Chapter XXII: Contemporary Glass (1)

The history of glass in the nineteenth century is mainly concerned with improvements in mechanical processes, by means of which it is now possible to turn out a perfectly clear white glass in large quantities at greatly reduced cost.

Meantime little heed has been given to the artistic merit of individual pieces. In fact, thanks in no small measure to one widely applied mechanical ‘improvement,’ the process namely of pressing into a mould, the highly trained skill of the glass-blower has been less and less called into play, so that now a complaint is heard, both in England and in France, of the difficulty of finding workmen thoroughly masters of the art. The last stage, indeed, in the decline of our English cut-glass was reached when ‘passable imitations’ of the facetted work were turned out by this ‘pressing’ process.

And yet from time to time attempts have been made on the one hand to give fresh life to old methods of work and schemes of decoration, on the other to develop the application of the material along new or previously little explored paths. Of what has been effected in Venice in the first of these directions something has already been said. In England, and we may add in Germany also (at Berlin, for instance, and at Ehrenfeld, near Cologne), these attempts have for the most part taken the direction of revivals, as when by the skilful use of the blowing-iron table-glass has been produced of graceful but rather fantastic outlines and with more or less reminiscence of Venetian prototypes. I need not dwell upon such efforts, as nothing in the way of a school has been founded. It is indeed noticeable that both in Germany and in England, in the case of the more expensive table-glass that we now see in the shop windows, the decoration, such as it is, has continued to be sought rather in processes of cutting and engraving on the old lines.

Various fantastic methods of surface decoration have indeed found favour at times. An artificial iridescence has been given to the surface by certain chemical agencies—perhaps the most elaborate instance of such decoration may be found in the ‘favrile’ glass of Messrs. Tiffany, the well-known goldsmiths of New York. But as a rule, the facility with which the desired result may be obtained at little expense by means of modern chemical and mechanical processes has led, in the case of glass, to that want of reticence and restraint and to that habit of resting content with the _à peu près_—the passable imitation—that are characteristic of so much of the modern art productions that fill the show-cases of exhibitions.

Somewhat greater interest may be found in certain applications of glass that have come to the front in France of recent years. Here at all events there is a public that takes some interest in the contemporary products of the decorative arts. In the yearly _Salons_, beside the pictures and the sculpture, these minor arts—jewellery, metal-work, fayence and glass—find a prominent place and a critical or enthusiastic public.

It is, however, only within the last few years that objects of glass have taken an important place among these exhibits, and that this is so is above all due to two men who, with considerable artistic talents, combine great energy and both scientific and technical knowledge—these are Émile Gallé and Henri Cros.

Already many years ago the art of enamelling on glass had been successfully revived in France—witness the reproduction of a Saracenic mosque lamp made by M. P. Brocard as far back as 1867.[284] But since that time glass, as a material capable of artistic applications, has been attacked upon new lines. When speaking of the glass of the Chinese, I have more than once pointed to the influence that the work of these people has apparently had upon certain new developments in France. Something of the sort—in the way, I mean, of treating glass as if it were a stone of varied colours, carnelian or onyx—was indeed attempted here in England as long ago as 1878, in the case of the cameo glass of Webb of Stourbridge. Contemporary with him, Eugène Rousseau was working in France with his _verres doublés et triplés_.

But these strange new methods of treating glass are above all associated with Émile Gallé, who at Nancy (where he was born in 1846) has built up something like a school. The material was attacked by him, as it were from every side. Advantage was taken of the facility with which, by means of powerful machinery, glass can now be rapidly cut into any desired shape. As in the case of the decoration of the modern porcelain of Sèvres and other places, a source of more than one heat-resisting colour has been found in chromium, and even such rare elements as thallium and iridium have been experimented with. By the skilful application of reducing and oxidising flames, local variations of colour are brought about, and (in this unconsciously following the Indian glass that I spoke of in the last chapter) the possibilities of artistic effect to be found in the presence of numberless minute bubbles have not been neglected. The Chinese have been surpassed in the strange pitted forms—in some cases recalling cork or other kinds of bark—that the surface of the glass has been made to assume. But above all, in the varied markings, in the _mouchetage_ and the arborescent forms, that loom out from the interior of the glassy mass, M. Gallé has outdistanced all his predecessors. Lately he has introduced pieces of metallic foil, or again crystalline masses of amianthus or mica, into the body of his glass; or again insects, realistically rendered in enamel—dragon-flies are a great favourite—are seen caught up within the mass.

Both Gallé and others have made frequent use of an incrustation process by which fragments of glass are worked into the surface of a soft paste—but this was a means of decoration known in Egypt in the days of the Ptolemies. Endless gradations of colour are obtained by laying or ‘soldering on’ successive thin layers of glass until the desired effect is obtained. To some such process are also due, it would seem, the delicate shades seen in the Tiffany glass. Finally, by the use of rapidly revolving boring-tools—some of them worked on a vertical axis—the hardest Bohemian glass may be quickly brought to the desired form.

Apart from the yearly exhibitions, examples of the glass of the Nancy school may be seen in Paris at the Luxembourg and at the École des Arts et Métiers. It cannot, however, be said that the general effect of this glass is, as a rule, either brilliant or decorative.

M. Gallé himself is something of a poet—of the _symboliste_ school, I should judge. What it is that he aims at expressing by means of this often sombre glass cannot indeed be better presented than in his own words:—‘Mist and dews half shroud and half reveal the fine veinings and splashings in a grey jade-crystal vase. A thick flushing of rose-tinted glass is carved into a chimera-like flower, half influorescent, half smiling, half weary, half orchid, half pansy. A beetle drags its slow length over the rust of the lichens. Side by side with flesh-tints and carnations we see bold touches of coral pink. A pale gleam steals through the dull maze of iridium. Vegetable shadows grin at us. Phantoms of bloom are dimly seen. A fossil shell engraved beneath the fragile work contains the glass-worker’s signature.’—(Quoted by H. Frantz, _Magazine of Art_, vol. xx. p. 269.)

Of quite another nature is the _pâte de verre_, a substance somewhat of the nature of a glass frit, which has been made use of by the French sculptor, M. Henri Cros, in the modelling of polychrome reliefs and friezes. I say ‘modelling,’ for this strange material can apparently be worked like wax or plaster at one stage of its preparation. When cold it is of so tough a nature that a nail may be driven into it. At the entrance of the new hall of Sculpture at the Luxembourg may be seen a relief of this _pâte de verre_ forming the back of a fountain. As a material it lies perhaps a little remote from the class of objects with which we have been occupied in this book. I mention it here as an example of the success which in France of late years has attended the attempt to take advantage of the new appliances and materials that, thanks to recent scientific discoveries, lie at the command of the artist and craftsman. Here, as in the case of the potter’s art, not only have old-world processes—those of the Far East above all—been revived, but a constant endeavour is being made to strike out in new directions.

INDEX

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

-----

Footnote 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
doubt that one of the causes of this remarkable uniformity of
composition is to be looked for in the very fact that such a mixture
is _not a definite silicate_, and is therefore the less likely to
assume a stony or crystalline structure on cooling.

Footnote 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
percentage of the latter.

Footnote 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.
This side of the subject is well treated in the article on glass in
the original edition of the _Penny Cyclopædia_.

Footnote 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 Aden and Bagdad prepared from the _Suæda fruticosa_ and the
_Salsola kali_ respectively.

Footnote 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
_Archæologia_.

Footnote 6:

Good instances of both these changes may be observed in the windows
and chandeliers of the Galerie des Glaces at Versailles.

Footnote 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
earliest period—may even in very early times have been rolled into
slabs and subsequently cut up into pieces for inlay-work, would seem
to be proved by a fragment of a wooden box, bearing the name of a
king of the First Dynasty, found by M. Amélineau on the site of
Abydos. This box (it is now in the Ashmolean Museum, where it was
pointed out to me by Mr. Bell) is decorated with small triangular
plaques of what is apparently a blue translucent glass, with an
uneven but undecomposed surface.

Footnote 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 absence of clear white glass in Egypt.

Footnote 9:

In most cases, I think, the comparatively hard arragonite, the
_carbonate_, and not the _sulphate_ of lime that we know by that name.

Footnote 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
natron, an impure carbonate of soda, may well have been exported
thence by an old caravan route, perhaps even in pre-dynastic times.

Footnote 11:

Professor Buckman, in a paper in the _Archæological Journal_ so long
ago as 1851 gives some valuable analyses of ancient glass, the main
result of which is to show the absence of lead and the general use of
copper as a source of blue, in pre-Roman times at least. In many of
these older analyses, as in those made by Sir Humphry Davy, there
always remains an element of doubt, not so much as to the accuracy of
the chemist’s work, but as to the _provenance_ of the specimen that
he is examining. Professor Buckman dwells upon the light that
properly conducted analyses would throw upon the origin and
classification of the glass of the ancients. He does not,
unfortunately, distinguish the nature of the alkali, whether soda or
potash, in his own analyses. Little work of this kind has been
accomplished in the fifty years that have since elapsed.

Footnote 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 _mestem_, whence the word _stibium_ (antimony), but other
minerals such as galena, hæmatite, and pyrolusite (oxide of
manganese), have also been found in their kohl-pots; at one time
indeed, during the early empire, a copper-green was in fashion for
painting the angles of the eyes. I may mention that in the twisted
rods—of a comparatively late date, however—that fitted into these
kohl-pots, we have some of the earliest examples of a transparent
white glass.

Footnote 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 of the Twenty-second Dynasty. Indeed, the technique in
this case would point rather to a late than an early period.

Footnote 14:

I had proposed to include this example and the two little vases
previously described among my coloured illustrations. I have,
however, not been able to obtain the requisite permission from the
keeper of the Egyptian Department.

Footnote 15:

This is the expression used in the official catalogue of the Museum,
from which I borrow this description.

Footnote 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 that, I think, is unlikely.

Footnote 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 earliest glass was a blue glass (p. 26).

Footnote 18:

It is a remarkable fact that somewhat similar beads, of clear,
colourless, facetted glass, evidently of great age, have lately been
brought from West Africa. (See a paper by Mr. C. H. Read in _Man_,
May 1905.)

Footnote 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
accentuate the difference between it and the blown glass of later
days.

Footnote 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
Susa. They are said to bear a cuneiform inscription of the time of
the Achæmenidæ. These fragments are now in the Louvre, but
considerable doubt exists as to the nature of the markings. The glass
certainly resembles suspiciously that used by the Arabs for their
small hanging lamps.

Footnote 21:

See Chapter XXI. for some further account of this glass.

Footnote 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
of glass. Again, in Revelation we find ‘a sea of glass like unto
crystal’ (iv. 6), and what is more important, glass in other passages
(xxi. 18 and 21) is referred to as ‘pure’ and ‘transparent’ (the
words in the original being ὓαλος, καθαρός, and διαφανής).
In view of the question, discussed below, of the date when clear
glass came into general use, this contrast between the Gospels and
the, on the whole, later books is of some interest.

Footnote 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
examination. We have noticed it in the case of the ‘lace-glass’ from
Canosa. It may give us some clue as to the method of manufacture.

Footnote 24:

This collection, which contains many fine examples of ancient glass,
has been bought _en bloc_ by Mr. Pierpont Morgan, and is likely to
follow the still more famous Charvet collection (so carefully
described in M. Froehner’s great work), and to find its way to
America.

Footnote 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 late Sir A. W. Franks. Mr. Nesbitt was the compiler of the
catalogues both of the Slade collection (privately printed, 1871) and
of the glass at South Kensington (1878)—magnificently illustrated
works, but now in a measure out of date.

Footnote 26:

The evidence, however, on this point is very conflicting.

Footnote 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 to a skilful use of manganese.

Footnote 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
analyses made at Sèvres by M. Salvétat. I do not know whether the
researches of this chemist into the composition of the glass of the
ancients have ever been published.

Footnote 29:

In the Roman floor mosaics the tesseræ are almost invariably of
stone, but occasionally fragments of glass are found, as in the
famous ‘Mosaic of the Philosophers’ in the museum at Cologne. Here
the ground is built up of a smeltz-like greenish glass.

Footnote 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 the capitals in the temple of Minerva Polias at Athens,
described long ago by Hamilton.

Footnote 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
scale.

Footnote 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 either side, as if for fixing upon some object of
furniture.

Footnote 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,
pierced by oval apertures, as an example of moulded glass where the
mould has not been removed. If the silver casing were stripped off,
we should have a good imitation of ‘prunted’ glass; not that this is
to be taken as a model of the way in which these prunts were made
(see below, p. 110).

Footnote 34: