,,the ,,connoisseur ,,series ,,of ,,books ,,for ,,collectors ,,old ,,irish ,,glass ,,plate ,i4 ,illustration3 ,,card ,,of ,,membership ,,of ,,the ,,cork ,,glass-,,cutters' ,,union4 ,in the possession of the ,author4 ,,the ,,connoisseur ,,series ,,of ,,books ,,for ,,collectors ,,edited ,,by ,c4 ,,reginald ,,grundy ,,old ,,irish ,,glass ,,by ,mrs4 ,,graydon ,,stannus ,new ,edition 33 ,revised and ,enlarged ,illustration ,,published ,,by ,,the ,,connoisseur1 #a1 ,,duke ,,street1 ,,st4 ,,james',s1 ,,london1 ,s4,w4#a ,,mcmxxi ,illustration3 ,publisher's ,logo ,illustration3 ,,glass ,,contents ,,page ,,the ,,fascination ,,of ,,irish ,,glass #a ,,glass ,,factories ,,in ,,ireland #c ,irish ,gilding #d ,the ,last ,maker #d ,glass-makers' ,wages #d ,glass ,cutters #e ,,wall ,,and ,,table ,,lights #g ,,chandelier ,,drops1 ,,pendants1 ,,and ,,ornaments #g ,,the ,,characteristics ,,of ,,irish ,,glass #aj ,weight #aj ,colour #aj ,resilience #aa ,the ,feel of ,irish ,glass #ab ,the ,ring of ,irish ,glass #ab ,difference in the ,ring of other ,glass #ab ,,fakes #ab ,difference of ,colour #ac ,,the ,,increasing ,,popularity ,,of ,,irish ,,glass #ac ,,experience ,,essential #ad ,,irish ,,glass ,,sold ,,abroad #ad ,,uncut ,,pieces #ad ,,the ,,illustrations #ad ,,list ,,of ,,plates ,,plate ,card of ,membership of the ,cork ,glass-cutters' ,union ,i4 ,interior of a ,primitive ,hand ,glass-cutter's ,shed ,,ii4 ,device for ,stoppering ,bottles and ,opening ,pans ,,iii4 ,four pairs of ,dublin and ,waterford ,wall-lights ,,iv41 ,v41 ,,vi41 ,,vii4 ,waterford ,bowls4 7,mr4 ,walter ,harding7 ,,viii4 ,waterford ,bowl1 circa #aghc4 ,pontil worked into an ornament4 7,commander ,swithinbank7 ,,ix4 ,waterford ,flower ,bowl1 circa #aghc4 7,commander ,swithinbank7 ,,ix4 ,waterford ,canoe-shaped ,bowl1 #aghc4 7,viscount ,furness7 ,,ix4 ,cork ,turnover ,bowl1 #ab in4 high4 7,mrs4 ,rea7 ,,ix4 ,christening ,bowl1 #agfj4 7,author7 ,x4 ,munster ,bowl1 circa #aghj4 7,mrs4 ,hall7 ,x4 ,irish ,pinched-sided ,bowl4 7,mr4 ,henderson7 ,x4 ,waterford ,orange ,bowl1 circa #agij1 #af in4 by #g-a_/b in4 7,major ,pope7 ,x4 ,irish ,moulded ,bowl1 very large1 #agfj4 7,mrs4 ,rea7 ,,xi4 ,irish ,pinched ,bowl1 early1 retaining waste metal at foot4 7,author7 ,,xi4 ,irish ,pinched ,bowl1 traveller's sample1 #c in4 7,author7 ,,xi4 ,waterford ,revolving ,centre ,dish1 circa #aghc4 7,hon4 ,mrs4 ,york7 ,,xi4 ,cork ,glass ,orange ,bowl1 circa #agij4 7,mr4 ,walter ,harding7 ,,xii4 ,waterford ,bowl1 circa #agij4 7,viscount ,furness7 ,,xii4 ,cork ,pillar ,bowl1 early4 7,viscount ,furness7 ,,xiii4 ,irish ,large ,bowl of exceptional shape1 circa #aghe4 7,author's family7 ,,xiii4 ,irish ,glass1 curious specimen of early1 on carved bog-oak stand4 7,commander ,swithinbank7 ,,xiv4 ,irish ,posset ,bowl1 large two-handled1 possibly #agej4 7,mrs4 ,hall7 ,,xv4 ,irish ,ogee ,bowl1 circa #agfj4 7,mr4 ,r4 ,frank7 ,,xv4 ,waterford ,bowl1 bearing the ,stannus crest1 #agij4 7,author7 ,,xvi4 ,waterford ,bowl and ,basin1 circa #aghc4 7,mr4 ,wild7 ,,xvi4 ,dublin copy of ,bristol ,two-handled ,cup and ,cover1 circa #aghj4 7,mrs4 ,day7 ,,xvi4 ,waterford ,giant ,turnover ,round ,bowl and ,dish1 circa #ahae4 7,mrs4 ,rea7 ,,xvi4 ,waterford deep ,step-cut ,dish1 circa #ahbe4 7,mrs4 ,oliver7 ,,xvi4 ,waterford ,step-cut ,dishes with fan handles1 circa #ahbj4 7,mrs4 ,hall7 ,,xvii4 ,munster ,banqueting ,tazze1 #agij-ahaj4 7,mrs4 ,hall7 ,,xvii4 ,irish ,posset ,bowl1 early1 probably #agcj4 7,mrs4 ,rea7 ,,xviii4 ,irish ,urn1 large1 circa #agie4 7,mr4 ,r4 ,philipson7 ,,xviii4 ,waterford ,canoe-shaped ,bowl1 #agij4 7,author's family7 ,,xviii4 ,waterford ,salad ,bowl1 circa #aghe4 7,col4 ,fitzgerald ,stannus7 ,,xix4 ,dublin ,urns1 very early4 7,mr4 ,hugh ,weguelin7 ,,xix4 ,dublin ,finger-bowl1 early 7marked74 7,mr4 ,r4 ,frank7 ,,xix4 ,cork ,bowl1 circa #aghe4 7,mr4 ,henderson7 ,,xx4 ,irish ,glass1 three rare specimens of early1 probably ,dublin4 7,mr4 ,r4 ,philipson7 ,,xx4 ,irish ,plain ,punch-bowl and ,ladle1 circa #aggj4 7,mr4 ,r4 ,frank7 ,,xxi4 ,waterford ,step-cutting1 examples of1 after #ahae4 7,author7 ,,xxi4 ,waterford ,bowl1 one of the rarest extant1 circa #aghe4 7,mr4 ,walter ,harding7 ,,xxii4 ,waterford ,helmet ,bowl4 7,major ,courtauld7 ,,xxii4 ,waterford ,dishes1 pair of finely cut4 7,major ,courtauld7 ,,xxii4 ,waterford ,chandelier1 #aghe4 7,author's family7 ,,xxiii4 ,waterford ,chandelier1 #aghh4 7,author's family7 ,,xxiv4 ,waterford ,chandelier4 7,author7 ,,xxv4 ,waterford ,sideboard ,lights1 ,adam design1 pair4 7,author7 ,,xxvi4 ,waterford ,chimney ,set1 with drops1 probably ,dublin1 circa #ahae4 7,author7 ,,xxvi4 ,waterford ,table ,lights1 set of three4 7,viscount ,furness7 ,,xxvii4 ,waterford ,table ,lights1 set of four1 circa #aghe4 7,viscount ,furness7 ,,xxvii4 ,waterford ,lights1 on ,bosi-work pedestals1 pair4 7,viscount ,furness7 ,,xxviii4 ,irish ,table ,lights1 circa #aghj1 pair4 7,author7 ,,xxix4 ,waterford ,table ,lights1 late ,adam1 on ,wedgwood urns1 pair4 7,mr4 ,hugh ,weguelin7 ,,xxix4 ,waterford ,table ,lights1 circa #aghc4 7,mr4 ,e4 ,parsons7 ,,xxx4 ,waterford ,table ,lights1 ,adam period4 7,major ,pope7 ,,xxx4 ,waterford ,candlesticks1 #aghe1 pair4 7,mr4 ,h4 ,samuelson7 ,,xxx4 ,waterford ,chandelier1 #aghc4 7,mrs4 ,cox7 ,,xxxi4 ,waterford ,candelabra and pair of ,candlesticks4 7,col4 ,jenner7 ,,xxxi4 ,waterford ,chandelier1 ,adam4 7,mrs4 ,sabin7 ,,xxxii4 ,irish ,candle-shades1 finest period1 pair4 7,author7 ,,xxxiii4 ,waterford ,altar ,candlesticks1 circa #aghc1 pair4 7,mr4 ,r4 ,frank7 ,,xxxiv4 ,irish ,candlesticks1 probably #agfj1 three unique4 7,mrs4 ,rea7 ,,xxxiv4 ,irish ,candlesticks1 with unusual bases1 circa #aggj1 pair4 7,mrs4 ,rea7 ,,xxxv4 ,waterford ,tapersticks1 circa #agij1 pair4 7,mrs4 ,rea7 ,,xxxv4 ,waterford 787 ,lamps1 #agij1 very unusual pair4 7,mr4 ,walter ,harding7 ,,xxxvi4 ,waterford ,candlestick1 #aghc4 7,mr4 ,walter ,harding7 ,,xxxvi4 ,cork ,candlesticks1 early1 pair4 7,mr4 ,walter ,harding7 ,,xxxvi4 ,irish ,rushlight ,holders1 blown-glass1 early eighteenth century4 7,mr4 ,r4 ,frank7 ,,xxxvii4 ,waterford ,table ,lights1 pair4 7,mr4 ,fitzroy ,chapman7 ,,xxxvii4 ,waterford ,altar ,candlesticks1 pair1 finest period4 7,mr4 ,walter ,harding7 ,,xxxviii4 ,waterford ,candlesticks4 7,mr4 ,walter ,harding7 ,,xxxix4 ,dublin 787 ,mug1 circa #agdj4 7,mr4 ,walter ,harding7 ,,xxxix4 ,waterford ,jug1 shaped4 7,mr4 ,walter ,harding7 ,,xl4 ,irish ,freak ,jug1 circa #agfj4 7,author7 ,,xl4 ,waterford ,jugs1 three4 7,mr4 ,r4 ,philipson7 ,,xl4 ,waterford or ,cork ,tankard1 circa #aghe4 7,author7 ,,xl4 ,dublin 787 ,two-handled ,spun ,cup1 #agej4 7,author7 ,,xl4 ,irish ,jug1 heavy lustre cut1 flint glass1 circa #ahjj4 7,commander ,swithinbank7 ,,xl4 ,cork ,decanters1 early blown1 marked ,cork ,glass ,co41 pair4 7,author7 ,,xli4 ,munster ,liqueur ,bottles1 pair4 7,author7 ,,xli4 ,irish ,decanter1 early blown4 7,author7 ,,xli4 ,waterford ,liqueur ,bottles1 #ahbj-ej4 ,,xli4 ,waterford ,decanters1 circa #aghj-ij4 7,author7 ,,xli4 ,munster ,jugs1 set of early4 7,author7 ,,xlii4 ,munster ,decanters1 set of early4 7,author7 ,,xliii4 ,irish ,chalice1 #agij-ahjj4 7,mrs4 ,hall7 ,,xliv4 ,dublin ,lustre-cut ,goblets1 circa #ahej1 set of4 7,mr4 ,david ,blair7 ,,xliv4 ,irish ,sweetmeat ,stands1 #agfj-gj4 7,author7 ,,xliv4 ,munster ,chalice1 #agij-ahjj4 7,mrs4 ,magee7 ,,xlv4 ,waterford ,basket ,sweetmeat ,stand4 7,mrs4 ,magee7 ,,xlvi4 ,cork ,sweetmeat ,stand1 with two candle sconces1 early4 7,mrs4 ,magee7 ,,xlvi4 ,waterford ,dessert ,service4 7,hon4 ,mrs4 ,vickers7 ,,xlvii4 ,waterford ,dessert ,service1 circa #aghe4 7,major ,pope7 ,,xlviii4 ,waterford ,miniature ,sweetmeat ,stand1 late ,adam4 7,mr4 ,walter ,harding7 ,,xlviii4 ,dublin ,posset ,two-handled ,bowl1 #agfj2 ,flat ,flask1 #aggj2 ,goblets1 ,mugs1 and ,tea ,caddy of early dates4 7,author7 ,,xlviii4 ,cork ,table ,service1 early ,adam period4 7,mr4 ,r4 ,frank7 ,,xlix4 ,irish ,lamp1 probably #affj1 and other early pieces4 7,mr4 ,walter ,harding7 ,,xlix4 ,cork and ,waterford ,urns1 circa #aghe4 7,commander ,swithinbank7 ,l4 ,waterford ,urns1 circa #aghc4 7,mrs4 ,hall7 ,,li4 ,dublin ,wig ,stands1 pair4 7,mr4 ,r4 ,frank7 ,,lii4 ,munster ,glass ,dishes1 etc4 7,mr4 ,hunt7 ,,lii4 ,waterford ,cruets ,,lii4 ,dublin ,strawberry ,cut ,teapot4 7,mrs4 ,day7 ,,lii4 ,munster ,moulded ,teapot4 7,author7 ,,lii4 ,waterford ,teapot1 circa #aghc4 7,mr4 ,r4 ,frank7 ,,lii4 ,irish ,cream or ,ice ,pails1 circa #ahbe-ce4 7,mrs4 ,mc,bean7 ,,lii4 ,dublin ,blue ,glass ,bowl1 circa #agdj4 7,author7 ,,liii4 ,irish ,blue ,glass ,bowl4 7,author7 ,,liii4 ,dublin ,blue ,glass ,lace-makers' ,lamps1 circa #agcj-dj4 7,author7 ,,liii4 ,,rubbings ,cutting on ,waterford ,canoe-shaped ,bowl4 7,author7 ,,liv4 ,special ,cutting on ,pinched ,boat-shaped ,bowl4 7,author7 ,,liv4 ,fan ,edge from a fine ,waterford ,bowl1 circa #ahae ,,liv4 ,vandyke ,cutting or ,geometrical ,design ,,liv4 ,swag and ,line ,cutting1 with fan edge1 probably #agfe ,,liv4 ,hobnail ,cutting1 late #ahcj ,,lv4 ,strawberry ,cutting ,,lv4 ,flat ,diamond ,cutting ,,lv4 ,fine ,fan ,cutting from a ,waterford ,decanter ,,lv4 ,double1 ,long ,diamond1 or ,lozenge ,cutting ,,lv4 ,adaptations of ,cutting1 #agij-ahce ,,lvi4 ,leaf1 ,shallow ,diamond1 and ,flute ,cutting from a ,waterford ,bowl ,,lvi4 ,castellated ,edge from a ,waterford ,fruit ,dish ,,lvi4 ,diamond ,cutting1 a rare adaptation of1 circa #aggj ,,lvii4 ,cuttings on ,cork and ,waterford ,glass ,,lvii4 ,cuttings on early ,waterford ,glass ,,lviii4 ,leaf ,cutting1 variation of ,,lviii4 ,flat ,leaf ,cutting ,,lviii4 ,lustre ,cutting1 ,dublin1 circa #aghe ,,lix4 ,cutting on a ,cork ,bowl1 late eighteenth century ,,lix4 ,star1 ,soft ,early1 circa #agej ,,lix4 ,star1 ,shallow-cut1 from a ,waterford ,dish1 circa #agij ,,lix4 ,husk or ,leaf ,cutting from an ,irish ,wine-glass1 circa #agfj2 one of the earliest cuttings ,,lix4 99 99 99 99 99 ,dublin ,wall-light1 one of a pair4 7,author7 ,,lx4 ,,illustrations ,,in ,,the ,,text ,,page ,drops1 ,pendants1 and ,ornaments #f1 #h1 #ae ,blow-pipe and ,ladles for making ,stars and ,ornamental ,pendants #i ,the ,stannus ,crest1 engraved on a ,waterford bowl 7see ,plate ,,xvi47 #af ,,plate ,,ii4 ,illustration3 ,,interior ,,of ,a ,,primitive ,,hand ,,glass-,,cutter',s ,,shed4 ,from a drawing in the ,author's possession4 ,,the ,,fascination ,,of ,,irish ,,glass ,all old glass is interesting1 but old ,irish glass possesses certain unique qualities which make its collection peculiarly fascinating4 ,in it we find an unsurpassed beauty and depth of colour--a poetry of design and a velvet softness of touch which are a pure joy to the connoisseur4 ,before describing ,irish glass1 however1 let me first give some idea as to where and when it was produced4 ,glass appears to have been made in ,ireland to a very small extent during the ,middle ,ages1 and it would seem from the evidence of contemporary records that as early as #accb the coloured windows of ,dublin ,castle were made by local workers in ,dublin4 ,some authorities1 however1 hold that these records refer not to glass-makers1 but merely to glaziers1 who used foreign glass for their work4 ,what is certain is that the manufacture of glass was not seriously commenced in ,ireland until the last quarter of the sixteenth century4 ,window glass1 coloured glass1 and drinking glass were certainly made there in #aehe1 and their manufacture appears to have been carried on more or less steadily from that time onwards in various parts of the country4 ,history records1 for instance1 that very early in the seventeenth century a patent was granted to a man named ,aston to make glass in ,ireland for a period of twenty-one years4 ,it was not until the second quarter of the eighteenth century that the great period of ,irish glass-making arrived1 and pieces were produced rivalling1 or even surpassing1 the best wares of their kind made in ,england and on the ,continent4 ,unfortunately for the success of the factories1 the ,english ,government passed an ,act1 in #aghh1 entirely prohibiting the export of glass from ,ireland4 ,this measure did more than anything to cripple the great and growing industry1 but did not actually kill it1 as the makers were not forbidden to sell their goods in their own country6 ,irish glass was characterised by what was then regarded as a grave defect4 ,little or none of it was as colourless as contemporary ,english pieces1 and consequently it did not in those days attain the reputation of the latter4 ,this characteristic1 despite the endeavour of local manufacturers to do away with it1 appears to have continued for something like a century4 ,mr4 ,dudley ,westropp1 in his important work on ,irish ,glass1 page #afb1 mentions a letter from ,exeter1 dated ,december #gth1 #ahcb1 in which ,elizabeth ,walpole1 one of the partners in the ,waterford ,glass ,works1 says she had a conversation with ,edward ,eardley1 a glass merchant of ,exeter and ,plymouth1 about some glass she was getting over from ,waterford1 with a view of selling4 ,she says that ,eardley stated that all the ,irish glass he had ever seen was dark coloured2 but she told him she had sent for some ,waterford glass1 so that he might see for himself4 ,this statement throws a light on the somewhat equivocal reputation enjoyed by ,irish glass until well on in the second quarter of the nineteenth century1 and also shows that at that time the ,waterford makers considered that they had entirely freed their metal from the dark tone formerly characterising it4 ,it is indeed a curious irony of human endeavour that the makers of ,waterford glass1 now deservedly famous for its beautiful and dark grey-blue tone1 tried to eradicate it from quite an early date4 ,they endeavoured to make their glass whiter and clearer1 like that of ,bristol1 and in this they succeeded after #ahcj4 ,the late glass of ,waterford1 i4e41 made #ahce or afterwards1 was actually whiter than that of ,dublin4 ,little did these glass artists think that a century later people in all parts of the world would be trying to reproduce the early dark colour without success4 ,the poor reputation for colour that ,irish glass suffered under during the eighteenth century must in itself have greatly interfered with the export trade in the finer pieces4 ,that there was an immense export trade during that period is shown from contemporary statistics1 but this appears to have been largely confined to commoner wares1 such as bottles1 glasses1 vials1 and other articles in constant use and requiring frequent renewal4 ,the finer and more fragile pieces were generally kept at home4 ,the country gentry considered it the proper thing to support local factories by buying the wares made at them1 though they did not always appreciate their purchases1 and in many instances supplemented them with imported ,english glass1 which they used in preference4 ,thus it happens that in many old ,irish country houses choice specimens of ,irish glass have been discovered stored away in garrets and cupboards practically unused since they were made4 ,there is little or no documentary evidence to establish the origin of these pieces1 for1 as a race1 ,irish land-owners are not addicted to keeping receipts of century-old bills1 but tradition and the appearance of the surviving pieces confirm the fact that they were originally of ,irish manufacture4 ,it must be remembered that the tradition is the more likely to be true because until comparatively recently ,irish glass was only lightly valued1 so that it was more to the interest of the owner to consider it of ,english rather than of native manufacture4 ,the tradition1 however1 is confirmed by the colour and other characteristics of the pieces4 ,it is interesting to note that in many instances missing pieces in sets have been replaced by later productions of ,english manufacture4 ,the differences between these and their originals are generally easily discernible1 the rich depth of tone1 which is such a beautiful characteristic of ,irish work1 being almost altogether absent from the former4 ,it must not be thought from these remarks that old ,irish glass is plentiful4 ,the commoner wares1 such as wine glasses1 tumblers1 and bottles1 which were manufactured in such profusion during the eighteenth century1 have practically disappeared2 and though a larger proportion of the finer and more valuable pieces1 used less frequently and treated with greater care by successive generations of owners1 have survived1 they are still comparatively rare4 ,nine-tenths of the so-called old ,irish glass offered for sale have no claims to be considered as genuine1 but are either old pieces from other countries or modern fakes--chiefly the latter4 ,,glass ,,factories ,,in ,,ireland ,from time to time humorists over here state that no glass was ever made in ,ireland1 so that the following list of localities where a few of the best known glass-houses stood will be of interest3-- ,,antrim3 7,,ballycastle7 #agee ,,to #agij4 ,bottles1 heavy rummers1 and very coarse but useful glass4 ,,belfast3 #agha ,,to #ahgj4 ,fine flint glass1 heavy1 rather white handsome deep cutting and very fine bold engraving4 ,glass was brought here from other parts of ,ireland to be decorated4 ,foreign engravers were employed and excellent work done4 ,very fine lustres1 candlesticks1 etc41 were made here by ,mc,dowell1 following chiefly ,adam and ,georgian designs4 ,,cork3 #aghb ,,to #ahdd4 ,finely cut glass of every description1 delicate engraving on blown ware1 gilding2 particularly famous for its rummers1 heavy and light-blown decanters1 and1 after #ahjj1 whole dessert services of beautiful colour and various cutting4 ,black glass was made here in #aghe1 and window glass in #aghb4 ,as the card of membership of the ,cork ,glass ,cutters' ,union 7shown on ,plate ,i47 proves1 lustre cutting was popular here4 ,,dublin3 ,,circa #afcj ,,to #ahif4 ,window glass was made here from about #afcj and onwards1 and as early as #agbi the ,round ,glass ,house in ,dublin produced choice specimens of glass1 such as salvers and dessert baskets1 with handles and feet1 of particularly fine workmanship and design1 but now exceedingly rare and difficult to find4 ,very beautiful glass was made in ,marlborough ,street1 ,dublin1 by the firm of ,williams1 about #agga4 ,they appear to have specialised in chandeliers1 candlesticks1 salvers1 bowls1 decanters1 bottles1 bells1 and pergnes4 ,during the last quarter of the eighteenth century and onwards there were numbers of houses here in which every kind of white and coloured glass was made4 ,many fine specimens still exist1 of which ,pugh's productions 7though rather late7 are worthy of note1 particularly his lustre cutting4 ,the early moulded pieces were very elegant and quaint1 very much like ,bristol1 but so far as ,i have observed1 heavier1 and1 of course1 richer and darker in tone4 ,,drumrea3 7,,dungannon7 #agga ,,to #aggf4 ,much the same kind of glass as ,cork1 but clearer2 noted for fine green and amber coloured glass both in bottles1 drops for chandeliers1 jelly glasses1 wine glasses1 and pergnes4 ,,newry3 #agij ,,to #ahdg4 ,a great variety of flint glass1 both cut and plain1 very heavy4 ,a great deal of table glass was made here4 ,,waterford3 #agbi ,,to #aheb4 ,produced every possible kind of glass of the most beautiful colour and cutting4 ,the chandeliers1 candelabra1 boat-shaped and turnover bowls1 were perfect4 ,the finest period was just after #aghj4 ,after #ahcj the glass became much whiter4 ,about #ahae some wonderful deep step cutting was done1 which made the glass1 in some lights1 look like silver plate2 while dessert services were a great feature1 and ,i constantly come in contact with parts of these services 7tucked away in cellars and odd places7 of the most surprisingly beautiful workmanship and colour4 ,,note4--,according to official records1 the ,waterford ,glass ,houses closed down from #agej to #aghj1 but there exists a good deal of glass traditionally made within this time1 certainly having all the attributes of ,waterford1 and being fashioned in contemporary styles4 ,,portarlington3 #afgj4 ,one of the very earliest glass-houses was erected here on the ,stannus property1 but very little is known about it or its particular productions1 and it closed down in a few years from lack of financial support4 ,i believe drinking glasses were its chief output4 ,we have a tumbler which was made here1 and some wine glasses are still in existence4 ,,irish ,,gilding4 ,foreign workmen were employed in ,ireland1 particularly cutters1 engravers1 and gilders4 ,irish gilding almost stands alone4 ,it is very hard1 and cannot be rubbed off in the usual way4 ,when deliberately scraped off it leaves the glass underneath quite rough1 consequently it has survived ordinary wear and tear almost intact4 ,the process was chemical1 and it is a great pity that more of it was not done4 ,very fine soft oil gilding was executed for some years1 about #aghf1 by a ,german called ,grahl4 ,,the ,,last ,,maker4 ,the glass industry died out about #ahif1 ,pugh1 of ,dublin1 being the last maker of flint glass in ,ireland4 ,he is often credited with being the first to introduce lustre cutting1 but the rare plate of the ,cork ,glass ,cutters' ,union1 already referred to1 shows that this decoration must have been done in ,cork early in the nineteenth century1 since it may be presumed that the pieces they have chosen as being representative of their own craft would be those most largely produced4 ,the fine old jug in the centre1 for instance1 is a splendid specimen of lustre work4 ,some people1 other than glass-cutters1 refer to this as pillar cutting--quite a good description4 ,,glass-,,makers' ,,wages4 ,while on the subject of the workers1 it will be of interest1 in these days of high wages1 to recall the remuneration paid to these artists in glass as recorded in the ,dublin ,museum4 ,the founder received the princely sum of #gs4 for his week's work1 while the fireman only got #fs4 ,the glass-maker himself 7not the cutter or the engraver7 was evidently a piece-worker1 earning at most #ejs4 a week1 and was doubtless a mighty wealthy man4 ,,plate ,,iii4 ,illustration3 ,,device ,,for ,,stoppering ,,bottles ,,and ,,opening ,,pans4 ,from a drawing in the ,author's possession4 ,naturally the extraordinary cheapness of fuel in ,ireland was a great help to the owner of a glass-house1 as wood was the chief thing he burnt4 ,but late in the seventeenth century an ,act was passed prohibiting the felling of trees for this purpose1 so even in those early days manufacturers had their troubles4 ,however1 ,i do not think this interfered very much4 ,if an ,irishman wants a thing1 it takes a great deal more than an ,act of ,parliament passed by the ,englishman on the other side of the water to stop him4 ,as late as the nineteenth century1 in my father's time1 our village carpenter would come and buy a good-sized ash tree for #as4 #f;d4 ,those not so well off freely helped themselves by the light of the moon4 ,we do not bring people to justice in ,ireland for little slips of that sort3 we should have no time left to ourselves if we did4 ,,glass ,,cutters4 ,very simple and primitive were the instruments used by the glass-cutters4 ,speaking broadly1 the artist 7for he was an artist7 merely required revolving wheels1 from #b in4 to #ad in4 or #af in4 in diameter1 sand1 water1 powdered pumice1 and putty powder1 a mixture of whitening and other ingredients for polishing4 ,the wheels consisted of mild steel for cutting 7many sizes71 a blue stone wheel for smoothing1 and one of very hard wood for polishing4 ,brush wheels were also employed4 ,the illustration of a very primitive glass-cutter's shed 7from a drawing in my possession7 will explain better than words how the work was done2 the wheels were turned by the rough boards worked by the cutter's foot1 while with his unerring hands he would perform marvellous feats of glass-cutting4 ,water and sand dripped slowly on to his wheel while he worked1 generally from a flower-pot hung above4 ,he worked from a rough design on paper beside him1 and this design he first scratched on the piece of glass with a sharp instrument4 ,much of the glass-cutting was done outside the glass-houses by men who had their cutting sheds in their own homes1 as is shown in the illustration1 and this accounts for the individuality of the work done4 ,these men1 dreamers and artists1 were a guild with a very high ideal4 ,the old ,irish silversmiths also worked at home in a similar fashion1 and1 as all the world knows1 executed the most perfect work4 ,in these days it is interesting to know that a strike ended the industry in ,cork previous to #ahdj4 ,some ,english workmen came over and told the ,cork men they were working too cheaply1 though in fact they were much better off than those in ,england 7where machinery was now well installed74 ,the glass owners1 who had become wealthy1 but saw little prospects of retaining their fortunes under changed conditions1 fought the men1 and eventually closed down their factories4 ,those in ,waterford continued for some years later1 and the last record of this town is in the catalogue of the ,london ,exhibition of #ahea1 where ,gatchell had some wonderful exhibits1 including one centrepiece of forty pieces of glass for a banqueting table1 no metal work of any kind being used in it4 ,in #aghh ,william ,penrose made a celebrated service for their ,majesties4 ,and as early as #agbi beautiful deep green glass was made at ,waterford4 ,interesting and romantic were the tales told by the last of the hand glass-cutters1 ,barry ,sheehan1 who died a very old man in ,cork in #ahij4 ,he knew all the old glass-cutters1 was an artist and enthusiast1 and always kept an old hand-cutting wheel at the back of his shop1 a relic of a past age of inspired workers4 ,according to this great authority1 lustre cutting was the most difficult of all1 and very popular in ,cork4 ,one old lady who lives in ,cork1 a sister of the late ,mrs4 ,gatchell1 who is nearly #ajj years of age1 has a set of chessmen in old ,irish glass1 and many children's toys and trumpets were made in her late husband's factory4 ,one of the glass-houses in ,cork was owned by honest ,joe ,romayne1 one time ,m4,p4 for ,cork1 and another by a family named ,foley1 and the descendants of both of these people have some splendid pieces still4 ,engraving was a different matter4 ,this decoration was more often done by men 7chiefly foreigners7 who wandered round the country carrying with them a queer little box 7one of which ,i have in my possession74 ,a few delicate copper wheels were used outside the box1 which were driven by a shaft1 and two wheels inside4 ,the handle was turned by a boy while the engraver worked4 ,illustration3 ,glass ,drops ,no4 #a4 ,illustration3 ,glass ,drops ,no4 #b4 ,,plate ,,iv4 ,illustration3 ,,one ,,from ,a ,,set ,,of ,,four ,,pairs ,,of ,,wall-,,lights ,,made ,,in ,,dublin1 #agie-ahcj4 ,in the ,graydon ,stannus family collection4 ,from a drawing in the ,author's possession4 7,see also ,plates ,v41 ,,vi41 and ,,vii47 ,,plate ,v4 ,illustration3 ,,one ,,from ,a ,,set ,,of ,,four ,,pairs ,,of ,,wall-,,lights ,,made ,,in ,,dublin1 #agie-ahcj4 ,in the ,graydon ,stannus family collection4 ,from a drawing in the ,author's possession4 7,see also ,plates ,,iv41 ,,vi41 and ,,vii47 ,,plate ,,vi4 ,illustration3 ,,one ,,from ,a ,,set ,,of ,,four ,,pairs ,,of ,,wall-,,lights ,,made ,,in ,,waterford4 #ahae4 ,in the ,author's collection4 ,from a drawing in the ,author's possession4 7,see also ,plates ,,iv41 ,v41 and ,,vii47 ,,plate ,,vii4 ,illustration3 ,,one ,,from ,a ,,set ,,of ,,four ,,pairs ,,of ,,wall-,,lights ,,made ,,in ,,dublin1 #ahbj4 ,in the ,author's collection4 ,from a drawing in the ,author's possession4 7,see also ,plates ,,iv41 ,v41 and ,,vi47 ,,wall ,,and ,,table ,,lights4 ,candle-lights became very popular during the early ,adam period1 and continued to be made for many years4 ,their conception was1 ,i am sure1 ,french in its origin4 ,a great many were made in ,ireland 7especially advertised in ,dublin71 and they were permeated with ,adam feeling--graceful and simple4 ,these lights fell into disuse when gas became popular1 and were stowed away in boxes and cellars and lumber-rooms2 while others1 still less fortunate1 were actually thrown away or sold to the ragman for a few shillings4 ,of those ,i have unearthed1 a great number are in varying degrees of bad and good condition1 and it is most interesting1 with the aid of some original drawings 7which ,i am fortunate enough to possess71 to reconstruct these lovely fittings to their original beauty 7see ,plates ,,iv41 ,v41 ,,vi41 ,,vii474 ,out of about five or six broken lights ,i can generally reconstruct one pair4 ,in my determined search for these treasures1 ,i find that the metal back plates which fitted on the wall and held the glass lights are in nine cases out of ten missing1 and after puzzling over this fact for some time ,i discovered they were nearly always utilised by being left on the walls and the gas-pipe brought through them6 ,in any case1 all the metal mounts appear to have been removed from the branches1 cups1 etc41 and ,i think they were probably taken off and used for various purposes by the house-carpenter1 or handy man1 and held far more value for him than the discarded glass1 which is now rapidly becoming priceless4 ,in one instance ,i lost the ferrule off the end of my whip1 and one of our men said he'd put it right4 ,i noticed a fine bit of chased brass appear on it4 ,i said1 ,larry1 where did you get that8 ,shure1 me lady1 it's off th' auld glass light that was tooken from t' hall6 ,and it was6 ,irishmen have natural instincts--they always know a good thing1 and they can unerringly tell you if a person is someone or not6 ,,chandelier ,,drops1 ,,pendants1 ,,and ,,ornaments4 ,there are many interesting things to be learnt about the drops which hang on chandeliers and table lights4 ,the first and most surprising is that most of them1 even those found on quite early ,irish chandeliers1 were made in ,england and ,france6 ,very few were manufactured in ,ireland4 ,the genuine old ,irish drops 7so far as my personal observation and experience goes7 were always round or almond shaped4 ,the most characteristic distinction between them and those made in other countries is that they are very flat when viewed sideways 7see illustration ,no4 #c1 page #h71 whereas the ,english and ,french come to a point in the centre--sometimes on one side1 more often on both--not a sharp point1 of course1 but still a point 7see illustration ,no4 #d1 page #h1 which will make the difference quite clear74 ,no4 #a 7page #f7 is a very rare specimen4 ,illustration3 ,no4 #c4--;,,face4 ,no4 #c4--,,side ,,view4 ,no4 #d4--;,,face4 ,no4 #d4--,,side ,,view4 ,no4 #e4 ,no3 #f4 ,no4 #g4 ,,ornamental ,,drops4 ,all the chandeliers and lights made for my family had in every case these ,irish drops1 being1 of course1 special orders4 ,when seen on a chandelier it is remarkable how much more graceful the ,irish drops look2 they are softer1 more richly facetted1 smoother1 and1 of course1 deeper in colour4 ,the large pendants 7see illustrations ,nos4 #b1 #e1 #f1 #g7 for ornaments and stars for chandeliers were manufactured in an interesting way4 ,they were made in ladles1 designed to the required outline and size1 with a long handle 7see illustration below74 ,the ladle was dipped in the pot of molten glass1 withdrawn full1 and after being allowed to cool slightly until the glass had set1 tipped out into a dry furnace 7known as a lehr7 for some hours2 by that time the glass was hard and fit to be facetted by hand4 ,in ,italy and ,spain ,i have watched the glass-makers at much the same work1 but in these instances the glass was made in cut moulds1 so that the glass was pressed into a pattern while hot1 and not cut afterwards4 ,the illustrations are of ,irish ornaments in my possession on family chandeliers1 and vary in length from #e in4 to #h-a_/b in4 ,illustration3 ,,blow-,,pipe ,,and ,,ladles 7one shown side view74 ,,used ,,in ,,making ,,stars ,,and ,,ornamental ,,pendants4 ,,the ,,characteristics ,,of ,,irish ,,glass ,irish glass1 more especially ,waterford1 of the typical period1 may be distinguished from contemporary ,english glass and foreign and modern fakes of all nationalities by a number of characteristics which may be grouped under the headings of ,weight1 ,colour1 ,resilience1 ,feeling to the ,touch1 and ,ring4 ,let me take these one by one4 ,,weight4 ,irish glass is generally very heavy1 though there are exceptions to this rule1 markedly in the blown specimens from about #agce to #agej1 which are extremely light4 ,these pieces were never cut1 but either engraved only or left perfectly plain4 ,they can be distinguished from foreign pieces of similar weight1 as they never show the little specks of sand in the metal peculiar to the latter4 ,on the other hand1 air-bubbles often appear in the ,irish glass1 which were caused by the faulty stirring of the molten metal4 ,these are sometimes so minute that they appear like sand specks to the naked eye1 and it is only possible definitely to identify them as bubbles by the use of a magnifying glass4 ,,colour4 ,all old ,irish glass has a peculiar depth of tone1 but the early glass of ,cork1 ,waterford1 and ,dublin is especially distinguished in this quality4 ,its steel or grey-blue tone is unique4 ,in this respect there is very little difference between the wares from the three places1 as they are all characterised by the same mysterious grey colour 7supposed to be caused by impure ingredients74 ,it should be remembered that the factories in all three localities obtained their materials for glass-making from the same sources1 and that the workmen employed in them frequently passed from one to another1 so that1 theoretically1 the metal produced in the three towns should be practically identical4 ,there are1 however1 tangible differences in at least a portion of the glass emanating from the various localities4 ,thus ,i have noticed that some ,cork glass has a decided yellowish tinge which ,waterford never has4 ,on the other hand1 ,waterford glass is often distinguished by a peculiar cloudy bloom covering the metal1 which can be rubbed off1 but will assuredly return4 ,this bloom must not be confused with the milkiness found in decanters1 etc41 which is caused by wine or water being allowed to remain in them for long periods4 ,it is quite different3 a soft bloom1 exactly like that on grapes1 the same colour1 or even darker1 than the glass1 and often will be found forming a beautiful band of rainbow hue running round the piece it adorns4 ,i do not know1 for certain1 the cause of this appearance1 but it probably originates in some atmospheric action on the lead in the metal4 ,it is only found on very early dark pieces1 and its possession may be regarded not only as an additional charm of the piece so characterised but also as a proof of its authenticity4 ,these pieces are most interesting1 but are not always appreciated as they should be4 ,some time ago ,i parted with a magnificent ,waterford bowl1 beautifully toned in this manner1 only to find a week later that it had been chemically polished clear and bright1 leaving it with not a tithe of its pristine beauty4 ,these distinctions of tone and colour which ,i have ventured to point out are by no means universal1 so that a piece which does not possess them must not be rejected as spurious merely on this account4 ,sometimes it is impossible to say from what county a piece came1 and this has led experts to refer to the products supposed to emanate from the ,cork or ,waterford factories as ,munster glass4 ,even this term is not broad enough1 however1 for it fails to include the pieces turned out by the ,dublin factories1 and these are nearly as likely to be mistaken for ,cork or ,waterford wares1 as the two latter are likely to be mistaken for each other4 ,the blue-grey tinge popularly regarded as exclusively associated with ,waterford glass is quite an erroneous means of identification1 as most of the pieces ,i have come across1 actually impressed with the mark ,cork ,glass ,co41 were of this tint4 ,dublin glass1 before #ahjj1 was very dark in colour1 and the very early pieces are almost black4 ,it is very frequently suggested that the chemical action of the air on old ,irish glass may have something to do with the mystery of its unique coloration2 and1 strange as it may seem1 it is an undoubted fact that glass does change its tone with the slow lapse of years4 ,i believe this to be specially so with ,irish glass which has remained a long time in ,ireland2 and the existence of such phenomena is borne out by the effect that the atmosphere of ,ireland has on old white marble4 ,it may be argued that1 should this be the case1 the coloration of ,irish glass may be caused entirely by the atmospheric conditions under which it is kept1 and owe nothing to its local peculiarities of manufacture4 ,this theory1 however1 cannot be substantiated1 as ,english glass does not appear to be affected by ,irish atmosphere to anything like the same degree as the native metal4 ,i have frequently seen old ,irish dessert services and chandeliers in which individual pieces which had been broken had been replaced by facsimiles made in ,england4 ,these replaced pieces1 however early their origin1 do not appear to have changed colour in the least1 and because of this can be readily singled out among their fellows of native manufacture4 ,,resilience ,,of ,,irish ,,glass4 ,irish glass is far tougher and stronger than any other1 hence its wonderful survival even when in constant use4 ,it takes a severe blow to break it1 or even chip it1 and ,i have seen solid pieces fall on a hard floor without being any the worse1 beyond singing loudly4 ,it has a wonderful elasticity1 and actually bounces in a way that ,i have never found in any other glass4 ,some time ago the ring securing a large and valuable chandelier to the ceiling of one of my rooms gave way1 with the result that the chandelier fell to the ground from a height of twelve or fifteen feet4 ,it was1 of course1 broken with the fall from such a height1 but the centre pendant1 a large solid lump of lead glass1 weighing #i lbs41 had not been shattered in the least1 though the force of the fall had flattened its point4 ,,the ,,feel ,,of ,,irish ,,glass4 ,irish glass does not feel harsh or cold like most ,english or foreign1 but gives a sense of soft warmth to the touch4 ,there is something of the same distinction as between porcelain and earthenware1 though not nearly to such a marked extent4 ,one has to acquire a knowledge of it by experience2 and though the tyro may at first perceive little or no variation between the feel of ,irish and ,english glass1 if he will cultivate his sense of touch by handling authenticated pieces of both varieties1 he will soon find that there is a small but perfectly distinguishable difference between them4 ,,the ,,ring ,,of ,,irish ,,glass4 ,i must make special mention of the ring of ,irish glass1 as this is an important point4 ,all ,british glass has a clear1 definite1 bright ring1 but to anyone with a musical ear it will be interesting to listen to the peculiar throb in ,irish glass1 not so much a ring as a rich throb1 sometimes 7particularly in large pieces7 like a vibrato between two notes4 ,i do not say that you get this in all ,irish glass1 only in the greater part of it4 ,no one1 for instance1 would expect a candlestick to ring or a salt-cellar1 or a thick shallow piece heavily cut4 ,jugs1 as a rule1 also have a special dislike to displaying their voices1 so1 naturally1 people must use their discernment4 ,,difference ,,in ,,the ,,ring ,,of ,,other ,,glass4 ,this peculiar ring of ,irish glass is not to be found in glass of alien origin4 ,the foreign copies are quite different4 ,sometimes they will not ring at all1 especially the wine glasses2 the better ones give a sound of sorts1 but it is very dead1 and1 if carefully listened to1 the note is never true1 just a little flat1 quite unlike the singing ,waterford4 ,,fakes ,these are innumerable1 and belong to all periods1 old and modern1 since ,irish glass first became popular4 ,no glass in the world has been so much copied1 and none has1 in the long run1 stood out so successfully in defying the faker4 ,this constitutes one of the great attractions of ,irish glass to the collector1 for though many imitations of it have been made of sufficient excellence to deceive the inexperienced and unwary1 it cannot be copied sufficiently well to deceive the connoisseur4 ,the finest reproductions from ,france1 ,belgium1 ,holland1 and even ,germany1 all fail in colour and texture1 though some of the cutting is exceedingly clever4 ,at the present moment there is an enormous amount of spurious glass on the market1 and some time ago a lot of remarkable copies were in circulation4 ,they were the best that have yet appeared1 especially the urns and candlesticks1 and numbers fell into the hands of the unwary4 ,one special weakness1 however1 was very noticeable--the colour fell in the tall pieces1 leaving the tops whiter than the bases4 ,,plate ,,viii4 ,illustration3 ,,waterford ,,bowl ,,of ,,rare ,,beauty4 #g-a_/b in4 high1 #ab in4 diam4 ,engraved with escutcheon of the ,,winde family 7,chamberlain to ,h4,r4,h4 ,princess ,sophia1 sister to ,george ,,iii474 ,probably a ,christening ,bowl4 ,walter ,harding collection4 ,illustration3 ,a ,,remarkable ,,cone-,,shaped ,,bowl ,,in ,,two ,,parts4 #ab in4 high1 base #h in42 circa #aggj4 ,no duplicate4 ,originally in the ,author's and now in the ,walter ,harding collection4 ,at the present moment some very clever reproductions from ,bohemia are arriving in ,england1 but they are very light and have a peculiar pink tinge1 which is more specially noticeable in the larger pieces4 ,as has already been pointed out1 nearly all ,irish glass is heavy1 and a very large proportion of the modern fakes fail to attain the required weight4 ,a marked exception to the general rule of weight is to be found in ,irish blown specimens1 produced from about #agce to #agej1 which were very light1 and only engraved or quite plain1 never cut4 ,the faker frequently forgets the latter point4 ,when1 however1 he remembers it1 and produces plain or engraved pieces similar to the ,irish1 there is yet another point of distinction4 ,the ,irish pieces often show air-bubbles1 but never the little specks of sand which1 as ,i have already said1 almost invariably appear in the metal peculiar to foreign glass4 ,,difference ,,of ,,colour4 ,the most important distinction between ,irish glass and foreign imitations is to be found in their colours1 and in this respect it is the early glass of ,cork1 ,waterford1 and ,dublin that defies the copyist more than any other4 ,its steel or grey-blue tone stands alone1 although1 alas1 imitations artificially coloured with thin cobalt and ultramarine have been1 and in all probability will continue to be1 sold as the genuine article4 ,in the analysis of ,irish glass there is no trace of cobalt4 ,some copies of an almost emerald green have changed hands in good faith as ,waterford glass4 ,how could green be produced from lead oxide1 potash1 soda1 and silica8--for this is the analysis of an early piece of ,waterford pot metal glass of the dark grey hue4 ,,the ,,increasing ,,popularity ,,of ,,irish ,,glass ,the multitude of fakes on the market bears testimony to the increasing demand for ,irish glass4 ,during the last six years1 those members of the public who have a knowledge of glass have realised more and more the value of the genuine ,irish article1 which1 of course1 is due to the fact that it cannot be copied sufficiently well to deceive the connoisseur4 ,the direct outcome of this is a steady increase in the market value1 and rare specimens1 which were made at from #bes4 to #d1 now readily fetch anything from #aj to #djj2 in fact1 a single piece sold recently for #gej1 and a beautiful bowl passed through my hands at #eej2 while only a few months ago a chandelier was sold at an ,irish auction for #a1bah4 ,magnificent specimens of ,irish glass have found their way into ,english collections1 as will be seen by the plates shown in this book4 ,photographs of most of the well-known pieces in the ,dublin ,museum1 and in private ,irish houses1 have already been reproduced in various publications2 but the accompanying photographs are of exceptional specimens1 taken exclusively from ,english collections1 and a very large number of them has passed through my own hands4 ,,experience ,,essential4 ,it is absolutely impossible to become a sound judge of ,irish glass without years of experience1 and1 above all1 without the constant actual handling of pieces of all dates and descriptions1 consequently the genuine ,irish dealer who has lived amongst it all his life has a very great pull with regard to actual knowledge4 ,so many specimens were made to order1 and were therefore of special shape and cutting1 that it is very difficult for the uninitiated to recognise a piece as being of any certain factory or period1 and he is naturally mystified when he tries to classify such pieces into more or less well-known categories4 ,for instance1 an ancestor of mine had in his possession an early deep coloured bowl1 cover1 and stand of exceptional quality1 made about #agej4 ,his son1 in #agij1 had it cut in flat diamonds 7a cutting then much in vogue71 the result being a specimen of early dark wavy glass1 adorned with the beautiful cutting of forty years later1 and this is only one instance of many which could be quoted4 ,,irish ,,glass ,,sold ,,abroad4 ,great quantities of ,irish glass were made1 and the official ,irish records show that large numbers of pieces were exported to ,america1 ,spain1 ,portugal1 and the ,west ,indies1 etc4 ,many of our finest specimens were also taken to ,holland1 where they found a permanent home1 and were extensively copied by the foreign glass-makers4 ,france was very keen on ,irish glass1 and ,i have unearthed there some very lovely and absolutely genuine specimens1 especially wall-lights and chandeliers4 ,needless to say1 a very big trade was done by the glass-houses direct with old ,irish families1 who gave large orders for glass-ware1 ranging from single pieces to complete table services1 of which few records appear to have been kept4 ,,uncut ,,pieces4 ,a large amount of ,irish glass was made and put by1 uncut1 as ,irish families 7especially those who lived near the glass-houses7 preferred to choose their own cuttings from drawings1 so as to have something different from their neighbours4 ,this accounts for the number of uncut pieces still to be found in various parts of ,ireland1 especially thick finger-bowls1 which were1 undoubtedly1 made in great quantities to await orders4 ,,the ,,illustrations4 ,the following plates give some idea of the beautiful pieces of glass which have left ,ireland1 but there are magnificent specimens still there1 which will probably never be placed on the market--pieces as poetic in design as their owners are in mind2 pieces that will live for the sons and heirs to love and cherish with the many other treasures of ,ireland's finest periods1 long after ,sinn ,feiners have ceased their endeavours to destroy all that is best and loveliest in the old country4 ,at the time of writing this1 ,i find an enormous amount of spurious ,irish glass on the market1 and ,i take this opportunity of warning all collectors and dealers 7many of whom are my friends7 to be exceedingly careful4 ,it is essential that all lovers of ,irish glass should keep their collections pure1 and some of these fakes are so clever that dealers will have to exercise the greatest vigilance and care if they are to avoid the ignominy of having pieces which they have sold in good faith returned to them as wrong4 ,at the present time1 all the best known dealers in ,irish glass are trusted by their customers1 and their advice is taken without question4 ,it is in the best interests of their great profession that this sense of confidence should remain4 ,in conclusion1 ,i should like to add that ,i hope this book--written1 as it is1 at the request of many lovers of ,irish glass--may be a real help to the novice1 and assist him to distinguish between the true piece and the forgery4 ,illustration3 ,,star ,,from ,a ,,chandelier4 ,illustration3 ,,the ,,stannus ,,crest1 ,,engraved ,,on ,a ,,waterford ,,bowl1 #agij4 7,see ,plate ,,xvi47 ,,illustrations ,photos by ,hana ,,bowls1 ,,dishes1 ,,plates ,,and ,,tazze ,,plate ,,ix4 ,illustration3 ,,waterford ,,bowl1 circa #aghc4 #h in4 by #aj in4 ,very flat diamond cutting1 on three feet carved as paws4 ,this bowl1 which is one of the finest the author has ever seen1 is exceptionally notable from the fact that the pontil has been worked up into an ornament instead of being broken off4 ,in the collection of ,commander ,swithinbank4 ,illustration3 ,,waterford ,,flower ,,bowl1 #ab in4 high4 ,heavy early glass1 finely cut1 with castellated edge4 ,circa #aghc4 ,in the collection of ,commander ,swithinbank4 ,illustration3 ,,waterford ,,canoe-,,shaped ,,bowl1 deep colour and rare shape2 #aghc4 #aj in4 high1 #ad in4 wide4 ,in ,viscount ,furness's collection4 ,illustration3 ,an exceptionally large ,,turnover ,,cork ,,bowl1 on heavily domed base2 early4 ,flat cutting4 #ab in4 high4 ,in the collection of ,mrs4 ,rea4 ,a similar example is in the ,walter ,harding collection4 ,,plate ,x4 ,illustration3 ,rare heavily chiselled ,,christening ,,bowl4 ,irish1 #agfj4 #bf in4 across4 ,in the ,author's collection4 ,illustration3 ,,munster ,,glass ,,bowl4 #aj in4 by #aa in4 ,circa #aghj4 ,heavily but beautifully cut4 ,in the collection of ,mrs4 ,hall4 ,illustration3 ,,pinched ,,sided ,,bowl on round domed foot4 #aa in4 wide1 #h in4 high4 ,in ,mr4 ,henderson's collection4 ,illustration3 ,,waterford ,,orange ,,bowl4 #af in4 by #g-a_/b in4 ,unusually large4 ,circa #agij4 ,in ,major ,pope's collection4 ,,plate ,,xi4 ,illustration3 ,very large early ,,irish ,,moulded ,,bowl4 ,it rings exactly like a bell4 ,deep coloured and very soft glass4 ,no duplicate known4 ,date #agfj4 ,in ,mrs4 ,rea's collection4 ,illustration3 ,a wonderful early ,,pinched ,,bowl1 showing the remarkable rainbow band of faint colour running round the body4 ,the foot is square and moulded in a dome4 ,note that the waste metal running from the square base has not been cut away1 proving that this piece1 for some reason unknown1 has been left unfinished4 ,there is no trace of milkiness about this bowl4 ,the small one 7#c in4 high7 beside it is a traveller's sample1 made this minute size for convenience in carrying about4 ,in the ,author's collection4 ,illustration3 ,shallow diamond-cut ,,waterford ,,revolving ,,centre ,,dish1 #ah in4 by #f in4 ,the glass all fits together without any metal mounting4 ,circa #aghc4 ,in the ,hon4 ,mrs4 ,york's collection4 ,,plate ,,xii4 ,illustration3 ,rare specimen of ,,cork ,,glass ,,orange ,,bowl1 circa #agij4 #ad in4 long1 #h-a_/b in4 high4 ,originally in the ,author's collection2 now in the ,walter ,harding collection4 ,illustration3 ,finely cut ,,waterford ,,bowl1 circa #agij4 #ac in4 long1 #i in4 high4 ,in ,viscount ,furness's collection4 ,,plate ,,xiii4 ,illustration3 ,early ,cork ,,pillar ,,bowl4 ,in ,viscount ,furness's collection4 ,illustration3 ,large ,,bowl of exceptional shape1 colour1 and cutting4 ,knopped stem4 ,circa #aghe4 ,in the ,author's family collection4 ,,plate ,,xiv4 ,illustration3 ,curious specimen of early ,,irish ,,glass1 engraved4 ,of a beautiful deep colour4 ,the stand is of ,irish bog-oak1 ,celtic carving1 the ,irish wolfhound being very carefully executed4 #ah in4 high4 ,in the collection of ,commander ,swithinbank4 ,,plate ,,xv4 ,illustration3 ,large ,,two-,,handled ,,posset ,,bowl1 #ah in4 high4 ,possibly as early as #agej4 ,irish4 ,in the collection of ,mrs4 ,hall4 ,illustration3 ,rare heavy1 dark1 plain ,,ogee ,,bowl1 #aa in4 by #aa in4 ,irish1 circa #agfj4 ,in the collection of ,mr4 ,robert ,frank4 ,,plate ,,xvi4 ,illustration3 ,,strawberry ,,and ,,fan ,,cut ,,bowl1 #h in4 high4 ,made at ,waterford in #agij1 and bearing the ,stannus crest1 finely engraved4 ,in the ,author's collection4 ,illustration3 ,,waterford ,,bowl ,,and ,,basin1 cut all over with large1 flat double stars4 #aa in4 by #ab in4 ,circa #aghc4 ,in ,mr4 ,wild's collection4 ,illustration3 ,,two-,,handled ,,cup ,,and ,,cover1 heavy clear glass4 #d in4 high4 ,circa #aghj4 ,dublin 7copy of ,bristol1 but much heavier74 ,in ,mrs4 ,day's collection4 ,illustration3 ,a giant ,,turnover ,,round ,,bowl ,,and ,,dish4 ,bowl1 #ab in4 wide2 dish1 #bj in4 ,waterford1 circa #ahae4 ,in ,mrs4 ,rea's collection4 ,illustration3 ,,octagonal ,,deep ,,step ,,cut ,,waterford ,,dish1 #ab in4 ,circa #ahbe4 ,a very unusual specimen4 ,in ,mrs4 ,oliver's collection4 ,,plate ,,xvii4 ,illustration3 ,set of ,,step ,,cut ,,dishes with fan handles4 ,waterford1 circa #ahbj4 ,in the collection of ,mrs4 ,hall4 ,illustration3 ,pair of ,,banqueting ,,tazze1 ,munster glass of about #agij-ahaj4 ,made of heavy dark glass in one piece1 with a heavily domed foot1 and finely cut in slash and diamonds4 ,they are #ac in4 high1 and weigh #cb lbs4 each4 ,in the collection of ,mrs4 ,hall4 ,,plate ,,xviii4 ,illustration3 ,early ,,irish ,,posset ,,bowl1 probably #agcj4 ,heavy glass of a beautiful dark colour4 ,in ,mrs4 ,rea's collection4 ,illustration3 ,large ,,irish ,,urn1 circa #agie4 ,in ,mr4 ,r4 ,philipson's collection4 ,illustration3 ,,waterford ,,canoe ,,shaped ,,bowl1 on scroll base1 #agij4 #ad in4 long1 #i in4 high4 ,in the ,author's family collection4 ,,plate ,,xix4 ,illustration3 ,a beautiful ,,waterford ,,salad ,,bowl1 circa #aghe4 #ab in4 diam41 #e in4 high4 ,in ,colonel ,fitzgerald ,stannus's collection4 ,illustration3 ,one of a pair of heavy ,,urns1 very early ,dublin4 #ab in4 high4 ,in ,mr4 ,hugh ,weguelin's collection4 ,illustration3 ,a rare ,,finger ,,bowl1 marked ,dublin1 very dark colour and soft glass4 ,an early piece4 ,in ,mr4 ,robert ,frank's collection4 ,,plate ,,xx4 ,illustration3 ,round ,,cork ,,bowl1 of beautiful colour and ring1 circa #aghe4 ,in ,mr4 ,henderson's collection4 ,illustration3 ,three rare specimens of very early ,,irish ,,glass4 ,the pressed piece in the centre is particularly beautiful in colour and texture1 and the two vases are very heavy1 probably early ,dublin1 with unfinished feet4 ,in ,mr4 ,r4 ,philipson's collection4 ,,plate ,,xxi4 ,illustration3 ,,irish ,,plain ,,punch ,,bowl ,,and ,,ladle1 heavy uncut glass of fine colour1 circa #aggj4 ,in ,mr4 ,r4 ,frank's collection4 ,illustration3 ,fine examples of the later period 7after #ahae7 ,,step ,,cutting ,,waterford4 ,this glass is whiter and much clearer than the earlier examples4 ,in the ,author's collection4 ,,plate ,,xxii4 ,illustration3 ,one of the rarest ,,waterford #b-,,piece ,,bowls in existence1 circa #aghe4 #ab-a_/b in4 high1 #aj in4 wide1 #ad-a_/b in4 long4 ,remarkable for its colour and texture4 ,originally in the ,author's collection2 now in the ,walter ,harding collection4 ,illustration3 ,,waterford ,,helmet ,,bowl1 very rare1 and a pair of large1 finely cut oval ,,waterford ,,dishes4 ,adam period4 ,in ,major ,courtauld's collection4 ,,candelabra1 ,,candlesticks ,,and ,,chandeliers ,,plate ,,xxiii4 ,illustration3 ,original ,,chandelier1 made at ,waterford in #aghe4 #f ft4 #c in4 long4 ,the upper trio of arms are hand bent1 and the stars on these arms are #f in4 high4 ,the pendant at the bottom weighs #i lbs4 ,in the ,author's family collection4 ,,plate ,,xxiv4 ,illustration3 ,original ,,chandelier1 made at ,waterford in #aghh4 #f ft4 #f in4 long4 ,the arms are each #b ft4 #h in4 long1 and it weighs #b-a_/b cwt4 ,the cutting1 workmanship1 and colour are unsurpassed4 ,it is built upon an iron rod covered in silver tubing4 ,in the ,author's family collection4 ,,plate ,,xxv4 ,illustration3 ,a ,,waterford ,,chandelier of exquisite design and cutting4 #d ft4 #f in4 long4 ,in the ,author's collection4 ,,plate ,,xxvi4 ,illustration3 ,pair of ,,waterford ,,sideboard ,,lights1 of the finest period and rare cutting4 ,adam design4 ,in the ,author's collection4 ,illustration3 ,,waterford ,,glass ,,chimney ,,set1 draped with deep pot-metal blue drops4 #bj in4 high4 ,probably ,dublin1 circa #ahae4 ,in the ,author's collection4 ,,plate ,,xxvii4 ,illustration3 ,set of three ,,waterford ,,table ,,lights1 #bf in4 high4 ,in ,viscount ,furness's collection4 ,illustration3 ,rare set of four single ,,dining ,,table ,,lights4 ,the facet cutting on the long reflectors is particularly fine and interesting4 ,waterford1 circa #aghe4 ,in ,viscount ,furness's collection4 ,,plate ,,xxviii4 ,illustration3 ,one of a pair of ,,adam ,,lights1 #d ft4 high4 ,waterford glass1 on old marble ,bosi work pedestals4 ,slightly restored4 ,in ,viscount ,furness's collection4 ,,plate ,,xxix4 ,illustration3 ,typical pair of ,,irish ,,table ,,lights1 #be in4 high1 on square bases4 ,circa #aghj4 ,in the ,author's collection4 ,illustration3 ,pair of ,,waterford ,,table ,,lights1 hung with the palest amber round drops 7,dublin71 and mounted on ,wedgwood urns4 #bb in4 high4 ,late ,adam period4 ,in ,mr4 ,hugh ,weguelin's collection4 ,,plate ,,xxx4 ,illustration3 ,three ,,waterford ,,facet-,,cut ,,table ,,lights1 with almond-shaped drops1 #bb in4 and #bc in4 high4 ,circa #aghc4 ,in ,mr4 ,e4 ,parsons' collection4 ,illustration3 ,three ,,waterford ,,table ,,lights1 ,adam period1 #bd in4 high1 with almond drops4 ,in ,major ,pope's collection4 ,illustration3 ,pair of ,,waterford ,,candlesticks1 #aghe4 #aj in4 high4 ,in ,mr4 ,h4 ,samuelson's collection4 ,,plate ,,xxxi4 ,illustration3 ,,waterford ,,chandelier1 #d ft4 #c in4 long4 ,circa #aghc4 ,in ,mrs4 ,cox's collection4 ,illustration3 ,early ,,waterford ,,candelabra and pair of ,,candlesticks with facet-cut ornament4 ,in ,colonel ,jenner's collection4 ,,plate ,,xxxii4 ,illustration3 ,,adam ,,chandelier1 ,waterford1 in its original condition4 #e ft4 long4 ,in ,mrs4 ,sabin's collection4 ,,plate ,,xxxiii4 ,illustration3 ,,irish ,,candle ,,shades1 #bc in4 high2 finest period4 ,one cut flat double stars4 ,these shades were used in halls and covered large-size church candles4 ,unique specimens4 ,in the ,author's collection4 ,,plate ,,xxxiv4 ,illustration3 ,pair of ,,waterford ,,alter ,,candlesticks4 ,circa #aghc4 ,in ,mr4 ,r4 ,frank's collection4 ,illustration3 ,three unique early ,,irish ,,candlesticks4 ,probably #agfj4 ,in ,mrs4 ,rea's collection4 ,these candlesticks have the largest bases on record1 with high domes1 and bear the pontil mark on top of the nozzle instead of at the bottom4 ,they were made upside down4 ,,plate ,,xxxv4 ,illustration3 ,very large ,,irish ,,candlesticks1 with unusual bases4 ,circa #aggj4 ,in ,mrs4 ,rea's collection4 ,illustration3 ,pair of rare ,,waterford ,,tapersticks1 #e in4 high4 ,circa #agij4 ,in ,mrs4 ,rea's collection4 ,,plate ,,xxxvi4 ,illustration3 ,pair of ,,irish ,,lamps4 ,probably ,waterford1 #agij4 ,very unusual specimens4 ,in the ,walter ,harding collection4 ,illustration3 ,,waterford ,,candlestick1 #aghc1 #ad in4 high2 and a pair of early ,,cork ,,candlesticks1 #ab in4 high4 ,in the ,walter ,harding collection4 ,,plate ,,xxxvii4 ,illustration3 ,set of three very early ,,irish ,,blown ,,glass ,,rushlight ,,holders1 early eighteenth century4 ,in ,mr4 ,robert ,frank's collection4 ,illustration3 ,,waterford ,,table ,,lights1 of exceptional quality1 #bd in4 high4 ,in ,mr4 ,fitzroy ,chapman's collection4 ,,plate ,,xxxviii4 ,illustration3 ,pair of antique ,,altar ,,candlesticks1 about #af in4 high4 ,waterford1 of the very finest period and cutting4 ,in the ,walter ,harding collection4 ,,plate ,,xxxix4 ,illustration3 ,four fine specimens of ,,waterford ,,candlesticks4 ,in the ,walter ,harding collection4 ,illustration3 ,a wonderful ,irish deep-coloured1 moulded ,,mug1 #h in4 high4 ,probably ,dublin4 ,circa #agdj4 ,in the ,walter ,harding collection4 ,,decanters1 ,,jugs1 ,,and ,,bottles ,,plate ,,xl4 ,illustration3 ,,shaped ,,waterford ,,jug4 #aa in4 high4 ,in the ,walter ,harding collection4 ,illustration3 ,,unique ,,jug1 ordinarily termed a freak piece4 #be in4 high1 weighing #ah lbs4 ,irish glass1 circa #agfj4 ,an ordinary cream jug is placed beside it for purposes of comparison4 ,in the ,author's collection4 ,illustration3 ,three very interesting ,,irish ,,jugs4 ,the two cream jugs are finest period ,waterford4 ,the centre jug is very early and the metal peculiarly soft4 ,in ,mr4 ,r4 ,philipson's collection4 ,illustration3 ,,tankard1 ,waterford or ,cork1 circa #aghe4 #i in4 high4 ,,two-,,handled ,,spun ,,cup1 probably ,dublin1 #agej2 deep toned glass1 very soft to the touch4 #h in4 high4 ,in the ,author's collection4 ,,heavy ,,lustre ,,cut ,,jug1 flint glass1 circa #ahjj4 #g in4 high4 ,in ,commander ,swithinbank's collection4 ,,plate ,,xli4 ,illustration3 ,,early ,,blown ,,cork ,,decanters1 with the primitive engraving of the period4 ,these decanters are impress-marked ,cork ,glass ,co4 ,in the ,author's collection4 ,illustration3 ,pair of heavy old ,,munster ,,glass ,,liqueur ,,bottles and an early ,,blown ,,irish ,,glass ,,decanter1 engraved4 ,in the ,author's collection4 ,illustration3 ,,step ,,and ,,prismatic ,,cut ,,liqueur ,,bottles1 ,waterford1 #ahbj-ej4 ,illustration3 ,,swag ,,and ,,diamond ,,cut ,,waterford ,,decanters1 circa #aghj-ij4 ,in the ,author's' collection4 ,,plate ,,xlii4 ,illustration3 ,set of early ,,munster ,,jugs4 ,in the ,author's collection4 ,,plate ,,xliii4 ,illustration3 ,set of early ,,munster ,,decanters4 ,in the ,author's collection4 ,,goblets1 ,,cups1 ,,and ,,chalices ,,plate ,,xliv4 ,illustration3 ,,chalice1 #agij-ahjj4 ,sharp diamond cut1 #ac in4 high4 ,one of the rarest pieces of ,irish glass4 ,in ,mrs4 ,hall's collection4 ,illustration3 ,a set of ,,dublin ,,lustre ,,cut ,,goblets1 circa #ahej4 ,the property of ,mr4 ,david ,blair1 who has a similar set of tumblers4 ,illustration3 ,,early ,,sweetmeat ,,stands4 ,irish glass1 moulded #agfj-gj4 ,in the ,author's collection4 ,,plate ,,xlv4 ,illustration3 ,a rare ,,chalice4 ,munster glass1 #agij-ahjj4 ,in ,mrs4 ,magee's collection4 ,,sweetmeat ,,stands ,,plate ,,xlvi4 ,illustration3 ,a ,,waterford ,,basket ,,sweetmeat ,,stand1 #bd in4 high4 ,in ,mrs4 ,magee's collection4 ,illustration3 ,,moulded ,,sweetmeat ,,stand1 with two candle sconces4 ,early ,cork4 ,in ,mrs4 ,magee's collection4 ,,table ,,services ,,plate ,,xlvii4 ,illustration3 ,an entire early ,,waterford ,,dessert ,,service4 ,leaf cutting1 and drawn stem wine-glasses4 ,in the possession of the ,hon4 ,mrs4 ,vickers4 ,,plate ,,xlviii4 ,illustration3 ,,waterford ,,dessert ,,service1 circa #aghe4 ,in the collection of ,major ,pope4 ,illustration3 ,a miniature ,,waterford ,,sweetmeat ,,stand1 only #ac in4 high4 ,the handles of the baskets are glass1 and the piece is a most beautiful colour4 ,late ,adam period4 ,in the ,walter ,harding collection4 ,illustration3 ,early ,,dublin ,,posset ,,two-,,handled ,,bowl1 #agfj2 ,,flat ,,flask1 #aggj2 ,,goblets1 ,,mugs1 and ,,tea ,,caddy of early dates4 ,in the ,author's collection4 ,,plate ,,xlix4 ,illustration3 ,,table ,,service ,,of ,,engraved ,,cork ,,glass1 early ,adam period4 ,glass older than the engraving4 ,in the collection of ,mr4 ,robert ,frank4 ,illustration3 ,early ,,irish ,,glass1 the lamp probably as early as #affj4 ,originally in the ,author's collection2 now in the ,walter ,harding collection4 ,,urns1 ,,honey ,,pots1 ,,salts1 ,,etc4 ,,plate ,l4 ,illustration3 ,pair of early ,,irish ,,urns1 #bb in4 high4 ,magnificent soft dark metal and very shallow cutting4 ,probably no duplicates4 ,in the collection of ,commander ,swithinbank4 ,illustration3 ,collection of tall ,,urns1 ,cork and ,waterford1 circa #aghe4 ,in the collection of ,commander ,swithinbank4 ,,plate ,,li4 ,illustration3 ,set of three ,,waterford ,,urns1 circa #aghc4 ,very fine examples of flat cutting4 #ad in4 and #ab in4 high4 ,in the collection of ,mrs4 ,hall4 ,illustration3 ,celtic motif ,illustration3 ,decoration ,,miscellaneous ,,plate ,,lii4 ,illustration3 ,pair of ,,wig ,,stands1 probably ,dublin1 heavy lead-coloured glass of an early period4 ,in ,mr4 ,robert ,frank's collection4 ,illustration3 ,,fine ,,munster ,,glass4 ,in the collection of ,mr4 ,hunt4 ,illustration3 ,,typical ,,waterford ,,cruets ,,and ,,cruet ,,bottles4 ,illustration3 ,,old ,,strawberry ,,cut ,,dublin ,,teapot4 ,in ,mrs4 ,day's collection4 ,,old ,,munster ,,glass ,,teapot1 moulded4 ,in the ,author's collection4 ,,teapot4 ,waterford1 circa #aghc4 ,in ,mr4 ,robert ,frank's collection4 ,illustration3 ,,cream ,,or ,,ice ,,pails1 ,irish1 circa #ahbe-ce4 ,a wonderful example of deep step cutting1 with feather handles4 ,the glass is nearly #c_/d in4 thick4 ,in the possession of ,mrs4 ,mc,bean4 ,,plate ,,liii4 ,illustration3 ,a very fine old ,irish blue glass ,,bowl1 with a magnificent ring1 #i in4 diam4 ,in the ,author's family collection4 ,illustration3 ,a very rare ,dublin blue glass ,,bowl1 with unfinished foot1 #h in4 high2 extremely heavy4 ,specially made1 circa #agdj4 ,in the ,author's family collection4 ,illustration3 ,pair of ,,lacemaker',s ,,lamps1 heavy purple-blue glass1 made in ,dublin1 circa #agcj-dj4 #ac in4 high4 ,in the ,author's family collection4 ,illustration3 ,decoration ,,rubbings ,,plate ,,liv4 ,illustration3 ,the only cutting on a rare canoe-shaped ,waterford bowl in the ,author's collection4 ,flutes also a very early idea1 but became deeper and smaller and sharper as time went on4 ,illustration3 ,a wonderful special cutting on a pinched ,waterford boat-shaped bowl a little deeper than engraving4 ,in the ,author's collection4 ,illustration3 ,a very beautiful fan edge from a fine ,waterford bowl of circa #ahae4 ,illustration3 ,vandyke cutting1 more commonly known as bull's-eye4 ,a cutting very much done between #aggj and #ahjj1 and probably more copied both abroad and in ,england than any other4 ,sometimes referred to as ,geometrical design4 ,illustration3 ,beautiful swag and line cutting with fan edge4 ,this is an early effort1 probably #agfe2 but there is a fine example on a ,waterford dessert service in the possession of ,colonel ,wike4 ,,plate ,,lv4 ,illustration3 ,hobnail cutting1 late #ahcj1 so often confused with diamond cutting4 ,illustration3 ,strawberry cutting1 so often confused with hobnail cutting2 much used from #aghj4 ,this is an early example4 ,note the unevenness of the lines4 ,illustration3 ,flat diamond4 ,this was a shallow cutting from circa #agfh onwards2 after #agij it became much deeper and sharper1 the centre coming out to a sharp point4 ,illustration3 ,fine fan cutting from an old ,waterford decanter4 ,illustration3 ,double1 or long diamond1 so often called in ,england lozenge4 ,it was a very soft shallow cutting till after #aghj1 when it became bolder and deeper4 ,,plate ,,lvi4 ,illustration3 ,one of many adaptations of cutting on ,irish glass from #agij to #ahce4 ,illustration3 ,one of many adaptations of cutting on ,irish glass from #agij to #ahce4 ,illustration3 ,cutting from a rare ,waterford bowl4 ,leaf1 shallow diamond1 and flute4 ,this early cutting was very irregular1 and so shallow that it is little deeper than heavy engraving4 ,illustration3 ,a fine castellated edge from a ,waterford fruit dish4 ,,plate ,,lvii4 ,illustration3 ,a most rare and very shallow adaptation of diamond cutting from an old ,irish chalice1 circa #aggj4 ,illustration3 ,a most beautiful bit of cutting on a rare early ,waterford mirror in ,commander ,swithinbank's collection4 ,illustration3 ,curious shallow cutting from a set of ,cork plates and finger-bowls in the ,author's collection4 ,illustration3 ,an example of step cutting1 horizontal and vertical1 from a late ,waterford bowl4 ,,plate ,,lviii4 ,illustration3 ,cutting from an early ,waterford canoe-shaped bowl4 ,in the ,author's collection4 ,illustration3 ,very early cutting from ,mr4 ,weguelin's ,waterford urns1 showing the remarkable inaccuracy of the cutting4 ,illustration3 ,a variation of the early leaf cutting1 somewhat later1 therefore a little sharper and more symmetrical4 ,illustration3 ,flat leaf1 one of the first ideas of cutting4 ,it is so soft that to the touch it is almost like moulding4 ,,plate ,,lix4 ,illustration3 ,a wonderful example of lustre cutting4 ,dublin1 circa #aghe4 ,illustration3 ,cutting1 soft and shallow1 from a ,cork bowl1 late eighteenth century4 ,in the ,author's collection4 ,illustration3 ,a soft early star found on the bottoms of finger-bowls and decanters1 circa #agej4 ,note the remarkable variation from the given centre4 ,illustration3 ,a very beautiful shallow-cut star1 from a ,waterford dish1 about #agij4 ,illustration3 ,a very early husk or leaf cutting from an early ,irish wine-glass1 circa #agfj4 ,this is one of the earliest cuttings4 ,,plate ,,lx4 ,illustration3 ,,one ,,of ,a ,,pair ,,of ,,dublin ,,wall ,,lights4 ,in the ,author's collection4 ,from a drawing in the ,author's possession4 ,transcriber's ,notes3 ,plate ,,xi caption1 removed 4 from rainbow4 band4 ,italic text is denoted by underscores and bold text by equal signs4 ,,html version1 ,illustrations have been laid out sequentially1 with captions below each4