misinterpreted, I will quote it in fNote 194 · Sarepta oder Bergpostil, Nürnberg, 1562.Note 195 · In a contemporary vocabulary ritzle is interpreted as ‘aurum quo tingitur vitrum rubro colore.’ In a passage on Venetian glass in his early Note 196 · I quote this passage, as it is much more to the point as regards German glass than what is to be found in Agricola, who gives us rather his Note 197 · A separate muffle-stove for this purpose was, it would thus appear, not yet available.Note 198 · This part of the decoration we may indeed regard as a survival of the Venetian influence that was dominant in the middle of the sixteenth ceNote 199 · This flower, the Mai-glöcklein, is frequently seen on German enamelled glass, and is the more conspicuous as it is almost the only flower reNote 200 · Notice to the heraldic right of the birds’ heads a shield bearing a cross and the inscription Potestat zu Rom.Note 201 · On a small humpen, or rather kanne, of this class in the British Museum, dated 1611, we find only three secular electors—those of Saxony, thNote 202 · Herr von Czihak mentions that he has seen in the museum of Freiberg, in Saxony, a covered humpen, painted in oil-colours, protected apparentNote 203 · What Mathesius states is, ‘The white [i.e. colourless] glasses have now become common over which white threads of white colour are carried; Note 204 · On the other hand, the technique of the cemetery glasses differs essentially, as in these the two plates of glass are fused together, on theNote 205 · We often find similar defects developed on glass lenses. To ensure achromatism and accuracy of definition these lenses are built up of two lNote 206 · This art was carried to the highest perfection in Holland by a group of cultured amateurs in the seventeenth century (see p. 295).Note 207 · We hear, it is true, of water-wheels for grinding glass at Schwäbisch Grund, in Bavaria, in the second half of the sixteenth century. In theNote 208 · It is interesting to compare with this work the carving—identical in technique—on reliquaries of rock crystal of Carlovingian date. Of theseNote 209 · The Schatzkammer at Munich is rich in examples of carved rock crystal of this period, but I can find few examples of carved glass in it. In Note 210 · Lehmann died in 1622, and the elder George Schwanhart in 1667.Note 211 · Compare with this the complaints, made at this time or a little later, of the artistic and social decadence of the glass-engravers in BohemiNote 212 · On the early use of hydrofluoric acid I shall have something to say a little further on.Note 213 · This is rendered in the Latin edition ‘inque illarum exaltatione ad magnum ascendit gradum.’ It should, perhaps, be translated ‘to a high piNote 214 · There is an exquisitely engraved covered beaker of this period at South Kensington bearing the arms of the Elector of Trèves (Plate XLII.).Note 215 · Especially by Doppelmayr in his Historische Nachricht von der Nürnbergischen Mathematicis und Künstlern, Nürnberg, 1730. A pretentious work,Note 216 · It was here that was first developed that hybrid type of drinking-glass which passed over to England early in the eighteenth century. In theNote 217 · Quite early in the eighteenth century we find an account of a process by which a gas possessing the property of attacking glass may be made Note 218 · A circular plaque of this character, with a pious inscription, in the Germanic Museum at Nuremberg, has been ascribed to Henry Schwanhart. INote 219 · We must remember that at this time little distinction was drawn between the researches of the chemist and the alchemist.Note 220 · The ruby glass of our old Gothic churches was, however, without exception obtained from copper. But the belief that it contained gold led inNote 221 · This book may be best consulted in the French translation, said to be by the Baron D’Holbach (Paris, 1752). Here we have in its final form tNote 222 · The somewhat obscure relations of these two men, Kunckel and Orschall, with Cassius, the reputed discoverer of the purple that goes by his nNote 223 · If in the case of the bottle of ruby glass, with the arms of Saxony and the initials J. G., also from the Slade collection (No. 870), these Note 224 · There is a portrait of her in the National Gallery by Jan Lievens. See, for some account of her strange life, the note in the Official CatalNote 225 · The ‘Beaker with the seasons’ in the British Museum (Plate XLIII.) is an example of the more elaborate work of these Dutch designers with thNote 226 · Strictly speaking, the marks on the surface of the glass are rather of the nature of short scratches or dashes than true dots.Note 227 · For this Wolf’s glass, as it is called in Holland, see the catalogue of the Rijks Museum. In this Museum, too, a portrait of Greenwood may bNote 228 · A more recent work—the English Table Glasses, by Mr. Percy Bate—is concerned with little else than a minute classification of these wine-glaNote 229 · One of the early Lorrainers (see below) speaks of the native glass of England as made from fougère et ronces.Note 230 · But it is recorded that a Chiddingfold glass-maker (à propos of the introduction of Lorrainers) confessed that he could not make window-glasNote 231 · According to the Rev. A. W. C. Hallen (Scottish Antiquary, 1893) there were four noble stocks of glass-makers in Lorraine. These were the faNote 232 · There had been an earlier unsuccessful attempt at introducing Italian methods, of which I shall have to speak shortly. The Frenchmen do not Note 233 · We may, however, probably identify the Antwerp merchant, Jean Carré, with the ‘John Carry, Mr of ye Glashouse,’ who was buried at Alford, inNote 234 · The history of their wanderings has been pieced together chiefly through the researches of Mr. Glazebrook (see his privately printed CollectNote 235 · It is just possible, remembering the many exchanges of presents between Henry and Francis, that a part at least of this collection may have Note 236 · For example, in an abortive act brought into the House in 1585, but not passed. Quoted by Mr. Hartshorne, p. 159.Note 237 · A goblet of similar character, with the date 1584, was not long since smashed to pieces while on view at a saleroom. Like the goblet mentionNote 238 · As to the other specimens of Elizabethan glass mentioned by Mr. Hartshorne—the chalice-like cup belonging to Mr. Woodruff and the tazza now Note 239 · Although the Metallum Martis or Iron made from Pitt-coale was not printed till 1665, Dudley had experimented with coal some time before 1619Note 240 · The most important of these documents are given in full in the Appendix to Mr. Hartshorne’s English Glasses.Note 241 · On the other hand, Howell in a letter dated March 18, 1618, quoted in part below, speaks of Mansell as working his patent with ‘My Lord of PNote 242 · Beside the passages quoted above there are many references to glass, including an interesting account of Murano, to be found in his EpistolæNote 243 · He got this comparison, doubtless, and a good many other stories that we find in his Venetian letters, from Garzoni’s Piazza Universale, or Note 244 · These are little cylindrical vessels for burning tallow. The name survives as an equivalent to a night-light.Note 245 · I am not sure, however, that when at this time the word nitre is found we are always justified in understanding by it saltpetre or nitrate oNote 246 · Greene-Morelli Correspondence, Sloane MSS. Mr. Hartshorne has reproduced eight of these letters (English Glasses, Appendix xxix.), and has dNote 247 · The same may be said of the treatise on The Art of Glass by Haudicquet de Blancourt, of which the English translation appeared in 1699. TherNote 248 · The term originally corresponded to the verre à pierres of the French. It was used in opposition to the ‘green glass’ or verre de fougère, iNote 249 · The confusion is increased by the fact that on the Continent the term ‘cristal’ was now transferred to the lead-glass.Note 250 · This was the Ravenscroft who took out a patent in 1674, and together with an Altarist, a De Costa (the sole representative of that Ligurian Note 251 · Mr. Hartshorne, I should add, while acknowledging that there is no definite allusion to the use of lead in any document of the seventeenth cNote 252 · The new financial methods are well illustrated in the quotation from Houghton on p. 318.Note 253 · In this work there are more than a hundred quarto pages devoted to the eighteenth-century drinking-glasses. Perhaps of greater interest to tNote 254 · In the earlier pre-renaissance glasses, the foot was folded over from below upwards. It was the Venetians who first introduced the downward Note 255 · This drawn-out ‘blow,’ or inverted tear, is often found in the stems of the solid tavern glass of the first half of the eighteenth century (Note 256 · Mr. Hartshorne, however, thinks that our English workmen, especially at Bristol, were capable of turning out opaque-twisted stems as good asNote 257 · The famous Royal Oak glass, with the portrait of Charles II., now belonging to Mr. Festing (Hartshorne, Plate 29), is certainly a case in poNote 258 · The latter inscription refers of course to the famous forty-fifth number of Wilkes’s North Briton (April 1763). The ‘No Excise’ may be assocNote 259 · For these glasses see especially the twenty-fourth chapter of Mr. Hartshorne’s often-quoted work, not neglecting the most interesting notes.Note 260 · It must be remembered that ‘James III.’ did not die until 1766; his ‘reign’ of sixty-five years exceeded that of any other English prince. ANote 261 · This house has remained in the hands of the same family since the time it was built by Walter Jones, in the reign of James I.Note 262 · This period of English glass is not represented in the British Museum. It is well illustrated in the collection of Mr. C. E. Jerningham, andNote 263 · I have purposely gone to older works for these technical details, that is to say, to works written before the general introduction of modernNote 264 · This is the more strange, as in all the recipes of the time for making the white enamel, even in one relating apparently to this very BristoNote 265 · Dossie, in his Handmaid of the Arts, 2nd ed., 1764, tells us that at that time much white opaque glass, in imitation of porcelain, was made Note 266 · Chardin was a French dealer in precious stones who supplied the Shah with European jewels. The materials for the account of Persia from whicNote 267 · At Vienna, in the Museum for Art and Industry, there is a small collection of glass from Hebron. Besides the bangles of opaque glass which bNote 268 · The miscellaneous beads, found chiefly in the neighbourhood of Benares and Cawnpore, are associated for the most part with Buddhist remains Note 269 · At the Indian Exhibition held at Earl’s Court a few years ago, some of these Indian glass-makers were at work in a little hut, and here the Note 270 · Through the kindness of Mr. Forrest, ex-Director of Records at the India Office, I have been enabled to examine a collection of small glass Note 271 · My chief authorities for the early history of Chinese glass are the works of Dr. Hirth, especially a paper on the subject in his ChinesischeNote 272 · Thus we have the statements of the missionaries Ricci and Du Halde, in the sixteenth and seventeenth centuries respectively, that the ChinesNote 273 · Dr. Bushell, however, thinks that there is evidence that in the fifth century glass of Indo-Scythian origin reached Northern China by way ofNote 274 · The very absence of native enamelled glass might indeed be used as an argument against the otherwise plausible theory that it was from the SNote 275 · Hu succeeded in splitting up the character with which his simple name was written into the two ideographs Ku and Yueh, and thereupon adoptedNote 276 · This collection is described in the Zeitschrift für Bildende Kunst, vol. xx., in an article on Chinese glass by Herr A. Bapst.Note 277 · Dr. Bushell hints that such inscriptions may in cases have been added by modern curio-dealers in Pekin, as a bait to European collectors.Note 278 · As arranged now at South Kensington, the carved glass may be compared with the companion series in agate and other stones.Note 279 · Dossie, in his Handmaid of the Arts (2nd ed., 1764), declares that there was at the time he was writing a great demand in China for ‘the broNote 280 · The making of glass is still an important industry at Poshan, where the native quartz-rock is melted with saltpetre. Window-glass, bottles, Note 281 · See, for confirmation of this, the previous note. In China to-day the word liao has replaced the older names for glass. For the better kindsNote 282 · I have to thank Professor Church for the results of an analysis of a snuff-bottle ‘like nearly white jade or milk-quartz faintly greenish.’ Note 283 · In some of the Imperial tombs of the sixth and seventh centuries of our era glass jars have been found. One of these is described as of whitNote 284 · Now in the British Museum; it is referred to on p. 152.
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