,,old ,,glass ,,and ,,how ,,to ,,collect ,,it ,illustration ,the ,standard ,book on the ,subject4 ,a ,,history ,,of ,,english ,,stained ,,glass ,,windows4 ,by ,,maurice ,,drake4 ,fully ,illustrated in ,colour and ,half-tone4 ,foolscap folio4 #b1 #bs4 net4 8,one of the most beautiful1 nay1 most sumptuous1 books produced in recent years1 and from that point of view the ,author and the publisher1 the artist and the printer1 and1 indeed1 also the binder1 are to be heartily congratulated4 ,but it is also an interesting book to read1 although the subject is not everyone's subject1 for it is written1 not merely with knowledge1 which one can find anywhere on most subjects1 but with knowledge touched with humanity1 which is the kind of knowledge that we want in a book40--,daily ,chronicle4 ,,first ,,steps ,,in ,,collecting4 ,by ,mrs ,,grace ,,vallois1 ,author of 8,antiques and ,curios in our ,homes40 #fd ,illustrations4 ,picture ,cover4 #fs4 net4 ,in this book ,g4 ,m4 ,vallois has grappled successfully with the problem of how to give the amateur a slight general knowledge of a wide subject1 without deluging him with technical details4 ,,antiques ,,and ,,curios ,,in ,,our ,,homes4 ,by ,g4 ,m4 ,,vallois4 #fa ,illustrations4 #fs4 net4 ,in addition to being interesting to those who possess old furniture1 etc41 it should appeal to young persons making a home1 as1 even though they may not be able to buy ,antique ,furniture1 it is of educational value to them1 inasmuch as it teaches in a most fascinating manner the difference between ,sheraton and ,chippendale1 between ,wedgwood and ,willow ,pattern1 etc4 ,illustration3 ,a fine specimen of ,early ,bristol ,glass1 with landscape painted by ,edkin4 ,,old ,,glass ,,and ,,how ,,to ,,collect ,,it ,,by ,j4 ,,sydney ,,lewis ,,illustrated ,,london ,t4 ,,werner ,,laurie ,,ltd4 #cj ,,new ,,bridge ,,street1 ,e4,c4#d ,the ,author desires to express his best thanks to ,miss ,whitmore ,jones1 ,mr ,cole of ,law1 ,foulsham ,cole1 ,mr ,a4 ,edwards of ,messrs ,edwards ,limited1 for their kind permission to include examples of old ,english and ,irish glass from their ,collections1 and to ,messrs ,sotheby1 ,wilkinson ,hodge for allowing him to include the list of prices fetched by various specimens at their ,sales4 ,he is also desirous of acknowledging the assistance he has received from the ,authorities of the ,british and ,dublin ,museums1 and also to the late ,mr ,j4 ,herbert ,bailey1 to whom and to 8,the ,connoisseur0 he is indebted for several of the illustrations4 ,his indebtedness to the great work of ,mr ,a4 ,hartshorne is one which he shares with every writer who takes as his subject 8,old ,english ,glass40 ,,contents ,,chapter ,,page ,i4 ,,introductory #a ,,ii4 ,,early ,,english ,,glass #bg ,,iii4 ,,eighteenth-,,century ,,glass #ee ,,iv4 ,,memorial ,,glasses #ie ,v4 ,,bristol ,,and ,,nailsea ,,glass #aae ,,vi4 ,,irish ,,glass #abh ,,vii4 ,,curious ,,and ,,freak ,,glasses #aed ,,viii4 ,,frauds ,,and ,,imitations #aff ,,ix4 ,,some ,,hints ,,to ,,collectors #ahb ,,catalogue ,,of ,,prices ,,of ,,principal ,,pieces ,,of ,,glass #aia ,,list ,,of ,,illustrations ,early ,bristol ,glass2 landscape painted by ,edkin44444,frontispiece ,,fig4 #a4 ,elizabethan ,glass 7,brit4 ,mus4 ,coll47 ,to face page #db #b4 ,posset ,cup 7,charles ,,ii47 #c4 ,feeding ,cup 7,william ,,iii47 0 #dh #d4 ,glass ,panel 7,charles ,,ii47 #e4 ,glass ,tankard with ,coin blown in ,base 0 #ej #f4 ,coin blown in ,base of ,tankard #g4 ,air-twisted ,stem ,glasses444440 #fb #h4 ,air-twisted ,button and ,baluster ,stem ,glasses444440 #ff #i4 ,opaque-twisted ,stem and ,rose ,glasses444440 #fh #aj4 ,double ,ogee ,bowls444440 #gb #aa4 ,ale ,glasses and ,sweetmeat ,glasses444440 #gd #ab4 ,eighteenth-century ,drinking ,glasses444440 #gf #ac4 ,rummers and ,baluster ,stem ,glasses444440 #hd #ad4 ,decanters and ,salt-cellars 7,eighteenth ,cent47444440 #ij #ae4 ,candlesticks and ,tapersticks444440 #ib #af4 ,jacobean ,rushlight ,holder and ,wine ,glasses444440 #id #ag4 ,jacobite ,toasting ,glasses444440 #if #ah4 ,jacobite ,goblets444440 #ajj #ai4 ,jacobite ,glass444440 #ajb #bj4 ,memorial ,toasting ,glasses444440 #ajf #ba4 ,memorial ,glasses 7,various7444440 #ajh #bb4 ,a ,nelson ,glass and ,george ,,iv4 ,coronation ,glass444440 #aaj #bc4 ,commemoration ,glasses444440 #aab #bd4 ,tankards and ,grog ,glasses444440 #aad #be4 ,old ,bristol ,glass ,decanter and ,mug444440 #abj #bf4 ,bristol ,glass ,vases and ,candlesticks444440 #abb #bg4 ,bristol ,glass ,vases and ,castors444440 #abd #bh4 ,early ,nailsea ,jugs444440 #abf #bi4 ,nailsea ,jug and ,mug444440 #abh #cj4 ,early ,irish ,glass444440 #acj #ca4 ,old ,irish ,salad ,bowls and ,celery ,glasses444440 #acb #cb4 ,old ,waterford ,centrepiece1 with ,collar444440 #acd #cc4 ,old ,waterford ,preserve ,jars and ,bowls444440 #acf #cd4 7#a7 ,old ,cork ,decanters2 7#b7 ,old ,waterford ,decanters444440 #ach #ce4 ,old ,cut ,irish ,decanters and ,finger-basins444440 #adj #cf4 ,early ,irish ,fruit ,dishes444440 #aej #cg4 ,masonic1 ,toasting1 and ,freak ,glasses2 an ,early ,cambridge ,yard ,ale ,glass ,page #afj #ch4 ,saxon ,glass444440 #cj #ci4 ,various ,styles of ,cutting444440 #g #dj4 ,examples of ,baluster ,stems and ,tear ,glasses444440 #eg #da4 ,tear ,glasses444440 #fa #db4 ,old ,english ,glasses444440 #fe ,,chapter ,i ,,introductory ,the origin of glass is lost in antiquity4 ,pliny1 indeed1 ascribes its discovery to certain ,phnician mariners who1 being shipwrecked upon a sandy shore1 used a block of the natron which formed their cargo to support a pot which they were putting over an improvised fire4 ,the heat fused the sand with the natron1 and lo6 the glass was discovered in the ashes4 ,since1 however1 ,pliny's authority was ,rumour1 and since1 also1 such a phenomenon is a physical impossibility--for no bonfire could produce a temperature at which sand would fuse--it is possible that ,rumour in ,pliny's day had a no greater reputation for reliability than in the twentieth century4 ,but the story1 if not true1 is at least well invented and serves to show at how early an age in the world's history glass was known4 ,it is more than probable that the place of its origin was ,ancient ,egypt1 and that the ,phnicians1 who were undoubtedly acquainted with its use1 drew their knowledge from the workers on the banks of old ,nile4 ,at any rate articles of glass have been discovered in tombs of the fifth and sixth dynasties--some #ccjj years before ,christ4 ,this1 the earliest known glass1 is generally opaque1 and is chiefly used to form small articles of ornament1 such as beads for necklaces1 etc4 ,the 8aggry0 beads1 found in ,anglo-,saxon barrows and made in our own time by the ,ashantis and neighbouring tribes1 are of similar type4 ,some admirable specimens of ancient ,egyptian glass are to be found in the ,british ,museum4 ,among them is a turquoise-blue opaque glass jar of ,thothmes ,,iii4--the greatest of all the kings of ,egypt--dating from about #aeej ,b4,c4 ,at a later date glass was extensively made in ,alexandria1 the sand in the vicinity being of exceptional purity and so1 suitable for its manufacture4 ,the city speedily became celebrated for the beauty of its output1 and articles of ,alexandrian glass were largely exported to ,greece and to ,rome1 where also1 in the space of a few years1 glass-houses were established2 and to ,constantinople1 which was1 in time1 to become famous for the manufacture of coloured glass and of the ,mosaics so dear to the ,oriental taste4 ,the ,greeks do not appear to have developed the art of glass-making at a very early age1 but specimens of glass have been found in ,grecian tombs1 and1 in the ,golden ,age of ,ancient ,greece1 when art and literature reached their zenith under ,pericles1 glass was certainly employed for purposes of architectural decoration4 ,in ,rome1 however1 the art of glass manufacture found a congenial home and was developed to a high pitch of excellence4 ,so widespread was its use that it is a truism to say that in ,rome of two thousand years ago glass was employed for a greater number of purposes--domestic1 architectural1 and ornamental--than it is to-day1 even though the glazing of windows was in its infancy and the use of the material for optical purposes was scarcely known4 ,in effect1 coloured and ornamental glass held much the same place in the ,roman household that china and earthenware do among us to-day4 ,glass was used for pavements and for the external covering of walls4 ,the ,roman glass-workers were particularly happy in their combination of colours1 both by fusing together threads of various colours1 or by fusing masses1 so as to imitate onyx1 porphyry1 serpentine1 and other ornamental stones4 ,the most interesting of all was the famous cameo glass4 ,a bubble of opaque white glass was blown1 and this was coated with blue and a further layer of opaque white superimposed4 ,the outer coat of blue was removed from the portion which was to display the design1 leaving the white to be carved into whatever figures the artist's fancy dictated4 ,the finest example extant of this kind of ware is the famous ,portland vase in the ,british ,museum4 ,the art1 thus brought to such perfection in ,rome1 naturally spread throughout ,italy and the ,roman colonies in ,france1 ,spain1 ,germany1 and ,britain4 ,probably workmen from the ,italian cities also established the first furnaces among the lagoons of ,venice1 and so laid the foundation of what were to be the finest glass manufactories in the world4 ,at the end of the thirteenth century a guild of glass-workers was formed4 ,these sequestered their craft upon the island of ,murano1 and there cultivated it with an increasing skill that in a brief space made ,venetian glass the marvel of the civilised world4 ,the peculiar merits of the ,venetian product were grace of form and lightness of execution4 ,many of the vessels are surpassingly thin4 ,the quality of the metal1 however1 leaves something to be desired4 ,it is dull1 frequently tinged with yellow--due to the presence of iron--or purple--the effect of too great a proportion of manganese4 ,the workmen became so skilful that1 carried away by the joie d'excuter1 they produced not only the artistic forms for which ,venetian glass is famous1 but all sorts of extravagances--ships1 animals1 birds1 fishes1 and so on--whose only merit was to testify to the excellence of a technique which could so triumph over the difficulties of form and material4 ,meanwhile1 other ,european nations had taken their cue from ,venice1 and glass-houses sprang up in various parts of the ,continent1 particularly in ,france and in ,bohemia2 the latter1 indeed1 speedily became the great rival of ,venice4 ,in ,england1 as we shall see1 glass was made during the ,roman occupation4 ,under the ,saxons1 glass-workers were imported from the ,continent1 but to judge from the number and variety of the specimens found in ,anglo-,saxon tombs1 it is probable that it was also manufactured to an equal extent at home4 ,during the ,middle ,ages the art appears to have fallen into abeyance1 save in a few isolated instances to be noted later1 but in the sixteenth century the custom of using glass vessels was introduced from ,france and the ,low ,countries1 most of the pieces being imported from ,venice4 ,to prevent the money thus expended from leaving the country1 efforts were made about the middle of the century to establish the art by the aid of workmen from ,murano1 and the history of glass manufactured in ,england may be said to have fairly begun4 ,it was undoubtedly stimulated by the religious persecutions on the ,continent1 particularly the ,spanish ,terror in the ,netherlands1 for the ,low ,countries were seriously endeavouring to rival ,murano in the art1 and the craftsmen who fled for refuge to ,england undoubtedly did much to develop their trade in the country of their adoption1 as did the ,huguenot refugees at a later period4 ,illustration3 ,strawberry ,cutting ,hob-nail ,cutting ,diamond ,cutting ,fleur-de-lis ,cutting ,fan ,cutting ,herring-bone ,cutting ,,fig4 #ci4 ,in the seventeenth century the whole process was revolutionised by the introduction of a large proportion of oxide of lead1 making what is technically known as 8flint0 glass--a glass much more brilliant than any other1 a quality due partly to its transparency and partly to its increased refractive power1 which renders it specially fitted for 8cutting0--a process which enhances its beauty by increasing the number of ways in which the light rays falling on the glass are dispersed4 ,the discovery has given ,english glass a well-deserved pre-eminence for beauty of metal--a pre-eminence which the glass-cutters of the eighteenth century admirably sustained by the excellence of their work4 ,all this time the art of glass-making on the ,continent had been developing4 ,in particular1 the ,venetian workers at ,murano had perfected the art of colouring and enamelling glass--a result which was later to have its influence upon ,english artists4 ,an admirable example of what they achieved in this direction is an old spinet in the ,south ,kensington ,museum1 which once belonged to ,queen ,elizabeth of ,bohemia1 the daughter of ,james ,i4 ,whatever its merits as a musical instrument1 its once gorgeous gilt crimson leather case hides an interior of the utmost interest to students of glass1 for the interior of the lid is panelled into eighteen divisions1 each representing some classical subject--,narcissus1 ,daphne1 ,andromeda1 ,argus1 etc4--admirably done in coloured glass4 ,the front of the keyboard1 the stretcher bar and the keys themselves are also elaborately decorated in similar fashion with coloured glass1 silver or enamel4 ,the keys are covered with ornaments in coloured glass1 the accidentals being faced with blue and white striped glass and the naturals being fronted with the same4 ,although it is no part of the purpose of this book to deal in detail with the technical side of the manufacture of glass1 yet some few words as to the nature of the material with which we are dealing are not only desirable but essential to the proper understanding of its various qualities and kinds and the different stages of its manufacture4 ,the scientist will tell us that glass is a double silicate1 being compounded of a silicate of sodium 7or potassium7 and a silicate of lime4 ,for the benefit of non-scientific readers1 we may remark that a silicate is a chemical compound formed when silica combines with an alkaline substance like lime1 soda1 or potash4 ,silica is probably the most widely distributed substance in nature4 ,silicate of alumina is1 for example1 the basis of all clayey soils1 and silica1 in the pure form of quartz1 is the chief constituent of the sand of the sea and of all those rocks which are known as sandstones4 ,rock-crystal1 amethyst1 agate1 onyx1 jasper1 flint1 etc41 are all varieties of silica4 ,crystalline silica is hard enough to scratch glass--a fact utilised1 as we shall see1 in the sand-blast which is used for the purpose of engraving patterns on glass4 ,silica is fusible only at a very high temperature1 but readily combines with alkaline substances to form soluble silicates1 which are known in commerce as soluble glass1 or water-glass1 because it dissolves readily in hot water4 ,water-glass is used in making artificial stone1 in coating stone surfaces1 e4g4 walls of buildings1 etc41 to preserve the stone from decay under the weathering influence of the atmosphere1 and in the manufacture of cement4 ,ordinary glass has many valuable properties which make it of great importance in the arts and manufactures4 ,among these may be mentioned the fact that it can be made to take any shape with ease4 ,it resists the action of all ordinary acids1 and hence is of the utmost value to the chemist and the chemical manufacturer4 ,hydrofluoric acid alone attacks it1 by combining readily with its silica and so dissolving it4 ,for this reason1 hydrofluoric acid is used in etching on glass4 ,again1 glass is cheap1 being literally made from the dust of the earth2 it is transparent1 and so can be used in buildings1 transmitting light whilst protecting from the inclemency of the weather4 ,its transparency1 too1 combined with its high refractive power1 make it of inestimable value in the manufacture of optical instruments4 ,it is this high refractive power1 too1 which gives to cut glass its beautiful lustre and sparkle1 and one aim of the glass-founder is to increase this refractive power and so enhance the brilliancy of his product4 ,if glass could be made which would refract light to the same extent as the diamond does1 it would exhibit the same 8fire0 as the king of gems4 ,it is hard and close in texture1 and so is capable of taking a high polish4 ,its great drawback is its brittleness1 but this can be reduced to a great extent by immersing it1 whilst red-hot1 in a hot bath of paraffin oil1 wax1 or resin4 ,a tumbler of glass so 8tempered0 may be dropped on the floor without breaking4 ,it may be added1 as a matter of common interest1 that this brittleness is largely a result of the fact that glass is an extremely bad conductor of heat4 ,because of this1 a mass of molten glass1 when cooling1 becomes set on its outside surface long before the interior has become solidified2 hence the solid exterior prevents the molecules of the interior portion from contracting4 ,as a result1 a condition of strain is established1 the interior molecules tending to contract1 while the exterior tends in the opposite direction2 consequently a very slight blow is enough to cause a fracture4 ,varieties of ,glass4--,as we shall frequently find it necessary to refer to the various kinds of glass1 it may be as well at the outset to attempt to give a clear idea of their differences and of the meanings of the various terms employed in describing them4 ,as regards quality1 the chief kinds are crown glass1 flint glass1 plate glass1 bottle glass1 and crystal glass1 and the differences in composition may be conveniently expressed in the form of a table3-- ---------------------------------------- ------------------------------- ,oxide of,oxide of ,silica4 ,potash4 ,soda4 ,lime4 ,alumina4 ,lead4 ,iron4 ---------------------------------------- ------------------------ ,crown4 #fg #ba -- #aj #b -- -- ---------------------------------------- ------------------------ ,flint4 #dd #ab -- -- #a #dc -- ---------------------------------------- ------------------------ ,plate4 #gh #b #ac #e #b -- -- ---------------------------------------- ------------------------ ,bottle4 #ei #c -- #be #f -- #g ---------------------------------------- ------------------------ ,crystal4 #ef #i -- #c -- #cb -- ---------------------------------------- ------------------------------- ,cheapest of all glass is bottle glass1 where the base is mainly lime4 ,the metal used for medicine bottles contains more potash and is purer and clearer4 ,the use of potash and soda makes the glass more easily fusible2 alumina has the opposite effect2 lime makes a harder glass2 lead gives lustre1 increases fusibility1 and heightens the refractive power4 ,hence in glass which is to be cut and polished the employment of lead in sufficient quantity is a factor of the highest importance4 ,this is a point to be specially noted in connection with ,english glass4 ,lead--chiefly the oxides known as litharge and minium--in small quantities has long been employed1 the introduction of the metal serving as a flux1 but lead glass was generally avoided as being too brittle4 ,merret1 writing in #affb1 remarks that could this glass be made as tough as crystalline1 8it would far surpass it in the glory and beauty of its colours40 ,it will be noted that the two kinds of glass in which lead is used in quantity are flint glass and crystal4 ,the larger the amount of lead the greater the beauty and brilliancy of the product1 a result due1 as previously intimated1 to the increase in refractive power that is brought about by its addition4 ,flint glass derives its name from the fact that in ,england the silica1 which is the main constituent of all glass1 was procured from flints which were calcined and pulverised4 ,being highly refractive it is extensively employed in the manufacture of optical instruments--telescopes1 microscopes1 etc4 ,quartz and fine sand are now used in the place of flints4 ,the glass is soft1 and hence easily scratched and dulled4 ,it is essential that only the purest materials be employed1 and special furnaces and pots are needed4 ,flint glass was known in quite early times4 ,it was probably discovered by accident that certain stones were fusible1 for fossil glass is found in many places where great fires have been4 ,volcanic glass--obsidian--is a well-known substance1 while there exist in ,scotland ancient forts1 the stones of which have been fused together by the action of heat4 ,the ,venetians used quartz in preference to sand1 since the latter was liable to contain impurities1 and the ,venetian craftsmen who settled in ,england were accustomed to ensure the purity of their silica by calcining flints4 ,crown glass is the finest sort of ordinary window glass4 ,plate glass is the superior kind of thick glass used for mirrors1 shop windows1 etc4 ,it will be noted that it is the only kind of glass which contains soda4 ,the process of glass manufacture comprises three stages1 mixing1 melting1 and blowing4 ,the various ingredients are first finely ground and then thoroughly mixed by the aid of a mixer1 forming what is known as the 8batch40 ,this is placed in melting pots4 ,these are crucibles of fire-clay1 i4e4 clay capable of withstanding the action of heat4 ,the clay must be of the finest quality1 and be carefully freed from extraneous matters which might affect the quality of the glass4 ,hence the manufacture of the 8pots0 is itself an industry of some importance1 and as each costs some #aj1 they form an important item in the expense of manufacture1 especially as the pots are short-lived1 some eight to ten weeks being the average life of one of them4 ,the ordinary pot is an inverted section of a cone1 the apex being closed4 ,for flint glass a covered pot is essential1 the form ordinarily adopted being a bell-jar closed at the bottom and with an arched opening at the top4 ,each pot holds from ten to fifteen cwt4 of the 8batch40 ,when full1 the pots are placed in specially constructed furnaces1 holding from five to fifteen pots1 and capable of producing a temperature of from #aj1jjj to #ab1jjj ,f4 ,the details of the firing are intricate and interesting but have no direct bearing on our purpose2 their object is to produce complete fusion1 to allow for the removal of all impurities1 and to ensure the homogeneity of the product4 ,the final stage with which we are concerned is that of blowing1 since all table glass1 worthy of being called table glass1 is blown4 ,in other words1 every decanter1 vase1 tumbler1 and wine glass of the better sort begins its existence as a bubble of molten glass at the end of an iron tube--the glass-blower's tube--and owes its form to the delicate touches of simple tools held in a skilful hand and guided by a trained eye4 ,it is this fact which gives glass its individuality4 ,there is no hard-and-fast rigour of line1 no mechanical uniformity of shape1 such as is associated with machine-made goods2 even the simplest wine glass is an individual thing1 which the taste of the craftsman has endowed with artistic distinction whilst retaining its simplicity of form4 ,it is a matter for regret that the glass-blower's art is seriously threatened in these latter days of hurry and competition4 ,the demand for cheap glass has led to the introduction of blowing machines1 in which the bubble of molten glass is taken up by one of many blowing tubes1 and placed inside a mould1 air being driven by machinery through the other end of the tube and inflating the bubble until it touches the sides of its mould4 ,the budding craftsman thus loses the practice of blowing these simpler forms1 and as he is now forbidden to work at the furnaces until he is over fourteen1 he often fails to acquire that lightness and dexterity of hand which are the mark of the first-rate craftsman1 and which can be most readily gained in early life4 ,there is1 of course1 no reason why common vessels should not be produced in this way1 and tumblers1 decanters1 and lamp glasses are so manufactured in large numbers4 ,needless to say1 moulded or pressed glass has little value1 either intrinsic or artistic1 in the collector's eye1 unless it has acquired distinction on account of its age2 for moulded or pressed glass has been known from early times1 and it is of the greater interest1 since only ,english glass1 i4e4 flint glass1 or glass of similar characteristics1 can profitably be so dealt with4 ,it will be readily understood that only glass of a low melting point1 which does not quickly solidify1 and which at the moment of solidification expands and fills out the interstices of the mould1 can be successfully treated in this way4 ,one bar to the extensive use of this form of glass was the cost of the essential lead and potash4 ,these are often now replaced by baryta and lime1 with the result that a very suitable glass is produced1 which contains no appreciable quantity of either lead or potash4 ,the art of glass-cutting in ,europe dates back to the middle of the sixteenth century1 when it was extensively practised on the ,continent1 particularly in ,bohemia4 ,the earliest examples were probably imitated from the rock-crystal cups of ancient ,greece and ,rome4 ,there is no doubt that in both these countries the art was practised for the ornamentation of the famous crystallinum1 whilst some vessels were undoubtedly cut out of the solid block4 ,the discovery of flint glass revolutionised the art of glass ornamentation4 ,the strong refractive powers of the new glass made it specially suitable for cutting1 which brought out a wonderful fire and sparkle that even the finest art of ,bohemia and ,venice had not been able to attain4 ,at first1 of course1 the ,english craftsmen were far inferior in artistic merit--both as regards design and execution--to those of ,bohemia2 but the superior brilliancy of the metal atoned to a great extent for the deficiencies of the workmen1 and ,early ,english cut wine glasses and punch glasses are by no means to be despised4 8,l'article ,anglais solide et confortable1 mais sans lgance10 spread the fame and fashion of ,english glass throughout the ,continent and1 incidentally1 over the world4 ,the earliest examples of ,english cut glass are perhaps the thistle-shaped glasses1 originally fashioned in ,bohemia but adopted by ,scotland as representing the national emblem4 ,apart from these1 the ogee-shape was most commonly selected as being more amenable to artistic treatment than the bell4 ,the stem is usually knopped and cut into facets1 and is invariably hexagonal in shape4 ,the cutting is continued beyond the top of the stem on to the lower part of the bowl1 so as to give a kind of finish4 ,sometimes1 indeed1 the cutting is made to include the bowl in a scheme of decoration1 and the rim is engraved with conventional designs1 wreaths of flowers1 etc4 ,towards the end of the eighteenth century the facets became long flutes4 ,the process technically known as glass-cutting is essentially one of grinding and polishing4 ,the grinding is done by a wheel1 made of cast-iron1 and made to rotate rapidly by a continuous band passing over a revolving shaft4 ,above the wheel is a receptacle containing sand and water1 which can be fed on to the wheel as desired4 ,smoothing is done by a sandstone wheel1 similarly mounted1 and polishing by a wooden one fed with putty powder4 ,the craftsman holds his piece in the hand1 pressing it against the rotating wheel4 ,engraving is really very fine grinding1 done usually with a copper wheel or1 rather1 disk1 whilst etching is done by coating the glass with wax1 or some similar protective substance1 scratching the pattern through the wax and then subjecting the piece to the action of hydrofluoric acid4 ,it need hardly be said that only the best kinds of glass are cut by a method which makes such demands on the time and skill of the workman2 the cheaper kinds of glass are all moulded or 8pressed40 ,pressed glass is also essentially ,english1 no other kind1 save flint glass1 being suitable for treatment in this way4 ,it is1 in the first place1 essential to obtain a metal which has a low melting point1 and one which does not shrink in solidifying1 as that would draw it away from the sides of the mould1 and so effectively spoil the design4 ,the low melting point of the metal enables the product to be 8fire polished40 ,in this process it is reheated to a point sufficient to melt a thin surface layer1 and so remove any roughness due to the process of moulding1 and leave a smooth bright surface4 ,the art of pressing glass has been brought to a high degree of perfection1 elaborate decorations being produced with ease4 ,the cost of the process1 too1 has in recent years been lessened by the use of baryta and lime1 in the place of lead and potash1 and in this way the output has been greatly cheapened1 while baryta glass1 if inferior in sparkle to lead glass1 is yet far more brilliant than ordinary glass4 ,the problem how to distinguish real old glass from modern imitations is one that besets the collector at every stage of his progress4 ,a few specimens supply their own testimony in the shape of a date1 but it is by no means impossible to engrave a date on a piece of specious-looking real antiquity1 and so give it a fictitious value1 by making it appear 8the thing which it is not40 ,as to the character of the glasses themselves1 shape alone is no criterion of age4 ,apart from the possibility of deliberate imitation1 it does not follow that because a piece is ponderous1 clumsy in appearance and1 to a modern eye1 unduly capacious1 that it is necessarily an early piece4 ,right from the beginning of glass manufacture in ,england1 two qualities1 at least1 were undoubtedly manufactured2 the better to ornament the tables of the great1 and the poorer for service in kitchen and tavern4 ,whereas articles of the former were as dainty and artistic as the skill of the craftsman would allow1 the latter were roughly made and deliberately ponderous to bear the rougher usage to which they were subjected4 ,as the same practice continues up to the present day1 it follows that there is in existence a considerable quantity of common glass with all the attributes1 as far as shape and clumsiness of form are concerned1 of that of an earlier period4 ,possibly the appearance of the metal and the style of workmanship are as reliable guides as any others4 ,the metal of the earliest glasses was by no means perfect4 ,instead of the beautiful clarity and perfect transparency we are accustomed to associate with glass1 there is often a streakiness or cloudiness visible in the material1 together with numerous bubbles and flaws4 ,if the striations are horizontal1 the glass is of an earlier type than if they are perpendicular4 ,the sides of the bowl are often irregular1 and the stems are often clumsy1 uneven1 badly balanced1 and altogether disproportionate in point of size to an eye accustomed to the slenderer style of modern glassware4 ,an important point is the junction between the bowl and the stem4 ,for some extraordinary reason1 the welding of the two seems to have given the ancient glass-blowers considerable trouble1 and the join is often too clearly perceptible4 ,hence the collector who comes across an apparently ancient piece bearing evident signs of clumsy joining should give it more than casual attention4 ,sometimes1 to obviate the difficulty1 the base of the bowl was made into a kind of knop1 and at other times the junction was hidden by an irregular band--the prototype of the collar which so often appeared in glasses of a somewhat later period4 ,the bubble which appears in many stems was probably the outcome of accident and possibly of an attempt to imitate the hollow stems of ,venetian glass4 ,it is worthy of note that whilst the bubble is almost invariably present in the baser forms of early eighteenth-century glass1 it is frequently absent from the finer varieties4 ,another point of difference is that the better specimens rarely have the folded foot1 which is invariably present in the coarser makes1 the turning under of the rim1 whilst plastic1 to make a kind of welt1 being an obvious precaution against the rougher usage to which they were inevitably subjected4 ,sometimes the feet were domed1 but these were difficult to make and the numbers were restricted4 ,in some specimens ridges or ribs are formed on the upper and lower sides of the foot4 ,the earliest glasses were devoid of any attempt at decorative engraving1 and these plain glasses may also be roughly classified by noting whether the glass rests on the flat of the foot or on the rim only4 ,the former are of the earlier type4 ,among the tests which the collector might apply are the following3-- ,note whether the glass rings clear and sweet in tone4 ,in twisted stems1 note whether the stem twists to the left or the right4 ,the genuine glasses have almost invariably stems twisted to the left4 ,in opaque-twisted stems1 note particularly the colour of the spiral4 ,in the forgeries the opacity is less definite1 the twist often having a kind of translucent look4 ,genuine old glass often has a cloudy tinge with frequently a tone of steely blue4 ,forgeries may show a greenish tint4 ,in old glass the centre of the base1 where the piece was1 after being finished1 knocked off the pontil1 is generally left rough2 in the imitations it is generally ground smooth4 ,the foot of a genuine old glass is never quite flat1 there is always a slope--sometimes a very pronounced one--from the centre to the edge4 ,the modern imitation1 usually made abroad1 often has a perfectly flat foot4 ,the edge of the bowl in a genuine old glass is always rounded1 never left hard and sharp4 ,,chapter ,,ii ,,early ,,english ,,glass ,the early history of glass manufacture in ,britain is decidedly obscure4 ,the earliest specimens of the art extant are certain coloured beads1 known as 8aggry0 beads4 ,many of these exist1 some probably of ,phnician origin1 others dating from the ,roman occupation of ,britain--being made either by the ,romans themselves or by a ,british craftsman under ,roman tuition4 ,there can be little doubt that the ,romans did introduce the making of glass into this country1 for glass was an indispensable adjunct to ,roman life4 ,moreover1 it was the custom for the conqueror to train the conquered in his own arts1 and the ,roman handicrafts followed the ,roman ,eagle4 ,in any case1 the art of glass-making had1 according to ,pliny1 extended to ,gaul1 and there seems no reason why it should not also have crossed the ,channel4 ,unfortunately1 there is no evidence that it did4 ,there is1 however1 evidence that glass-making was carried on in ,anglo-,saxon times--many specimens of ,anglo-,saxon bead-work1 etc41 having been found in barrows1 tumuli1 and burying-places in general4 ,they are composed of an opaque1 vitreous paste--which in places approaches translucency4 ,unfortunately1 the materials employed were impure1 and the material has consequently disintegrated with time1 making it a matter of exceeding difficulty to determine its original texture and appearance4 ,the decoration1 both as regards colouring and design1 is primitive4 ,the colour is crude1 and the patterns consist mainly of simple geometrical figures1 circles1 chevrons1 stripes1 spirals1 and so forth4 ,possibly after the ,roman withdrawal in #daj1 the art fell into abeyance1 as did much of the civilisation imposed by the ,romans1 reviving again when the various ,anglo-,saxon units began to develop a civilisation of their own1 and to pass through various confederacies into a single kingdom4 ,bede writes that in #fge 8,benedict ,biscop0 sent for glass-workers from ,france to glaze the windows of the church at ,wearmouth1 and that they taught the ,english their handicraft1 making not only windows but vessels4 ,the art must1 however1 have survived in certain places1 for numbers of vessels which can be referred1 on the authority of illuminated ,,mss41 etc41 to ,saxon times1 are in existence4 ,such specimens include 7a7 vases1 ornamented with ribs and applied lobes4 ,these are probably of ,german origin1 and were introduced into ,britain by the ,saxon invaders4 7b7 ,trumpet-shaped cups1 ribbed1 or stringed1 or fluted4 ,these have no base on which to stand1 and are probably of ,english manufacture1 dating from the latter half of the sixth century1 7c7 ,the third type is the 8palm0 cup1 shaped so as to be conveniently held in the palm of the hand1 having no bottom on which to stand2 and 7d7 bowls of various shapes4 ,the palm cups and bowls belong to the eighth and ninth centuries1 and later4 ,it should be remembered that the dates given can only be roughly approximate1 and that the various periods fuse one into the other1 so that there is no definite line of demarcation4 ,moreover1 there is no definite proof that glass vessels were made in ,england during ,saxon times1 save only such ,illustration3 ,,fig4 #ch4 ,saxon ,glass4--#a1 #b1 #c1 ,trumpet ,cups2 #d1 a ,ribbed and ,lobed ,vase2 #e-i1 ,palm ,cups and ,vases4 statements as that of the ,venerable ,bede previously referred to4 ,only1 while similar vessels are found both in ,france and ,germany1 it is claimed that a greater number and a greater variety are found in ,england1 the inference being that they were made in this country4 ,so remarkable is the paucity of evidence and so absolute the dearth of authenticated examples in these ,dark ,ages of glass manufacture1 that it has often been asserted that no glass vessels were made in ,england before the fifteenth century4 ,glass vessels were1 of course1 known and used1 but these were probably1 in the main at any rate1 imported from ,venice and the ,east4 ,on the other hand1 it is known that before the thirteenth century window glass--blown glass too1 and not cast glass--was made1 and very successfully4 ,indeed1 old ,english coloured glass was particularly fine1 and this being so1 it is not easy to understand why the same art should not be applied to vessels4 ,coarse glass vessels were certainly made at a very early date4 ,the records of ,chiddingfold refer to ,laurence ,vitrearius in #abcj1 ,william le ,verir in #acja1 and ,john ,glasewryth in #achj4 ,the record1 in its transition from ,latin to ,norman-,french1 and then to ,anglo-,saxon1 has its philological interest as well1 but it may be mentioned that ,john the ,glasewryth made both 8brode glas and vessel40 ,there is1 too1 in existence an ancient cup of glass1 disinterred from a tomb in ,peterborough ,abbey ,church1 which1 from the records of the ,abbey1 must have been buried there1 in all probability1 in the first half of the thirteenth century4 ,in the accounts of ,henry1 the second son of ,edward ,i41 who died in #abgd1 there is mentioned the purchase of a glass cup for the sum of twopence halfpenny1 a fact which seems to imply that to be sold so cheaply the vessel must have been of domestic manufacture4 ,it should not1 however1 be forgotten that this sum represented the daily wage of a skilled artisan in the thirteenth century4 ,in the ,taxation ,roll of ,colchester in #abie1 three of the principal burgesses are referred to as 8verrers10 and it seems hardly likely that so many important citizens were merely glaziers and not glass-makers4 ,however1 it is more than probable that the use of glass was confined to the noble and wealthy1 while the common folk used vessels made of wood1 horn1 or leather4 ,the 8,leather ,bottel0 has passed into a proverb1 and the ,black ,jack was so universal in its use that the ,french1 naturally curious as to ,english habits1 referred to us as a nation of savages who habitually drank out of their boots4 ,it follows that the ,black ,jack of the thirteenth or fourteenth century had few of the graces of its silver-mounted and aristocratic descendant of the seventeenth century4 ,it might be further suggested that ,english habits and customs in those early times were not such as to make fragile drinking vessels either useful or acceptable4 ,those that did exist were probably rather valued curiosities than articles of everyday utility4 ,there was1 undoubtedly1 produced during this period considerable quantities of window glass1 much of it highly decorated1 and exhibiting characteristics peculiar to the period to which it belongs1 so that experts find little difficulty in distinguishing between the vigour of the thirteenth and the brilliancy of the fourteenth century4 ,it would appear1 too1 that the home product won an increasing appreciation from the architects who employed it in their buildings2 for whereas in #aedg the contractor binds himself not to use it for the windows of the ,beauchamp ,chapel at ,warwick1 in #adhe it is mentioned in such a way as to imply that it was either better or dearer1 or both1 than 8,dutch1 ,venice1 or ,normandy glass40 ,in the sixteenth century1 however1 the fashion of using vessels of glass became almost universal in the west of ,europe4 ,most of these came from ,venice1 and1 spurred by the desire of establishing so lucrative an industry at home1 the rulers of various countries--notably ,france1 ,holland1 and ,england--sought to induce ,venetian craftsmen to settle in them4 ,the glass-workers of ,murano--the great glass-making centre in ,venice--were1 however1 a close corporation1 the workmen being stringently bound1 under penalty of death1 not to carry their trade secrets to any other country or to teach them to foreigners4 ,in spite of this1 eight ,muranese glass-workers were induced to settle in ,england in #aedi1 and built their furnace in the monastery of the ,crutched ,friars--one of the minor orders4 ,they derived their name ,crutched 7i4e4 ,crossed7 from the ornamental cross which adorned their habits4 ,of the eight1 seven returned to ,venice in #aeea1 having previously petitioned the ,council of ,ten to remit the penalties against them4 ,it is a reasonable assumption--but still only an assumption--that during their stay they did much to further the art of glass-making1 although they merely produced glass and sedulously refrained from teaching their 8mystery40 ,the 8,breviary of ,philosophy10 published in #aeeg1 remarks3 8,as to glassemakers they be scant in this land ,yet one there is as ,i doe understand1 ,and in ,sussex is now his habitacion1 ,at ,chiddingfold he works by his occupacion40 ,evidently1 therefore1 the old ,sussex industry had survived4 ,the product of the ,chiddingfold furnaces was probably1 however1 a coarse green glass1 and by no means to be compared with the ,venetian article4 ,in #aefd ,cornelius de ,lannoy1 an alchemist from the ,netherlands1 came to ,england1 at the invitation of the ,government1 to teach the art of glass-making as practised in the ,low ,countries4 ,he took up his abode and set up his furnace in ,somerset ,house4 ,he failed1 however1 with the materials then available1 to produce any very effective results2 in particular1 the clay used for the pots failed to withstand the great heat required to produce transparent glass4 ,moreover1 de ,lannoy proved to be more alchemist than glass-maker1 and left various persons in ,england the poorer for their quest after the philosopher's stone which they had undertaken under his guidance4 ,in #aefg ,pierre ,briet and ,jean ,carr sought a licence to make glass after the ,french fashion1 and to teach to ,english craftsmen the art of its manufacture as practised in ,lorraine and ,normandy4 ,elizabeth1 always with an eye to the main chance1 made no difficulty and1 joining forces with a rival licencee1 ,becker1 set up in opposition to the ,english glass-makers in ,sussex and later at ,stourbridge and ,newcastle4 ,the fact that the native workers openly confessed their inability to compete with the ,french craftsmen did not prevent their stirring up a strong opposition against them1 which found vent in popular tumult and1 in at least one instance1 in a conspiracy to murder the workers1 pillage their stores and destroy their furnaces4 ,there seems little doubt1 however1 that their presence must have influenced the quality of ,english glass and given an impetus to its manufacture4 ,so did the advent of political and religious refugees from the ,low ,countries and from ,france1 and also1 though1 of course1 to a far greater degree1 the influx of ,french artisans in the seventeenth century after the revocation of the famous ,edict of ,nantes4 ,in spite of their efforts1 however1 it does not appear that the importation of fine ,venetian glass was in any way checked2 it continued1 indeed1 on an extensive scale for a long time after4 ,the most famous name in the history of ,elizabethan glass manufacture is that of ,jacob ,verzelini1 who came to ,london in #aege and stayed for the remainder of his life--about thirty years4 ,he obtained a patent giving him the monopoly of manufacturing glass after the ,venetian style for twenty-one years4 ,he set up his establishment in the hall of the ,crutched ,friars1 where the eight ,venetians had built their furnace in #aedi1 and there made 8glass of divers sorts to drink in40 ,there is little doubt as to his success1 although1 with one possible exception1 no tangible evidence of it remains4 ,but if one may judge by the very considerable outcry that arose at this period against permitting foreigners to practise the art of glass-making to the detriment of native practitioners1 he succeeded sufficiently well to arouse a strong feeling of jealousy4 ,this was intensified by the traders who had hitherto sold imported ,venetian glass1 and the seamen who carried it in their vessels and who now saw their livelihood menaced4 ,the general public1 too1 showed itself greatly concerned over the great consumption of wood in the glass-houses4 ,indeed1 during this period the wasting of the woods was a general complaint wherever furnaces were set up4 ,so strong was this feeling1 indeed1 that in #aehd an act was passed against the making of glass by strangers and outlandish men and for the preservation of woods spoiled by glass-houses2 and in #aehi1 the year after the ,armada1 it was proposed to reduce the number of glass-houses from fifteen to four1 transferring the rest to ,ireland1 where the loss of trees did not matter so much1 the timber not being urgently needed1 as in ,england1 for the purpose of shipbuilding4 ,one curious fact is that for a long time--from the twelfth century at least in unbroken record--,english window glass of a high order had been produced1 as witness the windows of ,king's ,college ,chapel at ,cambridge1 which date from #aeae-ca2 and it seems impossible to conceive that1 with ,venetian and ,eastern glass to copy1 the craftsmen who produced the windows should not have also turned their skill to the making of drinking vessels1 particularly as the fashion for vessels of glass had strongly set in4 8,it is a world to see in these our daies wherein gold and silver most aboundeth how that our gentilitie as lothing these mettals 7because of the plentie7 do now generalie choose rather the ,venice glasses both for our wine and beere than anie of those mettals or stone wherein beforetime we have beene accustomed to drink4444 8,the poorest also will have glasse if they may but sith the ,veneccian is somewhat too deere for them they content themselves with such as are made at home of ferne and burned stone1 but in fine all go one way that is to shards at the last40 ,on the other hand1 when ,sir ,richard ,mansel applied in #afbd for a patent to manufacture glass and to train ,englishmen in the art1 it was opposed1 on the ground that fifty years before a similar patent had been granted to ,jacob ,verzelini and that it had been altogether neglected1 and very few ,englishmen had been brought up in the art4 ,mansel1 in his reply1 stated that he himself had brought many strangers from beyond seas to instruct his fellow-countrymen in making all sorts of glass1 crystalline1 ,murano1 spectacle glasses1 and mirror plates4 ,i have stated these facts in the early history of ,english glass at some length not only for their intrinsic interest1 but also to illustrate the curious fact that just as there is from ,saxon times to #aeej a gap in the history of its manufacture1 which no authenticated examples assist to fill1 so from the accession of ,queen ,elizabeth to that of ,king ,charles ,i4 there exist to-day very few indisputable examples of the ,english glass-blower's art of this period2 and yet it is hardly possible to believe that they were not produced in considerable quantity4 ,for1 in spite of specimens bearing the ,tudor rose--an ornament1 by the way1 largely employed at a later date--and of others with detailed and more or less accredited histories1 8,elizabethan glass10 so glibly spoken of by some collectors1 is chiefly conspicuous by its absence4 ,happy1 therefore1 the collector who acquires even a dubious example4 ,one famous specimen which may safely be assumed to be authentic is that from the ,british ,museum ,collection shown in ,fig4 #a4 ,this drinking cup or goblet stands about #e in4 in height and bears the initials ,g4 ,s4--probably those of the person for whom it was made--the date #aehf1 and the motto1 8,,in3 ,,god3 ,,is3 ,,al3 ,,my3 ,,trvst40 ,experts generally concur in attributing it to ,jacob ,verzelini4 ,four years after the ,armada1 ,elizabeth granted to one ,thomas ,bowes a monopoly to make drinking glasses 8to be as good cheape or better cheape than those imported from ,venice40 ,as to the success of his venture history is silent4 ,in the reign of her successor--that ,british ,solomon1 ,james ,i4--glass-making seems1 however1 to have made considerable progress2 for in #afaj a licence was granted for 8the invention of coal-heated glass-houses10 and in the following year ,sir ,edward ,zouche expended no less a sum than #ejjj in erecting glass-houses in ,lambeth and perfecting the production of glass with sea-coal4 ,this change is a momentous one in the history of glass-making1 inasmuch as it became necessary to cover the pots1 and this brought about various improvements4 ,they are mainly associated with the name of ,percival1 and it is to be presumed that they included the introduction of oxide of lead into the frit in quantity1 with the result of producing a more brilliant crystal than had yet been produced4 ,from this time ,english glass began to acquire fame1 and the industry became a definitely ,british art4 ,one outcome of this change in the method of manufacture was that the industry became localised1 the glass-houses springing up in those districts where it was easy to obtain fuel as on the coal-fields1 where the sand was of exceptional quality as at ,reigate1 or where there was an abundance of clay suitable for making the pots as at ,stourbridge4 ,one of the most interesting discoveries in connection with the history of the glass industry in ,england was made some sixty or seventy ,illustration3 ,,fig4 #a4--;,,an ,,early ,,elizabethan ,,glass1 ,,dated #aehf4 ,illustration3 ,,fig4 #b4--;,,an ,,old ,,english ,,glass ,,tankard ,,and ,,cover4 years ago at the little ,hampshire village of ,buckholt ,wood4 ,excavations here brought to light fragments of glass1 some clear1 others with a greenish or bluish tinge1 evidently portions of broken vessels of various kinds--drinking glasses1 jugs1 bottles1 and so forth4 ,these were in such quantity that it was evident chance had brought to light one of the old glass-houses1 which were founded in well-wooded districts1 and kept going as long as sufficient wood remained to burn4 ,we have seen how1 in the beginning1 ,english glass-workers were a nomad race4 ,as the woods in one place were exhausted they moved to fresh fields and forests new--much to the annoyance of the populace1 who depended upon those woods for their household firing1 and of the ,government1 who sought to preserve them for the maintenance of the fleet4 ,in #afae a proclamation was made forbidding the use of wood for glass smelting1 the furnaces being in future compelled to burn sea-coal or charcoal or other fuel4 ,the same ordinance prohibited the importation of foreign glass or the immigration of foreign glass-workers4 ,in the same year ,sir ,richard ,mansel1 a man of considerable standing in the realm1 who had been experimenting in glass-making with the aid of ,venetian workmen1 was granted a licence for making glass with coal1 and set up furnaces in ,london and at ,purbeck1 ,milford ,haven and ,newcastle4 ,it is a matter for regret that no product of his furnaces is known to exist to-day1 a fact the more surprising in that his licence was renewed at various times1 and so covers a considerable stretch of the most interesting period of the art4 ,at any rate we find him petitioning in #afda that he might be protected against persons importing glass from abroad1 whereas he was paying a rent of #ajjj per annum for his monopoly4 ,his name is mentioned as late as #afec1 so that for nearly forty years he controlled1 more or less1 the business of glass production in ,england4 ,it is a matter for some congratulation1 however1 that ,mansel employed1 in some kind of managerial capacity in his ,broad ,street works1 a certain ,james ,howell1 who enjoys the reputation of being one of the liveliest and most pleasing writers of the period4 ,in the famous ,howell's letters1 8,epistol ,ho-,elian10 which were published between #afde and #afee1 we have a delightful commentary on the events of his time1 and incidentally a number of curious and useful sidelights on the conduct of glass manufacture both in ,england and on the ,continent4 ,it is said that ,sir ,kenelm ,digby1 of ,royalist fame1 invented in #afcb the art of making glass bottles to contain the wine which hitherto had been drawn straight from the wood4 ,but ,fame which credits him with this discovery would seem to have forgotten that in ,elizabeth's time ale was sold in glass bottles1 and a quaint old volume yclept 8,the ,english ,housewife0 refers in #aege to round bottles with narrow necks for 8bottle ale10 the corks being tied down with stout string4 ,the ,commonwealth1 save for what may be gleaned from ,howell's pages1 adds but little to our knowledge of glass4 ,the ,puritans were1 perhaps1 more addicted to smashing it1 in the form of stained-glass windows1 than manufacturing it for domestic utilities4 ,but with the ,restoration there came a great change4 ,the then ,duke of ,buckingham1 who appears1 like others of his name1 to have had a keen eye to the main chance1 started a glass furnace at ,greenwich4 ,in #affc he petitioned the ,king that he might be granted a licence to make mirrors1 he having been at great expense in finding out the art and mystery thereof--8a manufactory not known nor heretofore used in ,england0--a curious contradiction to ,mansel's claim in #afbj1 and one which seems to imply that the ,duke was by no means particular as to what he said provided he might gain his ends4 ,there were numbers of competitors at the time all claiming to be the inventors of crystal glass4 ,the authorities1 however1 awarded the palm to one ,thomas ,tilson1 who in #affc was granted a patent1 in which he is described as the inventor of crystal glass4 ,it appears clear that ,tilson had produced a material of greater merit than any of his predecessors or contemporaries4 ,it is probable that this material was lead glass--flint glass as it was and is still called4 ,one point in support of this theory is that it was too brittle to be used in making vessels1 and ,tilson consequently confined himself to the manufacture of mirrors1 windows for coaches1 etc4 ,specimens of the work of this period may be found in many places--country houses1 mansions1 halls1 etc4--throughout the country4 ,at ,hampton ,court ,palace there are1 for example1 several magnificent mirrors that testify to the skill of the craftsmen--,venetian and ,english--of this period4 ,some of the window glass is of the same date and may be readily distinguished by its mauve tinge--a possible result of the action of light on the peroxide of manganese1 which was one of the constituents4 ,at a slightly later date other glass-houses were founded in ,lambeth1 ,stourbridge1 ,newcastle-on-,tyne1 and other places1 notably in ,surrey and ,sussex4 ,all this while1 however1 there was a great trade in imported ,venetian glass1 which the ,council was1 time and again1 petitioned to prohibit4 ,fortunately both for the future of the art of glass-making in ,england and for the cheapness and quality of the ware1 which was now in great demand1 the efforts of the protectionists were unavailing4 ,much of our knowledge of the glass of the period is due to the discovery of the trading books and order sheets of one ,john ,greene1 who seems to have dealt in imported glass1 ordering from the ,venetian furnaces vessels to his own specification and design4 ,fortunately some specimens of these are still in existence1 but it need hardly be said that examples of the seventeenth century1 both home manufactured and imported1 are of the extremest rarity4 ,he would be a fortunate collector who should discover1 say1 8a speckled emerald coverd beere glasse0 or a 8milk-whit cruet0 either with or without 8feet and ears of good hansom fashion40 ,in point of shape the ,venetian and ,english glasses of this period differ very little1 but there is a considerable difference in the character of the metal4 ,the glass from ,venice is colder to the eye1 whiter and softer than the ,english1 which is more brilliant and of a peculiar steely lustre1 while it is far weightier--a fact probably due to the use of a considerable proportion of lead4 ,the ,english glasses1 too1 are heavier in appearance1 with stems1 thick and lumpy1 of the baluster type4 ,often1 too1 the bulbous stem is blown with a bubble1 ,illustration3 ,,fig4 #c4--;,,an ,,early ,,glass ,,feeding ,,cup4 ,illustration3 ,,fig4 #d4--;,a ,,sixteenth ,,century ,,panel ,,glass1 ,,with ,,portrait ,,of ,,charles ,,ii4 often of considerable size--a primitive attempt at ornamentation4 ,not unseldom a coin is inserted in the bulb of the stem or the knop of the cover4 ,one famous example of ,caroline glass is the magnificent posset cup in the possession of ,miss ,whitmore ,jones1 which is shown in ,fig4 #b4 ,this unmistakably dates from the time of ,charles ,,ii4 and is a genuine example of ,english art4 ,it was probably1 as to design1 copied from a ,venetian model1 but the texture of the glass and the weight of the piece are strong evidences of its ,english origin4 ,with the accession of ,william1 the craft was further stimulated by the importation of many models1 and possibly craftsmen from the ,low ,countries4 ,speaking generally however1 the vessels of the reigns of ,william and of ,anne are but improved specimens of those of ,charles4 ,some1 however1 have spiral lines cut round the stems1 and are1 to this extent1 the prototypes of the twisted stems of the eighteenth century4 ,the illustration of a feeding cup 7,fig4 #c7 provides an excellent example of the work of this period4 ,its admirable shape and style and its exquisite workmanship will readily appeal not only to connoisseurs but also to all who are capable of appreciating artistic merit4 ,in ,fig4 #e we have portrayed the prototype of the modern tankard4 ,judging by the shape and style it was probably an ale glass4 ,but that it was intended rather as a specimen to be preserved is evidenced from the fact that a coin of the period has been blown into the base4 ,fig4 #f is a photograph showing the coin4 ,such a piece has almost the value of a dated specimen1 for though it was1 of course1 possible to insert a coin of any previous date1 the reason for doing so is by no means obvious4 ,it is hardly likely1 for example1 that anyone living in ,william's reign would have so enthusiastic a regard for ,charles ,,ii4 as to cause a coin of that monarch to be embedded in a piece that he had made as an heirloom4 ,this specimen is in the ,british ,museum1 whose mark appears to the right of the photograph4 ,the quaint glass panel seen in ,fig4 #d is an interesting relic of the attention paid to glass-working at this period4 ,the portrait is that of ,old ,rowley 7,charles ,,ii47 himself1 and the piece was in all probability made at ,greenwich1 possibly in commemoration of his visit ,illustration3 ,,fig4 #e4 ,illustration3 ,,fig4 #f4--,,the ,,centre ,,showing ,,the ,,coin ,,blown ,,in ,,the ,,stem ,,of ,,the ,,tankard ,,shown ,,on ,,the ,,left-,,hand ,,side4 there4 ,it was taken from a house in ,purfleet and is now in the ,national ,collection4 ,the revocation of the ,edict of ,nantes in #afhe gave a vast impetus to glass-working as to other crafts4 ,this measure1 and the terrible persecutions which followed it1 cost ,france a number1 variously estimated at from #bej1jjj to #fjj1jjj1 of her best citizens4 ,great numbers of these immigrants settled in ,england1 and founded in their new home the industries which had become famous in the country of their birth4 ,among them came glass-workers from ,paris1 ,lorraine1 and other parts of ,france1 who were deservedly famous for their skill in their craft4 ,coming as they did at a time when the discovery of the brilliant so-called flint glass gave to ,english glassware a distinction possessed by no other1 it is small wonder that the next half-century saw such developments in the art of glass manufacture in ,england that ,english glass became superior to all other kinds1 even to the famous glass of ,bohemia1 which seemed dull and lustreless beside it4 ,for these reasons the close of the seventeenth century is an epoch in the history of ,english glass1 and the period which followed it saw the art of glass manufacture in ,england attain its zenith4 ,it is therefore with eighteenth-century glass that we are chiefly concerned1 and as the great bulk of eighteenth-century glass consisted of drinking glasses1 a great portion of our space will be devoted to these4 ,at the outset some attempt at classification is desirable4 ,we may refer the reader to the very exhaustive list of varieties which that great authority1 ,mr4 ,albert ,hartshorne1 has made in his standard work on this subject4 ,for our purpose it will be sufficient1 however1 to make a broad and simple division of drinking glasses into wine glasses1 ale and beer glasses1 and cordial or spirit glasses4 ,it is the custom1 too1 to draw a distinction between the rude vessels made for common household or tavern use and the finer and more highly finished examples designed for the use of better-class people4 ,here1 however1 the distinction is rather one of quality than of kind4 ,the three great groups to which we have referred fall into various classes according to the diversity of shape in bowl and stem and1 to a less degree1 of foot4 ,the bowls are variously funnel-shaped1 with straight sides1 or waisted1 that is1 with the sides curved inward to form a waist1 bell-shaped1 and ogee or double-ogee shaped--the last named showing in section the ogee curve1 so widely employed by the architect for his mouldings4 ,the stems are of two great classes--drawn stems or stuck stems4 ,the former are parts of the same lump of molten glass of which the bowl is formed2 the latter consist of a separate piece fused into the bowl4 ,as regards shape1 stems may be plain rods1 rods with knops1 rib-twisted1 faceted1 air-twisted1 air-drawn1 or opaque-twisted4 ,we shall deal with each variety in its appropriate place4 ,with regard to the foot1 the generality were folded1 that is to say1 the edge of the rim was turned under to form a fold or welt1 so that the glass stands on the rim1 and not on the flat of the foot4 ,apart from this1 the only variations are those bearing on the flatness of the foot and its diameter4 ,in old glasses the feet were never quite flat4 ,there is always a perceptible slope from the centre to the rim1 and very often the central portion rose up into a dome4 ,the foot was also wider in comparison with the width of the bowl than in the modern type4 ,the decoration is of two kinds1 engraved and cut4 ,the character of the engraving is little to the credit of the native designer or craftsman4 ,indeed1 both as regards artistic design or skilful execution1 ,english glass ornamentation is distinctly inferior to that of the ,continental pieces4 ,the usual design is the rose1 at first heraldic and conventional1 and then more and more natural1 with at first a butterfly1 which gradually dwindled to a moth1 and then finally disappeared4 ,other designs are based upon the nature of the liquids drunk1 or refer to politics1 domestic or business affairs1 or to some famous personage4 ,the largest group of designs is associated with ,jacobitism--8,charlie-over-the-water-is m10 as some one has wittily called it4 ,in rare cases these bore a portrait2 more commonly the emblem selected was the use of two buds--the latter explained as referring to the two sons of ,james ,,ii41 or to the two sons of the ,old ,pretender1 ,charles ,edward of 8,charlie-is-my-darling0 fame1 and ,henry1 who died at ,rome in #ahjg1 as ,cardinal ,york4 ,,chapter ,,iii ,,eighteenth-,,century ,,glass ,the eighteenth century is the 8,golden ,age0 of the collector of ,english glass4 ,at the beginning of the century glass manufacture was already a flourishing industry4 ,vessels of all kinds for ornament1 keepsakes1 and for domestic use were being produced in great quantities1 and there was a strong and growing competition between the native craftsmen and the glass-workers of ,venice1 ,bohemia1 ,germany1 and the ,low ,countries1 a competition which1 thanks to the superiority of the new ,english 8flint0 glass1 was steadily trending in favour of the ,english product4 ,as a result1 the collector is at once on firmer ground4 ,his knowledge of earlier periods had been gleaned haphazard from drawings1 paintings1 tapestries1 mosaics1 and historical documents1 with only here and there a specimen1 and that of dubious authenticity1 to guide him4 ,from this time he is able to observe at first hand1 compare1 classify1 note differences1 excellences1 and defects4 ,there is no longer any lack of material1 either of the finer sort suitable for the tables of the great and wealthy1 or of the coarser kind whose only merit was utility4 ,with the growing profusion1 however1 came a veritable confusion of types1 which renders any attempt at classification a matter of very considerable difficulty4 ,to a great extent this arose from the toping habits of our forefathers in perhaps the most convivial period of our history4 ,there was a vast improvement in social conditions and amenities1 and the variety of glasses that sprang into existence affords ample testimony to this1 as well as to the variety of drinks in favour and to the ingenuity of the times in devising toasts and sentiments1 no less than to the skill of the ,english craftsmen and the individuality of the various makers4 ,at the beginning of the century1 however1 the use of different glasses for different kinds of wine had not yet arisen4 ,a bowl of water was placed on the table in which the drinkers rinsed their glasses when a new vintage made its appearance4 ,subsequently each guest had ,illustration3 ,,fig4 #dj4 ,examples of ,baluster ,stems and ,tear ,glasses4 his special bowl for this purpose4 ,these bowls are exceedingly rare1 and are generally described as wine-coolers4 ,their modern equivalent is the finger bowl4 ,there was naturally a vast difference between the glass of the early part of the century and that of the later part4 ,speaking very broadly1 the order of progress was as follows3-- #a4 ,heavy glass with baluster stems4 #b4 ,lighter glass with air-twisted stems4 #c4 ,drawn stems4 #d4 ,opaque-twisted stems4 #e4 ,cut glass4 ,many of these glasses are still in existence and it is even possible for the amateur collector to acquire an occasional specimen4 ,this early eighteenth-century glass is of remarkable quality1 both as regards form and lustre4 ,it is true that it is less perfect in shape and texture than the products of to-day1 but it is superior in artistic merit1 in originality of design and softness of outline4 ,the lack of perfect symmetry is one of its charms1 as it is in the case of old lace which1 so far as absolute and meticulous perfection of detail is concerned1 is often far behind the modern machine-made product4 ,but what it lacks in symmetry and precision is more than compensated by artistic feeling4 ,mr ,hartshorne in his monumental work on 8,old ,english ,glasses10 a work to which the present writer and every other writer on the subject must acknowledge a vast indebtedness1 makes an exhaustive classification of the various types of eighteenth-century glasses4 ,to his order one is bound closely to conform1 although it is far from the province of the present work to attempt to deal exhaustively with the various types he so fully and admirably describes4 ,the earliest examples have funnel-shaped bowls with tall stems4 ,these are of great variety of shape4 ,some are quite plain1 others are twisted1 others ribbed4 ,some1 again1 are 8baluster0 shaped1 i4e4 formed after the pattern of the columns of a balustrade4 ,many have a knop or button in the middle1 others are ornamented with twisted lines1 either hollow or filled with glass of different colours1 interwoven in spirals1 twists1 networks and plaits in all kinds of ingenious ways4 ,of course1 all these things being distinctive are imitable1 and here the peril of the collector begins4 ,the expert is rarely deceived as to whether any specimen is genuine old glass2 but so pervasive and so perfect are the imitations that exist1 and so plausible the conditions under which they are found1 that it behoves the amateur to use the extremest caution4 ,i propose to deal at some length with some of the more obvious and frequent frauds and fakes in a subsequent chapter4 ,but for the moment it may be said that the best test of genuineness is neither shape nor any particular design--for these can be closely imitated--but the colour4 ,there is a curious tint in old glass which the new never quite achieves4 ,the would-be small collector will be well advised if1 before riding his hobby1 he goes through a brief course of eye-training under the guidance of an expert1 until he gets the exact tone of the old glass firmly impressed upon his memory4 ,as an additional factor1 it should always be borne in mind that the old glass is invariably heavier than its modern imitation4 ,it will be desirable at this point to describe in brief detail the more important of the types of eighteenth-century glass enumerated on page #ei4 ,glasses with ,incised and ,ribbon-twisted ,stems4--,the incised or ribbon-twisted stemmed glass ,illustration3 ,tear ,glasses ,,fig4 #da4 as shown in ,fig4 #cf1 is usually about #f inches high with1 generally1 a flanged or outward curved top and a comparatively slender stem4 ,a series of ribs was impressed by a mould on the stem whilst yet plastic4 ,the stem was fixed to its bowl1 heated till soft1 and then gently twisted and1 at the same time1 stretched4 ,the result was a twist1 produced in exactly the same way as in a stick of candy--close at the top and gradually loosening toward the bottom4 ,near the foot1 by the way1 the spiral generally disappears entirely as the effect of the heating process necessary when the foot was joined to the stem4 ,the bowl was almost invariably waisted1 that is1 its sides were bent inwards4 ,the foot was folded and there was a characteristic lessening in the diameter of the stem as it neared the bottom1 which the 8puller0 of toffee will readily understand4 ,air-twisted ,stems4--,the air-twist probably began with a 8tear40 ,the tear of the glass-blower is a bubble of air blown into the centre of a mass of molten glass1 possibly at first by accident and afterwards by design1 as a form of ornamentation4 ,when the stem was ,illustration3 ,,fig4 #g--;,,air-,,twist ,,stems4 7,from the ,rees ,price ,collection1 by permission of the ,connoisseur74 drawn out1 the bubble elongated into a tube1 and when the stem was twisted1 the tube acquired a spiral shape4 ,now as the tube was filled with air1 which had a different refractive capacity to the glass which surrounded it1 the effect of the light falling upon it was to produce a kind of silvery radiance like that of quicksilver4 ,the phenomenon is familiar to anyone who has ever plunged a substance like wool1 which contains air-bubbles entangled among its meshes1 under water4 ,the bubbles are transformed into drops like quicksilver4 ,so with the tear and the tube drawn from it in the air-twisted stem4 ,naturally the decorative potentialities of this phenomenon were speedily recognised and utilised1 and the air-twisted stems are among the most characteristic and the most beautiful features of all old ,english glasses4 ,the bowls were usually of the same general shape as those with incised and ribbon-twisted stems4 ,the earlier varieties are 8waisted10 the later ones frequently assume the bell shape4 ,they are often engraved1 the early ones with the ,tudor rose1 with its five petals1 while the later ones affect the ,stuart variety with six petals4 ,the earliest stems have necks and collars--there was considerable difficulty in joining the air-twisted stem on to the bowl without damaging the twist4 ,later varieties have necks only4 ,the collars are sometimes knopped1 i4e4 have knobs attached1 and the stems themselves are shouldered4 ,i have dealt at some length with the air-twisted stems1 since this is a characteristic ,english variety1 and one to which the brilliant ,english flint glass was specially adapted4 ,consequently the type persisted for a considerable period4 ,the later varieties1 however1 achieve some little distinction by the adoption of the bell-shaped bowl4 ,drawn ,stems4--,i have already suggested that the fusion of the air-twisted stem1 in order to join it to the bowl1 not unfrequently resulted in damage to the twist4 ,it was an obvious solution of the difficulty to draw the stem out from the surplus molten metal at the base of the bowl4 ,if1 previously1 a series of air-bubbles was introduced into this mass1 each in the process of drawing out became elongated into a tube1 and we have the possibility1 by planting 8tears0 in effective positions1 and then ,illustration3 ,,fig4 #db4 ,the figures given above illustrate certain of the characteristic features of ,old ,english glasses4 ,thus ,fig4 #a is an example of a double-knopped stem1 each of the bulges being technically known as a 8knop40 ,the foot is 8domed40 ,no4 #b is an illustration of a shoulder and collar1 the shoulder being the bulge near the top1 and the collar the ring above it1 which was originally devised to hide any clumsiness in joining the stem to the bowl4 ,no4 #c is a 8flanged0 bowl1 ,no4 #d a 8waisted0 bowl1 and ,no4 #e shows an air-twisted stem4 judiciously twisting the drawn stem whilst still plastic1 of producing an infinity of pleasing patterns4 ,thus a number of small 8tears0 close together produced a spiral like a yarn of silk2 or a central tear might be blown1 and side ones twisted round in encircling spirals4 ,baluster-stemmed ,glasses4--,the baluster stem is a reproduction of a moulded pillar4 ,it is by no means peculiar to eighteenth-century glasses4 ,indeed it formed the almost invariable means of support for the glasses of ,caroline times4 ,the early baluster stems are1 to an eye accustomed to the lighter modern glass1 extremely heavy and clumsy in appearance1 and with the development of taste and skill1 they were speedily supplanted by the slenderer and more graceful drawn and air-twisted stems4 ,but the effect of the baluster moulding was soon pressed into the service of this more dainty ware1 the baluster becoming more slender and symmetrical1 and sometimes1 indeed1 being modified into a slight swelling--either gradual or abrupt or a single ring round the stem4 ,the bowls of this period were almost invariably funnel-shaped1 and were often engraved--the appropriate figure of the vine leaf appearing for the first time in the ,illustration3 #a4 ,,air-,,twisted ,,stem ,,glass4 #b4 ,,button ,,stem4 #c4 ,,baluster ,,stem ,,with ,,royal ,,monogram4 7,from the ,rees ,price ,collection1 by permission of the ,connoisseur47 ,,fig4 #h4 history of ,english glass4 ,the feet are almost always of the folded variety4 ,occasionally1 in the later specimens1 however1 the feet are domed4 ,opaque-twisted ,stems4--,the opaque-twisted stem made its appearance about the middle of the century4 ,in this case1 rods of opaque white or coloured glass were alternated with rods of clear glass around the circumference of a circular mould1 care being taken to preserve proper regularity4 ,they were then heated1 and molten clear glass poured into the central hollow1 filling up the interstices between the rods1 binding the whole when cooled into a solid rod1 with a clear centre surrounded by a particoloured circumference4 ,the mass1 being softened by heating1 was then drawn out into slenderer rods1 and twisted into spirals4 ,the ease of the process accounts for the infinite variety of patterns in existence4 ,flat bars could be used1 giving tape-like spiral bands1 and the rods could be of various sizes and colours4 ,many specimens came over from ,holland and from the north of ,france1 generally of inferior quality1 the inferiority being displayed in the character of the stems and the poorness of the metal4 ,the simplicity of the manufacture has also given rise to hosts of modern imitations1 largely from the ,continent4 ,in a great number of these the spirals turn to the left1 which has given rise to an idea that all glasses with right-handed opaque spiral stems are modern imitations1 which is by no means the case4 ,all such specimens1 however1 are sufficiently suspect to demand careful scrutiny1 and the amateur1 before purchasing a right-handed spiral opaque-twisted glass1 will do well to submit it to the judgment of an expert4 ,points to be considered are the colour of the metal1 the perfection of the twist1 its opacity1 and the character of the foot4 ,the colour and weight of the glass are probably the best criteria4 ,the forgeries are generally light1 and the beautiful mellow tone of the real old ,english glass is replaced by a cold white tint or even a tinge of green4 ,the twist is often more translucent than in the genuine pieces1 and is frequently imperfectly produced1 becoming looser as it descends1 the loosening being particularly pronounced just before its junction with the foot4 ,the appearance of the foot is of the utmost ,illustration3 ,,fig4 #i4--,,opaque ,,twist ,,stems ,,and 8,,rose0 ,,glasses4 7,from the ,rees ,price ,collection1 by permission of the ,connoisseur47 value4 ,before the nineteenth century the scar1 where the piece after manufacture was broken away from the pontil1 was invariably left rough1 instead of being ground down4 ,the foot in the genuine glasses is never flat1 there being always a slight slope downwards towards the edge4 ,in the imitations1 too1 it is apt to be less in diameter1 compared with the bowl1 than in the genuine specimens1 whilst there is frequently an absence of 8ring40 ,this last fact1 however1 must not be unduly emphasised1 since many undoubtedly authentic specimens of this period1 including some of the finest1 share the defect4 ,another test is to note the edge of the bowl1 whether it is well rounded off or whether it has been left hard and sharp4 ,many of these glasses are engraved with flowers4 ,the rose is so frequent as to give its name to a special type1 the 8rose glasses40 ,the rose has often a bud or two1 and a butterfly is frequently represented as hovering over the flower4 ,in later specimens the butterfly degenerates into a moth1 and finally vanishes altogether4 ,other flowers engraved on glasses of the same type and period were the ,rose of ,sharon and the ,st ,john's ,wort4 ,rose glasses1 with blue and white twisted stems1 are in all probability almost exclusively of ,english manufacture1 and are among the most valuable of the opaque-twisted type4 ,the foreign importations of the period were numerous but1 apart from certain patterns of twist1 which may be considered exclusively ,english1 the twisting of the ,low ,countries was distinctly inferior4 ,one type is characteristic of the foreign product4 ,this has a central tube of thin white lines1 surrounded by spiral twists4 ,where the stem is of the baluster type1 this central tube1 more or less1 follows the contour of the stem4 ,straight-sided ,glasses4--,the term 8straight-sided0 may be used to designate a whole series of glasses1 of which the bowls are of the shape of a truncated cone1 the narrow end being1 of course1 downward4 ,in process of time the sharpness of the section at the bottom was more and more rounded until it attained the shape of the ogee curve4 ,the earliest of the straight-sided glasses had bulbed stems1 with a shoulder and knop4 ,the better sorts of tavern and household glasses were of this type1 the larger specimens being used for wine and punch and the smaller for cordials and strong waters4 ,two points are worthy of notice3 the folded foot was practically invariable1 and the diameter of the foot was always substantially greater than that of the bowl1 thus ensuring a sound support4 ,the bowls themselves were at first plain4 ,about the middle of the century1 however1 we find them decorated with conventional flowers and vine leaves1 etc41 which were gradually replaced by closer and more artistic representations of such natural objects as roses1 as a matter of course1 lilies of the valley1 tulips1 and sprays of honeysuckle4 ,amongst these1 however1 certain conventional designs held their place1 e4g4 wild roses1 ,st ,john's ,wort1 and other blossoms with large seeded centres1 which seem to have impressed themselves strongly upon the imagination of the artists to whom the decoration was entrusted4 ,the bowls were1 in very rare instances1 fluted4 ,the pieces were made in three parts--bowl1 stem1 and foot--the stem being sometimes plain1 oftener air-twisted1 and sometimes opaque-twisted4 ,the straight-sided bowl was never popular amongst ,continental glass-workers1 so that the probability is that any specimen found is of ,english manufacture4 ,in examples of foreign manufacture1 too1 the bowl was generally rounded at the base1 and the stems were often coloured or opaque-twisted4 ,other characteristics by which these may be identified are their comparative lightness of weight1 their fragility1 their coarse lavishness of decoration1 their narrow bases1 while the twisting of the stems is often unduly close1 and the bowls have wide1 flat flutes4 ,ogee ,glasses4--,the straight-sided glasses changed by easy degrees into the well-known ogee shape1 the lines of the bowl being gradually merged into those of the stem4 ,it may be safely asserted that the majority of ogee-shaped glasses are of ,english manufacture4 ,the majority have opaque-twisted stems2 sometimes blue lines replace the opaque white4 ,it is thought that ,bristol was the chief place of manufacture1 since most of the finds have been in the west of ,england4 ,the earliest of them have unfolded feet1 inserted air-twisted stems1 and naturally1 since the object of the designer was to preserve the ogee line1 no shoulders4 ,many of them are of considerable dimensions--a possible result of the custom of drinking bumpers4 ,a great number of the memorial glasses1 treated of in a separate chapter1 were of this type4 ,the ,illustration3 ,,fig4 #aj4--;,,double ,,ogee ,,bowls4 7,from the ,rees ,price ,collection1 by permission of the ,connoisseur47 scheme of decoration followed much the same lines as that of the straight-sided glasses1 but a greater proportion were plain2 possibly the curves toward the bottom of the bowl made the engraver's task more difficult4 ,in the later specimens1 sprigs of laurel and festoons of various conventional types are to be found4 ,in the ,bristol glasses the bowls were sometimes fluted1 and a double ogee curve was employed1 the upper part only being decorated1 generally with vine leaves and bunches of grapes4 ,the stems were bulbed or knopped1 and the feet were folded4 ,champagne ,glasses4--,there is1 of course1 no real reason why one kind of wine should be drunk from a glass of special shape and another from a totally different one1 but once glass drinking vessels had become the vogue1 this habit of specialising in the shape and size of glasses speedily became the fashion and crystallised into a custom which persists even to-day in our port1 sherry1 champagne1 claret1 and liqueur glasses4 ,in the beginning there was a far greater diversity1 for ,england in the eighteenth century was famous for the number 7and potency7 of its beverages and1 speaking generally1 each had its appropriate glass4 ,frequently1 of course1 there was little diversity of shape1 the difference being in the nature of the ornamentation1 which in a number of cases was specially devised to indicate the purpose of the glass4 ,thus an ale glass would be adorned with ears of barley or bunches of hops2 a wine glass with vine leaves or bunches of grapes2 a cider glass with sprays of apple blossom1 and so forth4 ,champagne was1 in the eighteenth century1 a wine of comparatively recent introduction1 and was drunk only by the rich and great4 ,probably at first no special glasses were used for it1 the more elegant of those already in existence1 presumably bell-shaped and air-stemmed1 being pressed into the service1 but about #agcj special glasses were made1 with wide1 shallow bowls1 of the double-ogee variety and a baluster4 ,they had knopped or double-knopped stems and domed feet4 ,sometimes1 as might be anticipated1 an air or opaque-twisted stem was employed1 while the shape of the bowl varied towards the bell shape1 in that it became hemispherical4 ,subsequently the bowl became elongated into ,illustration3 ,,fig4 #aa4--,,sweetmeat ,,glasses4 ,,ale ,,glasses4 7,from the ,rees ,price ,collection1 by permission of the ,connoisseur47 a narrow cone1 the stems exemplifying the various patterns of the day--baluster1 knopped1 double-knopped1 air-twisted1 opaque-twisted1 and drawn4 ,in the later examples the elongation was so pronounced that the glasses approximated to the familiar flute shape4 ,in these the stem is often faceted1 the facets sometimes extending some considerable distance up the glass4 ,the modern champagne glass1 with a wide saucer-like bowl and a hollow stem1 seems to be a sort of combination of the two4 ,the wine being a rarity1 the glasses are scarce1 and the collector who unearths a genuine specimen of an early eighteenth-century champagne glass may esteem himself fortunate4 ,the shallow glasses were so little known that a hundred years later1 in #ahcb1 ,disraeli1 writing to his sister1 remarks3 8,we drank champagne out of a saucer of glass mounted on a pedestal of cut glass10 so that the form was evidently a novelty1 at least to him4 ,sweetmeat ,glasses4--,closely allied to the shallow champagne glasses were the sweetmeat glasses4 ,the latter are1 however1 much solider1 while their edges are crinkled and undulated and vandyked into various patterns4 ,the feet are generally domed1 sometimes plain1 and at other times ribbed or ornamented with knobs4 ,the bowls are generally either of the double-ogee type or bell-shaped with a lip4 ,they are often ribbed in the earlier varieties1 and cut in the later ones4 ,the glasses were made in sets1 which stood upon a glass pedestal or centre-piece made to a similar pattern4 ,this had a flat1 tray-like top1 with a raised rim4 ,one interesting feature is that each set consisted of a number of small glasses and one large one1 known as a 8,captain0 or 8,master0 glass1 which was not necessarily of the same pattern as the smaller ones4 ,the ,captain had generally an abnormally small foot1 so that it might not unduly encroach upon the standing space4 ,ale and ,beer ,glasses4--,there is no particular difference between the tall champagne glass and the ale glass2 possibly the ale glass was modelled upon the flute-shaped champagne glass1 or possibly the shapes were used indiscriminately for both beverages--the finer and more elegant specimens for the champagne1 and the heavier and more substantial ones for the humbler ale4 ,that they were so used is sufficiently indicated by the fact that many ,illustration3 ,,specimen ,,of ,,irish ,,drinking ,,glasses1 ,,shewing ,,variety ,,in ,,cuttings4 #ahth-#aith ,,century4 ,illustration3 ,,english ,,drinking ,,glasses4 #ahth ,,century4 #a4 ,a ,,cordial ,,glass ,,with ,,air-,,twisted ,,stem4 #b4 ,a ,,barley ,,water ,,glass ,,with ,,opal-,,twisted ,,stem4 #c4 ,,an ,,old 8,,tear0 ,,glass4 #d4 ,a ,,strong ,,water ,,cordial ,,glass ,,with 8,,tear0 ,,in ,,stem4 ,,fig4 #ab4 specimens have been discovered which are engraved with festoons or bunches of hops and ears of barley4 ,the earlier specimens1 however1 were plain4 ,it may be useful to point out that the form of the stem affords some indication of the relative age of the piece1 the chronological order being roughly as follows3--7#a7 ,waisted bowls1 with plain stems and folded feet2 7#b7 air-twisted stems1 shouldered1 collared1 and knopped2 7#c7 plain drawn stems2 7#d7 opaque-twisted stems4 ,the glasses diminish in height as the century progresses4 ,other ,kinds of ,glasses4--,it is customary to include in the classification of eighteenth-century glasses those used for cider and perry1 mumm1 mead1 and syllabub4 ,it is difficult to prove that any particular kind of glass was set apart for the consumption of these liquors4 ,cider1 however1 was produced in large quantities1 and glasses were possibly made specially for it4 ,certain specimens exist1 and are recognised by their being engraved with apple blossom1 apple trees1 etc41 whilst one--mentioned in the chapter on ,memorial ,glasses--is inscribed with the motto 8,no ,excise40 ,speaking generally1 it may be asserted that ordinary cider was probably drunk from earthenware mugs1 after the fashion of the beer mugs of to-day1 whilst the strong cider was consumed from wine glasses4 ,no glass has so far been distinctively associated with perry4 ,mumm was a somewhat awesome decoction1 in which the principal ingredient was malted wheat1 to which were added a little oats or bean-meal1 the brew being flavoured with various pungent and aromatic herbs and the inner bark and tips of the fir tree4 ,it is presumed to have been drunk from glasses of the ale-champagne type1 but among the common folk it is probable mugs were preferred4 8,the clamorous crowd is hush'd with mugs of mum ,till all1 tun'd equal1 send a general hum40--,,pope4 ,mead 7or meath7 was a drink the basis of which was honey4 ,this1 being dissolved in boiling water1 was flavoured with spices and ground malt added1 and the whole left to ferment4 ,it was drunk from bowl-shaped glasses1 or else from glasses of the low tumbler type4 ,if carefully made it would keep for a long time1 and from the number of references to it which appear in literature1 it was evidently a favourite drink1 particularly among the lower classes4 ,ben ,jonson in his 8,the ,devil is an ,ass10 written in #afaf1 remarks3 8 444,carmen ,are got into their yellow starch1 and chimney-sweepers ,to their tobacco and strong waters--,hum1 ,meath and ,obarni40 ,syllabub was a mixture of wine1 ale1 or cider1 with cream or milk1 and flavoured with lemon or rose-water4 ,the whipped syllabubs were beaten into a froth before drinking4 ,they were often made with milk drawn fresh from the cow1 the drinkers repairing to the dairy for the purpose4 8,your ale-berries1 caudles and possets each one1 ,and sillabubs made at the milking pail1 ,although they be many1 beer comes not in any1 ,but all are composed with a pot of good ale40 ,syllabub glasses1 as far as there were special glasses used1 were of deep cup or tumbler shape1 the brim flaring outward4 ,cordial and ,strong ,waters ,glasses4--,the art of distillation came from ,arabia1 as the name alcohol 7al ,kohl7 indicates4 ,northern peoples1 however1 for a long time preferred1 to the distilled products1 cordial waters made from honey1 fruit syrups1 spices1 and various herbs4 ,each notable housewife had her own recipes for cordials1 and many and quaint were the products that came from the family still-room4 ,it was not1 indeed1 until comparatively recent times that the habit of spirit-drinking made any great headway in ,england4 ,whisky was made in ,ireland in the fourteenth century1 and must consequently have been known in ,england4 ,howell in his 8,letters0 refers to the usquebaugh of ,ireland1 but remarks that 8whereas in ,england they drink it in aqua vit glasses1 in ,ireland they drink it in beer glasses40 ,the quotation proves that even at that early period special glasses for spirits were in use4 ,greene1 some thirty years later1 includes among the glasses he ordered from ,venice small glasses marked for brandj4 ,the taste was probably intensified after the ,revolution of #afhh brought numbers of ,dutchmen into the country4 ,the glasses employed were1 generally speaking1 miniature replicas of the wine glasses in vogue2 others are short-stemmed1 and as this did not lend itself to air-twisting1 the baluster type was mostly affected1 which in such small glasses gives a peculiarly massive appearance4 ,opaque-twisted stems are1 however1 more frequently met with1 as are fluted ones4 ,sometimes the bowls are fluted or faceted4 ,the dumpy1 thick-stemmed1 wide-bowled cordial glasses are often termed 8,hogarth0 glasses1 they being the prevailing type in his pictures4 ,the modern equivalents are the 8firing0 glasses used at ,masonic banquets1 the members after each toast knocking the glasses in unison on the table--the sound produced being fancifully likened to the reports of guns4 ,figs4 #a and #b 7p4 #afj7 are illustrations of firing glasses1 the former being antique and the latter modern and strictly utilitarian4 ,not all cordial and strong waters glasses belong to this type4 ,some of the most valuable have long stems1 either plain or opaque-twisted4 ,many of the latter1 however1 came from the ,netherlands and stand outside the category of ,english glasses4 ,the 8thistle0 glass has come to be the recognised ,scottish liqueur glass4 ,the form originated1 it is believed1 in ,bohemia1 but once it had made its way here1 it was natural that the ,scots should take for their national liquor the glass that bore the form of their national emblem4 ,at any rate the beginning of the ,scottish glass industry was marked by the production of a thistle glass1 which was made at the factories in ,edinburgh4 ,tavern and ,household ,glasses4--,it is customary to refer to tavern and household glass as belonging to a separate classification4 ,there is really no justification for any such division2 it is perfectly natural that utensils for common use should be stronger and clumsier editions of the better-class glasses4 ,the very earliest were clumsy in the extreme as regards design1 and rough in execution1 but later specimens show greater elaboration and skill4 ,with the advent of the drawn glass1 most tavern and household glasses took this form1 and have retained it with little variation4 ,two kinds are noticeable--those with a 8blow0 inside the stem1 and those without4 ,in the drawn stems the blow shrank in dimensions1 and became a tear1 which1 by the way1 is almost invariably upside down1 the broader end being uppermost4 ,half-way through the eighteenth century the tear vanished altogether1 and the plain solid stem came into use4 ,the common wine glasses were small editions of the larger glasses1 and frequently bore rudely executed decorations of festoons1 vine leaves1 and flowers4 ,the feet are flat1 and may be either folded or unfolded1 the former being of the earlier type4 ,specimens are fairly easily obtainable1 the thickness of the metal and the stoutness of the design carrying them safely through the dangers to which they were specially liable4 ,apart from their age they have no special merit4 ,the metal is as inferior as the form4 ,tumblers were less frequently made in the eighteenth century than were wine glasses1 and in the early part1 at any rate1 those that were met with were chiefly foreign importations4 ,it is possible that the plain lines of the tumbler did not appeal to tastes accustomed to the graceful outlines of the wine glasses4 ,the early ones are cylinder-shaped1 and very large1 while eighteenth-century tumblers taper somewhat toward the base4 ,both are very scarce4 ,now and again one meets the barrel shape4 ,foreign tumblers are often profusely decorated by engraving1 colouring1 and gilding--the quality of the decoration being distinctly inferior to its quantity4 ,the rummer is a characteristic ,old ,english public-house glass1 and is of various types4 ,it was1 of course1 as the name implies1 used for making punch4 ,among the types are the ogee-shaped bowls--either plain or pressed--barrel-shaped bowls1 and trumpet-shaped bowls4 ,all have short1 thick stems1 often with a collar1 sometimes baluster-shaped4 ,the base is strong and generally flat4 ,some specimens have heavy1 square bases1 evidently designed to secure their stability4 ,cut ,glass4--,the introduction of the so-called flint glass--which was1 in effect1 glass containing a greater quantity of lead than had previously been used--created something of a revolution in the art of ,english glass manufacture4 ,m4 ,peligot1 a leading ,french authority1 remarks3 8,to the ,english should really be attributed the honour of having created1 in their flint glass1 a new product which by the quality and selection of the materials used in its fabrication has become without doubt the most beautiful glassy substance which we know and which1 in my opinion1 it may be possible to produce40 ,but in addition to the beauty of the metal was the fact that it had a greater refractive and dispersive action on ,illustration3 ,,english 8,,rummer0 ,,and ,,drinking ,,glasses4 #ahth ,,century4 ,illustration3 ,a ,,balluster ,,stem ,,glass ,,shewing ,a ,,coin ,,blown ,,in ,,the ,,stem4 ,illustration3 ,,early ,,english ,,balluster ,,stem ,,glass4 ,,fig4 #ac4 rays of light than any other kind of glass1 and consequently lent itself specially to cutting--the workmanship bringing out the beauty and brilliancy of the metal1 and the quality of the metal enhancing the effect of the cutting4 ,it is difficult to fix1 with any degree of precision1 the date at which glass was first cut by way of ornamentation4 ,there are certainly traces of its employment towards the end of the seventeenth century4 ,at the beginning the craftsmen of ,bohemia were probably far superior to those of ,england1 but as soon as the special suitability of the ,english glass was demonstrated1 the native workmen speedily outdid all foreign competitors4 ,the quality of the glass and of the cutting gradually improved1 until at the close of the eighteenth century practically all ,english glass of any importance was ornamented in this fashion1 and the ,english product was famous all over the ,continent4 ,in this way the beauty and value of a piece speedily came to depend upon the amount and the depth of the cutting3 the more deeply and profusely it was incised the greater its artistic merit was assumed to be and the more highly it was esteemed4 ,in certain instances1 undoubtedly1 the art was carried to excess2 hence those monstrosities of the ,early ,victorian period--clumsy masses of flint glass cut into hob-nails1 facets1 pyramids1 and spikes of all shapes and dimensions4 ,of this description are the massive glass chandeliers which depend from the ceilings of country houses and halls built at the close of the eighteenth or the commencement of the nineteenth century4 ,possibly no better examples could be found than the massy centrepieces with their pendent drops and spiked clusters that adorn the ,pavilion at ,brighton--that lordly and pseudo-,oriental pleasure-house built by the 8first gentleman in ,europe10 who afterwards became ,george ,,iv4 ,of similar type are the lustres with their jingling drops that ornamented so many mantelpieces in our grandmothers' and great-grandmothers' day4 ,how often in a theatre has one sat in fear and trembling lest some such great glittering mass in the centre of the dome should break loose from its moorings and fall with dire effects on the pit and stalls below8 ,it was under the same conditions that bottles altered their shape and became decanters4 ,these1 as will be seen from the illustrations1 followed the prevailing fashion in being massive and deeply cut4 ,the stoppers were most frequently of a mushroom shape and were often delicately cut4 ,these decanters were generally made in pairs or in sets of four4 ,from what has been said it will be evident that the glass-making activities of the eighteenth century were by no means confined to the manufacture of drinking glasses4 ,there is no reason to doubt that1 even at so early a period as that in which ,chiddingfold was a great centre of glass manufacture in this country1 many important and really fine pieces were produced4 ,few examples1 however1 of what may be termed miscellaneous eighteenth-century glass can be attributed with any certainty to a period earlier than the sixties of that century4 ,at that time the glass-maker's art was passing through a great period of upheaval and momentous change like the country itself was in both politics and in art4 ,nor was the change confined to ,england4 ,in ,france the florid style of decoration associated with the name of ,louis ,quinze was giving way1 even before the death of the monarch after whom it was named1 to the more simple and severely classical style of ,louis ,seize4 ,in ,england the dawning of a new taste in artistic decoration became evident about the year #aggj in the work of the silversmiths and goldsmiths1 and shortly afterwards in the productions of the porcelain factories of ,bow1 ,chelsea1 and elsewhere4 ,in glass a noticeable feature of the change was the increasing use of faceting4 ,flat facets1 divided by sharp angles1 are to be found on both stems and shoulders of the glasses1 and oftentimes extended half-way up the body itself4 ,dishes and basins of this period were often completely covered with pyramidal designs so deeply incised that the ware could hardly be handled without danger of breaking4 ,it was about this time1 too1 that cutting was first done by machinery in the manner already described in ,chapter ,i4 ,the fact that the art of cutting and engraving reached its zenith at this period accounts for the reputation which ,english glass speedily achieved not only in its native home but on the ,continent and in the ,new ,world4 ,there is no doubt that much of its popularity was due to the superiority of the material itself1 and this was maintained by the most scrupulous care in the selection and purification of the ingredients4 ,the sand1 in particular1 was most carefully washed and burned so as to destroy all impurities4 ,in practice1 most of it was obtained from ,alum ,bay in the ,isle of ,wight1 from ,lynn or from ,reigate4 ,sandpits have also been discovered at ,coulsdon and ,redhill4 ,the fusing of the ingredients was also a matter demanding the greatest care so as to ensure the correct colour4 ,it was found that1 generally speaking1 the quicker the operation the better the result4 ,any delay1 too1 in the blowing or rolling of the glass was apt to interfere with the purity of the colour and even the precision of shape and the accuracy of the measure4 ,few persons troubled to consider whether shapes that depended upon the process of blowing were the most suitable for their purpose1 or whether the cutting and engraving were not sometimes overdone4 ,on the whole1 it is difficult to overrate the beauty of ,georgian glass--of the early or the late period--either as regards grace of shape or style or the cutting and engraving4 ,collectors1 too1 have plenty of scope1 for though ,georgian glass is comparatively rare and fine pieces command big prices1 yet the amateur is not faced at the outset1 as in the case of glass of a period prior to this1 with two very serious propositions--an almost prohibitive price and a more or less doubtful authenticity4 ,the illustrations shown of eighteenth-century glass will make it clear that1 although they are some of the most satisfactory specimens of the time1 not even an amateur could mistake them for modern1 their shapes alone being almost a guarantee of the date of their origin4 ,even if the shape be imitated1 the peculiar dark1 pearly look of the old flint glass cannot1 and it forms a simple and definite test4 ,the pair of decanters on the right 7,fig4 #ad7 are almost unique--the deep cutting1 the curiously shaped stoppers1 the long or rounded necks1 and the flat-cut shoulders being absolutely characteristic4 ,but it is not unusual to find these graceful shapes copied2 and again the collector must beware4 ,some of the quart decanters have1 as will be seen from the two on the left of the illustration1 hollow bottoms in which are inserted tiny musical boxes4 ,when the decanter was raised the box started playing some familiar air1 generally 8,home1 ,sweet ,home40 ,whether the intention was to remind ,illustration3 #ahth ,,century ,,cut ,,sweetmeat ,,glasses ,,in ,,old ,,sheffield ,,plated ,,stands4 ,illustration3 #ahth ,,century ,,decanters1 ,,shewing ,,variety ,,of ,,designs ,,in ,,cutting4 ,,fig4 #ad4 the holder that he was at home1 or to hint that he might think of going there1 probably depended upon circumstances4 ,other sets of decanters with engraved festoons and similar decorations of the same period are equally graceful both in design and execution4 ,the stoppers are flat pear-shaped drops1 and are doubtless of the ,adam period4 ,another feature is their long1 thin necks1 which made them more suitable for private houses than inns4 ,they usually stand from #ab to #ah inches in height1 and when standing grouped together have a charmingly graceful appearance4 ,they are rarely now to be found in fours1 and it is doubtful if they were so made4 ,i have only seen them in pairs4 ,they are not particularly rare1 many small houses possessing specimens4 ,it was at this period also that finger bowls came into fashion4 ,the first ones made in this country were probably copies of old ,roman coloured bowls4 ,the earliest of all had two lips1 used either for pouring out the contents or for resting a spoon upon4 ,these specimens are1 as a rule1 exquisite both in style and shape1 and it is1 fortunately1 within the power of the ordinary collector to acquire a specimen or so at a reasonable figure4 ,they are the larger and more ornamental pieces1 some unique in design and others possessing historical associations1 that are priceless4 ,the old chandeliers often found will give some idea of the fine cutting of the period4 ,the magnificent pear-drop-shaped lustres1 the fine work on the stem1 and the cross-over chains are characteristic of the lavish ornament of the age4 ,such have often been converted into pendants for electric light4 ,although no ordinary collector may hope to acquire them1 they are not without interest as examples of a bygone fashion4 ,through the kindness of ,miss ,whitmore ,jones1 ,i am enabled to reproduce from her beautiful collection at ,chastleton ,house the posset pot shown at page #db 7,fig4 #b74 ,it is surrounded by a band of masks and roses and surmounted by a crown4 ,it is an excellent example of the work of its period and one of the most admirable and beautiful specimens in existence4 ,fig4 #ae is an interesting illustration of the candlesticks and tapersticks formerly so widely used4 ,tapersticks were used to hold the tapers used ,illustration3 ,,fig4 #ae--;,,candle ,,and ,,taper ,,sticks4 7,from the ,rees ,price ,collection1 by permission of the ,connoisseur47 in sealing letters4 ,that on the left is nearly perfect in style and ornamentation4 ,tapersticks are1 of course1 frequently found in ,georgian silver and also in china1 generally with the ink tray1 snuffers1 and powder box to hold the sand used in drying the writing4 ,the glass tapersticks were generally about #g or #h in4 in height and had domed feet4 ,the candlestick with the twisted stem--which1 by the way1 is of red drawn glass--is another fine specimen of the work of this period4 ,unluckily1 examples are hardly likely to be very easily found2 like all fragile things they have suffered heavily at the hands of ,time4 ,fig4 #af is a representation of a very rare type of rush-light holder which dates from ,jacobean times4 ,there is no doubt that the beauty and style of the ,georgian glass1 both early and late1 have made it in great demand to-day1 so that not only are enormous prices readily obtained for good specimens1 but those prices are likely to be considerably enhanced in the future4 ,nevertheless1 there are still many fine specimens to be obtained by a collector who will take the trouble to seek them off the beaten track4 ,many of them are owned by persons quite ignorant of their real value2 hence it is obvious that there is still sufficient scope for the collector of ,georgian glass to acquire specimens which are not only pleasing in themselves but which are likely to bring him profit as well as pleasure4 ,it is only essential to emphasise once more the necessity of care2 for glass1 unlike china1 has no marks by which its period and place of manufacture can be definitely determined1 and collectors can only base their opinions upon such qualities as shape1 style1 colour1 etc41 and in this1 as in other departments of life1 the amateur is apt to discover the truth of the adage that 8a little knowledge is a dangerous thing40 ,it is best in any case of doubt to refer the question to some one who is in a position to speak with undoubted authority4 ,as to the ,victorian ,age1 although it undoubtedly produced many fine specimens of glass1 yet the pieces have little appeal from the collector's point of view4 ,apart from this1 however1 it has many merits1 some pieces that ,i have seen having been most beautifully and choicely cut and with a fine distinctive style4 ,but1 however choice1 such pieces hardly fall within the category of ,old ,english glass1 and so lie beyond the scope of our inquiry4 ,illustration3 ,,rare ,,jacobean ,,glass ,,rush-,,light ,,holder4 ,illustration3 ,,specimen ,,of ,,an ,,early ,,english ,,wine ,,glass4 ,,fig4 #af4 ,,chapter ,,iv ,,memorial ,,glasses ,no specimens of ,english glass have greater fascination for the collector than those which derive their interest1 apart from their intrinsic merits1 from their association with some historical event1 some great cause1 or some famous personage4 ,fortunately for such1 our ancestors in the palmy days of glass manufacture freely availed themselves of the possibilities of this form of advertisement and commemoration1 so that a considerable number of memorial pieces are still in existence4 ,many of these were1 of course1 merely intended to record some happening of purely local significance3 the building of a bridge1 the opening of a canal1 the launching of a ship2 or1 narrowing the interest still further1 the birth of a son or the marriage of a daughter4 ,others1 however1 had a wider appeal3 a great national victory on sea or land1 the winning of an election1 or the passage or defeat of a hotly contested ,bill in ,parliament4 ,all were suitably inscribed and generally dated--a fact which adds to their importance and value--and frequently decorated1 in addition to the usual conventional designs1 with a more or less crude pictorial representation of the event or of some important factor connected with it4 ,thus the battle of ,trafalgar would be indicated by a picture of the famous victory or by a portrait of ,nelson4 ,frequently such glasses were dedicated to the glorification of some famous hero1 as were the ,nelson glasses1 ,keppel glasses1 etc42 or to the furtherance of some great cause1 as the ,jacobite glasses1 with which we shall have presently to deal at length2 or1 again1 to the diffusion of some political principle4 ,the collector must1 however1 be chary of assuming that a memorial glass was necessarily contemporary with the event it records4 ,the warning is particularly necessary in the case of ,jacobite glasses1 of which large numbers were made by faithful adherents of the ,house of ,stuart long after the ,jacobite cause had been relegated to the limbo of lost hopes4 ,and it is perhaps unnecessary to add the further warning ,illustration3 ,,fig4 #ag4--;,,jacobite ,,toasting ,,glasses4 7,from the ,rees ,price ,collection1 by permission of the ,connoisseur47 that in connection with old glass1 as with other antiques1 the supply seems somehow mysteriously to adapt itself to the demand2 and it is the easiest and least detectable of frauds to take a veritable old glass of no particular merit1 and by inscribing it with a motto and an emblem or two1 increase its value twenty-fold4 ,there is1 of course1 much old glass stored1 more or less inaccessibly1 in ancient houses up and down the country1 and every now and again some such hidden treasure is brought to light4 ,but it may be generally said that1 in view of the fierce light the modern craze for antiques has thrown upon such hiding-places1 the prospects of the present-day collector of finding1 say1 a 8,fiat0 glass are so remote as to be practically negligible4 ,the ,jacobite glasses form by far the most important of ,english memorial glasses4 ,they were used by the followers of the ill-fated ,house of ,stuart1 not only in their homes--where1 indeed1 their use might be dangerous--but in the clubs and secret societies which met to keep alive the ,pretender's memory1 and to plot for his return4 ,great numbers were probably made1 mostly1 it is thought1 at ,newcastle1 whence the manufacturers might1 in case of need1 speedily retire across the ,border and seek concealment from the law among a sympathetic population4 ,unfortunately1 few only remain1 for when the toast had been duly honoured1 it was a frequent custom to shatter the glass1 that it might be used for no inferior purpose4 ,a similar custom prevails still in certain military messes1 the stem of the wine glass being snapped after the toast of the reigning monarch has been duly drunk4 ,some of the ,jacobite glasses1 however1 were of superior quality and admirably inscribed and decorated4 ,these1 it is assumed1 were carried from place to place by their owners1 often in properly fitted cabinets4 ,each member of a ,jacobite club probably brought his own glass1 which was stored1 with the others1 between the meetings1 in a secret receptacle2 the possession of such a glass being1 of course1 treason4 ,thus it is that many have been preserved--frail memories of a lost cause and symbols of a loyalty as unparalleled as incomprehensible4 ,at this distance of time it is difficult to understand the glamour that surrounded the ,stuart cause and the wealth of loyalty that was lavished on objects so painfully unworthy4 ,james ,i4 was a foreigner to ,england and ,english sentiment1 and with none of the qualities that win admiration or esteem4 ,he was ungainly1 garrulous1 vain1 pedantic1 and1 above all1 cowardly in an age which placed physical courage as the first of human attributes4 ,even his not inconsiderable intellect failed to compensate for an utter lack of everything else which his time found worthy of admiration4 ,charles ,i4 was a tyrant1 narrow1 mean1 obstinate1 and unscrupulous--a man without ability1 a king without honour4 ,his death is the one bright spot in a dreary and disastrous record1 for 8,nothing in his life ,became him like the leaving of it40 ,charles ,,ii41 gay1 witty1 insouciant1 reckless1 had1 it may be granted1 certain qualities that take the common taste1 but he was utterly profligate1 entirely without principle4 ,he sold ,england to ,france1 betrayed ,holland1 robbed the ,state and the ,navy1 and starved his sailors to flatter his mistresses4 ,james ,,ii4 was cold1 callous1 cruel--a sycophant to the strong and a tyrant to the weak4 ,he was a bigot1 and unscrupulous in his bigotry4 ,he was no less licentious than his brother though much more a hypocrite4 ,what was the glamour that made men give their all--house1 wealth1 lands1 and even life itself--to bolster the falling fortunes of an unworthy line and restore it to the throne from which it had been twice driven by an outraged people8 ,but we are digressing4 ,there is1 in any case1 no doubt as to the glamour which surrounds the ,jacobite glasses in the eyes of the collector of to-day4 ,the greater part of these glasses were used in one or other of the various clubs or societies which sprang up for the purpose of propagating ,jacobite principles and furthering the ,jacobite cause--which meant1 in brief1 plotting for the downfall of the ,house of ,hanover1 and in a hard-drinking age it was clear that their consultations could not have been carried on without a considerable consumption of strong liquors1 and a consequent adequate supply of glasses1 the majority of which were probably engraved in some way or another distinctive of the occasion4 ,the most famous of such clubs was the ,cycle ,club1 founded in #agaj by ,sir ,watkin ,wynn1 ,illustration3 ,,fig4 #ah4--;,,jacobite ,,goblets4 7,from the ,rees ,price ,collection1 by permission of the ,connoisseur47 and one of the most interesting of commemorative glasses refers to him3 8,let no deceipt within your glass be found1 ,but glorious ,watkin's health go briskly round40 ,the motto of the ,cycle ,club appears to have been the ,latin 8,fiat0 78,may it happen071 and this word is generally found engraved on ,jacobite glasses1 which are1 in consequence1 often referred to as 8,fiat0 glasses4 ,a 8,fiat0 glass is shown in ,fig4 #ba1 and other excellent specimens of ,jacobite glasses in ,fig4 #ai4 ,another motto is 8,redeat40 ,the best of the ,jacobite glasses bear the portrait of 8,bonnie ,prince ,charlie0 on the bowl1 encircled by a wreath of laurel1 flanked on each side by ,scotland's emblematic thistle4 ,others have two roses supporting the laurels4 ,sometimes there is the ,stuart rose1 with two buds1 a reference1 perhaps1 to ,james ,,ii4 and his two sons4 ,the design1 too1 not unfrequently includes an oak leaf1 a reference to ,charles ,,ii4's escape from the ,roundheads1 after the battle of ,worcester1 by taking refuge in an oak1 while 8,far below the ,roundhead rode ,and humm'd a surly hymn40 ,some also are engraved1 in addition1 with a star--the symbol of a hope never realised by the hapless ,stuart line4 ,most of these emblems may be found in the two specimens shown in ,fig4 #ai4 ,i have sometimes found the portrait of the ,pretender with oak leaves1 thistle1 and rose1 in place of the usual 8,fiat10 and the motto 8,audentior ,ibo40 ,these glasses have usually air-drawn or knopped stems and funnel-shaped bowls4 ,these ,jacobite glasses are among the luckiest 8finds0 of the collector of ,old ,english glass1 and it is needless to say that the greatest care is essential in purchasing anything which purports to be a genuine specimen4 8,fiat0 glasses1 especially those bearing the portrait of the ,pretender1 are imitated in considerable numbers and generally disposed of through the shops of small country dealers1 pawnbrokers1 etc42 but ,i have seen specimens1 even in galleries and large shops in ,london1 which were flagrant frauds1 a fact which should have been perfectly patent to the vendors4 ,so caveat emptor4 ,frequently the ordinary tests for the antiquity of the glass are useless1 since the piece is itself genuine old glass of the proper period and ,illustration3 ,,fig4 #ai--;,,jacobite ,,glasses4 7,from the ,rees ,collection1 by permission of the ,connoisseur47 only the engraving modern1 and this is given a spurious appearance of age by rubbing down with sand and earth1 and by allowing the lines of the pattern to become filled with dust and dirt4 ,a test that may be found useful is to hold the piece in a strong light1 when some part of the engraved portion may be found untouched by the 8treatment10 and bearing in its clearness and sharpness of line convincing evidence of its recent origin4 ,of the ,jacobite glasses1 those dedicated to the ,old ,pretender are entirely beyond the hopes of the ordinary collector4 ,a few exist in old country houses dotted up and down the country and in various museums4 ,one in the ,british ,museum bears the mottoes 8,cognoscunt me mei0 and 8,premium ,virtutis40 ,young ,pretender glasses are naturally much more numerous1 and it is probable that specimens may still be found in out-of-the-way places4 ,special finds of ,jacobite glasses are occasionally made1 a whole set being discovered in some unexpected hiding-place4 ,one such set is the famous ,oxburgh ,hall find1 now to be seen and admired in the ,victoria and ,albert ,museum4 ,eleven ,jacobite glasses in all were discovered1 eight of them being 8,fiat0 glasses4 ,four of them1 of a larger size1 bear the ,prince of ,wales' feathers on the upper surface of the foot4 ,one is the glass inscribed to ,sir ,watkin ,wynn1 previously mentioned1 and one is of special significance1 in that it bears in addition to a portrait of the ,young ,pretender an inscription1 unique in the history of ,jacobite glass3 8,charles ye ,great1 ye ,brave1 the ,just and ,good ,britania's ,prince ye noblest of her ,bld4 ,thy ,glorious ,feats ye ,world may ,pro ,britania's ,glory and ,britaine ,shame40 ,as poetry the verse undoubtedly leaves something to be desired1 although as a panegyric it is fairly comprehensive4 ,that fact will1 however1 in nowise detract from its unique interest in the eyes of the collector1 whilst the most rabid ,jacobite--if such a person still exists--can hardly fail to be satisfied with such a wholesale and whole-hearted testimony to the merits of the leader whose cause he had espoused--the luckless ,prince1 whose doom it was to be always remembered 8,over the water10 8,great1 ,brave1 ,just1 ,good1 ,britania's glory10 and the rest6 ,this was a hero indeed1 sans peur et sans reproche4 ,even the legendary ,arthur of ,round ,table fame could hardly claim more4 ,a critic might suggest that the portrait which appears on the other side of the glass is hardly worthy of these exalted sentiments1 though in point of artistic merit it may fitly challenge comparison with the quality of the verse4 ,the 8,chastleton0 glasses form another famous ,jacobite set4 ,there are two decanters and eleven wine glasses4 ,the glasses are engraved with the rose and two buds1 representing1 presumably1 ,james ,,ii4 and the two ,pretenders1 and the ,cycle ,club motto1 8,fiat40 ,in addition there is an oak leaf4 ,whether this is an allusion to the famous ,royal ,oak of ,boscobel1 in which ,charles ,,ii4 took refuge after ,worcester1 as previously mentioned1 or is merely the distinguishing mark of the ,english ,jacobites1 just as the thistle was the badge of their ,scottish comrades1 is obscure4 ,the decanters are still more interesting1 having1 in addition to the rose and its two buds1 two oak leaves and a compass1 the needle of which points to a star apparently rising towards the zenith--probably in hopeful anticipation of the fortunes of the ,jacobite cause4 ,miss ,whitmore ,jones1 the present owner of ,chastleton1 claims that these were made at ,derby4 ,glasses thus elaborately inscribed do not exhaust the list of ,jacobite glasses4 ,in many cases the rose emblem appears alone1 without the incriminating 8,fiat0 which would inevitably convict the owner of treason4 ,in other cases the emblem was hidden from the casual eye by being engraved underneath the foot4 ,the times were perilous ones1 and it behoved careful folk to exercise the greatest caution2 hence arose all the system of symbols and catchwords associated with the ,jacobite cause4 ,byrom sums up their attitude in the well-known verse3 8,god bless the ,king1 ,i mean the faith's defender2 ,god bless--no harm in blessing--the ,pretender2 ,but who pretender is1 or who is king1-- ,god bless us all1--that's quite another thing40 ,it is possible to meet1 here and there1 with glasses dedicated to the early ,georges1 but these are few and1 to say the truth1 are lacking in the interest that their romantic and tragic history threw over everything associated with the hapless ,stuart line4 ,williamite glasses are more numerous4 ,they1 ,illustration3 ,,fig4 #bj4--,,memorial ,,toasting ,,glasses--,,jacobite ,,and ,,williamite4 of course1 date from the revolution of #afhh1 when party feeling on the one side ran as high in favour of ,dutch ,william as it did on the other in favour of the ,house of ,stuart4 ,many of them were undoubtedly produced in ,ireland1 the more interesting commemorating the battle of the ,boyne4 ,some bear the portrait of the ,king--generally crossing the ,boyne on horseback4 ,such specimens are exceedingly rare4 ,later ones bear only an inscription1 8,to the ,immortal ,memory10 or 8,to the ,immortal ,memory of the glorious ,king ,william10 with possibly a rosebud4 ,these are1 of course1 more ordinary1 but are still worth collecting1 providing the purchaser can assure himself that they have not been specially prepared for his benefit4 ,the phrase above quoted is possibly a reminiscence of the toast given at ,orange meetings3 8,to the glorious1 pious1 and immortal memory of the great and good ,king ,william1 who freed us from ,pope and popery1 knavery and slavery1 brass money and wooden shoes0--quite a creditable record of achievements4 ,the 8boot0 glasses1 to which we refer among the freaks1 were probably made in large numbers in ,george ,,iii4's reign to testify to the national hatred of ,lord ,bute1 whose punning emblem1 8the boot10 was burnt by the mob in a thousand bonfires1 whether justly or unjustly history fails to say4 ,but there is no doubt that ,bute was hated with a fury almost without precedent1 and the ,king's mother1 whose favourite he was1 was hated with equal intensity4 ,in #agfc a jack-boot and a petticoat were publicly burnt at ,temple ,bar1 and a crowned ass led through the streets by a man in a ,scottish plaid4 ,boot glasses are generally from four and a half to five inches in height4 ,they are often moulded to represent lacings in the front and trimmings at the sides1 and were doubtless used for strong waters1 cordials1 and liqueurs4 ,memorial glasses inscribed with the names of our great seamen are1 of course1 numerous4 ,one to ,admiral ,hawke1 inscribed 8,success to the ,british ,fleet0 and dated #bjth ,november #agei1 was evidently made in commemoration of the battle of ,quiberon ,bay1 in which that great seaman1 deliberately ignoring the fighting instructions1 flung convention to the winds and won a startling victory1 and freed ,britain from the dread of a ,french invasion4 ,similar glasses ,illustration3 ,a 8,,fiat0 ,,glass ,,shewing ,,stuart ,,rose ,,with ,,six ,,petals4 ,,union ,,glass1 ,,circa4 #ahja4 ,,armorial ,,glass4 ,,williamite ,,glass4 ,,fig4 #ba4 bear the names of ,boscawen1 ,rodney1 ,anson1 ,keppel1 and ,nelson4 ,the 8,nelson0 glasses1 as may be supposed1 are particularly interesting4 ,some bear the hero's portrait2 others are adorned with a representation of his famous flagship2 others1 again1 were made in commemoration of his death and his burial in ,st ,paul's ,cathedral4 ,one such specimen described by ,mr ,hartshorne deserves special mention4 ,it is a goblet rather more than #h inches in height1 on the straight-sided bowl being engraved a representation of the great ,admiral's funeral car in the shape of a ship4 ,on the stern is the historic name ,victory4 ,at the prow stands an emblematic figure of ,victory1 bearing in one hand a laurel wreath and in the other a branch of bay4 ,on the canopy of the car is inscribed the word 8,trafalgar10 below it the name 8,nile40 ,it is stated that the glasses were made for the officers of the ,victory1 each of whom received one in memory of his chief4 ,the ordinary commemoration glasses made at the time of ,nelson's funeral1 and publicly sold as memorials of the event1 have on the one side a representation of the funeral car and on the other1 encircled by a laurel wreath1 the words3 ,in ,memory of ,,lord ,,nelson ,jan #i #ahjf ,the date is that of the public funeral4 ,these glasses were probably made in considerable numbers1 but are now very rare4 ,apart1 however1 from the funeral glasses great numbers of pieces must have been inscribed with his name as a testimony to his popularity and of the public gratitude for his victories4 ,miss ,wilmer in her book on 8,early ,english ,glass0 gives an illustration of a tumbler inscribed with the names of ,nelson1 ,duncan1 ,howe1 and ,st ,vincent and the date #ast ,august #agih1 together with various nautical emblems4 ,but1 as we have said1 the manufacture of commemorative glasses was not confined to occasions of national importance1 nor were such glasses dedicated only to national heroes4 ,events of very local importance were frequently signalised in this way4 ,thus one is inscribed 8,up to ,sowerby ,bridge1 #ageh10 and serves to record certain improvements in the ,illustration3 ,a ,,nelson ,,glass ,,fig #bb4 ,illustration3 ,a ,,commemorative ,,coronation ,,glass ,,of ,,king ,,george ,,iv4 navigation of the ,calder ,river4 ,a golden fleece which also forms part of the decoration symbolises possibly the commercial advantages likely to accrue thereby4 ,another commemorates the opening of the ,aire to ,calder ,canal1 and bears the inscription1 8,success to ,trade and ,navigation40 ,others bear political cries1 like a cider glass 7,fig4 #bc7 from the ,singer ,collection4 ,it is characteristically engraved with sprigs of apple blossom and a barrel1 presumably of cider4 ,around the brim is the legend1 8,no ,excise10 a probable reference to the political agitation which followed the attempt of the ,chancellor of the ,exchequer1 ,sir ,francis ,dashwood1 in #agfc to impose a duty of no less than #ds4 a hogshead on cider4 ,the next glass is from the same collection4 ,it bears a ship engraved upon the bowl1 and has a thickly twisted opal stem and slightly waisted sides1 which give a peculiar charm to its shape4 ,on it are inscribed the words1 8,success to the ,eagle ,frigate--,john ,knill1 ,commander10 which seems to indicate that it was made to commemorate the launch of that vessel4 ,the fine air-twisted goblet1 which is the largest in the illustration1 belongs to a period somewhere about #agfj4 ,the figure depicted is that of ,frederick the ,great1 ,king of ,prussia1 then our ally and at the zenith of his military glory4 ,it was through his aid that ,pitt was enabled to win our colonies of ,india and ,america on the battlefields of ,europe1 and the exhortation to 8,keep it up10 which appears on the glass1 was evidently the expression of some ,british sympathiser's goodwill4 ,possibly the piece was made to celebrate one of ,frederick's victories4 ,the other glass has a small portrait with the inscription1 8,long live ,george1 ,prince of ,wales1 #agei40 ,it is beautifully engraved and altogether one of the finest specimens extant4 ,fig4 #bg illustrates particularly fine and interesting examples of a tankard1 a covered jar1 and a grog glass--all excellent of their kind4 ,the tankard on the right of the plate is engraved with vine leaves and bunches of grapes1 together with marguerites1 and inscribed with the names ,joseph and ,jane ,burrows1 and was probably a 8marriage0 or 8betrothal0 glass4 ,the goblet with a square base which stands to the left of the plate 7,fig4 #bd7 is very quaint4 ,there is a representation of a sailing craft upon ,illustration3 ,,fig4 #bc4--;,,commemorative ,,glasses4 7,from the ,rees ,price ,collection1 by permission of the ,connoisseurs47 one side1 with the inscription1 8,the ,ann and ,bessie10 and on the reverse1 8,james ,oddie1 ,bromley10 probably the name of the owner both of the craft and the goblet1 who registered to posterity his pride in the one by means of the other4 ,this glass1 ,i am informed1 was the property of the late ,a4 ,p4 ,trapnel1 ,esq41 a renowned collector of ,bristol porcelain and1 though to a less degree1 of old glass4 ,the covered grog pot or jar in the centre of the group is artistically engraved with roses and festoons1 with the inscription1 8,success to the ,britannia1 ,edmund ,eccleston1 #aggd40 ,for the illustrations of several of the above pieces ,i am indebted to the courtesy of the late ,mr ,j4 ,t4 ,herbert ,bailey4 ,such examples1 which cannot fail to interest the lover of art as well as the collector of antiques1 amply testify to the strides which glass manufacture had made in ,england1 and are also useful as indicating the nature of the finds a collector may even yet make in out-of-the-way places1 provided he will first take the precaution to acquire such knowledge of the characteristics of old glass as will serve to protect him from being deceived by modern reproductions4 ,one does not1 for example1 expect to find engraving or cutting on early importations from ,venice1 or that the glasses made in commemoration of various events invariably bear appropriate inscriptions1 by which they may be immediately identified4 ,sometimes there is a date alone1 sometimes a figure or merely initials1 and the collector's imagination and historical knowledge1 as well as his expert acquaintance with the qualities of old glass1 are all called into play to determine the date and occasion when the specimen was produced4 ,it need hardly be said that historical and commemorative glass are very widely imitated1 the commonest and most plausible of the various forms of deception adopted being1 as elsewhere suggested1 to engrave some comparatively valueless specimen of real old glass with figures exactly imitating the genuine thing1 and so giving it a fictitious value4 ,illustration3 ,,fig4 #bd4--,,tankards ,,and ,,grog ,,glasses4 ,,early #ahth ,,century4 7,from the ,rees ,price ,collection1 by permission of the ,connoisseur74 ,,chapter ,v ,,bristol ,,and ,,nailsea ,,glass ,it is a matter of regret that ,bristol's ancient fame for making and cutting glass should have so completely disappeared4 ,in the palmy days of its glass industry it boasted no fewer than fifteen 8glass-houses10 and it had no rival in the country either as regards the quantity or the quality of its output4 ,this was in the year #agfj4 ,thirty years later the first glass-maker appears on the roll of the city's freemen4 ,but seven years previously we read that a certain townsman was admitted a freeman of the city upon his undertaking to train a city schoolboy1 as his apprentice1 in the difficult art of glass 8grinding0 without the usual premium of #g4 ,but as early as #afff an order was made by the ,city ,council to the effect that 8no stranger or foreigner should presume to open a shop1 either with or without glass windows1 under a penalty of #e0--;a fact which seems to indicate that1 although glass windows may still have been a novelty1 there existed facilities for their supply if required4 ,apart from casual references like these1 the history of ,bristol glass is entirely obscure4 ,but as the trade returns for the year #afie show that the duty on glass for that year amounted to #ag1fdb1 and that a 8drawback0 allowed on exported glass amounted in the case of ,bristol to no less a sum than #bigf1 it is pretty clear that by that time the industry in ,bristol had assumed very considerable dimensions4 ,bristol glass is certainly the most beautiful of all ,old ,english glass1 and there is no doubt that many of the fine specimens one sees1 both coloured and plain1 were actually produced in the factories of that city4 ,the colouring of ,bristol glass is exceptionally brilliant1 especially its deep blues4 ,the opaque milky-white ware1 which is most common1 is often 8ribbed0 with white streaks or ornamented with flowers in colours and gold1 or daubed with red1 blue1 and yellow1 or with one of these colours only4 ,fig4 #bi shows specimens of both kinds4 ,it is a matter for great regret that the factories renowned in early times for the beauty and finish of their output did not maintain their existence for a longer period4 ,the exact date at which the famous opaque ware was made is open to considerable doubt1 but the year #agfj cannot be very wide of the mark1 for reasons to which ,i have already referred4 ,in any case1 the records of the city show that in that year its glass furnaces were in full blast4 ,we find recorded in #agae a bequest of china and glass1 and in a long account of a feast given to commemorate the accession of ,queen ,anne there is included among the expenditure of the corporation an item of #f1 #ads4 for glasses4 ,at first glass was extremely costly3 the corporation was called upon to pay no less than #d1 #afs4 for 8a glass to be placed in ,mr ,alderman ,laroche's coach1 which was broken at the gaol delivery40 ,fine specimens of the glass-worker's art fetched extremely high prices4 ,the glass itself was exceedingly brittle and easily broken as compared with other ,english and ,irish glass4 ,it was frequently decorated with enamelled colouring1 and many specimens are found with finely curved and twisted handles4 ,it was1 in my opinion1 the object of the ,bristol glass-houses to imitate white porcelain1 and1 in support of this idea1 we find manufactured in ,bristol glass such articles as vases1 cups and saucers1 plates1 mugs1 and other utensils usually made from porcelain and earthenware4 ,of course1 the art of manufacturing this opaque white or milky glass was well known abroad4 ,the white glass of ,venice1 of ,orleans1 and of ,barcelona was already famous4 ,the characteristic feature of its manufacture was the large amount of lead and the small quantity of tin employed as ingredients--quantities altogether out of proportion to those used in the manufacture of ordinary transparent glass4 ,it is no very difficult task for an enthusiast to find to-day excellent specimens of ,bristol ware4 ,its characteristic features are an extraordinary fineness in colour and texture1 coupled with a delicate taste both in hue and form4 ,the ware1 too1 has a peculiar softness to the touch which is quite characteristic1 and provides the amateur collector1 once he has recognised it1 with an excellent test as to the genuineness of the specimen under consideration4 ,the smaller pieces are often beautifully decorated with painted or enamelled flowers1 maidenhair fern1 and the like4 ,the illustrations 7,figs4 #be-bf7 give an excellent idea of the kind of decoration adopted by the master craftsmen of ,bristol4 ,the designs found upon ,bristol glass were also1 now and again1 copies of those found on ,venetian and ,french pieces4 ,but1 generally speaking1 the decoration of ,bristol glass was entirely ,english in conception and execution4 ,this is particularly the case where the pieces were made for some special occasion or purpose1 as1 for example1 the commemoration of some event of national importance4 ,many examples from the ,bristol factories are to be found in the various museums1 especially at ,south ,kensington1 where in the famous ,schrieber ,collection are some of the finest examples extant4 ,there is1 for example1 a 8,venetian glass0--purely ,bristol1 of course1 but on a ,venetian model1 which is reproduced as a frontispiece to this volume--and also a pair of candlesticks beautifully ornamented with butterflies1 wild flowers1 and leaves4 ,they stand out as most admirable specimens from the ,bristol factories4 ,it is a well-known fact that the ,bristol product1 so admirable was it in quality and appearance and so closely did it resemble the real ,venetian glass1 was often passed off as the product of the ,venice glass-makers--the pastmasters of the art4 ,many a collection1 ostensibly hailing from ,venice1 must1 on a closer scrutiny1 be attributed to a place of origin much nearer home4 ,this form of substitution was particularly prevalent in the case of glass ornamented with white twisted threads and in the case of ruby-coloured glasses and mugs4 ,many of the earliest specimens were left 8raw0 at the base1 and if the finger be drawn across the ends the existence of sharp edges will become apparent4 ,this is a test of reasonably good value1 as ,i have found on more than one occasion when ,i have been in doubt4 ,also1 and with the smaller pieces in particular1 it was almost universal with the ,bristol manufacturer to leave untouched the 8mark0 or place where the piece was nipped from the blower's tube4 ,modern reproductions1 whilst faithfully observing and imitating all the beauties of the model1 have generally their bases perfectly smooth4 ,even where the 8mark0 has been imitated to give an added air of verisimilitude to the specimen1 the thing has been overdone1 and that so ,illustration3 ,a ,,bristol ,,glass ,,decanter ,,decorated ,,with ,,opaque ,,white ,,enamel4 ,,the ,,word 8,,mountain0 ,,being ,,the ,,name ,,of ,a ,,kind ,,of ,,spanish ,,wine ,,used ,,in ,,this ,,country1 ,,circ4 #agfj4 ,illustration3 ,,early ,,specimen ,,of ,,bristol ,,glass ,,mug1 ,,with ,,the ,,word 8,,liberty40 ,,fig4 #be4 awkwardly as inevitably to lead to detection4 ,sometimes1 too1 in the imitation1 the colours used to produce the milky-white tone cease abruptly1 leaving the 8mark0 perfectly transparent4 ,in genuine old ,bristol the colour fades gradually1 leaving only the very tip of the 8mark0 clear4 ,another good test is to place the specimen in a strong light1 preferably sunlight4 ,if1 when examined1 the colour is mixed1 the piece is of doubtful authenticity4 ,spurious specimens often run 8cloudy0 or patchy1 possibly because of bad mixing4 ,this is1 of course1 a useful test1 provided one does not rely upon it entirely1 for certain specimens of undoubted authenticity display somewhat similar features4 ,in particular1 ,i remember an old drinking flask marked with irregular streaks of white1 where this test would have proved absolutely misleading4 ,possibly the 8feel0 of the glass is the best criterion1 genuine old ,bristol being much softer to the touch than any modern imitation4 ,so many pitfalls await the average collector of ,bristol glass that ,i should hardly advise anyone to make this his sole hobby1 for although it is still possible to find small pieces--cups1 salt-cellars1 small bowls1 finger basins1 mugs1 and the like--the really important pieces of ,bristol glass are few1 and they and their owners are pretty well known to the cognoscenti4 ,at any rate ,i have not met anyone1 in recent years1 who could boast of a considerable find in this direction4 ,a very fine specimen1 described as 8,old ,bristol1 #agfj10 was put up for sale some eighteen months ago1 near ,london4 ,its genuineness was further guaranteed by a label pasted on the base1 showing that it had passed through a well-known ,london auction-room4 ,the owner1 a dealer in a small way1 failing to find a customer in ,london1 had put it into the sale of the effects of a cottage4 ,it was bought in by its owner for #c1 #cs41 and eventually at the end of the day realised only #cfs4 ,i saw the piece subsequently4 ,it was obviously a reproduction1 though a very good one1 and certainly worth what was given for it2 but as he had purchased it as real old glass1 and at a proportionate figure1 it will1 ,i fancy1 be a long time before he again endeavours to secure a bargain in ,old ,bristol4 ,i have known many such instances1 and as a result of my experience ,i have come ,illustration3 ,,fig4 #bf4--,,specimens ,,of ,,bristol ,,glass4 7,enamel ,colouring by ,michael ,edkin47 to the conclusion that1 while pieces of ,bristol can be picked up now and again1 particularly in the west of ,england1 it will not pay the amateur collector to confine himself to this particular variety4 ,i am indebted to ,mr ,cole of ,south ,molton ,street1 ,london1 for the illustration 7,fig4 #bf7 of a pair of very fine early ,bristol vases which1 although undecorated1 are exquisite in colour and form1 and a beautiful example of the maker's art4 ,the frilling round the base deserves special notice4 ,the central piece in the photograph is a long-necked vase decorated with coloured enamels1 and known to be the work of ,michael ,edkin1 a ,bristol enameller of distinction4 ,if carefully examined1 it affords ample evidence of the skill and painstaking care to which the best specimens of this ware owe their artistic merit4 ,spiral wine glasses are still often to be found in or near ,bristol1 and the fact that these are rarely found in other parts of the country seems to indicate that they were a favourite form with the ,bristol glass-makers4 ,among the examples of ,bristol ware here reproduced 7,fig4 #bg7 is included a pair of vases4 ,these rank among the finest specimens still extant of ,michael ,edkin's work4 ,this talented artist was a painter of some merit1 who gradually drifted into glass painting1 and for some twenty-six years1 from #agfb to #aghh1 was engaged by various firms to decorate their ware with birds1 flowers1 etc4 ,he was also1 it may be added1 a singer and an actor of no little distinction4 ,fig4 #bf shows a pair of candlesticks1 #f inches in height1 from the ,british ,museum ,collection4 ,they are excellent examples of ,edkin's taste and delicacy of execution4 ,great quantities of glass decorated by him must have been exported1 and ,i have found undoubted specimens of his work in ,rome and the museums of other ,continental cities ,i have visited4 ,one of the very finest specimens of his art is a richly gilt and decorated tea-tray1 now in the ,museum of ,practical ,geology4 ,another example from the ,british ,museum ,collection is the fine mug1 ornamented with a portrait and the word 8,liberty0 in gold1 possibly made by some sympathiser with the revolutionary spirit which strongly affected ,britain as well as ,france towards the close of the eighteenth century4 ,illustration3 ,,fig4 #bg4--,,specimens ,,of ,,opaque ,,white ,,bristol ,,glass4 #ahth ,,century4 7,decorated by ,m4 ,edkin47 ,edkin also decorated many blue ground pieces1 and it is interesting to learn that his remuneration for the ornamentation of a jug in colour and gilt1 which must have taken a considerable time1 was the lordly sum of #h;d41 a striking commentary upon the value placed upon skilled craftsmanship in the eighteenth century4 ,like many other artists he had to be content with the posthumous reward which fame bestows4 ,the ,bristol factories are said to have made all sorts of articles1 flasks1 bells1 walking-sticks1 bellows1 etc41 in glass1 but there is much uncertainty on this head1 and ,i doubt if the greater part of such articles classified as coming from ,bristol should not1 as a matter of fact1 claim ,nailsea as their place of origin4 ,we can certainly ascribe oil1 vinegar1 and pepper pots1 candlesticks1 salt-cellars1 and vases to ,bristol1 as the daintily decorated pepper and sugar castors1 shown in ,fig4 #bg1 prove1 so that it is at least possible for the other articles enumerated also to have been made there1 but where there is so much uncertainty1 the collector who desires to be on the safe side had better refrain from giving ,bristol the benefit of the doubt4 ,it must not be inferred1 however1 that all ,bristol glass is of the opaque kind4 ,the magnificent piece shown in the frontispiece is quite transparent1 the apparent opacity of the background of the landscape being due to enamel laid on the glass4 ,the fine decanter reproduced in ,fig4 #be is also an example of what ,bristol could do in transparent glass1 the decoration1 here again1 being in enamel4 ,nailsea ,glass4--,the glass-works of ,nailsea were established in #aghh1 a few miles to the south-west of ,bristol1 and were1 for some time1 carried on with success2 but the ware was crude and lacking in the finish characteristic of the best ,bristol specimens4 ,the earliest pieces were made of yellowish or dark green glass1 with blotches of white1 as in the jug shown in ,fig4 #bh4 ,they were usually very inferior in style1 colour1 texture1 and workmanship1 and were consequently not greatly sought after by purchasers2 hence the output was restricted1 and the factory after a while seems to have confined its efforts to producing plain white glass with quaint and curious forms of decoration4 ,a pair of bellows1 for example1 was decorated like the fins of a fish1 with tiny projections and spines all over it4 ,towards the ,illustration3 ,,fig4 #bh4--;,,early ,,nailsea ,,glass ,,jugs4 ,,early #aith ,,century4 end of its career1 which closed in #agfc1 the output was a clear glass of greenish tint1 with faintly coloured streaks4 ,fig4 #bi is a characteristic example4 ,i have also seen a few pieces gilt4 ,the glass is now exceedingly scarce1 and good specimens command a very high price4 ,there is a curious charm about ,nailsea glass4 ,in appearance1 the best specimens are of a dark toffee-like colour1 and when held up to a strong light exhibit a greenish tinge4 ,the lighter and finer kinds display a characteristic ground which1 if not beautiful1 is certainly quaint4 ,collectors who are fortunate enough to come across a specimen of ,nailsea at a reasonable figure should undoubtedly seize the opportunity of acquiring it1 but such opportunities are few and1 were they more numerous1 it is hardly likely that anyone would wish to form a large collection of it4 ,the 8,simpson0 ,jug1 illustrated in ,fig4 #bh1 is transparent1 but of a curious yellowish-green tinge1 and is probably one of the last pieces produced at the old factory4 ,,chapter ,,vi ,,irish ,,glass--,,cork ,,and ,,waterford ,the history of the manufacture of glass in ,ireland is very obscure1 and the dates of its various periods difficult to fix4 ,hence it is well-nigh impossible to place before the reader any reliable data in the way of photographs of pieces that can be guaranteed authentic both as regards place of origin and date4 ,yet numerous specimens do exist1 including drinking glasses of all shapes and sizes1 as well as fruit dishes1 epergnes1 sweetmeat glasses1 decanters1 and salt-cellars1 which are undoubtedly ,irish in their origin1 and which are generally known as 8,waterford0 glass4 ,as far as can be determined1 glass-making in various forms1 enamelling1 and even mosaic work and cameos1 were carried on in ,ireland as early as the beginning of the eighth century4 ,the finest examples of the earliest period are to be found in the ,royal ,irish ,antiquities ,illustration3 ,,fig4 #bi4--,,nailsea ,,jug ,,and ,,mug4 ,collection1 which includes the famous ,ardagh ,chalice1 the ,tara ,brooch1 the ,cross of ,cong1 and the ,crozier of ,clonmacnoise1 as well as other well-known and interesting exhibits4 ,at any rate1 experts are agreed that even at this early date the art of enamelling on glass was practised in ,ireland1 being probably introduced by the ,phnicians who1 in turn1 had acquired the art from ,ancient ,egypt4 ,in support of this belief is the fact that a large piece of red enamelled glass was found in the ,rath of ,calchon on ,tara ,hill2 but it is equally clear that the art of glass-making1 if introduced at the time mentioned1 speedily fell into desuetude1 for there is no mention of any manufacture of glass between the ninth and the seventeenth centuries1 nor are there to be found any specimens which may be attributed to this period4 ,there are1 further1 no traces of the manufacture even of window glass of the commonest description4 ,in the seventeenth century1 however1 there were many interesting squabbles with regard to glass-making patents and their infringement1 and there are records of petitions to the ,king concerning them2 but from the ,patent ,roll of ,king ,james ,i4 it appears that little was done4 ,still1 we have it on record that permission was given to import glass in #afge1 and it is suggested that craftsmen in ,ireland attempted to imitate the work of ,continental glass-workers1 and various sums of money were granted by the ,universities and others interested1 to assist them in so doing4 ,some progress undoubtedly was made1 for it is clear that by the eighteenth century factories were in existence and glass was being actually made in ,dublin1 ,waterford1 ,cork1 ,belfast1 and ,londonderry4 ,some examples of early ,waterford glass are1 as far as shape and size go1 replicas of glasses made in ,england at about the same period1 but the reason for the almost immediate popularity of the ,irish glass was its perfection of colour4 ,a fine specimen which recently came under my notice is a preserve jar with cover 7,fig4 #cj71 about #ah inches in height1 handsomely cut and shaped1 with a square base and a fine spiked cover4 ,it is undoubtedly one of the finest examples of early ,waterford glass which it has been my privilege to inspect4 ,genuine ,waterford glass is characterised by a peculiar bluish tint in its body--due1 it is generally recognised1 to the presence of lead--but ,illustration3 ,,old ,,waterford ,,glass ,,water ,,jugs4 #ahth-#aith ,,century4 ,,fig4 #cj4 attributed by some to some peculiar quality of the flint employed1 which was obtained from pits in the vicinity4 ,personally1 ,i lean to the former hypothesis4 ,cork glass1 on the other hand1 is distinguishable by a pale yellow or amber tint--in all probability the result of the presence of iron4 ,these tones are characteristic1 for though the colouring of glass has been brought by modern workers to a fine art1 yet no one has succeeded in exactly reproducing them so that1 to the expert eye1 the genuine old ,irish glass is unmistakable4 ,about the year #agec the ,dublin ,society offered a premium for the establishment of a glass factory in ,county ,cork4 ,there seems1 however1 to have been some reluctance in taking advantage of the offer1 for it was not until #aghb that the first glass factory was established there4 ,then ,atwell ,hayes1 ,thomas ,burnett and ,francis ,richard ,rowe demanded assistance from ,parliament in carrying on the industry4 ,they proposed to erect two houses1 one for bottles and one for window glass and1 from their advertisements appearing shortly after in the ,irish papers1 offering to sell glass at their manufactory1 and guaranteeing satisfaction1 it would appear that their venture met with considerable success4 ,from #aghj onward ,cork exported a good deal of glass4 ,in the year #ahja alone1 the considerable number of #aaa1jjj drinking glasses was sent to ,america1 ,portugal1 and various other places abroad1 while in the next year there is record of #fabi dozen bottles and #dj1jjj drinking glasses being shipped abroad1 which indicates a considerable output4 ,the trouble involved in founding such an industry in those days must have been considerable4 ,in this case1 two years were taken up in procuring the necessary concessions1 but the industry1 once started1 took firm root1 and the advertisements appearing in the ,press--in particular1 ,the ,hibernian ,chronicle 7,may #aghd7 and ,the ,cork ,new ,evening ,post 7#agib71 copies of which are preserved in the ,museum of ,dublin ,antiquities1 indicate what progress it was making and1 incidentally1 possess a curious interest from their quaint wording and setting forth4 ,the following is an example3-- 8,with choicest glass from ,waterford1 ,decanters1 ,rummers1 ,draws1 and ,masons1 ,flutes1 ,hob-nobs1 ,crofts1 and ,finger ,basins1 ,illustration3 ,,old ,,waterford ,,bowls4 #ahth-#aith ,,century4 ,illustration3 ,,old ,,english ,,and ,,irish ,,celery ,,bowls4 ,,fig4 #ca4 ,proof ,bottles1 ,goblets1 ,cans1 and ,wines1 ,punch ,juggs1 ,liqueurs1 and ,gardevins1 ,salts1 ,mustards1 ,salads1 ,butter keelers1 ,and all that's sold by other dealers4 ,engraved or cut in newest taste1 ,or plain--whichever pleases best4 ,lustres repaired or ,polished bright1 ,and broken glasses matched at sight4 ,hall globes of every size and shape1 ,or old ones hung and mounted cheap40 ,in style1 as we have already said1 ,waterford glass closely approximates to ,old ,english of the ,georgian period4 ,if anything1 however1 the cutting was deeper1 the angles and spikes being often so sharp as to make it dangerous to grasp the pieces tightly4 ,numerous table services of glass of this period exist1 as well as decanters1 punch bowls1 and dishes4 ,all are deeply cut1 the chief designs being the hobnail and diamond patterns4 ,sometimes we find fluted stems and finely cut spiked or striped sides4 ,the majority of the larger pieces1 such as the punch and salad bowls1 had square feet or bases which1 while possibly adding to their stability1 certainly enhanced the beauty of their appearance4 ,the salad bowl shown on the left of ,fig4 #ca is an excellent example3 the collar or turn-over at the rim is remarkable for its depth and also for its superb cutting4 ,the bowl on the right is a remarkable specimen of very uncommon type4 ,it is oval in shape--a shape not easily blown even at the present time--and has facet cutting upon the outside as well as a particularly fine cut scalloped edging4 ,the base1 too1 is in admirable keeping with the rest of the design4 ,fig4 #cb is another particularly fine piece of ,waterford glass1 worthy of note as an example of hobnail cutting1 as well as for the depth of its collar and its general effectiveness4 ,the celery bowls shown in ,fig4 #ca are also admirable specimens4 ,that on the left is waisted and is 8strawberry0 cut4 ,the centre one is an example of fine fluted and diamond cutting1 with a square base and domed foot1 and the one on the right has a collar and is flat cut on the middle of the bowl4 ,oval or oblong dishes for fruit or sweetmeats were often made with fan-shaped rims and sides1 high in the centre1 then sloping downwards1 to rise again to an equal height at the ends4 ,old ,irish cut-glass salt-cellars are greatly sought after nowadays for the dinner-table1 and have1 ,illustration3 ,,old ,,waterford ,,centrepiece1 ,,with ,a ,,double ,,collar ,,and ,,dome ,,foot4 ,illustration3 ,a ,,pair ,,of ,,old ,,waterford ,,preserve ,,jars1 ,,covers ,,and ,,stands4 ,,fig4 #cb4 with collectors1 almost completely ousted the old ,georgian silver 8salts40 ,they were often exquisite in design and shape1 some being miniature models of the large punch bowls or sweetmeat glasses4 ,the illustration 7,fig4 #ad7 is of an imitation pair in ,old ,sheffield stands4 ,the water jugs also are of exceptional interest4 ,they were usually shaped on a fine and graceful model1 and are heavily cut into step or deep-ringed incisions generally with massive ornamentations of leaves or panel cuttings round the neck1 and diamond cuttings and flat fluting at the base4 ,so eager1 indeed1 were certain of the designers to ensure that no part of the jug should be without its ornamentation1 that they went so far as to adorn the handles with deep cutting inside1 and placed a huge1 deeply cut star on the outside bottom4 ,weighty substance and wealth of ornament are thus characteristic of ,waterford glass1 although it is1 of course1 impossible to say that all ,irish glass displaying these qualities came from the ,waterford houses4 ,the jugs illustrated in ,fig4 #cj are among the finest specimens in existence1 and are from the ,dublin ,museum ,collection4 ,a careful inspection will reveal most of the characteristics to which we have referred4 ,the figure on the left is the type most familiar nowadays2 the neck is step cut1 the body is 8strawberry10 and the base is flat fluted4 ,the centre piece is a jug of the earliest shape1 and is curiously cut4 ,a band of strawberry cutting round the widest part of the body is flanked top and bottom by bands of leaf cutting2 the lip seems so disproportionately large as to give the piece an almost top-heavy appearance4 ,the handle1 too1 is abnormally large1 and is incised on the inside4 ,its interest is rather more historical than artistic4 ,the third1 on the right1 is a fine example of flat cutting1 the rim being scalloped and the handle deeply scored with 8niches10 besides being lavishly ornamented4 ,the base is curious in that it is domed--a very unusual form for a jug4 ,many of the ,waterford pieces1 especially the preserve jars with turn-over collars1 were made with covers to protect the upper rim4 ,these are very attractive pieces1 and are found in all shapes and sizes4 ,the smaller ones1 both with and without collars1 are exceedingly pretty and not difficult to acquire4 ,the four shown in ,fig4 #cc give an excellent idea of what to expect4 ,each is distinct1 both ,illustration3 ,,irish ,,bowls4 ,illustration3 ,,specimens ,,of ,,irish ,,preserve ,,jars ,,and ,,covers4 #ahth-#aith ,,century4 ,,fig4 #cc4 as regards design and ornamentation4 ,it will be interesting for the reader to compare them and discover the characteristic features of each4 ,the decanters which came into vogue in the eighteenth century display the same general character and are very similar in type to the ,english decanters of the same date4 ,three of them are shown in ,fig4 #cd1 and it may be of service to compare them with the four shown in ,fig4 #ad4 ,the stopper of the central one is of the button type1 those of the other two being of the more common 8mushroom0 variety4 ,the beautiful pair shown in ,fig4 #ce deserve a word of special mention4 ,one feature is the lavish use of step cutting round the neck and shoulders1 and another the strawberry empanelment on the body4 ,the fine diamond cutting and fluting of the stoppers are also worthy of notice4 ,drinking glasses1 as we have said1 were produced in large numbers4 ,they are generally of two types1 the one barrel or bowl shaped after the fashion of our ,english rummers1 the other straight-sided glasses on stems4 ,the specimens shown in ,fig4 #ab give some idea of their general style as well as of the variety of ornament employed4 ,it may be well to point out here1 for the benefit of those who desire to acquire specimens of ,waterford glass1 some of the many differences which may be detected between the genuine article and its modern imitation4 ,to begin with a simple example--the prettily shaped wine glasses of the period with air-threaded or twisted stems are generally reproduced accurately enough1 but the twist or thread in the old glass has a pronounced milky appearance as compared with the dead white of the modern reproduction4 ,the twist also is not so regular and even1 and the feet are larger and apparently slightly clumsier in the authentic specimens4 ,numerous connoisseurs attach importance to the centre of the foot1 which is usually rough and uneven in the old glass4 ,another test frequently relied upon by collectors is the fact of the foot being turned over--a fashion which1 it is said1 was followed only with the earliest specimens4 ,while1 however1 this may provide corroborative evidence1 ,i should be sorry to rely upon it as a sole test4 ,probably the best criterion of all is the colour4 ,it has1 as ,i have already noted1 a dull bluish tinge readily recognisable when the specimen is ,illustration3 ,,old ,,cork ,,glass ,,decanters 7,,early #ahth ,,century74 ,illustration3 ,,old ,,waterford ,,decanters 7#ahth--#aith ,,century74 ,,fig4 #cd4 held up to the light4 ,the better kinds1 too1 have almost invariably a large and deep-cut star on the bottom4 ,cork glass is rarer than ,waterford--a result due to the fact that the ,cork factories were in existence only for a comparatively short time4 ,the pieces1 too1 are slighter1 less heavy1 and by no means so deeply cut4 ,it is much frailer in appearance and1 at the first glance1 less attractive2 but its great beauty is a charming delicacy both of colour and form which grows upon one's taste4 ,the wine glasses in particular would at once appeal to a connoisseur from this point of view alone4 ,the three decanters shown in ,fig4 #cd need only be compared with the ,waterford decanters shown elsewhere for the lack of heavy cutting to be immediately noticed4 ,the centre one is interesting as being a commemoration piece probably made in the year when the ,cork ,yeomanry was formed4 ,irish glass was not unfrequently profusely engraved and gilt4 ,the gilding was done during manufacture1 the gold being burnt in by the aid of borax4 ,in existing specimens much of the gilding has been worn off1 so that only traces remain4 ,in cases where it has disappeared entirely a careful scrutiny will show pits and roughnesses1 indicating where the decoration formerly stood4 ,sometimes the places can even be discerned by the touch4 ,dutch1 ,german1 and ,austrian reproductions have from time to time flooded the market to be sold to the unwary collector as veritable specimens of ,irish art4 ,but these on examination are found to be1 as a rule1 so coarse and unfinished in their execution that the fraud is obvious4 ,the gilding1 in particular1 is far inferior to the work of the old craftsmen1 who were guided solely by the artist's desire for perfection1 irrespective of toil or cost4 ,now and again specimens of ,irish moulded glass crop up4 ,these are chiefly pint and half-pint beer glasses with fluted sides and somewhat sparse engraving4 ,the moulded glass is1 of course1 easily detected since the edges of the fluting are rounded and blunt4 ,the pieces themselves are usually absurdly light if intended for ,cork glass1 or clumsily heavy if they are intended to pass for the ,waterford variety4 ,a large field1 therefore1 opens to the average collector of ,irish glass4 ,it is wonderfully fine and not too difficult to obtain4 ,many collectors ,illustration3 #ahth ,,century ,,cut ,,glass ,,waterford ,,decanters4 ,illustration3 #ahth ,,century ,,finger ,,bowl4 ,,fig4 #ce4 too1 in their desire to acquire only the earliest specimens1 overlook the cut glass altogether as too modern4 ,in spite of this ,irish cut glass is now more valuable and far more sought after than any other4 ,after exhaustive inquiries ,i am satisfied that in ,ireland1 ,england1 ,france1 and the ,united ,states specimens of genuine ,irish glass are still to be found1 often in the most unlikely places--the property of persons who could not be expected to know their value and of others who ought to but do not4 ,a little personal experience may be worth repeating here4 ,i was in a small1 dilapidated general shop near the ,london ,docks2 the shopkeeper1 fancying he detected in me a possible victim1 drew my attention to a pair of celery glasses and began to descant upon their age1 the difference between them and ,cork or ,bristol glass1 and so on4 ,after ,i had examined them carefully and satisfied myself that they were genuine--they were about #aj in4 high with a very thin herring-bone cutting upon their flat-cut sides--,i asked the price1 which was absurdly high2 then1 disclosing my identity1 ,i asked what he would say if ,i told him they were not genuine but only reproductions4 ,to my utter astonishment1 he exclaimed that he 8must have been done40 ,the price--8if they were any use to me0--dropped considerably4 ,then ,i told him they were genuine1 and sent a friend of mine1 who is a collector1 to purchase them1 but not without the man endeavouring to obtain a price which was not only far above what he had asked me but considerably above the real value of the articles4 ,i record this episode for the benefit of my readers who may be tempted to depend upon the seller's opinion for a guarantee of the genuineness of their 8finds40 ,speaking generally1 the ordinary shopkeeper's knowledge is of the most superficial type and should never be relied upon1 while1 of course1 his interest lies entirely in one direction4 ,research fails to throw much light upon the glass factory of ,londonderry1 nor is it easy to find pieces bearing indisputable proof of their origin4 ,but it is a fact that in #ahbj one ,john ,moore transformed a sugar establishment in that city into a glass factory and1 with his son1 carried on the manufacture until #ahbe4 ,then a prohibitive duty stopped it4 ,it is possible that only the black ale bottles were manufactured there4 ,as for the glass exported from ,londonderry to ,america1 it is difficult to determine whether it was manufactured in that city or merely exported thence4 ,the latter is the more probable1 since by the ,act of #agdf a duty of #is4 #d;d4 was imposed on every cwt4 of material used in making ,crown plate1 flint1 and white glass in ,ireland1 as against a duty of #bs4 #d;d4 per cwt4 in ,england1 from which it will appear that ,ireland in those days had no great incentive to manufacture glass in opposition to ,england4 ,it is almost impossible to obtain authentic examples of the work of individual ,irish factories4 ,nor can one state with any degree of certainty that a certain pattern1 cutting1 or style is identified with any one factory or another4 ,both the ,waterford and ,cork glass firms came from ,england1 and brought with them ,english workmen4 ,hence it is pretty certain that the designs and styles adopted by them were replicas of those utilised in ,england1 and not peculiar to ,ireland or copies of ancient ,irish relics4 ,so1 too1 with the ornamentation4 ,possibly some of the earliest ,waterford glass was gilt1 for in #aghd one ,john ,grohl obtained a concession for this purpose4 ,a native of ,saxony1 he probably brought with him the secret of his art1 for the 8disclosure0 of which he and a certain ,john ,hand were rewarded by the ,dublin ,society4 ,the finest diamond cutting1 strawberry cutting1 and flat fluting were done at ,waterford2 but pieces were not always cut at their place of manufacture4 ,thus we hear of a ,waterford dish going to ,cork for ornamentation with the characteristic designs of the factories there4 ,the cutters1 too1 had often to decorate their pieces to the purchaser's taste4 ,there seems to have been little coloured glass made in ,ireland1 although specimens are not unfrequently offered for sale4 ,the writer was offered recently1 on the ,continent1 some 8,old ,irish glass0 of perfect colouring--deep blue1 red1 and yellow1 with fine heavy cutting--but the lightness of the pieces proved them modern1 probably from some ,dutch factory4 99 99 99 99 99 ,in concluding this chapter a word may be given to ,scottish glass1 which is very like ,irish in texture1 although its existence is commonly ignored by collectors and writers alike4 ,as an industry glass-making was1 of course1 of little importance in ,scotland1 but it is interesting to learn that in the reign of ,james ,,vi41 ,john ,maria dell' ,aqua of ,venice was appointed ,master of the ,glass-,works in ,scotland4 ,the famous liqueur glass shaped like the flower of the thistle was probably from a ,bohemian original4 ,it is heavily cut1 with an acorn bottom upon a round stem1 and reproductions can be seen in almost every shop window that displays glass4 ,early examples are difficult to obtain and their genuineness equally difficult to guarantee4 ,it is assumed that many of the ,jacobite glasses were manufactured in the ,scottish factories4 ,secrecy being absolutely essential1 it is hardly necessary to state that no authentic records of production are to be found4 ,the courtesy of the authorities of the ,dublin ,museum has enabled me to add another1 and1 from a collector's point of view1 a most interesting1 section on the subject of ,irish glass4 ,the museum possesses one of the finest collections of ,old ,irish glass in existence1 many pieces from which are reproduced in the illustrations to this chapter4 ,these illustrations are of pieces as nearly perfect as it is possible to obtain1 and are therefore useful in enabling the collector to form a standard as regards this particular form of glass4 ,the three decanters illustrated in ,fig4 #cd are undoubtedly ,cork glass4 ,apart from the fact that the centre one bears an inscription1 8,success to ,cork ,yeomen10 which seems to indicate that it was made about the time the ,irish ,brigade was being raised--early in the nineteenth century--it bears all the distinctive characteristics of the ,cork factories4 ,the drinking glasses 7,fig4 #ab7 are also undoubtedly ,irish1 of about the same period1 and probably came from ,waterford4 ,the reader should carefully note the cutting of the two end pieces2 they are of totally different types1 each being perfect in its own style4 ,that on the left has the hobnail cutting common in ,england about the time when the ,irish factories were first established4 ,it was probably imitated from an ,english model or made by one of the ,english craftsmen who were largely responsible for the introduction of glass manufacture into ,ireland4 ,the end glass on the right-hand side is an excellent example of the grace1 beauty1 and simplicity associated with the best ,waterford pieces2 its flat-cut sides are characteristic of its place of origin4 ,i have occasionally seen similar specimens in ,london1 and they have always appealed to me as the most perfect examples of the ,irish drinking glass of the eighteenth century4 ,the other two specimens are of the same type as the ,english rummers or punch glasses2 they are prettily engraved1 and make an effective contrast to the other glasses of the same period4 ,irish cut-glass decanters and stoppers1 such as the specimens illustrated in ,fig4 #cd1 are not difficult to find nowadays if one is expert enough and careful enough to avoid the many imitations that exist4 ,high prices are demanded for genuine pieces in which the cutting and colour are good1 and which satisfy the tests by which the connoisseur judges the antiquity of his finds4 ,the centre decanter has a finger-fluted base1 and the length of the neck makes it an unusual specimen4 ,possibly the idea was to enable it to be more easily grasped and held when full2 but the design is undoubtedly graceful1 and this is one point which the amateur collector should never ignore when seeking to make a worthy collection4 ,it is well to bear in mind both artistic merit and intrinsic worth4 ,two other fine early specimens of ,waterford glass are illustrated in ,fig4 #ca4 ,the 8collared0 or turn-over flower bowl is a fine example of eighteenth-century work4 ,the cutting1 it will be seen1 is entirely different from that of the piece on the right2 for whereas the latter is entirely flat cut1 with the exception of its finely scalloped edges in the former1 the whole design is finished in the 8fluted0 style4 ,in both1 as in most pieces of the kind and period1 the 8dome0 or hollow foot is found4 ,the large glass dish on a stand on the other side is almost unique4 ,such pieces are very difficult to find in their entirety2 indeed1 the only other existing1 to my knowledge1 is in the ,marquis of ,bute's collection4 ,perfect specimens are hardly obtainable now except when a fine collection is dispersed at the death of its owner4 ,even then1 as all such notable pieces are well known to collectors1 the competition for them is very keen1 and the private buyer1 unless his purse is of the 8bottomless0 kind1 is hardly likely to obtain them4 ,occasionally one may1 by happy accident1 come across a really fine piece in some unexpected quarter1 but such chances are few and far between4 ,moreover1 there is always between the finder and his find the spectre of the fake merchant1 whose wont it is to plant his most seductive wares in out-of-the-way places1 so as to give them a fictitious appearance of genuineness4 ,no important piece should ever be purchased without an inquiry into its history4 ,it ought to be possible in every such case to discover sufficient as to its origin and former ownership to place its bona fides beyond doubt2 if not1 it is best to let the apparent bargain go4 ,i remember1 not many years ago1 waiting upon a lady in a very ordinary house in a ,london suburb4 ,she had replied to an advertisement in which ,i had offered to purchase old glass4 ,a glance was sufficient to show me that her collection contained nothing likely to appeal to my taste4 ,yet ,i did have a find2 for she had1 in addition to what ,i saw at first1 two dishes somewhat similar in shape to a large fruit dish1 but with the cipher ,c4,r4 cut upon each 7,fig4 #cf74 ,these were actually made and presented to ,queen ,charlotte on a visit which ,her ,majesty paid to some glass-works during a tour in ,ireland4 ,their authenticity was guaranteed by a letter from an old tutor of the ,queen relating the circumstances and handing down the pieces as a relic4 ,the owner asked #ae for them4 ,needless to say1 they changed hands1 only to do so again shortly after1 and this time at the enhanced and respectable figure of fifty-five guineas4 ,in spite of their beauty and their apparent air of genuine antiquity1 ,i should have hesitated to purchase them but for the additional evidence afforded by the letter4 ,one cannot be too careful4 ,the sweetmeat glasses 7,fig4 #aa7 are particularly fine of their kind4 ,each has its individuality3 the one has an opal-twisted stem with a 8dome0 foot and a finely cut edge1 whilst the other displays some exquisite cutting both on the upper part and the base4 ,these1 again1 are uncommon pieces1 not to be met with every day nor easily procured when met4 ,still1 they make a more frequent appearance at sales than the larger pieces4 ,a more ordinary variety is not so high and has flat sides and cutting4 ,a genuine specimen1 though1 is not to be despised1 but the type is one very freely imitated4 ,some fine celery bowls of the same period are worthy of note4 ,they are excellent specimens of the art of glass-cutting both as regards design and finish1 and they are somewhat rare4 ,as much as seven or eight guineas was recently asked in the ,west ,end of ,london for a ,illustration3 ,,fig4 #cf--,,specimens ,,of ,,irish ,,glass4 plain example with a slight herring-bone cutting4 ,it was certainly genuine1 but was hardly a supreme specimen of the decorative cutter's art4 ,the price1 however1 will give some idea of what would be asked for such superb specimens as those reproduced in the photograph4 ,the ,old ,irish water jugs shown in ,fig4 #cj are of the earliest type4 ,that on the left is the pattern most often seen and most generally copied2 in fact1 during the ,early ,victorian era most jugs were of this design4 ,it1 however1 originated in the ,irish factories4 ,the centre piece1 as well as the jug on the right1 are both rare2 possibly the style was not often repeated4 ,certainly the tremendous handle placed upon the centre one gives it a most clumsy appearance1 while1 in regard to the one on the right1 one cannot help feeling there is something wanting at the base4 ,they were improved upon towards the middle of the nineteenth century1 when smaller handles and firmer bases were added to the design4 ,it is curious to note how in this kind of glass the strawberry1 or flat1 square style of cutting1 prevails4 ,traces of it appear upon almost every article1 so that it was evidently a favourite form of decoration1 and was possibly regarded as a relief from the flat1 scalloped1 or slip cutting then in vogue4 ,on the plate 7,fig4 #cc7 there are examples of sugar basins or bowls1 in which the cutting is of the same kind1 save that the specimen on the right is 8flat0 cut1 with cut steps4 ,this variety is particularly rare1 and consequently highly prized among collectors4 ,they are usually of stout1 heavy glass1 the cutting being very deep and the edges of the 8flats0 sharp4 ,these traits will1 of course1 not help the collector to discriminate between the veritable antique and its modern replica4 ,but it should be borne in mind that the modern is invariably more brilliant1 has a whitish look1 and is 8cleaner0 in every detail than the real glass of this period4 ,it may be mentioned that the centre bowl1 although particularly attractive1 is by no means so rare as other specimens figured in this chapter4 ,indeed1 pieces of this character and design are frequently to be procured4 ,still1 a genuine piece is well worth the collector's attention4 ,the same plate 7,fig4 #cc7 illustrates some rare pickle or jam jars1 displaying among them all the principal cuttings then in vogue4 ,the end one on the right is the only exception1 having an engraved ornamentation4 ,these specimens are frequently copied1 but originals are still to be obtained4 ,the ,cork houses1 the product of which was finer and slighter than other ,irish glass1 turned out a great quantity of these4 ,prices run from six guineas upwards4 ,they are copied in great number in ,holland1 often in small sizes and with flat cutting1 so that care must be taken in choosing4 ,unfortunately the distinctive features--design1 colour1 and shape--all readily lend themselves to reproduction and1 with increasing skill in imitation1 make it exceedingly difficult to determine between the true and the false4 ,,chapter ,,vii ,,curious ,,and ,,freak ,,glasses ,hitherto we have confined our attention to what one may term the legitimate drinking glass in its different varieties4 ,but there were many freak glasses and curious objects made of glass by our forefathers1 and these have a special fascination for lovers of the antique4 ,in some cases they appeal because of their quaintness and bizarrerie of form1 in others because of their purpose1 while other examples have little to commend them save their antiquity4 ,one curious specimen which ,i came across not long ago was a flask in the shape of a pair of bellows4 ,the nozzle was closed by a cork1 and there was a hole in one handle of the bellows by which it might be suspended from a nail in the wall4 ,it was probably employed by some ancient apothecary or alchemist to hold drugs4 ,i should hardly care to dogmatise as to its period1 but it was unmistakably of ,english origin1 and certainly quaint and interesting enough to be worth acquiring4 ,among the commoner 8finds0 of this kind are the glass paper weights1 made with1 apparently1 a bunch of flowers inside1 which is visible when viewed laterally and disappears on a vertical view1 when the observer sees nothing but clear glass4 ,i have seen many examples of this kind on sale in shop windows in ,london1 and the price asked is usually modest enough even for a good specimen4 ,in olden times it was customary to place names and dates upon the bottles which held the best ale4 ,many of these are still in existence1 mostly1 however1 in collections4 ,they are certainly by no means beautiful as far as appearance goes1 their interest being centred upon the date1 and upon the fact that the practice has now been obsolete for many years4 ,to a casual eye these ale bottles appear black1 but if held up to a strong light a greenish tinge is plainly marked4 ,they are very stout and amazingly tough1 so that they may even be dropped upon the ground without fear of breaking or chipping4 ,this1 by the way1 is often put forward by experts as the best test of their genuineness4 ,the test is1 however1 something on the drastic side4 ,moreover1 dropping other people's bottles to test their bona fides is a practice hardly likely to commend itself to the seller1 and one which might prove unexpectedly costly to the connoisseur4 ,there are many other objects made in glass which are worthy of note--knife-rests1 rolling-pins1 walking-sticks1 quaintly shaped jugs1 baskets1 forks1 bells and horns4 ,the knife-rests often assume most curious forms4 ,a not unfrequent type was that of a hound running at full stretch1 fore and hind legs widely extended1 and the body coloured to nature4 ,salt-cellars1 too1 were made1 like the paper weights before mentioned1 with sprays of flowers inside4 ,these were made in two pieces1 which were fused together after the flowers1 painted on paper or thin canvas1 had been placed between them4 ,small glasses made in the form of flowers or their petals1 and glass buttons and beads decorated 7sic7 with faces1 names1 dates1 initials1 etc41 are other examples of freakwork in glass which the amateur should be glad to acquire4 ,possibly one1 more fortunate than his fellows1 may chance across a 8toddy-lifter40 ,at first sight this bears a distinct resemblance to a tiny decanter2 on examination1 however1 it will be found to be without either bottom or stopper4 ,the toddy-lifter1 as its name implies1 was used instead of a ladle for filling glasses with punch or toddy from the bowl4 ,the open bell of the lifter was dipped into the liquid and at once filled4 ,then the opening at the top was closed by the finger and the 8lifter0 raised out of the bowl1 the contents being retained in it by atmospheric pressure until the finger was removed from the top1 when the contents were discharged into the consumer's glass4 ,one would imagine that a ladle would prove equally useful and more convenient4 ,possibly1 however1 the fact that the toddy-lifter never spilt a drop of its contents1 however unsteady the hand that held it1 was not without its advantages in a hard-drinking age4 ,similar pieces of ,scottish origin may be found4 ,these are usually more club-shaped1 and are even rarer than the ,english examples4 ,none of the foregoing pieces is particularly difficult to acquire1 and it is comparatively easy1 therefore1 to form an adequate collection of really fine specimens4 ,by fine ,i do not1 of course1 mean rare or exceptional pieces1 but specimens of sterling merit of which the collector may be proud and which are likely to increase in value4 ,they are mostly in the hands of people who have no conception of their merits1 either pecuniary or artistic4 ,a few years ago ,i found in an old book shop quite a collection of old ,bristol glass paper weights4 ,the fact that each bore upon it a view of some object or place of interest in ,bristol or its environs should have furnished a direct clue to their identity4 ,one particularly fine specimen was used as the lid of an old glass ink-pot4 ,its owner readily parted with it as a thing of no value1 for a few pence4 ,but it may interest the budding collector--no less than its late owner should he by chance read these lines--to learn that the purchaser resold it shortly after for a very respectable sum to someone more appreciative of its merits4 ,freak glasses proper include yards and half-yards1 boots1 cocked hats1 frog glasses1 and trick glasses designed to send their contents anywhere but in the direction which the would-be consumer intended4 ,the yards and half-yards are great curiosities2 they resemble nothing so much as a coaching horn in shape and size4 ,there are two kinds1 the one the genuine old ,cambridge ale-yards1 and the other trick glasses which had the knack when partially emptied of suddenly expelling the remainder of their contents with a splash into the drinker's face1 to his great discomfiture and the huge delight of the onlookers1 who had probably arranged the whole thing for the benefit of some innocent person4 ,unfortunately1 in the sudden start with which the drinker received the unexpected disposition of the contents of his glass1 the vessel itself was so frequently damaged that specimens of ale-yards are very difficult to obtain4 ,it will be noticed that in our illustration 7,fig4 #cg7 the specimen is cracked near its mouth4 ,it need hardly be said that any collector who is fortunate enough to obtain an example in reasonably good condition may esteem himself fortunate4 ,as to the reason of the sudden emptying ,i cannot do better than quote from ,mr ,hartshorne1 an old friend and the greatest authority on ,old ,english glass4 ,illustration3 ,masonic1 ,toasting1 and ,freak ,glasses4 ,illustration3 ,an ,early ,cambridge ,yard ,ale ,glass4 ,,fig4 #cg4 8,the trick yard glass arose from the knob at the end of the footless one4 ,it was found that on expanding into a bulb the #8knob' or #8knot1' the difficulty of emptying the vessel was greatly increased1 because when this feat was nearly accomplished the air passed down the tube into the bulb and caused the remainder of the contents to fly into the face of the drinker40 ,this was by no means an uncommon occurrence in wayside inns of the seventeenth century1 the spectators often betting upon the result4 ,at the annual 8,vinis0 of the ,mock ,corporation of ,hanley1 ,staffs1 the initiation of a member included the drinking of a yard of port1 while the freeman of ,stoke-on-,trent had as a preliminary to admission to dispose of a yard of ale4 ,to 8floor the long glass0 at ,eton is also an accomplishment which many never achieve4 ,i have seen many fine specimens1 notably one belonging to my old friend1 ,mr ,john ,george ,mortlock of ,cambridge2 but it is rare to find them undamaged1 the involuntary jerk of the victim who finds the liquid splashing into his face being usually fatal to the unwieldy glass4 ,another similar example is furnished by such glasses as that shown in ,fig4 #cg4 ,on the one side it is marked 8,king10 on the other 8,tinker40 ,the 8innocent0 invited to drink was asked to choose from which side he would drink1 and1 prompted by loyalty1 vanity1 or pure folly1 he was almost certain to drink with the king rather than the tinker4 ,but artfully concealed in the band of decoration round the rim was a series of small holes1 through which1 when the glass was tilted1 the liquor ran1 soaking the drinker's waistcoat instead of finding its way down his throat4 ,possibly the old coaching glasses may fitly find a place in this connection4 ,they are without feet1 the stem ending in a bulb which was often cut4 ,when1 in the old coaching days1 the vehicle pulled up at a wayside inn1 the landlord brought out his tray with the glasses inverted upon it4 ,they were filled from the bottle and emptied at once--the idea being that as the drink would have to be consumed at once1 there was no need to make the glass so that it could be set down while the liquor was only partly consumed4 ,these are now rare1 and to discover one would be a great achievement for the ordinary collector4 ,one may also mention the singing glasses1 which were made to vibrate to a certain musical note1 and so would repeat the note when sounded or sung1 just as the string of a piano or violin will do4 ,this1 of course1 was a great mystery to unscientific persons1 but is susceptible of a very simple explanation4 ,evelyn was greatly puzzled over the phenomenon4 ,certain glasses1 he remarked1 8made an echo to the voice1 but were so thin that the very breath broke them40 ,the fact is1 of course1 that the glass broke through the intensity of its own vibration1 just as a pane of glass in a church window will sometimes break when the organ is used4 ,the note played having the same period of vibration as the pane of glass1 the latter vibrates in unison with it1 and if the note is continued for sufficiently long1 the vibration becomes so intense as to break the pane4 ,it is for an exactly similar reason that a regiment of soldiers breaks step when marching over a bridge1 for fear that the rhythm of the march might chance to coincide with the period of vibration of the bridge1 and so set up rhythmic movements which might weaken the structure4 ,such glasses are distantly allied to the musical glasses which1 when filled up to a certain point1 produce a musical note when the bowl is thrown into vibration by the finger or a violin bow4 ,by filling such glasses to different heights1 it is possible to produce a complete scale1 and so to play any desired tune4 ,other freak glasses take the form of boots--some of these are quite elaborate1 the lacing being imitated in glass-work1 as also were spurs1 straps1 etc4 ,the 8boot0 glass used to express the popular execration of ,lord ,bute has been already referred to in the chapter on ,commemorative ,glasses4 ,then there are cocked hats1 various birds and beasts1 all highly inconvenient for the purpose for which a glass is intended1 but all associated with some idea1 family crest1 or particular superstition4 ,there are glasses from which1 though apparently full1 it is impossible to drink2 there are others1 with tiny electric bulbs in the base1 which light up on the pressure of a button1 irradiating the contents with a glow of light and adding ,i know not what meretricious attraction to the contents4 ,these1 ,i need hardly say1 are modern1 and have no real place among ,old ,english glass4 ,one ,i remember was formed at the base into the semblance of an eye1 with the legend 8,eye-water10 a description of the probable contents1 which1 it is to be feared1 was borne out neither by their destination nor their character--unless1 indeed1 they were of so potent a nature as to bring the water into the bibber's eyes4 ,another curious example had engraved upon the inside of the bottom the figure of the gallows-tree1 with its ghastly fruit1 and the grim legend 8,the last drop40 ,whether the maker was a humorist or a temperance reformer anxious to point his moral in the most effective way1 ,i am unable to decide4 ,somewhat similar are the glasses which have a frog or a snake at the bottom1 possibly with the idea of giving a mild surprise4 ,there are many other varieties4 ,indeed1 the production of freak glasses was only limited by the imagination of the time that produced them1 and by its capacity for amusement1 and had no relation to taste4 ,they are rarely produced nowadays3 possibly we have become more exacting and less easily amused than our ancestors4 ,this is a serious and a utilitarian age4 ,,chapter ,,viii ,,frauds ,,and ,,imitations ,presumably1 as long as there is a demand for old glass1 there will be found persons sufficiently unscrupulous to attempt to eke out the very limited supply of the genuine article by imposing upon the credulity1 or ignorance1 of collectors1 and supplying them1 greatly to the vendor's advantage1 with more or less colourable imitations of what they desire4 ,i have in a previous chapter dealt with certain experiences of my own with regard to 8,fiat0 glasses4 ,that1 however1 was only by the way4 ,the subject of frauds and imitations in ,old ,english glass is of quite sufficient importance to warrant a chapter to itself4 ,there is1 probably1 no department of the 8antiques0 beloved of the collector in which there is so much room for fraud as in ,old ,english glass1 and there is certainly none in which imitation has been carried to a finer point4 ,one can hardly blame the manufacturer for this4 ,the demand for old glass is much larger than the supply1 and the collector1 who is desirous of nothing so much as to complete his 8set10 is insistent in his inquiries4 ,but the trouble comes when a reproduction1 altogether admirable in itself1 is passed off for the thing it is not--a genuine specimen of the early glass-worker's art--bearing a value proportioned to its antiquity and presumed rarity4 ,i saw1 not long ago1 in a silversmith's in the south of ,england1 a great number of specimens set out for sale as genuine old glass1 at a price corresponding to their supposed value1 but every piece1 without exception1 belonged to what a connoisseur would term the 8bad age104 i4e4 anything from the year #ahej onwards4 ,the dealers must have known its period and its worth1 or rather its worthlessness1 and yet they allowed it to be sold as the real thing4 ,unfortunately1 this is no uncommon occurrence1 and it is a pity that the practice cannot be checked4 ,the ordinary trader is not permitted to sell margarine as butter1 or the publican manufactured spirit as pure grape brandy1 but the dealer in antiques seems to claim a special licence to impose upon the unwary1 and may with impunity--or1 at least1 often does--pass off as rare specimens of ancient craftsman's work things which to the seeing eye are obvious and clumsy frauds1 and virtually worthless4 ,nor is the large dealer the only culprit4 ,small second-hand shops teem with 8faked0 antiques1 and many of these1 and also certain pawnshops1 make a great part of their profit out of the unwary and unskilled hunter for bargains in glass1 china1 engravings1 sporting prints1 and all the other objects that tempt a collector's eye4 ,fig4 #ad illustrates a common type of such bargains4 ,these pieces were procured at a pawnbroker's establishment in ,south ,london4 ,they are obviously imitations of ,early ,georgian salt-cellars1 but they were offered to the author as 8genuine old ,waterford sweetmeat dishes10 and then as 8perhaps salt-cellars10 and finally as 8old glass ice-cups10 at a price dwindling from #cas4 #f;d41 through #bes4 to #aes41 at which ,i purchased them as 8awful examples0 of the fate that awaits the collector who goes bargain-hunting in antiques with an enthusiasm greater than his knowledge4 ,it is difficult to lay down any hard and fast rule by which to test the genuineness of specimens discovered in this haphazard way4 ,possibly the best is the colour 8test40 ,does it look right in colour8--not too green and not too steely1 for crafty imitators often tend to overdo these qualities4 ,does it bear too evident signs of age8 ,one has heard of chips and 8hair0 scratches artificially produced in order to give it that appearance of advanced age which is so grateful to the eye of the collector and the pocket of the vendor4 ,your best plan is not to jump at once but to take a piece of good glass with you by which to test the find and compare the two as to colour1 sharpness of cutting and design1 and so on4 ,with caution you may expect now and again to pick up in this casual way some pieces worthy of your attention1 and maybe once or twice a specimen worth its place in any collection4 ,for good examples of glass and china have been known to be pawned for a fraction of their worth1 neither the depositor nor the pawnbroker having the slightest inkling of their value4 ,but the shops above all others to be shunned by the picker up of unconsidered trifles are the shops whose windows scream1 by the aid of plastered tickets1 of the 8special bargains0 to be obtained within4 ,the collector may well abandon hope who enters here2 there is probably not a genuine piece in the place4 ,if there is it occupies a prominent place as a decoy duck1 and is generally marked at an absurdly low price1 the salesman depending on his knowledge of human nature to foist off something else on the unwary or diffident customer4 ,i have had1 on occasion1 an unholy joy in entering some such place and defeating all the efforts of the salesman to divert my attention1 carrying off the only decent piece in the place at a price possibly fifty per cent4 lower than its intrinsic value4 ,but such pleasures are not for all nor1 indeed1 for many4 ,in actual practice the would-be purchaser is generally told that that particular specimen is not for sale1 that 8a customer had left it to be valued10 8that it had been put in the window by mistake10 or some other cock-and-bull story4 ,other places to be shunned are the sham ,oriental bazaars where ,eastern jewellery1 ,japanese ivories1 jars1 fans1 beads1 etc41 are sold4 ,many such establishments cater expressly for the unwary and unwise collector4 ,he will find1 if his hobby be glass1 glass of all kinds and descriptions from ,elizabethan downwards1 and will be treated with such charming solicitude and deference that he may well become blinded to the fact that the whole stock is counterfeit1 and that the whole atmosphere of the place is specially designed to conceal that awkward but essential fact4 ,the cheat is assisted by the delightful courtesy of the saleswoman4 ,but apart from the scores of recognised ways in which this nefarious business of planting frauds on the innocent is carried on1 there are many less obvious and consequently more dangerous traps for the unwary4 ,of these one only hears from the victims themselves4 ,thus one1 attracted by a specimen in a shop window1 may become an interested listener to a conversation in which the beauty of the said piece and its phenomenal cheapness are the theme4 ,it probably never occurs to the dupe that the respectable-looking lady and gentleman are in the employ of the shopkeeper1 and that their conversation was arranged entirely for his benefit4 ,then comes the great question of sales1 private or otherwise4 ,there is the complete clearance owing to the proprietor's death4 ,there is a window full of miscellaneous stock1 including certain good pieces4 ,there is also the notice1 8,nothing sold until the #bast40 ,by the #bast the few good pieces1 having achieved their object1 have disappeared4 ,but the crowd they have attracted is there1 and is there with the intention of buying--and buys6 ,again1 there is the family compelled by misfortune to realise immediately all its assets1 and in so doing to sacrifice everything4 ,who would not pick up a bargain when to do so is to do a good turn8 ,all such methods are transparent enough if one stops to consider and to analyse4 ,but how seldom one does6 ,a very fine and lucrative trade is carried on in ,old ,bristol and ,nailsea glass1 for the reason that in no other kind of glass is it so difficult to distinguish the false from the true4 ,the milky white surface lends itself particularly to imitation4 ,i remember some specimens brought to me by a well-known collector4 ,they were a pair of small bottles1 pepper and vinegar1 and my visitor was mightily proud of his 8find0 and his bargain4 ,but on a careful examination ,i fear that he realised1 with some sense of discomfiture1 that the 8deceased ancestor0 who had been dangled before him was something of a myth1 and that the specimens were only modern reproductions and probably foreign at that4 ,to my surprise1 on visiting a local museum on the ,west ,coast recently1 ,i found the same two pieces exhibited as specimens of early ,bristol glass4 ,the best test for this description of glass is carefully to scrutinise the decoration with a strong magnifying glass4 ,the magnification will reveal alike the perfection of the workmanship of the real old ,bristol manufacture and the poverty and roughness of the imitation4 ,further1 ,bristol glass is soft to the touch1 with a beautiful smooth body4 ,often1 too1 on turning the glass upside down you find in the centre a clear spot devoid of the opal tint1 probably due to the workman running all his colour off at this point4 ,the 8fake0 will probably in addition to being rough in texture be light in weight and of a milk and watery hue1 possibly even with a greyish tinge4 ,the difficulty one has in discriminating between the true and the false in this connection is accentuated by the fact that vast quantities of imitations of old glass have been sent over from ,germany and ,austria1 and although there is every probability that the influx will cease for some time to come1 yet there is1 unfortunately1 from the point of view of the amateur collector1 already in existence--in ,england and ,america--so large a number of specimens of ,bristol and ,nailsea glass with a strong ,teutonic 8accent0 that there is no likelihood of a dearth of it for some years to come4 ,and although much of it bears such obvious traces of its origin that 8he who runs may read10 yet much is so perfectly cut and so similar in appearance to the genuine ware that the amateur is likely to be deceived1 and particularly the amateur who1 having learned the characteristics of this make of glass1 looks for them in his 8find40 ,he will certainly discover them1 for is it not the business of the astute manufacturer of fakes to see that they are there8 ,his business depends upon his ability to deceive the would-be connoisseur1 to whom1 in this case1 the possession of a little knowledge is an infinitely dangerous thing4 ,the commonest examples of high-class frauds are dishes1 salt-cellars1 decanters1 and preserve jars4 ,all such should be subjected to a most careful examination4 ,if the characteristics you have expected to find are particularly evident1 all the more caution is necessary4 ,even then you will probably find that you will have to pay for your experience4 ,for your comfort in misfortune1 ,i may say that ,i have never yet met a collector who had not1 in the beginning1 fallen a victim to the wiles of the 8fake-house40 ,and only by the experience so gained--and unfortunately paid for--has he learnt to shun the net that is spread1 in vain1 in the sight of any 8old0 bird4 ,but the process is often a lengthy one4 ,my advice is that when any find appears to be doubtful or1 worse1 appears too good to be true1 to take it on approval for a day or so1 or purchase it on condition that you receive the full amount paid if the article is returned safe and sound within1 say1 a week4 ,you will not find it difficult to secure such an agreement--only get it in writing4 ,if the dealer will not consent1 and you have made up your mind1 take a day to think over it1 and then take your risk and buy4 ,if you have made a mistake you will probably discover it1 and will not repeat it4 ,a friend of mine boasted some years ago that he had never made a bad mistake in judging glass1 because he had 8kept his eyes open10 and invariably asked some one who 8knew0 to accompany him whenever he thought he had discovered a piece worthy of being added to his collection2 but1 alas6 during a summer holiday spent among the ,irish lakes he fell a victim4 ,the lady who was the vendor had evidently kissed the ,blarney stone1 and as she was moving and the matter was urgent1 a price--a tall one--was fixed on the spot1 and my friend became the possessor of a remarkably fine collection which expert examination proved to be entirely of ,dutch extraction4 ,and the moral6 ,well1 had he in the beginning relied upon his own judgment he would have made mistakes1 but he would1 at the same time1 have acquired first-hand knowledge and have escaped a serious disaster4 ,one often finds replicas of old glass moulded2 and as moulded glass was1 of course1 the earliest kind1 the pieces seem to acquire a spurious value4 ,moulded glass with its heavy1 thick appearance and its rounded edges lends itself easily to imitation4 ,but the reproductions are often made in common glass1 which gives itself away to the touch4 ,one need hardly be an expert to detect common glass by its feel and texture4 ,it must not be assumed that the best method of forming a collection is to pick up those pieces which appear to be cheap4 ,real old glass1 like other genuine antiques1 is greatly sought after and commands a highly respectable price4 ,this question of price is really a considerable factor to the amateur collector4 ,his aim should be to get a complete collection1 however small1 and his danger that of duplicating1 simply because he sees a specimen cheap4 8,oh1 ,i must have that2 ,i gave nearly twice as much for the one ,i have10 is a sentiment often heard4 ,but the collector must eliminate duplicates unless he aims at completing a set1 say a dozen of wine glasses or finger basins4 ,the ultimate fate of duplicates is to be 8weeded out0 often at a price far below what they cost4 ,i remember a case in point in which a novice found himself1 after a brief experience1 the owner of so large a collection that his cupboards failed to accommodate it1 and he had to have larger ones made4 ,and yet one shelf alone contained four barley wine glasses1 five ordinary air-twisted stem glasses1 three ,early ,english plain wine glasses1 four early finger basins1 and five rummers of different shapes--all of the most ordinary type4 ,when by experience he had acquired wisdom these and similar articles were sent to the sale-room4 ,two lots did not elicit a single bid1 and the remainder went for far less than had been paid for them4 ,now1 however1 he possesses a good representative collection1 which will be sure to fetch1 when under the hammer1 a sum which will produce a handsome return upon his expenditure4 ,there is to-day such a craze for what is old1 that it is difficult to find anything that is not faked4 ,i often wonder1 when dining with friends1 if they are aware of the real nature and origin of the glass they use4 ,on the other hand1 one finds in some places1 particularly old country houses1 pieces almost priceless pushed away into corners as if they were of no value at all4 ,i remember some years ago finding in a village not far from ,liverpool1 an old dame1 who had passed her life as housekeeper to a wealthy merchant1 using a fine1 genuine old ,waterford bowl1 about #ah inches in diameter1 for stewed fruit4 ,the bowl was easily worth from eighteen to twenty guineas1 while the plates on the table were the commonest procurable4 ,needless to say1 that bowl is no longer in her possession1 having been replaced by a substitute of far greater appeal to her4 ,in spite of such occasional finds as this1 the amateur who in pursuit of his hobby makes a habit of raiding old country cottages1 shops1 and inns1 must be exceedingly wary and look upon exceptional discoveries with an exceedingly sceptical eye4 ,an amusing experience that befell a friend of the author's--a foreign glass merchant--is perhaps worth recounting in this connection4 ,arriving one day at an inn in the south of ,england1 he was surprised to find set out in the place of honour some very inferior specimens of wine glasses--reproductions of an early type which he was easily able to identify as his own manufacture4 ,entering into conversation with the landlord1 he was informed that a distant ancestor of that worthy1 soldiering in ,ireland1 had the fortune to render some signal service to a native of that distressful country and was given the glass in token of gratitude4 ,apart from the appropriateness of the gift1 and a certain improbability that articles of such fragility would survive the vicissitudes of a campaign1 the landlord proved not only willing but eager to dispose of his valued heirlooms at a price unexpectedly moderate for pieces of such antiquity and rarity4 ,the humour of the situation1 however1 developed when the prospective purchaser produced a pocket-book and read to the astonished landlord the last order his firm had received for 8one dozen imitation antique glasses with twisted stems at twenty-one shillings a dozen40 ,the difference between this and the thirty shillings apiece which the landlord demanded left a very pretty margin of profit4 ,old glass is1 of course1 so easily imitated that it is hardly surprising there should be many such pitfalls in the path of the unwary1 and ,i can only hope that the foregoing remarks may prove of some assistance in preventing my reader from falling a victim to the many specious attempts made for his deception4 ,but it is well1 wherever possible1 to examine at leisure any piece that may strike the eye1 and in the surroundings which it will occupy4 ,artificial light1 too1 is a very treacherous medium in which to examine glass of any kind4 ,any find should be examined by daylight and side by side with other pieces of whose authenticity there is no doubt4 ,then with a little training he should be able to determine with a fair degree of accuracy the genuine specimens from the false1 and this in spite of the resources of modern science1 which have enabled the 8faker0 to copy texture and colour with all but exactitude1 and of the skill of the workman who reproduces faithfully the form and decorations of the original4 ,,chapter ,,ix ,,some ,,hints ,,to ,,collectors ,glass-collecting is so full of interest that it need not be followed on any large scale4 ,it is equally fascinating when pursued in the humblest fashion1 by ransacking old second-hand shops in lowly districts as well as country cottages4 ,a nucleus is soon formed1 and1 that accomplished1 the collector is in the toils of his hobby1 and unless he is an utter failure1 one of those hopeless and helpless folk who can never learn to discriminate between the true and the false1 he speedily acquires a collection which has not only provided him with a delightful recreation but is a source of considerable pride4 ,of course1 it must not be imagined that anyone can go into a second-hand shop1 a marine-store dealer's1 or a pawnshop1 and come out with a bargain every time4 ,nor do ,i assert that every piece bought will justify the enthusiasm of the first moments of possession4 ,but ,i do say that1 given reasonable judgment1 anyone may form the nucleus of a small collection1 and that with decent care in adding to it pieces that are considered rare1 genuine1 and unusual1 the result will be entirely gratifying--yielding a full measure of artistic satisfaction1 to say nothing of pecuniary advantage4 ,i need hardly say that the seeker for bargains should not attempt to pursue his object in large ,west ,end shops or their equivalents in provincial cities4 ,rent1 rates1 and large salary lists preclude any possibility of cheapness there4 ,and further1 if ,i may venture to let my readers into a secret1 there are hundreds of so-called antique dealers in our principal cities who are as incapable of telling the real antique from the artful fake as the veriest tyro4 ,their statements1 about glass in particular1 are often utterly unreliable4 ,there are good firms to be found who have expert knowledge and whose judgment may be relied upon1 but they are few and far between4 ,the so-called expert antiquary is only too often a victim to his own too alluring imagination4 ,he thinks he knows1 8good1 easy man10 when in reality fancy is building him a home of romance1 into which1 unluckily1 he leads his too credulous client4 ,and--then the disillusionment6 ,and confidence in expert opinion vanishes into the realm of the things that were4 ,a friend of mine recently purchased a 8,fiat0 glass from a large and famous ,west ,end house4 ,he was assured that it was genuine1 and on the strength of that assurance paid a fair price4 ,within three days he was back1 furious at being deceived4 ,they returned his money4 ,to my own knowledge1 that particular firm has had many old wine glasses engraved with the 8,fiat0 decoration and emblems4 ,they are stored in a dark cupboard and one only is shown at a time4 ,there is little doubt that many collectors have suffered from this insolent piece of trickery4 ,personally1 were ,i starting to collect glass in a small way1 and for any reason preferred not to go out into the highways and byways to gather in what ,i might find1 ,i would shun the big dealer altogether4 ,i should select a small man whom ,i had reason to believe scrupulous and 8clean0--a man with a reputation to gain and1 consequently1 a business to make4 ,such a man will generally have had a sound training1 will know his subject1 and take pleasure in justifying your confidence4 ,the question of price is always a serious one1 and it is easy to understand the reluctance of the amateur to inquire the price of a piece which has taken his fancy1 knowing1 as he does1 that the sum asked may probably be as many guineas as he may be prepared to pay shillings4 ,yet a price1 though high1 need not necessarily be excessive2 a genuine specimen acquires value in proportion to its rarity rather than its beauty of design or build4 ,as to genuineness1 a decent firm will readily give a guarantee by writing upon the bill something of this nature1 8,we guarantee this article to be genuine old ---- glass1 made and decorated at ----1 about the year ----1 and in the event of the purchaser wishing to return it within one week1 we will refund in full the amount paid1 provided the article is returned in perfect condition40 ,a short time limit is only fair1 as the seller must protect himself against a possible loss of sale4 ,one word as to judging glass4 ,it is not necessary to assume that a glass is old because it 8rings0 well2 yet this is a common belief4 ,the clearness with which a glass will ring depends on many things1 the most important being its shape4 ,thus finger basins1 rummers1 large glasses1 bowls1 and preserve jars invariably ring well whether ancient or modern4 ,the expert will judge by texture1 the colour peculiar to the variety of glass1 the shape1 and the style of decoration4 ,even here he may readily be deceived1 all these features being reproduced with remarkable fidelity4 ,only a short time ago a buyer to a large ,london firm asked my opinion with regard to a bowl which he had bought as 8,early ,english glass40 ,to all appearance it was genuine1 and yet it was clearly proved to be of ,dutch1 and very recent ,dutch1 manufacture4 ,this ,dutch glass is imported in large quantities1 but the expert eye can readily detect it4 ,the colour is a uniform green--a kind of deep-sea tint1 and very clear4 ,moreover1 the ware is not nearly so heavy as the genuine ,waterford1 which it resembles1 and the facets of the cutting are too perfect and sharp4 ,the muddy-coloured glass is also frequently imitated in the ,dutch factories4 ,here again the weight is an important test2 it is far lighter than the genuine ,english product4 ,even the facial scratches with which age invariably adorns the bases of all glass vessels are imitated by the modern 8fake0 merchant4 ,a brief rubbing with pumice stone or rubbing the specimen against a stone will produce the desired effect4 ,the best training for the amateur collector is to spend a few weeks in examining a really good collection1 say that in the ,british ,museum or in the ,south ,kensington ,museum4 ,thus the eye becomes educated to the colour1 shape1 texture1 style of decoration1 etc41 of the various kinds of glass1 and is less likely to be deceived by even the best of modern imitations4 ,then there is the eternal question of price4 ,one point should be always before the collector's mind3 ,in the event of my being compelled to realise my collection1 what price may ,i hope to get for it8 ,to the collector the buying price and the selling price are intimately connected4 ,there is so much capital to be locked up1 so much time employed1 so much skill displayed1 and there should be a fair recompense for all three4 ,and1 further1 there is the ever-present risk that fashion may change1 and articles once greedily sought after may become unsaleable because they are 8out of fashion40 ,of course1 one obvious way of purchasing to advantage is when others have to sell at a disadvantage2 when collections come into the market because of the death or misfortune of their owner4 ,at such sales ,i have known many bargains picked up1 although it is again necessary to emphasise the need for wariness4 ,bogus sales are not unknown1 and it is a common practice for genuine sales to be 8salted10 and often pretty liberally1 by the introduction of inferior imitations1 in the hope that1 among much that is undoubtedly genuine1 they may escape detection4 ,i may1 perhaps1 be permitted to say a word as to the prices which should be paid in the ordinary way at such sales4 ,an old ,waterford cut-glass jug is1 provided its cutting is perfect1 certainly worth a five-pound note4 ,a very common dodge is to sell an old ,waterford jug with a cracked handle1 the crack being where it is least likely to show1 i4e4 at the top or bottom of the handle close to where it joins the body4 ,for an ordinary spiral wine glass #gs4 #f;d4 to #ajs4 is a fair price1 but glasses with baluster stems are easily worth a guinea4 ,most expensive of all are the real 8,fiat0 glasses3 #i1 #aj1 #ae1 and even more may be paid for one4 ,i saw one sold a few months ago for the record price of nineteen guineas4 ,if you come across a 8,fiat0 glass priced at a five-pound note1 or less1 you may be sure of one of two things3 either the owner does not know the value of the piece or it is an imitation4 ,baluster stems are not often to be met with1 but they may well be worth anything from #a to #cjs4 ,of course1 in considering this question of price one must not forget that often a fancy price is willingly paid in order to complete a set1 or for some other reason4 ,irish finger glasses with double lip are1 roughly1 worth from #es4 to #gs4 #f;d41 and sometimes higher prices are given for sets of a dozen1 or even half a dozen4 ,opaque glass is rare1 and glasses with opaque twists are worth about #aes4 apiece4 ,masonic1 thistle1 and boot glasses run about three1 two1 and one guinea respectively4 ,salt-cellars1 with their ,irish flat cutting1 cost anything from a guinea each1 and vinegar and oil bottles about #cjs4 ,i have purposely refrained from mentioning any large or important pieces2 there are many such perfectly well known to the expert4 ,it is1 of course1 quite impossible to fix a price for these4 ,as an ,appendix to this book ,i have drawn up a list of prices fetched by important pieces at recent sales4 ,a large ,waterford bowl will fetch twenty-five to thirty guineas1 and if its genuineness is incontestable and its artistic merit high1 it may well bring twice that figure4 ,personally1 ,i consider that the high-water mark has been reached in the price of ordinary pieces of old glass4 ,there is certainly a great demand for it at the moment2 but such crazes are rarely lasting1 and the time may come when antique glass1 which has largely dispossessed antique silver1 will itself fall into disfavour before the onset of some newer fancy4 ,a ,,catalogue ,showing the latest prices of important pieces of glass sold by auction at recent sales of well-known collections4 ,an ancient ,roman ,drinking ,glass1 with indented sides1 and two early ,venetian ,glasses1 of green colours1 decorated with trailed lines44444#a #ah #j ,a ,wine ,bottle1 of early seventeenth century1 with seal of a monarch's head1 highly iridescent2 and two others1 one inscribed and dated ,henry ,galshell1 #agjj44444b #ab #j ,a ,wine ,bottle1 inscribed ,t4 ,bellamy1 #aggc1 and another1 dated #aggb44444b #f #j ,a ,bristol blue glass ,goblet1 with inscription in gold3-- 8,accept this trifle from a friend1 ,whose love for you can never end10 a blue ,cream ,jug1 an opalescent ,cup1 and an oval cup44444#c #e #j ,a pair of cut-glass ,sugar ,castors1 and one other44444#b #af #j ,a pair of tall ,beer ,glasses1 decorated with applied bands1 #aj in4 7c4 #agce71 and one with engraved body1 #ag in444444#b #ab #j ,a large ,goblet1 with globular body1 and another1 smaller1 with inscription ,,king ,,constitution44444#b #j #j ,a ,goblet1 with bell-shaped body1 decorated with moulded ornament1 on round foot and baluster stem1 the centre knop containing a #c;d4 piece of ,charles ,,ii41 #i in444444#aj #j #j ,a large ,goblet1 #ac in41 the stem containing a specimen of ,jernegan's silver lottery medal of #agcf44444g #j #j ,a ,goblet1 #ah in4 high1 long stem1 with coloured twists1 the body and foot engraved with floral design44444#b #ah #j ,a large ,goblet1 with globular body1 engraved with ,i4,m4,f4 within a wreath44444#b #e #j ,a ,goblet or ,vase1 #i in4 high1 engraved with portrait of ,shakespeare1 and with initials ,i4 ,e4 in an oval1 with festoons44444#h #e #j ,a ,jug1 on rounded foot1 engraved with representation of the frigate ,,shannon and ,,capn4 ,b4,f4,e444444#f #aj #j ,a large ,goblet1 #ac in4 high1 the body engraved with a youthful ,bacchus seated on a barrel1 a fountain1 vine leaves1 etc444444#h #aj #j ,a ,bowl on foot1 with moulded ornament1 inscribed ,john ,richie ,christian ,cochrane1 #agbg1 height #h in41 diam4 #i in444444#bj #aj #j ,a pair of stemmed ,cups1 and two others1 with etched decoration of dogs1 etc444444#b #aj #j ,a ,goblet1 with straight sides1 engraved with the ,victory1 and ,in ,memory of ,lord ,nelson1 ,oct4 #ba1 #ahje1 and another1 with a newly launched ship1 ,nelson1 ,launched ,june #bj1 #ahad44444aa #e #j ,a ,goblet1 engraved with ,mail ,coach and initials ,w4,m4,b41 surrounded by ears of corn1 etc444444#a #ab #j ,a tall ,goblet1 engraved with ships and ,success to the ,navy1 and another1 with decoration of vine leaves1 etc444444#d #ab #j ,a ,goblet1 engraved with the 8,victory0 and funeral car1 inscribed ,in ,memory of ,lord ,nelson1 ,oct4 #ba1 #ahje1 and another1 engraved same subject1 dated ,jany4 #i1 #ahjf44444i #ae #j ,a ,goblet1 engraved with view of ,sunderland ,bridge1 dated #ahch2 and two others44444#b #e #j ,a straight-sided ,goblet1 with the ,royal arms1 etc41 and the motto ,ne ,m'oubliez pas1 and another1 also with ,royal arms44444#c #ah #j ,two ,goblets 7one imperfect71 and two smaller ,glasses1 with ,masonic emblems44444#c #ae #j ,a ,goblet1 engraved with horse and jockey1 and inscribed ,birmingham1 ,doncaster1 #ahcj1 ,winner of the ,great ,st4 ,ledger ,stakes1 and another1 inscribed ,james ,oddie1 ,bromley44444#d #j #j ,a ,goblet1 engraved with a bird on rocks1 with inscription ,i rest upon a sure foundation1 and the initials ,s4 ,r41 the stem contains a #f;d41 dated #ahaf2 and another ,goblet1 engraved with initials ,q4,r4 7,queen ,caroline71 and ,god and my ,rights44444#b #aj #j ,a ,goblet1 with ,royal arms and ,g4 ,r4 ,,iii1 and a tall ,wine ,glass1 with ,royal arms1 dated ,,mdcclxvi44444#a #ae #j ,a tall ,glass1 #h in41 engraved with ,arms of the ,duke of ,cumberland 7c4 #aggj71 and another1 with ,arms of the ,earl of ,malmesbury44444#g #j #j ,a ,vase and ,cover1 with two handles1 engraved with designs of flowers1 grapes1 etc444444#aj #e #j ,a ,jug and ,cover1 cut and engraved with initials ,e4 ,l42 a ,goblet1 of similar style2 and another ,goblet1 with twisted stem44444#c #aj #j ,a large ,goblet1 engraved with horse and cart1 etc41 and initials ,e4,m4,t4,c41 a coin of #ahah in the stem1 and another ,goblet1 engraved ,,the ,,great 7a bell7 ,,of ,,lincoln44444#e #j #j ,a large ,goblet1 engraved with medallions1 enclosing sign of ,the ,temple 7lamb and flag71 initials ,c4,c4 and ,george the #d1 ,crownd1 ,july #ai1 #ahba44444c #aj #j ,a tall ,goblet1 #aj in41 richly engraved in ,renaissance style1 with chimer1 medallions1 etc41 and another1 with festoons and birds44444#c #e #j ,a 8yard ale0 ,glass2 two ,btons1 in green glass2 and a ,bottle1 shaped as a seventeenth-century pistol44444#af #j #j ,a ,bottle1 shaped as bellows1 #ac in41 in white and clear glass1 and another smaller1 decorated with rosettes and green lines44444#b #j #j ,a ,candlestick1 #i in42 a pair of ,candlesticks1 without nozzles 7c4 #agce71 #e in41 and two others44444#f #j #j ,a tall ,cup1 with richly cut baluster stem1 engraved with sportsman1 lady in a garden1 etc4 7c4 #agcj744444aj #aj #j ,a ,cup1 on baluster stem1 richly engraved with figures of musicians in a garden1 an ,english coat of arms1 etc41 early eighteenth century44444#aa #j #j ,a ,cup1 with octagonal foot1 engraved with figures1 and with inscription ,het ,welvaaren ,vrow-,van de ,kraam en ,kintie1 and a ,vase1 engraved with design of ,last ,supper1 after ,da ,vinci44444#c #aj #j ,a ,cup1 with ,cover1 partly gilt1 engraved in compartments with lady and gentleman1 ,cupid1 etc41 early eighteenth century44444#e #ae #j ,a ,tumbler1 engraved in three compartments with a lady in a garden1 a gentleman and a horseman1 and another1 engraved with officer on horse and military trophies 7c4 #agdj744444b #ab #j ,a cylindrical ,vase1 engraved with love tokens1 etc41 and inscribed ,james ,jagger1 ,bound1 ,july #b1 #aggf1 age #af years--,miss ,polly ,pritteman--,made this in the ,year #aggf1 and another1 engraved with festoons and birds44444#f #j #j ,a large cut-glass ,tumbler1 engraved in a circle with figure of ,william ,,iv41 and inscription3 ,may our happy constitution in ,church and ,state ever continue unimpaired44444#a #ah #j ,a ,mug1 engraved with ,g4,r41 etc4 7t4 ,george ,i471 and another1 with gilt ornament44444#a #b #j ,a pair of ,tumblers1 engraved with an ,english coat of arms and motto1 ,indignante invidia florebit44444#b #aj #j ,a cylindrical ,cup1 engraved with ,cupid shooting1 ,masonic emblems1 ,amour et ,constance1 etc41 and another1 with scene of a crowned woman1 monkey1 ship1 etc444444#d #j #j ,a ,tumbler1 engraved with ,success to the ,viper--,capn4 ,cowee--,f4 ,norris2 another1 with early railway engine and coaches2 and another1 with sheaf of corn1 etc444444#g #aj #j ,a tall ,glass1 on baluster stem1 engraved with scene of ,stag ,hunt44444#c #e #j ,a ,goblet1 engraved with sporting scene1 and another1 with floral design and initials ,e4,f444444#b #ad #j ,a ,goblet1 with ,masonic symbols1 and another1 with the ship and inscription ,nelson's ,victory44444#g #e #j ,four ,goblets1 with wide lips44444#c #ae #j ,a pair of small ,wine ,glasses1 and a larger pair1 engraved with ,english coat of arms and motto ,indignante invidia florebit44444#e #ae #j ,two ,cups1 on cut stems and with shaped edges1 and two others1 with ribbon stems44444#b #aj #j ,a tall ,glass1 engraved 8,willie brew'd a peck of malt10 and two engraved ,tumblers with square bases44444#c #aj #j ,a ,goblet1 with coloured ribbon stem1 and two others with white ribbon44444#f #f #j ,three tall ,glasses1 with coloured ribbon stems1 one of them inscribed ,m ,b41 and another1 with ear of corn in gold44444#f #aj #j ,a ribbon coloured stemmed glass1 bell shaped1 engraved with two birds on a heart1 and inscribed ,,pier-,,piersen-#aghb1 and three others44444#d #e #j ,a stemmed ,cup1 with wide lip2 one other1 and a pair of 8straw stemmed0 ,wine ,cups 7c4 #agbj744444a #ab #j ,six tall ,glasses1 with rounded stems44444#h #ae #j ,five ,wine ,glasses1 with coloured ribbon stems1 and one with plain stem44444#c #j #j ,a pair of ,wine ,glasses1 with faceted stems1 the bowls engraved with birds and flowers1 and four others of the same type44444#b #b #j ,a bell-shaped ,goblet1 with air-twisted stem1 and two tall ,glasses1 with drawn stems enclosing tear44444#b #b #j ,a ,jacobite ,glass1 engraved with the ,stuart rose with seven petals and two buds1 and the portrait of ,prince ,charlie surrounded by the words ,audentior ,ibo2 under the foot is engraved a thistle with two leaves1 straight plain drawn stem1 height1 #g in444444#ec #j #j ,a ,jacobite ,glass1 with straight sides1 engraved with ,stuart rose1 buds1 and butterfly1 plain stem1 #f in444444#h #j #j ,a ,jacobite ,wine ,glass1 with air-twisted stem1 the bowl engraved with ,jacobite rose1 two buds1 star1 and the word ,redeat44444#ag #aj #j ,a ,jacobite ,glass1 with short plain stem and thick foot1 the bowl engraved with portrait of ,prince ,charlie1 the ,stuart rose and buds1 and the words ,audentior ,ibo1 #c in444444#cg #j #j ,a ,jacobite ,glass1 with stem containing two opaque twists1 the bowl engraved with rose1 two buds1 and butterfly1 #e in444444#d #j #j ,a ,glass1 with drawn air-twisted stem1 the bowl engraved with ,jacobite emblems of rose1 two buds1 star1 oak leaf1 and the word ,fiat1 #f in444444#i #aj #j ,a ,glass of similar form1 with ,jacobite emblems of rose1 buds1 star1 and oak leaf1 #f in444444#aj #aj #j ,a ,glass1 with opaque-twisted stem1 engraved with ,hanoverian rose1 said to have been produced to counteract the influence of the ,jacobite party1 and a pair of others with opaque twists44444#b #af #j ,a ,jacobite ,glass1 with waisted bowl1 engraved with rose1 two buds1 and butterfly1 air-twisted stem1 #g in444444#d #j #j ,a ,jacobite ,glass1 with air-twisted stem1 the bowl engraved with emblems of rose1 two buds1 star1 oak leaf1 and the word ,fiat1 #e in444444#aj #j #j ,a ,wine ,glass1 with plain cup1 plain drawn stem and folded foot 7c4 #agce72 another1 with engraved bowl1 and two with opaque-twisted stems44444#a #af #j ,a ,glass1 with heavy baluster stem1 enclosing air tears2 a heavy ,spirit ,glass1 on short stem and thick foot1 and another1 smaller44444#c #af #j ,a ,glass1 with cut stem1 engraved with fox and ,tallyho1 and another with air-twisted stem1 with a prancing horse and ,liberty44444#c #ae #j ,a ,beer ,glass1 of elegant shape1 the stem with double opaque twist and bowl engraved with barley and hops1 initials ,s4,b4,i4 and date #agfb1 #g in42 and another1 with opaque-twisted stem1 engraved barley and hops1 and another1 plain drawn stem1 #h in41 engraved with rose and barley44444#d #j #j ,two ,beer ,glasses1 engraved with hops and barley1 air-twisted stems1 and one other with opaque twist44444#c #c #j ,a ,beer ,glass1 with opaque-twisted stem and wide bell-shaped bowl1 engraved with hops1 barley1 and initials ,c4,b41 and another1 with opaque twist and plain bowl44444#b #ae #j ,a large ,cup for light wine1 the wide-lipped bowl with five lobes1 twisted stem and fluted foot2 another1 with ogee bowl and reeded stem1 and another1 with broad flutings44444#b #b #j ,a ,beer ,cup on short foot engraved ,q4 7a crown7 ,c4 7,queen ,caroline71 and the words1 ,god and my ,rights1 and another1 engraved ,think on me44444#b #ah #j ,three ,wine ,cups1 with opaque-twisted stems1 a knob in the centre1 and another1 with air twist and waisted bowl1 middle of eighteenth century44444#b #h #j ,a ,wine ,glass1 with engraved bowl1 air-twisted stem with knop in centre 7c4 #agfj71 and two others with opaque twists44444#b #d #j ,a pair of ,glasses1 the stems elegantly formed with knops and opaque twists diminishing towards the foot1 #g in4 7c4 #agcj744444b #e #j ,a ,glass1 with heavy moulded stem and folded foot 7c4 #agjj71 and another1 #h in4 7c4 #agcj744444c #e #j ,two ,glasses1 with air-twisted stems and knops 7c4 #agfj744444a #ad #j ,a ,glass1 with baluster stem and dome-shaped foot1 and two ,glasses1 with spirally fluted bowls44444#c #aj #j ,three engraved ,glasses1 one with air twist1 one with baluster stem and ,dutch inscription1 and one with plain stem44444#b #b #j ,four ,glasses1 with air-twisted stems and knops1 #f in444444#d #aj #j ,four tall ,glasses1 with double opaque-twisted stems1 #h in444444#d #j #j ,a ,wine ,glass1 engraved with crown1 thistle1 and initials ,illustration3 ,,aui1 stem with opaque twist1 and another1 engraved with thistle44444#f #b #f ,two ,glasses1 #g in41 with opaque-twisted stems1 and two others with air twists44444#c #e #j ,a ,glass1 with air-twisted stem and domed foot1 and three others with air twist44444#c #aj #j ,two ,glasses1 with air-twisted stems and engraved bowls1 and two others with air twists44444#c #ah #j ,a ,cider ,glass1 the stem with air twist1 the bowl engraved with apple branch2 another1 with faceted stem1 #g in41 and two smaller ,glasses44444#g #aj #j ,a ,glass1 with straight air-twisted stem and dome-shaped foot1 the bowl deeply engraved with flowers 7c4 #agdj72 another1 also engraved and with twisted stem1 swelling in the middle2 and two others1 with air-drawn stems44444#d #d #j ,four ,glasses1 with engraved bowls and opaque-twisted stems of different patterns44444#b #ad #j ,a ,glass1 with small bowl and long straight stem enclosing opaque twist2 and three others44444#d #aj #j ,a tall ,glass 7#g in471 with coloured twisted stem2 one other2 one with gold decoration2 and another with engraved bowl44444#d #ae #j ,two tall ,glasses1 with engraved bowl and coloured twisted stems2 one with opaque twist2 and another with plain stem1 the bowl and foot engraved with roses44444#e #ae #j ,a pair of ,glasses1 with opaque twists and engraved and fluted bowls2 and another pair1 with engraved bowls44444#b #j #j ,a pair of ,glasses1 with opaque-twisted stems and partly fluted bowls2 and two others44444#b #ae #j ,a ,glass 7#h in471 with opaque-twisted stem swelling in the middle2 another with smaller bowl 7c4 #agej72 and two others44444#b #aj #j ,two ,glasses1 with bowls engraved with the honeysuckle2 and two others1 with air-twisted stems44444#c #c #j ,a ,glass 7#f in471 the waisted bowl engraved with a flower and the stem faceted 7c4 #agcj72 and another1 engraved with a tree and the words1 ,je meur ou je matache1 with fluted stem and folded foot44444#b #d #j ,four ,glasses1 with plain stems1 enclosing tears44444#c #j #j ,two bell-shaped ,glasses1 with opaque and air twists1 and two others44444#c #j #j ,two engraved ,glasses1 with white twisted stems1 one other with plain bowl1 and one with engraved bowl and air twist44444#b #b #j ,a ,glass with faceted stem1 the bowl engraved with flowers2 another1 engraved ,,sans-,,souci--#aghi1 and two others1 engraved with festoons1 etc444444#b #b #j ,a ,glass1 with baluster stem1 engraved with honeysuckle2 another1 with similar stem1 and two with faceted stems1 engraved with floral design44444#a #ab #j ,a ,glass1 with moulded stem and folded foot1 #f in41 the bowl engraved with figures of a harlequin and musicians1 a coat of arms and the mottoes3 ,,salvs ,,patri--,,concordia ,,resparv-,,crescunt2 two plain ,glasses1 and one other1 with folded feet1 early seventeenth century44444#c #aj #j ,four ,glasses1 three with engraved bowls1 faceted stems44444#a #ah #j ,a ,glass1 with moulded stem and dome foot2 another1 with air twist2 and two1 with faceted stems44444#a #ad #j ,two ,glasses1 engraved with a coronet and the motto--,long live the ,duke2 another with ,ld4 ,wellington for ever1 and another1 with the words1 ,duke ,wellington and his ,army44444#e #ae #j ,two 8coaching0 ,glasses1 without feet2 a small moulded ,glass 7c4 #ahjj71 and three others44444#b #h #j ,a 8coaching0 ,glass1 and five sweetmeat ,glasses1 with undulating edges44444#b #j #j ,three glass 8boot0 ,cups1 of the time of ,george ,,iii41 8may have been made in honour or rather in contempt of ,lord ,bute044444#b #aj #j ,a ,flask1 with applied decoration1 end of seventeenth century1 and a ,vase and ,cover of green glass1 with trailed and pinched decoration44444#a #a #j ,four sweetmeat ,glasses1 with square feet1 and two engraved ,cups1 on feet44444#b #ab #j ,a ,lamp with three nozzles1 and three other ,lamps1 early eighteenth century44444#c #c #j ,six ,wine ,dippers2 a ,scent ,bottle1 and three other pieces44444#a #ah #j ,a ,cup1 with faceted foot and stem1 engraved with ,prince of ,wales' ,feathers2 a ,cup1 with coat of arms2 another ,cup1 with faceted stem1 and another1 with ,english coat of arms44444#e #ae #j ,a ,cup1 inscribed ,,beer ,,and ,,liberty2 one with ,masonic symbols1 and two others44444#c #c #j ,a ,cup for light wine1 with reeded stem and hollow foot1 two with baluster stems1 another with long drawn bowl44444#b #af #j ,six ,spirit ,glasses1 with plain stems44444#a #ad #j ,six ,glasses1 with plain stems and folded feet44444#a #f #j ,two ,glasses with stems enclosing tears1 and four others1 all with engraved bowls44444#a #ad #j ,three early ,glasses1 the stems containing tears1 and with moulded feet1 and three others44444#b #aj #j ,a ,beer ,glass1 the bowl engraved with barley and hops1 and five other ,glasses with engraved bowls44444#a #ae #j ,a ,cup1 with moulded stem and folded foot1 another drawn bowl1 one engraved with rose and faceted bowl1 and another1 engraved with bird44444#a #aj #j ,a ,salve ,stand1 with air twist2 another upright ,stand1 containing figure of ,caryatid2 ,bottle1 ,cruet1 three ,cups1 and two ,ring ,stands44444#b #ad #j ,a plain glass ,dish1 oblong in shape1 with bevelled edge2 a ,dish1 ,cover1 and ,stand1 a cut ,sugar ,bowl1 and six small ,liqueur ,glasses44444#d #ab #f ,a ,liqueur ,stand1 with two bottles2 a ,decanter and ,stopper2 a reeded ,jug with coin2 two reeded ,tankards 7one with coin71 and six ,liqueur ,glasses44444#d #ad #j ,a set of six cut ,goblets1 six ,custard ,barrels1 four cut ,port ,glasses1 six ,claret ,glasses1 engraved in wheat-ears1 and a ,milk ,jug44444#c #ad #j ,four ,rummers1 a ,glass ,dish1 eight ,wine ,glasses1 six ,custard ,cups1 and eight ,glasses1 various44444#b #aj #j ,three engraved ,tumblers1 three ,rummers1 ,goblet1 twelve specimen ,ale and ,wine ,glasses1 and a set of six ,syllabub ,glasses44444#e #j #j ,an early ,water ,jug1 engraved with initials 8,a4,l402 an engraved ,mug1 five specimen ,tumblers1 and an engraved ,goblet44444#d #d #j ,an early ,bottle1 a cut ,bowl with handles and ,stand1 a ,waterford oval ,dish1 and a ,decanter and ,stopper44444#b #aj #j ,a pair of ,old ,english ,rummers1 the bases of the bowls twisted1 and a frosted and ribbed ,dish and ,cover44444#a #ab #j ,fourteen old moulded ,glasses1 various shapes2 two ,oil ,bottles1 a double ,oil ,flask1 and an ,ale ,jug44444#b #ab #j ,a pair of diamond-cut ,decanters and ,stoppers1 a set of six long cut stem ,glasses1 engraved in birds and flowers2 five ,goblets1 and six cut ,claret ,glasses44444#f #j #j ,twelve ,ale ,glasses1 with opaque-twist stems1 and drawn bowls1 almost similar44444#e #j #j ,a pair of circular ,dishes1 #g in4 diam41 elaborately cut1 the centres engraved in roses on amber ground1 and four small ,sweetmeat ,dishes of fine quality44444#b #ab #j ,a pair of ,wine ,glasses1 plain baluster stems1 with tears and bell bowls1 and four others1 with folded feet and plain stems44444#b #ad #j ,six plain stem ,wine ,glasses1 five of them engraved and with folded feet44444#b #ab #j ,a ,mug1 without handle1 engraved in bands of leaves1 #e in4 high1 and a ,loving ,cup1 goblet shape1 engraved in wheat-ears and monogram1 ,e4 ,m4 ,b41 #h in4 high44444#c #ad #j ,a pair of ,wine ,glasses1 air-twist double baluster stems1 with ring heads and straight bowls1 #f in4 high1 and a ,wine ,glass1 with drawn air-twist stem1 cable centre and bell-shaped bowl1 #f in4 high44444#d #aj #j ,a large ,goblet1 with cut tear stem and dome foot1 the bowl cut at the base and engraved with a ship and inscription3 8,t4 ,welvaren ,van de ,vrouw ,anna ,maria10 #i in4 high44444#c #af #j ,a pair of ,wine ,glasses1 with opaque-twist stems and narrow straight-sided bowls1 engraved in flowers2 another pair1 with opaque-twist stems1 and another pair1 with baluster opaque-twist stems44444#c #ae #j ,a ,waterford ,cake ,dish and ,cover1 the cover hive-shaped1 elaborately cut in lozenges and ribbed1 the dish1 #aa in4 diam41 has a scalloped border1 #ab in4 high44444#f #ae #j ,four small ,sweetmeat ,glasses1 and a pair of ,rummers1 on square bases44444#b #ae #j ,a pair of ,wine ,glasses1 double baluster air-twist stems2 two with air-twist stems and drawn bowls1 and a pair with air-twist stems and drawn waisted bowls44444#e #e #j ,a pair of ,cordial ,glasses1 engraved with a crown and initials of ,charles ,x4 of ,sweden1 #affj1 #c in4 high44444#b #aj #j ,two ,goblets1 with opaque twist stems1 engraved in flowers2 two baluster opaque stem ,wine ,glasses1 a ,glass1 engraved in hunting scenes1 and two others44444#e #j #j ,an early ,tankard1 engraved with ,masonic emblems1 enclosed with scroll-work and flowers1 surmounted by a crown1 #f in4 high44444#b #b #j ,a pair of oval ,deep ,dishes1 with flat scalloped edges1 hobnail cutting44444#c #c #j ,a pair of ,wine ,glasses1 air-twist slender stems and drawn plain bowls1 #g in4 high1 and another1 with incised twist stem and indented straight-sided bowl1 #f in4 high44444#c #aj #j ,a pair of plain ,ale ,glasses1 engraved with a fox and 8,tally-ho02 a smaller one1 engraved with a cock-fight2 a ,rummer1 engraved with a race-horse1 and a boot-shaped ,spirit ,glass44444#e #j #j ,a ,wine ,glass1 with double ogee bowl and hollow stem2 two ,pipes1 and a tall ,jug1 in the form of a coaching horn1 #ab in4 high44444#c #e #j ,a pair of ,waterford ,tapersticks1 with beautifully cut stems and nozzles1 and dome-shaped feet1 #f in4 high44444#ae #e #j ,a ,wine ,glass1 with opaque-twist stem and drawn bowl1 engraved in vines and bird2 two1 with opaque-twist stems and bell-shaped bowls1 similarly engraved1 and a pair of opaque-twist stem ,wine ,glasses1 with plain shaped bowls44444#c #j #j ,a ,candlestick1 with cut shaped stem and indented raised foot1 and another1 with square base44444#b #ae #j ,a straight pint ,tankard1 ribbed and engraved in bands of roses44444#b #d #j ,an ,ale ,glass1 with straight-sided bowl engraved with the ,royal coat of arms and festoons of flowers2 a pair of ,ale ,glasses1 with coloured twisted stems1 and one other44444#b #d #j ,a ,trifle ,dish and ,stand1 the body with brilliant diamond cutting1 the dish with fan-cut edge1 #aj in4 diam444444#c #af #j ,a pair of open-lipped ,vases or ,celery ,glasses1 with diamond edges1 hobnailed cutting1 #g in4 high1 and another1 oval-topped1 #g in4 high44444#c #ae #j ,a pair of ,waterford ,liqueur ,bottles1 with handles and stoppers1 bulbous bodies and long necks1 cut in flowers and lozenges1 #h in4 high44444#d #aj #j ,three early ,wine ,glasses1 with baluster air-twist stems1 and three with drawn bowls and air-twist stems44444#e #g #f ,a ,waterford straight-sided ,rum ,pot and ,cover1 with flat spout1 hobnail cutting44444#d #d #j ,a pair of ,wine ,glasses1 air-twist stems1 straight-sided bowls1 engraved in flowers and butterfly1 #f in4 high1 and a ,wine ,glass1 with baluster air-twist stem and plain bell-shaped bowl1 #f in4 high44444#d #j #j ,a pair of ,waterford oval ,sweetmeat ,stands1 #c in4 high1 and a ,candlestick1 cut and on square base1 #h in4 high44444#b #ad #j ,a ,waterford circular ,bowl1 ,cover1 and ,stand1 finely cut1 #g in4 high44444#c #e #j ,a pair of cut ,comports1 and a pair of ,cake ,dishes1 with hobnail cutting and cut scalloped borders1 #g in4 diam444444#e #e #j ,a ,wine ,glass1 plain stem and ovoid bowl1 engraved with a portrait of a man on horseback and inscription1 8,in ,memory of the ,battle of the ,boyne10 #e in4 high1 and another1 with tear and baluster stem and waisted bowl1 engraved with a ship and inscription1 folded foot1 #f in4 high44444#c #j #j ,a ,wine ,glass1 with opaque-twisted stem and drawn ovoid bowl1 engraved with the rose and thistle and inscription1 8,honi soit qui mal y pense10 #e in4 high1 and another ,wine ,glass1 with baluster tear stem1 the bowl engraved in vines and butterfly1 folded foot1 #f in4 high44444#b #b #j ,a ,waterford ,oil ,bottle and ,stopper44444#a #j #j ,a ,water ,jug1 ribbed and engraved in ,chinese scenes1 and a ,waterford ,honey ,jar1 ,cover and ,stand44444#b #ah #j ,three ,wine ,glasses1 opaque-twist stems and bell-shaped bowls1 engraved in vines and butterflies1 and three opaque-twist stem ,wine ,glasses1 one with lipped bowl44444#c #c #j ,a pair of ,cork ,ale ,cups1 #e in4 high1 and a ,bottle1 with pressed quilted body1 #h in4 high44444#a #af #j ,a ,sweetmeat ,glass1 twisted stem1 lipped double ogee bowl and domed foot1 #f in4 high44444#c #ae #j ,a tall ,wine ,glass1 air-twist double-knopped stem and bell-shaped bowl1 engraved with rose and bud1 plain foot1 #g in4 high44444#b #ah #j ,an almost similar ,wine ,glass1 the bowl engraved with a rose1 two buds1 and a butterfly1 #g in4 high44444#c #c #j ,a pair of ,waterford oviform ,vases and ,covers1 cut in lozenges1 square feet1 #ab in4 high44444#e #aj #j ,a ,wine ,glass1 with opaque-twisted stem1 drawn bowl1 engraved in vines and bud1 and three other ,wine ,glasses1 engraved44444#b #b #j ,a ,rose ,bowl1 elaborately engraved in arabesques1 #h in4 diam41 and a ,waterford circular ,dish1 with fan cutting1 #aj in4 diam444444#e #j #j ,a ,goblet1 with drawn air-twist stem1 straight-sided bowl with indentation at base1 conical foot1 #h in4 high1 and a set of four ,ale ,glasses1 with air-twisted stems1 the bowls engraved in wheat-ears44444#c #e #j ,a standing ,cup and ,cover1 elaborately engraved in flowers and cut1 the knob and stem with red twist1 #aa in4 high44444#b #ae #j ,a standing ,cup and ,cover1 cut stem1 the bowl cut and engraved in stags and festoons1 #aj in4 high44444#a #ad #j ,a finely cut ,scent ,bottle and ,stopper2 three others1 smaller1 with stoppers1 and a ,taper ,stand1 mounted in metal44444#b #aj #j ,a pair of ,wine ,glasses1 air-twist baluster stems and straight bowls1 and three air-twist baluster stem ,glasses1 with short bowls and heavy bases44444#d #f #j ,a beautifully cut ,bowl1 ,cover1 and ,stand2 a beautifully cut ,olive ,pot and ,cover1 and a cut four-division ,scent ,bottle44444#b #ab #j ,a tall ,candlestick1 with ribbed nozzle and tears1 moulded stem and ribbed dome foot1 #i in4 high44444#f #e #j ,a ,waterford ,water ,jug1 with hobnail and ribbed cutting1 and a ,tankard1 with ribbed top and raised scroll lower part44444#c #ad #j ,four pressed ,sweetmeat ,plates44444#a #j #j ,a set of six ,wine ,glasses1 with long slender air-twist stems and small straight-sided bowls1 #i in4 high44444#b #b #j ,a ,waterford oval ,bowl ,cover1 and ,stand1 #f in4 high1 and a boat-shaped ,bowl1 with raised ends1 #aa in4 long1 #e in4 wide44444#c #ab #j ,a set of six ,wine ,glasses1 air-twist stems and engraved rims to bowls1 and a ,dish1 the under part cut in portrait of ,queen ,victoria and ,roman scenes44444#c #c #j ,five cut stem ,wine ,glasses 7one dated #ahgb1 others engraved72 four cut ,goblets2 two cut ,ale ,glasses1 and a large ,ale ,glass44444#c #ab #j ,a set of six finely cut ,waterford ,tumblers2 a cut ,honey ,pot1 ,cover1 and ,stand2 a pair of cut ,spirit ,bottles and ,stoppers2 a pair of cut blue and white flat ,dishes1 and a cut ,sweet ,dish44444#f #aj #j ,a pair of very fine cut ,waterford ,compotiers1 with ,covers1 vase-shaped1 #aa in4 high44444#ac #e #j ,a brilliantly cut ,old ,english ,compotier and ,cover1 #ac in4 high44444#f #aj #j ,a set of twelve ,georgian ,wine ,glasses1 the straight-sided flat-bottomed bowls are engraved with the ,prince of ,wales' feathers and motto 8,ich ,dien0 in scrolls1 plain stems and feet2 formerly the property of the ,prince ,regent and of the late ,king ,edward ,,vii444444#f #e #j ,a set of three ,waterford ,flower ,glasses1 with cut edges2 a pair of ,waterford ,salts1 and a ,water ,jug44444#d #j #j ,a set of four ,wine ,glasses1 opaque-twist stems and engraved and ribbed bowls1 and six others all with opaque-twist stems44444#d #d #j ,a fine old ,english cut ,butter ,dish1 ,cover1 and ,stand1 and a large ,bristol ,tankard and ,cover1 reeded and shaped1 the cover with a coloured twist handle1 #i in4 high44444#c #f #j ,an old cut ,jam ,dish1 ,cover1 and ,stand2 two moulded and frosted ,cups2 a pair of ,waterford ,sweetmeat ,stands2 another pair1 cut2 six cut ,tumblers1 and two ,knife ,rests44444#c #ab #f ,an engraved ,puzzle ,jug2 two ,toddy ,lifters2 three ,sugar ,crushers2 a ,spoon1 and a ,dish in the form of a hat44444#a #ad #j ,a pair of plain ,firing ,glasses1 engraved 8#fhj02 two ,toddy ,lifters1 and a plain hat-shaped ,basket44444#a #aj #j ,a pair of finely cut ,decanters and ,stoppers1 with shell cut bosses2 a pair of cut circular ,salts1 and a long ,scent ,bottle and ,stopper44444#b #af #j ,a clear glass footed ,beer ,jug1 and an engraved and cut ,flower ,bowl1 with coin on the base1 #f in4 diam444444#c #aj #j ,a ,goblet1 the body engraved all round1 in landscape and deer1 #f in4 high2 a ,goblet on baluster stem1 the body engraved in vases of flowers1 on pedestal1 #g in4 high44444#a #j #j ,a large ,old ,english ,jug1 the body cut and neck ribbed1 #aj in4 high1 and an early ,cream ,jug44444#b #h #j ,a pair of cut ,lustres1 with droppers1 and a centre ,lustre44444#d #ab #j ,a pair of fine cut ,decanters and ,stoppers1 a cut ,scent ,bottle and ,stopper1 and an ,olive ,pot and ,cover44444#c #e #j ,an early ,cake ,vase and ,cover1 ribbed and moulded1 #g in4 high1 and a ,water ,jug1 engraved in wheat-ears44444#c #e #j ,a straight-sided ,biscuit ,jar1 ,cover1 and ,stand1 cut in lozenges1 #i in4 high1 and a cut hollow ,tazza1 #e in4 high44444#b #ah #j ,a plain ,old ,english ,sylabent ,stand1 on dome foot1 #i in4 diam41 and a ,celery ,glass1 engraved in vines44444#a #aj #j ,an old ,treacle ,jug1 with pewter mount2 two cut ,scent ,bottles and ,stoppers1 and two ,goblets44444#b #d #j ,a pair of moulded ,candlesticks1 #h in4 high1 and an early ,water ,jug44444#a #ah #j ,a pair of plain ,bristol ,vases1 with open lips1 #ab in4 high2 a pair of plain ,cups1 and six ,plates44444#a #af #j ,a ,bristol handled ,mug1 straight side painted with a portrait1 enclosed in scroll-work and sprays of flowers1 #f in4 high1 and a ,bowl1 painted in continuous flowers and birds1 #h in4 diam444444#b #aj #j ,a ,bristol ,vase1 with double handles and dome foot1 painted in flowers1 #h in4 high1 and two ,bristol ,mugs1 both painted in figures and flowers44444#b #h #j ,a pair of barrel-shaped ,tankards and ,covers1 with handles painted in ,watteau scenes and gilded1 #h in4 high44444#e #e #j ,a ,vase and ,cover1 painted in portrait medallions and sprays of flowers and gilded1 the vase on square foot1 #aj in4 high44444#c #c #j ,a pair of rare ,venetian ,cups and ,saucers1 decorated in ,chinese figures and flowers in gold and red44444#e #e #j ,a ,bristol ,plate1 the centre painted in figures with flags1 enclosed in a star band in red1 the border with arabesque1 in colours1 #g in4 diam41 and a barrel-shaped ,mug1 painted with a dog and flowers1 #e in4 high44444#b #d #j ,a rare ,jug and ,cover1 splashed in blue and brown1 #h in4 high1 and a pair of ,cups and ,saucers1 painted in birds and flowers44444#b #h #j ,three ,bristol straight-sided ,tankards1 painted in figures and flowers44444#c #ae #j ,a ,jar and ,cover1 the jar with brown lozenges and double handles1 model of a swan surmounting the cover1 #e in4 high1 and a ,tankard1 painted in figures and pastoral scenes1 #f in4 high44444#b #aj #j ,a ,bristol handled ,mug1 painted in panel and flowers2 a ,cream ,jug1 with inscription 8,forget-me-,not02 a small ,tazza1 and a ,vase44444#b #af #j ,a ,vase1 a small ,cup1 two ,tankards1 a ,cup and ,saucer1 and a ,bottle1 all painted44444#b #h #j ,a plain ,bristol double ,flask1 with ,prince of ,wales' feathers2 a plain ,bristol bellows ,flask1 and a plain hollow ,candlestick44444#a #h #j ,a hollow ,candlestick1 #h in4 high2 a double gourd-shaped ,spirit ,bottle1 a bellows ,flask1 and three ,scent ,bottles1 all ,bristol44444#a #d #j ,a double gourd-shaped ,bristol ,spirit ,bottle1 three other ,spirit ,bottles1 and five small ,bottles44444#b #j #j ,a ,bristol ,jar and ,cover1 the body shaped1 with alternate spirals of ruby and opaque1 #h in4 high1 and a plain ,bristol ,basket44444#a #aj #j ,a large ,nailsea ,jug1 deep green splashed in blue and white1 #h in4 high1 and a ,tankard1 with spiral bands of red and opaque44444#b #h #j ,a pair of ,nailsea ,rapiers1 blue handles1 the blades with blue centres44444#b #ae #j ,a pair of purple ,bristol ,vases1 #g in4 high2 an old green ,ear ,trumpet1 a purple ,cream ,jug1 and four purple ,salts44444#a #b #j ,a ,nailsea ,policeman's ,staff1 a double ,flask1 and three single ,nailsea ,flasks1 various colours44444#b #h #j ,a rare blue ,bristol miniature ,dinner and ,dessert ,service1 comprising ,bowls and ,covers1 ,tazze and ,covers1 ,sugar ,bowls1 ,tea ,cups and ,saucers1 ,cream ,jugs and ,plates 7about #abj pieces744444#b #d #j ,a white ,bristol miniature ,tea and ,coffee ,service44444#a #f #j ,three ,nailsea ,rolling ,pins1 different colours1 and a ,nailsea ,jug1 dark green1 mottled in white44444#c #j #j ,a pink ,nailsea ,water ,jug1 splashed in opaque white1 and a clear ,nailsea ,flask1 on circular base1 with opaque decoration and appliqu ,prince of ,wales' feathers and edging44444#b #b #j ,a ,bottle and ,stopper1 with flowers in various colours embedded in the base2 and four ,paper ,weights of a similar character44444#b #j #j ,seven ,paper ,weights1 with various coloured flowers1 etc41 embedded in the glass44444#b #f #j ,two ,paper ,weights1 with silvered medallions2 three green ,paper ,weights2 two others2 and two ,inkpots1 with tears44444#c #c #j ,a ,bristol plain glass double-handled ,vase and ,cover1 painted in sprays of flowers1 #aa in4 high2 and a ,water ,bottle and ,stopper1 and ,well ,stand for same1 with close opaque spirals and blue border44444#a #d #j ,an open-necked ,bristol opaque ,vase1 with bulbous base1 the body entwined with raised ivy leaves and berries in colour1 #af in4 high2 two mottled ,bristol ,bowls1 and a blue mottled ,vase44444#b #b #j ,a green ,nailsea ,cream ,jug1 with opaque twist decoration1 and a ,nailsea ,flagon1 mottled on green ground44444#b #d #j ,a pair of ,bristol ,shells2 a ,bristol ,double ,flask1 with deep blue borders2 a ruby ,bell1 with coloured twist handle1 and two blue ,bristol ,cream ,jugs44444#b #f #j ,a rare ,bristol ,sugar ,crusher1 with ring handle1 with a central opaque twist surrounded by blue and red twist2 a small flat ,flask1 with examples of all the ,bristol coloured twists2 and another piece1 the base with coloured twist44444#b #b #j ,a ,bristol ,pipe1 opaque1 with green rim2 another1 opaque1 with pink stripes2 and another1 blue44444#a #b #j ,a pair of old green ,sussex ,bottles1 filled with silk and imitation flowers1 #i in4 long2 a pair of ,bristol ,vases of ,flowers1 under glass shades1 with glass bases1 #f in4 high2 and a green ,nailsea ,model of a ,dog44444#a #b #j ,a ,nailsea ,horn1 a green ,pipe1 and two plain ,flasks1 with opaque decoration44444#a #aa #j ,a rare green glass ,trident1 with long handle1 #ag in4 long2 and two ,nailsea ,trumpets1 one #bf in4 long1 and the other #ah in4 long44444#b #b #j ,a rare old ,venetian ,goblet1 straight sides opening at the top1 striped in white from top to bottom1 and having partly gilded mask head bosses1 #g in4 high2 and a ,venetian ,bottle1 with white spirals44444#d #aj #j ,a pair of old ,venetian ,cups and ,saucers1 decorated in white twists from top to bottom2 and a ,venetian plate1 with similar decoration in spirals44444#b #ab #j ,an old ,venetian moulded ,vase1 with cross white stripes2 an old ,venetian ,standing ,bowl1 a ,cup1 and a ,lemon44444#b #j #j ,a ,venetian gourd-shaped ,bottle2 a similar ,oil ,jug1 both with white decoration2 and three other pieces of ,venetian glass44444#j #ad #j ,a large ,english ,water ,bottle and ,glass1 with red decoration2 a deep blue ,bristol ,bowl1 with irregular white lines2 and a ,flask1 mottled in red and blue44444#a #ab #j ,a deep blue ,water ,bottle1 ,stand and ,glass1 with gold bands2 a blue ,trinket ,stand2 a deep blue ,flask2 and thirteen other pieces of whole coloured ruby1 green1 purple1 and blue glass44444#j #ah #j ,three large ,rolling ,pins1 a ,pestle1 and a green and white twisted glass ,puzzle44444#a #ah #j ,a moulded and twisted ,bottle1 with applied blue bands1 and ,stopper2 a green barrel-shaped ,jar and ,cover1 #ac in4 high2 and a ,bowl1 with applied green decoration44444#a #ab #j ,a pair of ruby ,tazze1 with white lozenge-shaped cuttings1 #h in4 diam42 and a pair of ruby ,vases1 cut in white flowers1 etc41 #f in4 high44444#b #j #j ,two ruby ,scent ,bottles and ,stoppers1 with cut white circles2 a blue and white ,goblet2 a similar ,cup2 a ruby and white ,cup1 and an amber ,decanter and ,stopper44444#b #h #j ,a set of eight ,venetian ,goblets and eight ,wine ,glasses1 blue open bases1 the bowls in opaque cross stripes44444#a #d #j ,a ,nailsea ,flask1 four ,bristol ,balls1 a ,candlestick1 two ,jars and ,covers1 ,scent ,bottle and ,stopper1 and five other pieces44444#j #aa #j ,a pair of blue ,candlesticks1 with white cutting2 two ,inkpots of a similar type2 five cut ,goblets1 a ruby ,bristol ,pipe1 and a square ,decanter and ,stopper44444#b #ab #j ,,the ,,riverside ,,press ,,limited ,,edinburgh