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diff --git a/.gitattributes b/.gitattributes new file mode 100644 index 0000000..d7b82bc --- /dev/null +++ b/.gitattributes @@ -0,0 +1,4 @@ +*.txt text eol=lf +*.htm text eol=lf +*.html text eol=lf +*.md text eol=lf diff --git a/LICENSE.txt b/LICENSE.txt new file mode 100644 index 0000000..6312041 --- /dev/null +++ b/LICENSE.txt @@ -0,0 +1,11 @@ +This eBook, including all associated images, markup, improvements, +metadata, and any other content or labor, has been confirmed to be +in the PUBLIC DOMAIN IN THE UNITED STATES. + +Procedures for determining public domain status are described in +the "Copyright How-To" at https://www.gutenberg.org. + +No investigation has been made concerning possible copyrights in +jurisdictions other than the United States. Anyone seeking to utilize +this eBook outside of the United States should confirm copyright +status under the laws that apply to them. diff --git a/README.md b/README.md new file mode 100644 index 0000000..2abdbdd --- /dev/null +++ b/README.md @@ -0,0 +1,2 @@ +Project Gutenberg (https://www.gutenberg.org) public repository for +eBook #52738 (https://www.gutenberg.org/ebooks/52738) diff --git a/old/52738-0.txt b/old/52738-0.txt deleted file mode 100644 index 9e47759..0000000 --- a/old/52738-0.txt +++ /dev/null @@ -1,5391 +0,0 @@ -Project Gutenberg's Old Glass and How to Collect it, by J. Sydney Lewis - -This eBook is for the use of anyone anywhere at no cost and with -almost no restrictions whatsoever. You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org/license - - -Title: Old Glass and How to Collect it - -Author: J. Sydney Lewis - -Release Date: August 6, 2016 [EBook #52738] - -Language: English - -Character set encoding: UTF-8 - -*** START OF THIS PROJECT GUTENBERG EBOOK OLD GLASS AND HOW TO COLLECT IT *** - - - - -Produced by Chris Curnow, Chuck Greif and the Online -Distributed Proofreading Team at http://www.pgdp.net (This -file was produced from images generously made available -by The Internet Archive) - - - - - - - - - - _OLD GLASS - AND - HOW TO COLLECT IT_ - - [Illustration] - - - _The Standard Book on the Subject._ - - A HISTORY OF ENGLISH STAINED - GLASS WINDOWS. - - By MAURICE DRAKE. Fully Illustrated in Colour - and Half-tone. Foolscap folio. £2, 2s. net. - - “One of the most beautiful, nay, most sumptuous, books - produced in recent years, and from that point of view the Author - and the publisher, the artist and the printer, and, indeed, also - the binder, are to be heartily congratulated. But it is also an - interesting book to read, although the subject is not everyone’s - subject, for it is written, not merely with knowledge, which one - can find anywhere on most subjects, but with knowledge touched - with humanity, which is the kind of knowledge that we want in - a book.”--_Daily Chronicle._ - - - FIRST STEPS IN COLLECTING. - - By Mrs GRACE VALLOIS, Author of “Antiques - and Curios in our Homes.” 64 Illustrations. - Picture Cover. 6s. net. - - In this book G. M. Vallois has grappled successfully with the - problem of how to give the amateur a slight general knowledge - of a wide subject, without deluging him with technical details. - - - ANTIQUES AND CURIOS IN OUR HOMES. - - By G. M. VALLOIS. 61 Illustrations. 6s. net. - -In addition to being interesting to those who possess old furniture, -etc., it should appeal to young persons making a home, as, even though -they may not be able to buy Antique Furniture, it is of educational -value to them, inasmuch as it teaches in a most fascinating manner the -difference between Sheraton and Chippendale, between Wedgwood and Willow -Pattern, etc. - -[Illustration: A fine specimen of Early Bristol Glass, with landscape -painted by Edkin.] - - - - - OLD GLASS AND HOW - TO COLLECT IT - - BY - J. SYDNEY LEWIS - - ILLUSTRATED - - LONDON - T. WERNER LAURIE LTD. - 30 NEW BRIDGE STREET, E.C.4 - - -The Author desires to express his best thanks to Miss Whitmore Jones, Mr -Cole of Law, Foulsham & Cole, Mr A. Edwards of Messrs Edwards Limited, -for their kind permission to include examples of old English and Irish -glass from their Collections, and to Messrs Sotheby, Wilkinson & Hodge -for allowing him to include the list of prices fetched by various -specimens at their Sales. - -He is also desirous of acknowledging the assistance he has received from -the Authorities of the British and Dublin Museums, and also to the late -Mr J. Herbert Bailey, to whom and to “The Connoisseur” he is indebted -for several of the illustrations. - -His indebtedness to the great work of Mr A. Hartshorne is one which he -shares with every writer who takes as his subject “Old English Glass.” - - - - -CONTENTS - - -CHAPTER PAGE - -I. INTRODUCTORY 1 - -II. EARLY ENGLISH GLASS 27 - -III. EIGHTEENTH-CENTURY GLASS 55 - -IV. MEMORIAL GLASSES 95 - -V. BRISTOL AND NAILSEA GLASS 115 - -VI. IRISH GLASS 128 - -VII. CURIOUS AND FREAK GLASSES 154 - -VIII. FRAUDS AND IMITATIONS 166 - -IX. SOME HINTS TO COLLECTORS 182 - -CATALOGUE OF PRICES OF PRINCIPAL PIECES OF -GLASS 191 - - - - -LIST OF ILLUSTRATIONS - - -Early Bristol Glass; landscape painted by Edkin....._Frontispiece_ - -FIG. - -1. Elizabethan Glass (Brit. Mus. Coll.) } - } _To face page_ 42 -2. Posset Cup (Charles II.) } - -3. Feeding Cup (William III.) } - } ” 48 -4. Glass Panel (Charles II.) } - -5. Glass Tankard with Coin blown in Base } - } ” 50 -6. Coin blown in Base of Tankard } - -7. Air-twisted Stem Glasses.....” 62 - -8. Air-twisted Button and Baluster Stem Glasses.....” 66 - -9. Opaque-twisted Stem and Rose Glasses.....” 68 - -10. Double Ogee Bowls.....” 72 - -11. Ale Glasses and Sweetmeat Glasses.....” 74 - -12. Eighteenth-century Drinking Glasses.....” 76 - -13. Rummers and Baluster Stem Glasses.....” 84 - -14. Decanters and Salt-cellars (Eighteenth Cent.).....” 90 - -15. Candlesticks and Tapersticks.....” 92 - -16. Jacobean Rushlight Holder and Wine Glasses.....” 94 - -17. Jacobite Toasting Glasses.....” 96 - -18. Jacobite Goblets.....” 100 - -19. Jacobite Glass.....” 102 - -20. Memorial Toasting Glasses.....” 106 - -21. Memorial Glasses (Various).....” 108 - -22. A Nelson Glass and George IV. Coronation Glass.....” 110 - -23. Commemoration Glasses.....” 112 - -24. Tankards and Grog Glasses.....” 114 - -25. Old Bristol Glass Decanter and Mug.....” 120 - -26. Bristol Glass Vases and Candlesticks.....” 122 - -27. Bristol Glass Vases and Castors.....” 124 - -28. Early Nailsea Jugs.....” 126 - -29. Nailsea Jug and Mug.....” 128 - -30. Early Irish Glass.....” 130 - -31. Old Irish Salad Bowls and Celery Glasses.....” 132 - -32. Old Waterford Centrepiece, with Collar.....” 134 - -33. Old Waterford Preserve Jars and Bowls.....” 136 - -34. (1) Old Cork Decanters; (2) Old Waterford Decanters.....” 138 - -35. Old Cut Irish Decanters and Finger-basins.....” 140 - -36. Early Irish Fruit Dishes.....” 150 - -37. Masonic, Toasting, and Freak Glasses; an Early -Cambridge Yard Ale Glass _Page_ 160 - -38. Saxon Glass.....” 30 - -39. Various Styles of Cutting.....” 7 - -40. Examples of Baluster Stems and Tear Glasses.....” 57 - -41. Tear Glasses.....” 61 - -42. Old English Glasses.....” 65 - - - - -CHAPTER I - -INTRODUCTORY - - -The origin of glass is lost in antiquity. Pliny, indeed, ascribes its -discovery to certain Phœnician mariners who, being shipwrecked upon a -sandy shore, used a block of the natron which formed their cargo to -support a pot which they were putting over an improvised fire. The heat -fused the sand with the natron, and lo! the glass was discovered in the -ashes. - -Since, however, Pliny’s authority was Rumour, and since, also, 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 century. But the story, if not true, is at least well invented -and serves to show at how early an age in the world’s history glass was -known. - -It is more than probable that the place of its origin was Ancient Egypt, -and that the Phœnicians, who were undoubtedly acquainted with its use, -drew their knowledge from the workers on the banks of old Nile. At any -rate articles of glass have been discovered in tombs of the fifth and -sixth dynasties--some 3300 years before Christ. This, the earliest known -glass, is generally opaque, and is chiefly used to form small articles -of ornament, such as beads for necklaces, etc. The “aggry” beads, found -in Anglo-Saxon barrows and made in our own time by the Ashantis and -neighbouring tribes, are of similar type. Some admirable specimens of -ancient Egyptian glass are to be found in the British Museum. Among them -is a turquoise-blue opaque glass jar of Thothmes III.--the greatest of -all the kings of Egypt--dating from about 1550 B.C. - -At a later date glass was extensively made in Alexandria, the sand in -the vicinity being of exceptional purity and so, suitable for its -manufacture. The city speedily became celebrated for the beauty of its -output, and articles of Alexandrian glass were largely exported to -Greece and to Rome, where also, in the space of a few years, -glass-houses were established; and to Constantinople, which was, in -time, to become famous for the manufacture of coloured glass and of the -Mosaics so dear to the Oriental taste. - -The Greeks do not appear to have developed the art of glass-making at a -very early age, but specimens of glass have been found in Grecian tombs, -and, in the Golden Age of Ancient Greece, when art and literature -reached their zenith under Pericles, glass was certainly employed for -purposes of architectural decoration. - -In Rome, however, the art of glass manufacture found a congenial home -and was developed to a high pitch of excellence. 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--domestic, -architectural, and ornamental--than it is to-day, even though the -glazing of windows was in its infancy and the use of the material for -optical purposes was scarcely known. In effect, coloured and ornamental -glass held much the same place in the Roman household that china and -earthenware do among us to-day. Glass was used for pavements and for -the external covering of walls. The Roman glass-workers were -particularly happy in their combination of colours, both by fusing -together threads of various colours, or by fusing masses, so as to -imitate onyx, porphyry, serpentine, and other ornamental stones. - -The most interesting of all was the famous cameo glass. A bubble of -opaque white glass was blown, and this was coated with blue and a -further layer of opaque white superimposed. The outer coat of blue was -removed from the portion which was to display the design, leaving the -white to be carved into whatever figures the artist’s fancy dictated. -The finest example extant of this kind of ware is the famous Portland -vase in the British Museum. - -The art, thus brought to such perfection in Rome, naturally spread -throughout Italy and the Roman colonies in France, Spain, Germany, and -Britain. Probably workmen from the Italian cities also established the -first furnaces among the lagoons of Venice, and so laid the foundation -of what were to be the finest glass manufactories in the world. At the -end of the thirteenth century a guild of glass-workers was formed. -These sequestered their craft upon the island of Murano, and there -cultivated it with an increasing skill that in a brief space made -Venetian glass the marvel of the civilised world. The peculiar merits of -the Venetian product were grace of form and lightness of execution. Many -of the vessels are surpassingly thin. The quality of the metal, however, -leaves something to be desired. It is dull, frequently tinged with -yellow--due to the presence of iron--or purple--the effect of too great -a proportion of manganese. The workmen became so skilful that, carried -away by the _joie d’exécuter_, they produced not only the artistic -forms for which Venetian glass is famous, but all sorts of -extravagances--ships, animals, birds, fishes, 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 material. - -Meanwhile, other European nations had taken their cue from Venice, and -glass-houses sprang up in various parts of the Continent, particularly -in France and in Bohemia; the latter, indeed, speedily became the great -rival of Venice. - -In England, as we shall see, glass was made during the Roman -occupation. Under the Saxons, glass-workers were imported from the -Continent, but to judge from the number and variety of the specimens -found in Anglo-Saxon tombs, it is probable that it was also manufactured -to an equal extent at home. During the Middle Ages the art appears to -have fallen into abeyance, save in a few isolated instances to be noted -later, but in the sixteenth century the custom of using glass vessels -was introduced from France and the Low Countries, most of the pieces -being imported from Venice. To prevent the money thus expended from -leaving the country, efforts were made about the middle of the century -to establish the art by the aid of workmen from Murano, and the history -of glass manufactured in England may be said to have fairly begun. It -was undoubtedly stimulated by the religious persecutions on the -Continent, particularly the Spanish Terror in the Netherlands, for the -Low Countries were seriously endeavouring to rival Murano in the art, -and the craftsmen who fled for refuge to England undoubtedly did much to -develop their trade in the country of their adoption, as did the -Huguenot refugees at a later period. - -[Illustration: - -_Strawberry -Cutting_ - -_Hob-nail -Cutting_ - -_Diamond -Cutting_ - -_Fleur-de-lis -Cutting_ - -_Fan Cutting_ - -_Herring-bone -Cutting_ - -FIG. 39.] - -In the seventeenth century the whole process was revolutionised by the -introduction of a large proportion of oxide of lead, making what is -technically known as “flint” glass--a glass much more brilliant than any -other, a quality due partly to its transparency and partly to its -increased refractive power, which renders it specially fitted for -“cutting”--a process which enhances its beauty by increasing the number -of ways in which the light rays falling on the glass are dispersed. 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 work. - -All this time the art of glass-making on the Continent had been -developing. In particular, 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 artists. An admirable example of what -they achieved in this direction is an old spinet in the South Kensington -Museum, which once belonged to Queen Elizabeth of Bohemia, the daughter -of James I. Whatever its merits as a musical instrument, its once -gorgeous gilt crimson leather case hides an interior of the utmost -interest to students of glass, for the interior of the lid is panelled -into eighteen divisions, each representing some classical -subject--Narcissus, Daphne, Andromeda, Argus, etc.--admirably done in -coloured glass. The front of the keyboard, the stretcher bar and the -keys themselves are also elaborately decorated in similar fashion with -coloured glass, silver or enamel. The keys are covered with ornaments in -coloured glass, the accidentals being faced with blue and white striped -glass and the naturals being fronted with the same. - -Although it is no part of the purpose of this book to deal in detail -with the technical side of the manufacture of glass, 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 manufacture. - -The scientist will tell us that glass is a double silicate, being -compounded of a silicate of sodium (or potassium) and a silicate of -lime. For the benefit of non-scientific readers, we may remark that a -silicate is a chemical compound formed when silica combines with an -alkaline substance like lime, soda, or potash. Silica is probably the -most widely distributed substance in nature. Silicate of alumina is, for -example, the basis of all clayey soils, and silica, in the pure form of -quartz, is the chief constituent of the sand of the sea and of all those -rocks which are known as sandstones. Rock-crystal, amethyst, agate, -onyx, jasper, flint, etc., are all varieties of silica. Crystalline -silica is hard enough to scratch glass--a fact utilised, as we shall -see, in the sand-blast which is used for the purpose of engraving -patterns on glass. Silica is fusible only at a very high temperature, -but readily combines with alkaline substances to form soluble silicates, -which are known in commerce as soluble glass, or water-glass, because it -dissolves readily in hot water. Water-glass is used in making artificial -stone, in coating stone surfaces, _e.g._ walls of buildings, etc., to -preserve the stone from decay under the weathering influence of the -atmosphere, and in the manufacture of cement. - -Ordinary glass has many valuable properties which make it of great -importance in the arts and manufactures. Among these may be mentioned -the fact that it can be made to take any shape with ease. It resists the -action of all ordinary acids, and hence is of the utmost value to the -chemist and the chemical manufacturer. Hydrofluoric acid alone attacks -it, by combining readily with its silica and so dissolving it. For this -reason, hydrofluoric acid is used in etching on glass. Again, glass is -cheap, being literally made from the dust of the earth; it is -transparent, and so can be used in buildings, transmitting light whilst -protecting from the inclemency of the weather. Its transparency, too, -combined with its high refractive power, make it of inestimable value -in the manufacture of optical instruments. It is this high refractive -power, too, which gives to cut glass its beautiful lustre and sparkle, -and one aim of the glass-founder is to increase this refractive power -and so enhance the brilliancy of his product. If glass could be made -which would refract light to the same extent as the diamond does, it -would exhibit the same “fire” as the king of gems. It is hard and close -in texture, and so is capable of taking a high polish. Its great -drawback is its brittleness, but this can be reduced to a great extent -by immersing it, whilst red-hot, in a hot bath of paraffin oil, wax, or -resin. A tumbler of glass so “tempered” may be dropped on the floor -without breaking. - -It may be added, as a matter of common interest, that this brittleness -is largely a result of the fact that glass is an extremely bad conductor -of heat. Because of this, a mass of molten glass, when cooling, becomes -set on its outside surface long before the interior has become -solidified; hence the solid exterior prevents the molecules of the -interior portion from contracting. As a result, a condition of strain is -established, the interior molecules tending to contract, while the -exterior tends in the opposite direction; consequently a very slight -blow is enough to cause a fracture. - -_Varieties of Glass._--As we shall frequently find it necessary to refer -to the various kinds of glass, 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 them. - -As regards quality, the chief kinds are crown glass, flint glass, plate -glass, bottle glass, and crystal glass, and the differences in -composition may be conveniently expressed in the form of a table:-- - - +-----------------------------------------------------------------------+ - | | | | | | |Oxide of|Oxide of| - | |Silica. |Potash. |Soda. |Lime. |Alumina.| Lead. | Iron. | - |--------+--------+--------+--------+--------+--------+--------+--------| - |Crown. | 67 | 21 | -- | 10 | 2 | -- | -- | - |--------+--------+--------+--------+--------+--------+--------+--------| - |Flint. | 44 | 12 | -- | -- | 1 | 43 | -- | - |--------+--------+--------+--------+--------+--------+--------+--------| - |Plate. | 78 | 2 | 13 | 5 | 2 | -- | -- | - |--------+--------+--------+--------+--------+--------+--------+--------| - |Bottle. | 59 | 3 | -- | 25 | 6 | -- | 7 | - |--------+--------+--------+--------+--------+--------+--------+--------| - |Crystal.| 56 | 9 | -- | 3 | -- | 32 | -- | - +-----------------------------------------------------------------------+ - -Cheapest of all glass is bottle glass, where the base is mainly lime. -The metal used for medicine bottles contains more potash and is purer -and clearer. The use of potash and soda makes the glass more easily -fusible; alumina has the opposite effect; lime makes a harder glass; -lead gives lustre, increases fusibility, and heightens the refractive -power. Hence in glass which is to be cut and polished the employment of -lead in sufficient quantity is a factor of the highest importance. This -is a point to be specially noted in connection with English glass. -Lead--chiefly the oxides known as litharge and minium--in small -quantities has long been employed, the introduction of the metal serving -as a flux, but lead glass was generally avoided as being too brittle. -Merret, writing in 1662, remarks that could this glass be made as tough -as crystalline, “it would far surpass it in the glory and beauty of its -colours.” It will be noted that the two kinds of glass in which lead is -used in quantity are flint glass and crystal. The larger the amount of -lead the greater the beauty and brilliancy of the product, a result due, -as previously intimated, to the increase in refractive power that is -brought about by its addition. - -Flint glass derives its name from the fact that in England the -silica, which is the main constituent of all glass, was procured -from flints which were calcined and pulverised. Being highly -refractive it is extensively employed in the manufacture of optical -instruments--telescopes, microscopes, etc. Quartz and fine sand are now -used in the place of flints. The glass is soft, and hence easily -scratched and dulled. It is essential that only the purest materials be -employed, and special furnaces and pots are needed. Flint glass was -known in quite early times. It was probably discovered by accident that -certain stones were fusible, for fossil glass is found in many places -where great fires have been. Volcanic glass--obsidian--is a well-known -substance, while there exist in Scotland ancient forts, the stones of -which have been fused together by the action of heat. The Venetians used -quartz in preference to sand, since the latter was liable to contain -impurities, and the Venetian craftsmen who settled in England were -accustomed to ensure the purity of their silica by calcining flints. -Crown glass is the finest sort of ordinary window glass. Plate glass is -the superior kind of thick glass used for mirrors, shop windows, etc. It -will be noted that it is the only kind of glass which contains soda. - -The process of glass manufacture comprises three stages, mixing, -melting, and blowing. The various ingredients are first finely ground -and then thoroughly mixed by the aid of a mixer, forming what is known -as the “batch.” This is placed in melting pots. These are crucibles of -fire-clay, _i.e._ clay capable of withstanding the action of heat. The -clay must be of the finest quality, and be carefully freed from -extraneous matters which might affect the quality of the glass. Hence -the manufacture of the “pots” is itself an industry of some importance, -and as each costs some £10, they form an important item in the expense -of manufacture, especially as the pots are short-lived, some eight to -ten weeks being the average life of one of them. - -The ordinary pot is an inverted section of a cone, the apex being -closed. For flint glass a covered pot is essential, the form ordinarily -adopted being a bell-jar closed at the bottom and with an arched -opening at the top. Each pot holds from ten to fifteen cwt. of the -“batch.” When full, the pots are placed in specially constructed -furnaces, holding from five to fifteen pots, and capable of producing a -temperature of from 10,000° to 12,000° F. The details of the firing are -intricate and interesting but have no direct bearing on our purpose; -their object is to produce complete fusion, to allow for the removal of -all impurities, and to ensure the homogeneity of the product. - -The final stage with which we are concerned is that of blowing, since -all table glass, worthy of being called table glass, is blown. In other -words, every decanter, vase, tumbler, 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 eye. It -is this fact which gives glass its individuality. There is no -hard-and-fast rigour of line, no mechanical uniformity of shape, such as -is associated with machine-made goods; even the simplest wine glass is -an individual thing, which the taste of the craftsman has endowed with -artistic distinction whilst retaining its simplicity of form. - -It is a matter for regret that the glass-blower’s art is seriously -threatened in these latter days of hurry and competition. The demand for -cheap glass has led to the introduction of blowing machines, in which -the bubble of molten glass is taken up by one of many blowing tubes, and -placed inside a mould, air being driven by machinery through the other -end of the tube and inflating the bubble until it touches the sides of -its mould. The budding craftsman thus loses the practice of blowing -these simpler forms, and as he is now forbidden to work at the furnaces -until he is over fourteen, he often fails to acquire that lightness and -dexterity of hand which are the mark of the first-rate craftsman, and -which can be most readily gained in early life. There is, of course, no -reason why common vessels should not be produced in this way, and -tumblers, decanters, and lamp glasses are so manufactured in large -numbers. - -Needless to say, moulded or pressed glass has little value, either -intrinsic or artistic, in the collector’s eye, unless it has acquired -distinction on account of its age; for moulded or pressed glass has been -known from early times, and it is of the greater interest, since only -English glass, _i.e._ flint glass, or glass of similar characteristics, -can profitably be so dealt with. It will be readily understood that only -glass of a low melting point, which does not quickly solidify, and which -at the moment of solidification expands and fills out the interstices of -the mould, can be successfully treated in this way. One bar to the -extensive use of this form of glass was the cost of the essential lead -and potash. These are often now replaced by baryta and lime, with the -result that a very suitable glass is produced, which contains no -appreciable quantity of either lead or potash. - -The art of glass-cutting in Europe dates back to the middle of the -sixteenth century, when it was extensively practised on the Continent, -particularly in Bohemia. The earliest examples were probably imitated -from the rock-crystal cups of ancient Greece and Rome. There is no doubt -that in both these countries the art was practised for the -ornamentation of the famous crystallinum, whilst some vessels were -undoubtedly cut out of the solid block. - -The discovery of flint glass revolutionised the art of glass -ornamentation. The strong refractive powers of the new glass made it -specially suitable for cutting, which brought out a wonderful fire and -sparkle that even the finest art of Bohemia and Venice had not been able -to attain. At first, of course, the English craftsmen were far inferior -in artistic merit--both as regards design and execution--to those of -Bohemia; but the superior brilliancy of the metal atoned to a great -extent for the deficiencies of the workmen, and Early English cut wine -glasses and punch glasses are by no means to be despised. “L’article -Anglais solide et confortable, mais sans élégance,” spread the fame and -fashion of English glass throughout the Continent and, incidentally, -over the world. - -The earliest examples of English cut glass are perhaps the -thistle-shaped glasses, originally fashioned in Bohemia but adopted by -Scotland as representing the national emblem. Apart from these, the -ogee-shape was most commonly selected as being more amenable to artistic -treatment than the bell. - -The stem is usually knopped and cut into facets, and is invariably -hexagonal in shape. The cutting is continued beyond the top of the stem -on to the lower part of the bowl, so as to give a kind of finish. -Sometimes, indeed, the cutting is made to include the bowl in a scheme -of decoration, and the rim is engraved with conventional designs, -wreaths of flowers, etc. Towards the end of the eighteenth century the -facets became long flutes. - -The process technically known as glass-cutting is essentially one of -grinding and polishing. The grinding is done by a wheel, made of -cast-iron, and made to rotate rapidly by a continuous band passing over -a revolving shaft. Above the wheel is a receptacle containing sand and -water, which can be fed on to the wheel as desired. Smoothing is done by -a sandstone wheel, similarly mounted, and polishing by a wooden one fed -with putty powder. The craftsman holds his piece in the hand, pressing -it against the rotating wheel. - -Engraving is really very fine grinding, done usually with a copper -wheel or, rather, disk, whilst etching is done by coating the glass with -wax, or some similar protective substance, scratching the pattern -through the wax and then subjecting the piece to the action of -hydrofluoric acid. - -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 workman; -the cheaper kinds of glass are all moulded or “pressed.” Pressed glass -is also essentially English, no other kind, save flint glass, being -suitable for treatment in this way. It is, in the first place, essential -to obtain a metal which has a low melting point, and one which does not -shrink in solidifying, as that would draw it away from the sides of the -mould, and so effectively spoil the design. The low melting point of the -metal enables the product to be “fire polished.” In this process it is -reheated to a point sufficient to melt a thin surface layer, and so -remove any roughness due to the process of moulding, and leave a smooth -bright surface. The art of pressing glass has been brought to a high -degree of perfection, elaborate decorations being produced with ease. -The cost of the process, too, has in recent years been lessened by the -use of baryta and lime, in the place of lead and potash, and in this way -the output has been greatly cheapened, while baryta glass, if inferior -in sparkle to lead glass, is yet far more brilliant than ordinary glass. - -The problem how to distinguish real old glass from modern imitations is -one that besets the collector at every stage of his progress. A few -specimens supply their own testimony in the shape of a date, but it is -by no means impossible to engrave a date on a piece of specious-looking -real antiquity, and so give it a fictitious value, by making it appear -“the thing which it is not.” - -As to the character of the glasses themselves, shape alone is no -criterion of age. Apart from the possibility of deliberate imitation, it -does not follow that because a piece is ponderous, clumsy in appearance -and, to a modern eye, unduly capacious, that it is necessarily an early -piece. Right from the beginning of glass manufacture in England, two -qualities, at least, were undoubtedly manufactured; the better to -ornament the tables of the great, and the poorer for service in kitchen -and tavern. Whereas articles of the former were as dainty and artistic -as the skill of the craftsman would allow, the latter were roughly made -and deliberately ponderous to bear the rougher usage to which they were -subjected. As the same practice continues up to the present day, it -follows that there is in existence a considerable quantity of common -glass with all the attributes, as far as shape and clumsiness of form -are concerned, of that of an earlier period. - -Possibly the appearance of the metal and the style of workmanship are as -reliable guides as any others. The metal of the earliest glasses was by -no means perfect. Instead of the beautiful clarity and perfect -transparency we are accustomed to associate with glass, there is often a -streakiness or cloudiness visible in the material, together with -numerous bubbles and flaws. If the striations are horizontal, the glass -is of an earlier type than if they are perpendicular. The sides of the -bowl are often irregular, and the stems are often clumsy, uneven, badly -balanced, and altogether disproportionate in point of size to an eye -accustomed to the slenderer style of modern glassware. An important -point is the junction between the bowl and the stem. For some -extraordinary reason, the welding of the two seems to have given the -ancient glass-blowers considerable trouble, and the join is often too -clearly perceptible. Hence the collector who comes across an apparently -ancient piece bearing evident signs of clumsy joining should give it -more than casual attention. Sometimes, to obviate the difficulty, the -base of the bowl was made into a kind of knop, 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 period. - -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 glass. It is worthy of note that whilst the bubble is almost -invariably present in the baser forms of early eighteenth-century glass, -it is frequently absent from the finer varieties. Another point of -difference is that the better specimens rarely have the folded foot, -which is invariably present in the coarser makes, the turning under of -the rim, whilst plastic, to make a kind of welt, being an obvious -precaution against the rougher usage to which they were inevitably -subjected. Sometimes the feet were domed, but these were difficult to -make and the numbers were restricted. In some specimens ridges or ribs -are formed on the upper and lower sides of the foot. - -The earliest glasses were devoid of any attempt at decorative engraving, -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 only. The former -are of the earlier type. - -Among the tests which the collector might apply are the following:-- - -Note whether the glass rings clear and sweet in tone. In twisted stems, -note whether the stem twists to the left or the right. The genuine -glasses have almost invariably stems twisted to the left. In -opaque-twisted stems, note particularly the colour of the spiral. In the -forgeries the opacity is less definite, the twist often having a kind of -translucent look. - -Genuine old glass often has a cloudy tinge with frequently a tone of -steely blue. Forgeries may show a greenish tint. - -In old glass the centre of the base, where the piece was, after being -finished, knocked off the pontil, is generally left rough; in the -imitations it is generally ground smooth. - -The foot of a genuine old glass is never quite flat, there is always a -slope--sometimes a very pronounced one--from the centre to the edge. The -modern imitation, usually made abroad, often has a perfectly flat foot. - -The edge of the bowl in a genuine old glass is always rounded, never -left hard and sharp. - - - - -CHAPTER II - -EARLY ENGLISH GLASS - - -The early history of glass manufacture in Britain is decidedly obscure. -The earliest specimens of the art extant are certain coloured beads, -known as “aggry” beads. Many of these exist, some probably of Phœnician -origin, others dating from the Roman occupation of Britain--being made -either by the Romans themselves or by a British craftsman under Roman -tuition. - -There can be little doubt that the Romans did introduce the making of -glass into this country, for glass was an indispensable adjunct to Roman -life. Moreover, it was the custom for the conqueror to train the -conquered in his own arts, and the Roman handicrafts followed the Roman -Eagle. In any case, the art of glass-making had, according to Pliny, -extended to Gaul, and there seems no reason why it should not also have -crossed the Channel. Unfortunately, there is no evidence that it did. - -There is, however, evidence that glass-making was carried on in -Anglo-Saxon times--many specimens of Anglo-Saxon bead-work, etc., having -been found in barrows, tumuli, and burying-places in general. They are -composed of an opaque, vitreous paste--which in places approaches -translucency. Unfortunately, the materials employed were impure, and the -material has consequently disintegrated with time, making it a matter of -exceeding difficulty to determine its original texture and appearance. -The decoration, both as regards colouring and design, is primitive. The -colour is crude, and the patterns consist mainly of simple geometrical -figures, circles, chevrons, stripes, spirals, and so forth. - -Possibly after the Roman withdrawal in 410, the art fell into abeyance, -as did much of the civilisation imposed by the Romans, reviving again -when the various Anglo-Saxon units began to develop a civilisation of -their own, and to pass through various confederacies into a single -kingdom. - -Bede writes that in 675 “Benedict Biscop” sent for glass-workers from -France to glaze the windows of the church at Wearmouth, and that they -taught the English their handicraft, making not only windows but -vessels. - -The art must, however, have survived in certain places, for numbers of -vessels which can be referred, on the authority of illuminated MSS., -etc., to Saxon times, are in existence. Such specimens include (_a_) -vases, ornamented with ribs and applied lobes. These are probably of -German origin, and were introduced into Britain by the Saxon invaders. -(_b_) Trumpet-shaped cups, ribbed, or stringed, or fluted. These have no -base on which to stand, and are probably of English manufacture, dating -from the latter half of the sixth century, (_c_) The third type is the -“palm” cup, shaped so as to be conveniently held in the palm of the -hand, having no bottom on which to stand; and (_d_) bowls of various -shapes. The palm cups and bowls belong to the eighth and ninth -centuries, and later. It should be remembered that the dates given can -only be roughly approximate, and that the various periods fuse one into -the other, so that there is no definite line of demarcation. Moreover, -there is no definite proof that glass vessels were made in England -during Saxon times, save only such - -[Illustration: FIG. 38. - -_Saxon Glass._--1, 2, 3, Trumpet Cups; 4, a Ribbed and Lobed Vase; 5-9, -Palm Cups and Vases.] - -statements as that of the Venerable Bede previously referred to. Only, -while similar vessels are found both in France and Germany, it is -claimed that a greater number and a greater variety are found in -England, the inference being that they were made in this country. - -So remarkable is the paucity of evidence and so absolute the dearth of -authenticated examples in these Dark Ages of glass manufacture, that it -has often been asserted that no glass vessels were made in England -before the fifteenth century. Glass vessels were, of course, known and -used, but these were probably, in the main at any rate, imported from -Venice and the East. On the other hand, it is known that before the -thirteenth century window glass--blown glass too, and not cast -glass--was made, and very successfully. Indeed, old English coloured -glass was particularly fine, and this being so, it is not easy to -understand why the same art should not be applied to vessels. - -Coarse glass vessels were certainly made at a very early date. The -records of Chiddingfold refer to Laurence _Vitrearius_ in 1230, William -le _Verir_ in 1301, and John _Glasewryth_ in 1380. The record, in its -transition from Latin to Norman-French, and then to Anglo-Saxon, has -its philological interest as well, but it may be mentioned that John the -_Glasewryth_ made both “brode glas and vessel.” - -There is, too, in existence an ancient cup of glass, disinterred from a -tomb in Peterborough Abbey Church, which, from the records of the Abbey, -must have been buried there, in all probability, in the first half of -the thirteenth century. In the accounts of Henry, the second son of -Edward I., who died in 1274, there is mentioned the purchase of a glass -cup for the sum of twopence halfpenny, a fact which seems to imply that -to be sold so cheaply the vessel must have been of domestic manufacture. -It should not, however, be forgotten that this sum represented the daily -wage of a skilled artisan in the thirteenth century. In the Taxation -Roll of Colchester in 1295, three of the principal burgesses are -referred to as “verrers,” and it seems hardly likely that so many -important citizens were merely glaziers and not glass-makers. However, -it is more than probable that the use of glass was confined to the noble -and wealthy, while the common folk used vessels made of wood, horn, or -leather. The “Leather Bottel” has passed into a proverb, and the Black -Jack was so universal in its use that the French, naturally curious as -to English habits, referred to us as a nation of savages who habitually -drank out of their boots. 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 century. -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 acceptable. Those that did exist were probably rather valued -curiosities than articles of everyday utility. - -There was, undoubtedly, produced during this period considerable -quantities of window glass, much of it highly decorated, and exhibiting -characteristics peculiar to the period to which it belongs, so that -experts find little difficulty in distinguishing between the vigour of -the thirteenth and the brilliancy of the fourteenth century. It would -appear, too, that the home product won an increasing appreciation from -the architects who employed it in their buildings; for whereas in 1547 -the contractor binds himself not to use it for the windows of the -Beauchamp Chapel at Warwick, in 1485 it is mentioned in such a way as to -imply that it was either better or dearer, or both, than “Dutch, Venice, -or Normandy glass.” - -In the sixteenth century, however, the fashion of using vessels of glass -became almost universal in the west of Europe. Most of these came from -Venice, and, spurred by the desire of establishing so lucrative an -industry at home, the rulers of various countries--notably France, -Holland, and England--sought to induce Venetian craftsmen to settle in -them. - -The glass-workers of Murano--the great glass-making centre in -Venice--were, however, a close corporation, the workmen being -stringently bound, under penalty of death, not to carry their trade -secrets to any other country or to teach them to foreigners. In spite of -this, eight Muranese glass-workers were induced to settle in England in -1549, and built their furnace in the monastery of the Crutched -Friars--one of the minor orders. They derived their name Crutched -(_i.e._ Crossed) from the ornamental cross which adorned their habits. -Of the eight, seven returned to Venice in 1551, having previously -petitioned the Council of Ten to remit the penalties against them. It is -a reasonable assumption--but still only an assumption--that during their -stay they did much to further the art of glass-making, although they -merely produced glass and sedulously refrained from teaching their -“mystery.” - -The “Breviary of Philosophy,” published in 1557, remarks: - - “As to glassemakers they be scant in this land - Yet one there is as I doe understand, - And in Sussex is now his habitacion, - At Chiddingfold he works by his occupacion.” - -Evidently, therefore, the old Sussex industry had survived. The product -of the Chiddingfold furnaces was probably, however, a coarse green -glass, and by no means to be compared with the Venetian article. - -In 1564 Cornelius de Lannoy, an alchemist from the Netherlands, came to -England, at the invitation of the Government, to teach the art of -glass-making as practised in the Low Countries. He took up his abode and -set up his furnace in Somerset House. He failed, however, with the -materials then available, to produce any very effective results; in -particular, the clay used for the pots failed to withstand the great -heat required to produce transparent glass. Moreover, de Lannoy proved -to be more alchemist than glass-maker, and left various persons in -England the poorer for their quest after the philosopher’s stone which -they had undertaken under his guidance. - -In 1567 Pierre Briet and Jean Carré sought a licence to make glass after -the French fashion, and to teach to English craftsmen the art of its -manufacture as practised in Lorraine and Normandy. Elizabeth, always -with an eye to the main chance, made no difficulty and, joining forces -with a rival licencee, Becker, set up in opposition to the English -glass-makers in Sussex and later at Stourbridge and Newcastle. 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 them, which found vent in popular tumult and, in at -least one instance, in a conspiracy to murder the workers, pillage their -stores and destroy their furnaces. There seems little doubt, however, -that their presence must have influenced the quality of English glass -and given an impetus to its manufacture. So did the advent of political -and religious refugees from the Low Countries and from France, and also, -though, of course, to a far greater degree, the influx of French -artisans in the seventeenth century after the revocation of the famous -Edict of Nantes. In spite of their efforts, however, it does not appear -that the importation of fine Venetian glass was in any way checked; it -continued, indeed, on an extensive scale for a long time after. - -The most famous name in the history of Elizabethan glass manufacture is -that of Jacob Verzelini, who came to London in 1575 and stayed for the -remainder of his life--about thirty years. He obtained a patent giving -him the monopoly of manufacturing glass after the Venetian style for -twenty-one years. He set up his establishment in the hall of the -Crutched Friars, where the eight Venetians had built their furnace in -1549, and there made “glass of divers sorts to drink in.” There is -little doubt as to his success, although, with one possible exception, -no tangible evidence of it remains. 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 practitioners, he succeeded sufficiently well to arouse a strong -feeling of jealousy. This was intensified by the traders who had -hitherto sold imported Venetian glass, and the seamen who carried it in -their vessels and who now saw their livelihood menaced. - -The general public, too, showed itself greatly concerned over the great -consumption of wood in the glass-houses. Indeed, during this period the -wasting of the woods was a general complaint wherever furnaces were set -up. So strong was this feeling, indeed, that in 1584 an act was passed -against the making of glass by strangers and outlandish men and for the -preservation of woods spoiled by glass-houses; and in 1589, the year -after the Armada, it was proposed to reduce the number of glass-houses -from fifteen to four, transferring the rest to Ireland, where the loss -of trees did not matter so much, the timber not being urgently needed, -as in England, for the purpose of shipbuilding. 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 produced, as -witness the windows of King’s College Chapel at Cambridge, which date -from 1515-31; and it seems impossible to conceive that, with Venetian -and Eastern glass to copy, the craftsmen who produced the windows should -not have also turned their skill to the making of drinking vessels, -particularly as the fashion for vessels of glass had strongly set in. - -“It is a world to see in these our daies wherein gold and silver most -aboundeth how that our gentilitie as lothing these mettals (because of -the plentie) 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 drink.... - -“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 stone, but in fine all go one way that -is to shards at the last.” - -On the other hand, when Sir Richard Mansel applied in 1624 for a patent -to manufacture glass and to train Englishmen in the art, it was opposed, -on the ground that fifty years before a similar patent had been granted -to Jacob Verzelini and that it had been altogether neglected, and very -few Englishmen had been brought up in the art. Mansel, in his reply, -stated that he himself had brought many strangers from beyond seas to -instruct his fellow-countrymen in making all sorts of glass, -crystalline, Murano, spectacle glasses, and mirror plates. - -I have stated these facts in the early history of English glass at some -length not only for their intrinsic interest, but also to illustrate the -curious fact that just as there is from Saxon times to 1550 a gap in the -history of its manufacture, which no authenticated examples assist to -fill, so from the accession of Queen Elizabeth to that of King Charles -I. there exist to-day very few indisputable examples of the English -glass-blower’s art of this period; and yet it is hardly possible to -believe that they were not produced in considerable quantity. For, in -spite of specimens bearing the Tudor rose--an ornament, by the way, -largely employed at a later date--and of others with detailed and more -or less accredited histories, “Elizabethan glass,” so glibly spoken of -by some collectors, is chiefly conspicuous by its absence. Happy, -therefore, the collector who acquires even a dubious example. - -One famous specimen which may safely be assumed to be authentic is that -from the British Museum Collection shown in Fig. 1. This drinking cup or -goblet stands about 5¼ in. in height and bears the initials G. -S.--probably those of the person for whom it was made--the date 1586, -and the motto, “IN: GOD: IS: AL: MY: TRVST.” Experts generally concur in -attributing it to Jacob Verzelini. - -Four years after the Armada, Elizabeth granted to one Thomas Bowes a -monopoly to make drinking glasses “to be as good cheape or better cheape -than those imported from Venice.” As to the success of his venture -history is silent. In the reign of her successor--that British Solomon, -James I.--glass-making seems, however, to have made considerable -progress; for in 1610 a licence was granted for “the invention of -coal-heated glass-houses,” and in the following year Sir Edward Zouche -expended no less a sum than £5000 in erecting glass-houses in Lambeth -and perfecting the production of glass with sea-coal. This change is a -momentous one in the history of glass-making, inasmuch as it became -necessary to cover the pots, and this brought about various -improvements. They are mainly associated with the name of Percival, and -it is to be presumed that they included the introduction of oxide of -lead into the frit in quantity, with the result of producing a more -brilliant crystal than had yet been produced. From this time English -glass began to acquire fame, and the industry became a definitely -British art. - -One outcome of this change in the method of manufacture was that the -industry became localised, the glass-houses springing up in those -districts where it was easy to obtain fuel as on the coal-fields, where -the sand was of exceptional quality as at Reigate, or where there was an -abundance of clay suitable for making the pots as at Stourbridge. - -One of the most interesting discoveries in connection with the history -of the glass industry in England was made some sixty or seventy - -[Illustration: FIG. 1.--AN EARLY ELIZABETHAN GLASS, DATED 1586.] - -[Illustration: FIG. 2.--AN OLD ENGLISH GLASS TANKARD AND COVER.] - -years ago at the little Hampshire village of Buckholt Wood. Excavations -here brought to light fragments of glass, some clear, others with a -greenish or bluish tinge, evidently portions of broken vessels of -various kinds--drinking glasses, jugs, bottles, and so forth. These were -in such quantity that it was evident chance had brought to light one of -the old glass-houses, which were founded in well-wooded districts, and -kept going as long as sufficient wood remained to burn. - -We have seen how, in the beginning, English glass-workers were a nomad -race. As the woods in one place were exhausted they moved to fresh -fields and forests new--much to the annoyance of the populace, who -depended upon those woods for their household firing, and of the -Government, who sought to preserve them for the maintenance of the -fleet. - -In 1615 a proclamation was made forbidding the use of wood for glass -smelting, the furnaces being in future compelled to burn sea-coal or -charcoal or other fuel. The same ordinance prohibited the importation of -foreign glass or the immigration of foreign glass-workers. - -In the same year Sir Richard Mansel, a man of considerable standing in -the realm, who had been experimenting in glass-making with the aid of -Venetian workmen, was granted a licence for making glass with coal, and -set up furnaces in London and at Purbeck, Milford Haven and Newcastle. -It is a matter for regret that no product of his furnaces is known to -exist to-day, a fact the more surprising in that his licence was renewed -at various times, and so covers a considerable stretch of the most -interesting period of the art. At any rate we find him petitioning in -1641 that he might be protected against persons importing glass from -abroad, whereas he was paying a rent of £1000 per annum for his -monopoly. His name is mentioned as late as 1653, so that for nearly -forty years he controlled, more or less, the business of glass -production in England. - -It is a matter for some congratulation, however, that Mansel employed, -in some kind of managerial capacity in his Broad Street works, a certain -James Howell, who enjoys the reputation of being one of the liveliest -and most pleasing writers of the period. In the famous Howell’s -letters, “Epistolæ Ho-Elianæ,” which were published between 1645 and -1655, we have a delightful commentary on the events of his time, and -incidentally a number of curious and useful sidelights on the conduct of -glass manufacture both in England and on the Continent. - -It is said that Sir Kenelm Digby, of Royalist fame, invented in 1632 the -art of making glass bottles to contain the wine which hitherto had been -drawn straight from the wood. But Fame which credits him with this -discovery would seem to have forgotten that in Elizabeth’s time ale was -sold in glass bottles, and a quaint old volume yclept “The English -Housewife” refers in 1575 to round bottles with narrow necks for “bottle -ale,” the corks being tied down with stout string. - -The Commonwealth, save for what may be gleaned from Howell’s pages, adds -but little to our knowledge of glass. The Puritans were, perhaps, more -addicted to smashing it, in the form of stained-glass windows, than -manufacturing it for domestic utilities. But with the Restoration there -came a great change. The then Duke of Buckingham, who appears, like -others of his name, to have had a keen eye to the main chance, started a -glass furnace at Greenwich. In 1663 he petitioned the King that he might -be granted a licence to make mirrors, he having been at great expense in -finding out the art and mystery thereof--“a manufactory not known nor -heretofore used in England”--a curious contradiction to Mansel’s claim -in 1620, and one which seems to imply that the Duke was by no means -particular as to what he said provided he might gain his ends. - -There were numbers of competitors at the time all claiming to be the -inventors of crystal glass. The authorities, however, awarded the palm -to one Thomas Tilson, who in 1663 was granted a patent, in which he is -described as the inventor of crystal glass. It appears clear that Tilson -had produced a material of greater merit than any of his predecessors or -contemporaries. It is probable that this material was lead glass--flint -glass as it was and is still called. One point in support of this theory -is that it was too brittle to be used in making vessels, and Tilson -consequently confined himself to the manufacture of mirrors, windows for -coaches, etc. - -Specimens of the work of this period may be found in many -places--country houses, mansions, halls, etc.--throughout the country. -At Hampton Court Palace there are, for example, several magnificent -mirrors that testify to the skill of the craftsmen--Venetian and -English--of this period. 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 manganese, which was one of -the constituents. At a slightly later date other glass-houses were -founded in Lambeth, Stourbridge, Newcastle-on-Tyne, and other places, -notably in Surrey and Sussex. - -All this while, however, there was a great trade in imported Venetian -glass, which the Council was, time and again, petitioned to prohibit. -Fortunately both for the future of the art of glass-making in England -and for the cheapness and quality of the ware, which was now in great -demand, the efforts of the protectionists were unavailing. - -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 Greene, who seems to -have dealt in imported glass, ordering from the Venetian furnaces -vessels to his own specification and design. Fortunately some specimens -of these are still in existence, but it need hardly be said that -examples of the seventeenth century, both home manufactured and -imported, are of the extremest rarity. He would be a fortunate collector -who should discover, say, “a speckled emerald coverd beere glasse” or a -“milk-whit cruet” either with or without “feet and ears of good hansom -fashion.” - -In point of shape the Venetian and English glasses of this period differ -very little, but there is a considerable difference in the character of -the metal. The glass from Venice is colder to the eye, whiter and softer -than the English, which is more brilliant and of a peculiar steely -lustre, while it is far weightier--a fact probably due to the use of a -considerable proportion of lead. The English glasses, too, are heavier -in appearance, with stems, thick and lumpy, of the baluster type. Often, -too, the bulbous stem is blown with a bubble, - -[Illustration: FIG. 3.--AN EARLY GLASS FEEDING CUP.] - -[Illustration: FIG. 4.--A SIXTEENTH CENTURY PANEL GLASS, WITH PORTRAIT -OF CHARLES II.] - -often of considerable size--a primitive attempt at ornamentation. Not -unseldom a coin is inserted in the bulb of the stem or the knop of the -cover. One famous example of Caroline glass is the magnificent posset -cup in the possession of Miss Whitmore Jones, which is shown in Fig. 2. -This unmistakably dates from the time of Charles II. and is a genuine -example of English art. It was probably, as to design, copied from a -Venetian model, but the texture of the glass and the weight of the piece -are strong evidences of its English origin. With the accession of -William, the craft was further stimulated by the importation of many -models, and possibly craftsmen from the Low Countries. Speaking -generally however, the vessels of the reigns of William and of Anne are -but improved specimens of those of Charles. Some, however, have spiral -lines cut round the stems, and are, to this extent, the prototypes of -the twisted stems of the eighteenth century. - -The illustration of a feeding cup (Fig. 3) provides an excellent example -of the work of this period. 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 merit. - -In Fig. 5 we have portrayed the prototype of the modern tankard. Judging -by the shape and style it was probably an ale glass. 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 base. Fig. 6 is a -photograph showing the coin. Such a piece has almost the value of a -dated specimen, for though it was, of course, possible to insert a coin -of any previous date, the reason for doing so is by no means obvious. It -is hardly likely, for example, that anyone living in William’s reign -would have so enthusiastic a regard for Charles II. as to cause a coin -of that monarch to be embedded in a piece that he had made as an -heirloom. This specimen is in the British Museum, whose mark appears to -the right of the photograph. - -The quaint glass panel seen in Fig. 4 is an interesting relic of the -attention paid to glass-working at this period. The portrait is that of -Old Rowley (Charles II.) himself, and the piece was in all probability -made at Greenwich, possibly in commemoration of his visit - -[Illustration: FIG. 5.] - -[Illustration: FIG. 6.--THE CENTRE SHOWING THE COIN BLOWN IN THE STEM OF -THE TANKARD SHOWN ON THE LEFT-HAND SIDE.] - -there. It was taken from a house in Purfleet and is now in the National -Collection. - -The revocation of the Edict of Nantes in 1685 gave a vast impetus to -glass-working as to other crafts. This measure, and the terrible -persecutions which followed it, cost France a number, variously -estimated at from 250,000 to 600,000, of her best citizens. Great -numbers of these immigrants settled in England, and founded in their new -home the industries which had become famous in the country of their -birth. Among them came glass-workers from Paris, Lorraine, and other -parts of France, who were deservedly famous for their skill in their -craft. 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 other, 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 kinds, even to the famous glass of -Bohemia, which seemed dull and lustreless beside it. - -For these reasons the close of the seventeenth century is an epoch in -the history of English glass, and the period which followed it saw the -art of glass manufacture in England attain its zenith. - -It is therefore with eighteenth-century glass that we are chiefly -concerned, and as the great bulk of eighteenth-century glass consisted -of drinking glasses, a great portion of our space will be devoted to -these. - -At the outset some attempt at classification is desirable. We may refer -the reader to the very exhaustive list of varieties which that great -authority, Mr. Albert Hartshorne, has made in his standard work on this -subject. For our purpose it will be sufficient, however, to make a broad -and simple division of drinking glasses into wine glasses, ale and beer -glasses, and cordial or spirit glasses. It is the custom, too, 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 people. Here, however, the distinction is rather one of -quality than of kind. - -The three great groups to which we have referred fall into various -classes according to the diversity of shape in bowl and stem and, to a -less degree, of foot. - -The bowls are variously funnel-shaped, with straight sides, or waisted, -that is, with the sides curved inward to form a waist, bell-shaped, and -ogee or double-ogee shaped--the last named showing in section the ogee -curve, so widely employed by the architect for his mouldings. - -The stems are of two great classes--drawn stems or stuck stems. The -former are parts of the same lump of molten glass of which the bowl is -formed; the latter consist of a separate piece fused into the bowl. - -As regards shape, stems may be plain rods, rods with knops, rib-twisted, -faceted, air-twisted, air-drawn, or opaque-twisted. We shall deal with -each variety in its appropriate place. - -With regard to the foot, the generality were folded, that is to say, the -edge of the rim was turned under to form a fold or welt, so that the -glass stands on the rim, and not on the flat of the foot. Apart from -this, the only variations are those bearing on the flatness of the foot -and its diameter. In old glasses the feet were never quite flat. There -is always a perceptible slope from the centre to the rim, and very often -the central portion rose up into a dome. The foot was also wider in -comparison with the width of the bowl than in the modern type. - -The decoration is of two kinds, engraved and cut. The character of the -engraving is little to the credit of the native designer or craftsman. -Indeed, both as regards artistic design or skilful execution, English -glass ornamentation is distinctly inferior to that of the Continental -pieces. The usual design is the rose, at first heraldic and -conventional, and then more and more natural, with at first a butterfly, -which gradually dwindled to a moth, and then finally disappeared. -Other designs are based upon the nature of the liquids drunk, or -refer to politics, domestic or business affairs, or to some -famous personage. The largest group of designs is associated with -Jacobitism--“Charlie-over-the-water-ism,” as some one has wittily called -it. In rare cases these bore a portrait; more commonly the emblem -selected was the use of two buds--the latter explained as referring to -the two sons of James II., or to the two sons of the Old Pretender, -Charles Edward of “Charlie-is-my-darling” fame, and Henry, who died at -Rome in 1807, as Cardinal York. - - - - -CHAPTER III - -EIGHTEENTH-CENTURY GLASS - - -The eighteenth century is the “Golden Age” of the collector of English -glass. At the beginning of the century glass manufacture was already a -flourishing industry. Vessels of all kinds for ornament, keepsakes, and -for domestic use were being produced in great quantities, and there was -a strong and growing competition between the native craftsmen and the -glass-workers of Venice, Bohemia, Germany, and the Low Countries, a -competition which, thanks to the superiority of the new English “flint” -glass, was steadily trending in favour of the English product. - -As a result, the collector is at once on firmer ground. His knowledge of -earlier periods had been gleaned haphazard from drawings, paintings, -tapestries, mosaics, and historical documents, with only here and there -a specimen, and that of dubious authenticity, to guide him. From this -time he is able to observe at first hand, compare, classify, note -differences, excellences, and defects. There is no longer any lack of -material, either of the finer sort suitable for the tables of the great -and wealthy, or of the coarser kind whose only merit was utility. - -With the growing profusion, however, came a veritable confusion of -types, which renders any attempt at classification a matter of very -considerable difficulty. To a great extent this arose from the toping -habits of our forefathers in perhaps the most convivial period of our -history. There was a vast improvement in social conditions and -amenities, and the variety of glasses that sprang into existence affords -ample testimony to this, as well as to the variety of drinks in favour -and to the ingenuity of the times in devising toasts and sentiments, no -less than to the skill of the English craftsmen and the individuality of -the various makers. - -At the beginning of the century, however, the use of different glasses -for different kinds of wine had not yet arisen. A bowl of water was -placed on the table in which the drinkers rinsed their glasses when a -new vintage made its appearance. Subsequently each guest had - -[Illustration: FIG. 40. - -Examples of Baluster Stems and Tear Glasses.] - -his special bowl for this purpose. These bowls are exceedingly rare, and -are generally described as wine-coolers. Their modern equivalent is the -finger bowl. - -There was naturally a vast difference between the glass of the early -part of the century and that of the later part. Speaking very broadly, -the order of progress was as follows:-- - - 1. Heavy glass with baluster stems. - 2. Lighter glass with air-twisted stems. - 3. Drawn stems. - 4. Opaque-twisted stems. - 5. Cut glass. - -Many of these glasses are still in existence and it is even possible for -the amateur collector to acquire an occasional specimen. This early -eighteenth-century glass is of remarkable quality, both as regards form -and lustre. It is true that it is less perfect in shape and texture than -the products of to-day, but it is superior in artistic merit, in -originality of design and softness of outline. The lack of perfect -symmetry is one of its charms, as it is in the case of old lace which, -so far as absolute and meticulous perfection of detail is concerned, is -often far behind the modern machine-made product. But what it lacks in -symmetry and precision is more than compensated by artistic feeling. - -Mr Hartshorne in his monumental work on “Old English Glasses,” a work to -which the present writer and every other writer on the subject must -acknowledge a vast indebtedness, makes an exhaustive classification of -the various types of eighteenth-century glasses. To his order one is -bound closely to conform, 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 describes. - -The earliest examples have funnel-shaped bowls with tall stems. These -are of great variety of shape. Some are quite plain, others are twisted, -others ribbed. Some, again, are “baluster” shaped, _i.e._ formed after -the pattern of the columns of a balustrade. Many have a knop or button -in the middle, others are ornamented with twisted lines, either hollow -or filled with glass of different colours, interwoven in spirals, -twists, networks and plaits in all kinds of ingenious ways. - -Of course, all these things being distinctive are imitable, and here the -peril of the collector begins. The expert is rarely deceived as to -whether any specimen is genuine old glass; but so pervasive and so -perfect are the imitations that exist, and so plausible the conditions -under which they are found, that it behoves the amateur to use the -extremest caution. I propose to deal at some length with some of the -more obvious and frequent frauds and fakes in a subsequent chapter. 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 colour. There is a curious tint in old glass which the -new never quite achieves. The would-be small collector will be well -advised if, before riding his hobby, he goes through a brief course of -eye-training under the guidance of an expert, until he gets the exact -tone of the old glass firmly impressed upon his memory. As an additional -factor, it should always be borne in mind that the old glass is -invariably heavier than its modern imitation. - -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 -59. - -_Glasses with Incised and Ribbon-twisted Stems._--The incised or -ribbon-twisted stemmed glass - -[Illustration: Tear Glasses - -FIG. 41.] - -as shown in Fig. 36, is usually about 6 inches high with, generally, a -flanged or outward curved top and a comparatively slender stem. A series -of ribs was impressed by a mould on the stem whilst yet plastic. The -stem was fixed to its bowl, heated till soft, and then gently twisted -and, at the same time, stretched. The result was a twist, produced in -exactly the same way as in a stick of candy--close at the top and -gradually loosening toward the bottom. Near the foot, by the way, the -spiral generally disappears entirely as the effect of the heating -process necessary when the foot was joined to the stem. The bowl was -almost invariably waisted, that is, its sides were bent inwards. The -foot was folded and there was a characteristic lessening in the diameter -of the stem as it neared the bottom, which the “puller” of toffee will -readily understand. - -_Air-twisted Stems._--The air-twist probably began with a “tear.” The -tear of the glass-blower is a bubble of air blown into the centre of a -mass of molten glass, possibly at first by accident and afterwards by -design, as a form of ornamentation. When the stem was - -[Illustration: FIG. 7--AIR-TWIST STEMS. - -(From the Rees Price Collection, by permission of the Connoisseur).] - -drawn out, the bubble elongated into a tube, and when the stem was -twisted, the tube acquired a spiral shape. Now as the tube was filled -with air, which had a different refractive capacity to the glass which -surrounded it, the effect of the light falling upon it was to produce a -kind of silvery radiance like that of quicksilver. The phenomenon is -familiar to anyone who has ever plunged a substance like wool, which -contains air-bubbles entangled among its meshes, under water. The -bubbles are transformed into drops like quicksilver. So with the tear -and the tube drawn from it in the air-twisted stem. Naturally the -decorative potentialities of this phenomenon were speedily recognised -and utilised, and the air-twisted stems are among the most -characteristic and the most beautiful features of all old English -glasses. - -The bowls were usually of the same general shape as those with incised -and ribbon-twisted stems. The earlier varieties are “waisted,” the later -ones frequently assume the bell shape. They are often engraved, the -early ones with the Tudor rose, with its five petals, while the later -ones affect the Stuart variety with six petals. The earliest stems have -necks and collars--there was considerable difficulty in joining the -air-twisted stem on to the bowl without damaging the twist. Later -varieties have necks only. The collars are sometimes knopped, _i.e._ -have knobs attached, and the stems themselves are shouldered. - -I have dealt at some length with the air-twisted stems, since this is a -characteristic English variety, and one to which the brilliant English -flint glass was specially adapted. Consequently the type persisted for a -considerable period. The later varieties, however, achieve some little -distinction by the adoption of the bell-shaped bowl. - -_Drawn Stems._--I have already suggested that the fusion of the -air-twisted stem, in order to join it to the bowl, not unfrequently -resulted in damage to the twist. It was an obvious solution of the -difficulty to draw the stem out from the surplus molten metal at the -base of the bowl. If, previously, a series of air-bubbles was introduced -into this mass, each in the process of drawing out became elongated into -a tube, and we have the possibility, by planting “tears” in effective -positions, and then - -[Illustration: FIG. 42. - - The figures given above illustrate certain of the characteristic - features of Old English glasses. Thus Fig. 1 is an example of a - double-knopped stem, each of the bulges being technically known as - a “knop.” The foot is “domed.” No. 2 is an illustration of a - shoulder and collar, the shoulder being the bulge near the top, and - the collar the ring above it, which was originally devised to hide - any clumsiness in joining the stem to the bowl. No. 3 is a - “flanged” bowl, No. 4 a “waisted” bowl, and No. 5 shows an - air-twisted stem. -] - -judiciously twisting the drawn stem whilst still plastic, of producing -an infinity of pleasing patterns. Thus a number of small “tears” close -together produced a spiral like a yarn of silk; or a central tear might -be blown, and side ones twisted round in encircling spirals. - -_Baluster-stemmed Glasses._--The baluster stem is a reproduction of a -moulded pillar. It is by no means peculiar to eighteenth-century -glasses. Indeed it formed the almost invariable means of support for the -glasses of Caroline times. The early baluster stems are, to an eye -accustomed to the lighter modern glass, extremely heavy and clumsy in -appearance, and with the development of taste and skill, they were -speedily supplanted by the slenderer and more graceful drawn and -air-twisted stems. But the effect of the baluster moulding was soon -pressed into the service of this more dainty ware, the baluster becoming -more slender and symmetrical, and sometimes, indeed, being modified into -a slight swelling--either gradual or abrupt or a single ring round the -stem. The bowls of this period were almost invariably funnel-shaped, and -were often engraved--the appropriate figure of the vine leaf appearing -for the first time in the - -[Illustration: - -1. AIR-TWISTED STEM GLASS. -2. BUTTON STEM. -3. BALUSTER STEM WITH ROYAL MONOGRAM. - -(From the Rees Price Collection, by -permission of the Connoisseur.) - -FIG. 8. -] - -history of English glass. The feet are almost always of the folded -variety. Occasionally, in the later specimens, however, the feet are -domed. - -_Opaque-twisted Stems._--The opaque-twisted stem made its appearance -about the middle of the century. In this case, rods of opaque white or -coloured glass were alternated with rods of clear glass around the -circumference of a circular mould, care being taken to preserve proper -regularity. - -They were then heated, and molten clear glass poured into the central -hollow, filling up the interstices between the rods, binding the whole -when cooled into a solid rod, with a clear centre surrounded by a -particoloured circumference. The mass, being softened by heating, was -then drawn out into slenderer rods, and twisted into spirals. - -The ease of the process accounts for the infinite variety of patterns in -existence. Flat bars could be used, giving tape-like spiral bands, and -the rods could be of various sizes and colours. Many specimens came over -from Holland and from the north of France, generally of inferior -quality, the inferiority being displayed in the character of the stems -and the poorness of the metal. - -The simplicity of the manufacture has also given rise to hosts of modern -imitations, largely from the Continent. In a great number of these the -spirals turn to the left, which has given rise to an idea that all -glasses with right-handed opaque spiral stems are modern imitations, -which is by no means the case. All such specimens, however, are -sufficiently suspect to demand careful scrutiny, and the amateur, before -purchasing a right-handed spiral opaque-twisted glass, will do well to -submit it to the judgment of an expert. - -Points to be considered are the colour of the metal, the perfection of -the twist, its opacity, and the character of the foot. The colour and -weight of the glass are probably the best criteria. The forgeries are -generally light, and the beautiful mellow tone of the real old English -glass is replaced by a cold white tint or even a tinge of green. The -twist is often more translucent than in the genuine pieces, and is -frequently imperfectly produced, becoming looser as it descends, the -loosening being particularly pronounced just before its junction with -the foot. - -The appearance of the foot is of the utmost - -[Illustration: FIG. 9.--OPAQUE TWIST STEMS AND “ROSE” GLASSES. - -(From the Rees Price Collection, by permission of the Connoisseur.)] - -value. Before the nineteenth century the scar, where the piece after -manufacture was broken away from the pontil, was invariably left rough, -instead of being ground down. The foot in the genuine glasses is never -flat, there being always a slight slope downwards towards the edge. In -the imitations, too, it is apt to be less in diameter, compared with the -bowl, than in the genuine specimens, whilst there is frequently an -absence of “ring.” This last fact, however, must not be unduly -emphasised, since many undoubtedly authentic specimens of this period, -including some of the finest, share the defect. Another test is to note -the edge of the bowl, whether it is well rounded off or whether it has -been left hard and sharp. - -Many of these glasses are engraved with flowers. The rose is so frequent -as to give its name to a special type, the “rose glasses.” The rose has -often a bud or two, and a butterfly is frequently represented as -hovering over the flower. In later specimens the butterfly degenerates -into a moth, and finally vanishes altogether. Other flowers engraved on -glasses of the same type and period were the Rose of Sharon and the St -John’s Wort. Rose glasses, with blue and white twisted stems, are in -all probability almost exclusively of English manufacture, and are among -the most valuable of the opaque-twisted type. The foreign importations -of the period were numerous but, apart from certain patterns of twist, -which may be considered exclusively English, the twisting of the Low -Countries was distinctly inferior. One type is characteristic of the -foreign product. This has a central tube of thin white lines, surrounded -by spiral twists. Where the stem is of the baluster type, this central -tube, more or less, follows the contour of the stem. - -_Straight-sided Glasses._--The term “straight-sided” may be used to -designate a whole series of glasses, of which the bowls are of the shape -of a truncated cone, the narrow end being, of course, downward. 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 curve. The earliest -of the straight-sided glasses had bulbed stems, with a shoulder and -knop. The better sorts of tavern and household glasses were of this -type, the larger specimens being used for wine and punch and the smaller -for cordials and strong waters. Two points are worthy of notice: the -folded foot was practically invariable, and the diameter of the foot was -always substantially greater than that of the bowl, thus ensuring a -sound support. - -The bowls themselves were at first plain. About the middle of the -century, however, we find them decorated with conventional flowers and -vine leaves, etc., which were gradually replaced by closer and more -artistic representations of such natural objects as roses, as a matter -of course, lilies of the valley, tulips, and sprays of honeysuckle. -Amongst these, however, certain conventional designs held their place, -_e.g._ wild roses, St John’s Wort, and other blossoms with large seeded -centres, which seem to have impressed themselves strongly upon the -imagination of the artists to whom the decoration was entrusted. The -bowls were, in very rare instances, fluted. - -The pieces were made in three parts--bowl, stem, and foot--the stem -being sometimes plain, oftener air-twisted, and sometimes -opaque-twisted. The straight-sided bowl was never popular amongst -Continental glass-workers, so that the probability is that any specimen -found is of English manufacture. In examples of foreign manufacture, -too, the bowl was generally rounded at the base, and the stems were -often coloured or opaque-twisted. Other characteristics by which these -may be identified are their comparative lightness of weight, their -fragility, their coarse lavishness of decoration, their narrow bases, -while the twisting of the stems is often unduly close, and the bowls -have wide, flat flutes. - -_Ogee Glasses._--The straight-sided glasses changed by easy degrees into -the well-known ogee shape, the lines of the bowl being gradually merged -into those of the stem. It may be safely asserted that the majority of -ogee-shaped glasses are of English manufacture. The majority have -opaque-twisted stems; sometimes blue lines replace the opaque white. It -is thought that Bristol was the chief place of manufacture, since most -of the finds have been in the west of England. The earliest of them have -unfolded feet, inserted air-twisted stems, and naturally, since the -object of the designer was to preserve the ogee line, no shoulders. Many -of them are of considerable dimensions--a possible result of the custom -of drinking bumpers. A great number of the memorial glasses, treated of -in a separate chapter, were of this type. The - -[Illustration: FIG. 10.--DOUBLE OGEE BOWLS. - -(From the Rees Price Collection, by permission of the Connoisseur.)] - -scheme of decoration followed much the same lines as that of the -straight-sided glasses, but a greater proportion were plain; possibly -the curves toward the bottom of the bowl made the engraver’s task more -difficult. In the later specimens, sprigs of laurel and festoons of -various conventional types are to be found. In the Bristol glasses the -bowls were sometimes fluted, and a double ogee curve was employed, the -upper part only being decorated, generally with vine leaves and bunches -of grapes. The stems were bulbed or knopped, and the feet were folded. - -_Champagne Glasses._--There is, of course, no real reason why one kind -of wine should be drunk from a glass of special shape and another from a -totally different one, but once glass drinking vessels had become the -vogue, 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 port, sherry, champagne, claret, and liqueur -glasses. In the beginning there was a far greater diversity, for England -in the eighteenth century was famous for the number (and potency) of its -beverages and, speaking generally, each had its appropriate glass. -Frequently, of course, there was little diversity of shape, the -difference being in the nature of the ornamentation, which in a number -of cases was specially devised to indicate the purpose of the glass. -Thus an ale glass would be adorned with ears of barley or bunches of -hops; a wine glass with vine leaves or bunches of grapes; a cider glass -with sprays of apple blossom, and so forth. - -Champagne was, in the eighteenth century, a wine of comparatively recent -introduction, and was drunk only by the rich and great. Probably at -first no special glasses were used for it, the more elegant of those -already in existence, presumably bell-shaped and air-stemmed, being -pressed into the service, but about 1730 special glasses were made, with -wide, shallow bowls, of the double-ogee variety and a baluster. They had -knopped or double-knopped stems and domed feet. Sometimes, as might be -anticipated, an air or opaque-twisted stem was employed, while the shape -of the bowl varied towards the bell shape, in that it became -hemispherical. - -Subsequently the bowl became elongated into - -[Illustration: - -FIG. 11.--SWEETMEAT GLASSES. ALE GLASSES. - -(From the Rees Price Collection, by permission of the Connoisseur.)] - -a narrow cone, the stems exemplifying the various patterns of the -day--baluster, knopped, double-knopped, air-twisted, opaque-twisted, and -drawn. In the later examples the elongation was so pronounced that the -glasses approximated to the familiar flute shape. In these the stem is -often faceted, the facets sometimes extending some considerable distance -up the glass. The modern champagne glass, with a wide saucer-like bowl -and a hollow stem, seems to be a sort of combination of the two. The -wine being a rarity, the glasses are scarce, and the collector who -unearths a genuine specimen of an early eighteenth-century champagne -glass may esteem himself fortunate. - -The shallow glasses were so little known that a hundred years later, in -1832, Disraeli, writing to his sister, remarks: “We drank champagne out -of a saucer of glass mounted on a pedestal of cut glass,” so that the -form was evidently a novelty, at least to him. - -_Sweetmeat Glasses._--Closely allied to the shallow champagne glasses -were the sweetmeat glasses. The latter are, however, much solider, while -their edges are crinkled and undulated and vandyked into various -patterns. The feet are generally domed, sometimes plain, and at other -times ribbed or ornamented with knobs. The bowls are generally either of -the double-ogee type or bell-shaped with a lip. They are often ribbed in -the earlier varieties, and cut in the later ones. The glasses were made -in sets, which stood upon a glass pedestal or centre-piece made to a -similar pattern. This had a flat, tray-like top, with a raised rim. One -interesting feature is that each set consisted of a number of small -glasses and one large one, known as a “Captain” or “Master” glass, which -was not necessarily of the same pattern as the smaller ones. The Captain -had generally an abnormally small foot, so that it might not unduly -encroach upon the standing space. - -_Ale and Beer Glasses._--There is no particular difference between the -tall champagne glass and the ale glass; possibly the ale glass was -modelled upon the flute-shaped champagne glass, or possibly the shapes -were used indiscriminately for both beverages--the finer and more -elegant specimens for the champagne, and the heavier and more -substantial ones for the humbler ale. That they were so used is -sufficiently indicated by the fact that many - -[Illustration: SPECIMEN OF IRISH DRINKING GLASSES, SHEWING VARIETY IN -CUTTINGS. 18th-19th CENTURY.] - -[Illustration: ENGLISH DRINKING GLASSES. 18th CENTURY. - - 1. A CORDIAL GLASS WITH AIR-TWISTED STEM. - 2. A BARLEY WATER GLASS WITH OPAL-TWISTED STEM. - 3. AN OLD “TEAR” GLASS. - 4. A STRONG WATER CORDIAL GLASS WITH “TEAR” IN STEM. - -FIG. 12.] - -specimens have been discovered which are engraved with festoons or -bunches of hops and ears of barley. The earlier specimens, however, were -plain. It may be useful to point out that the form of the stem affords -some indication of the relative age of the piece, the chronological -order being roughly as follows:--(1) Waisted bowls, with plain stems and -folded feet; (2) air-twisted stems, shouldered, collared, and knopped; -(3) plain drawn stems; (4) opaque-twisted stems. The glasses diminish in -height as the century progresses. - -_Other Kinds of Glasses._--It is customary to include in the -classification of eighteenth-century glasses those used for cider and -perry, mumm, mead, and syllabub. It is difficult to prove that any -particular kind of glass was set apart for the consumption of these -liquors. Cider, however, was produced in large quantities, and glasses -were possibly made specially for it. Certain specimens exist, and are -recognised by their being engraved with apple blossom, apple trees, -etc., whilst one--mentioned in the chapter on Memorial Glasses--is -inscribed with the motto “No Excise.” Speaking generally, it may be -asserted that ordinary cider was probably drunk from earthenware mugs, -after the fashion of the beer mugs of to-day, whilst the strong cider -was consumed from wine glasses. No glass has so far been distinctively -associated with perry. - -Mumm was a somewhat awesome decoction, in which the principal ingredient -was malted wheat, to which were added a little oats or bean-meal, the -brew being flavoured with various pungent and aromatic herbs and the -inner bark and tips of the fir tree. It is presumed to have been drunk -from glasses of the ale-champagne type, but among the common folk it is -probable mugs were preferred. - - “The clamorous crowd is hush’d with mugs of mum - Till all, tun’d equal, send a general hum.”--POPE. - -Mead (or meath) was a drink the basis of which was honey. This, being -dissolved in boiling water, was flavoured with spices and ground malt -added, and the whole left to ferment. It was drunk from bowl-shaped -glasses, or else from glasses of the low tumbler type. If carefully made -it would keep for a long time, and from the number of references to it -which appear in literature, it was evidently a favourite drink, -particularly among the lower classes. Ben Jonson in his “The Devil is an -Ass,” written in 1616, remarks: - - “ ...Carmen - Are got into their yellow starch, and chimney-sweepers - To their tobacco and strong waters--Hum, - Meath and Obarni.” - -Syllabub was a mixture of wine, ale, or cider, with cream or milk, and -flavoured with lemon or rose-water. The whipped syllabubs were beaten -into a froth before drinking. They were often made with milk drawn fresh -from the cow, the drinkers repairing to the dairy for the purpose. - - “Your ale-berries, caudles and possets each one, - And sillabubs made at the milking pail, - Although they be many, beer comes not in any, - But all are composed with a pot of good ale.” - -Syllabub glasses, as far as there were special glasses used, were of -deep cup or tumbler shape, the brim flaring outward. - -_Cordial and Strong Waters Glasses._--The art of distillation came from -Arabia, as the name alcohol (al Kohl) indicates. Northern peoples, -however, for a long time preferred, to the distilled products, cordial -waters made from honey, fruit syrups, spices, and various herbs. Each -notable housewife had her own recipes for cordials, and many and quaint -were the products that came from the family still-room. It was not, -indeed, until comparatively recent times that the habit of -spirit-drinking made any great headway in England. Whisky was made in -Ireland in the fourteenth century, and must consequently have been known -in England. Howell in his “Letters” refers to the _usquebaugh_ of -Ireland, but remarks that “whereas in England they drink it in aqua vitæ -glasses, in Ireland they drink it in beer glasses.” The quotation proves -that even at that early period special glasses for spirits were in use. -Greene, some thirty years later, includes among the glasses he ordered -from Venice small glasses marked for _brandj_. - -The taste was probably intensified after the Revolution of 1688 brought -numbers of Dutchmen into the country. The glasses employed were, -generally speaking, miniature replicas of the wine glasses in vogue; -others are short-stemmed, and as this did not lend itself to -air-twisting, the baluster type was mostly affected, which in such small -glasses gives a peculiarly massive appearance. Opaque-twisted stems -are, however, more frequently met with, as are fluted ones. Sometimes -the bowls are fluted or faceted. The dumpy, thick-stemmed, wide-bowled -cordial glasses are often termed “Hogarth” glasses, they being the -prevailing type in his pictures. - -The modern equivalents are the “firing” glasses used at Masonic -banquets, the members after each toast knocking the glasses in unison on -the table--the sound produced being fancifully likened to the reports of -guns. Figs. 1 and 2 (p. 160) are illustrations of firing glasses, the -former being antique and the latter modern and strictly utilitarian. - -Not all cordial and strong waters glasses belong to this type. Some of -the most valuable have long stems, either plain or opaque-twisted. Many -of the latter, however, came from the Netherlands and stand outside the -category of English glasses. - -The “thistle” glass has come to be the recognised Scottish liqueur -glass. The form originated, it is believed, in Bohemia, but once it had -made its way here, it was natural that the Scots should take for their -national liquor the glass that bore the form of their national emblem. -At any rate the beginning of the Scottish glass industry was marked by -the production of a thistle glass, which was made at the factories in -Edinburgh. - -_Tavern and Household Glasses._--It is customary to refer to tavern and -household glass as belonging to a separate classification. There is -really no justification for any such division; it is perfectly natural -that utensils for common use should be stronger and clumsier editions of -the better-class glasses. The very earliest were clumsy in the extreme -as regards design, and rough in execution, but later specimens show -greater elaboration and skill. - -With the advent of the drawn glass, most tavern and household glasses -took this form, and have retained it with little variation. Two kinds -are noticeable--those with a “blow” inside the stem, and those without. -In the drawn stems the blow shrank in dimensions, and became a tear, -which, by the way, is almost invariably upside down, the broader end -being uppermost. Half-way through the eighteenth century the tear -vanished altogether, and the plain solid stem came into use. The common -wine glasses were small editions of the larger glasses, and frequently -bore rudely executed decorations of festoons, vine leaves, and flowers. -The feet are flat, and may be either folded or unfolded, the former -being of the earlier type. Specimens are fairly easily obtainable, the -thickness of the metal and the stoutness of the design carrying them -safely through the dangers to which they were specially liable. Apart -from their age they have no special merit. The metal is as inferior as -the form. - -Tumblers were less frequently made in the eighteenth century than were -wine glasses, and in the early part, at any rate, those that were met -with were chiefly foreign importations. It is possible that the plain -lines of the tumbler did not appeal to tastes accustomed to the graceful -outlines of the wine glasses. The early ones are cylinder-shaped, and -very large, while eighteenth-century tumblers taper somewhat toward the -base. Both are very scarce. Now and again one meets the barrel shape. -Foreign tumblers are often profusely decorated by engraving, colouring, -and gilding--the quality of the decoration being distinctly inferior to -its quantity. - -The rummer is a characteristic Old English public-house glass, and is of -various types. It was, of course, as the name implies, used for making -punch. Among the types are the ogee-shaped bowls--either plain or -pressed--barrel-shaped bowls, and trumpet-shaped bowls. All have short, -thick stems, often with a collar, sometimes baluster-shaped. The base is -strong and generally flat. Some specimens have heavy, square bases, -evidently designed to secure their stability. - -_Cut Glass._--The introduction of the so-called flint glass--which was, -in effect, glass containing a greater quantity of lead than had -previously been used--created something of a revolution in the art of -English glass manufacture. M. Peligot, a leading French authority, -remarks: “To the English should really be attributed the honour of -having created, in their flint glass, 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 -which, in my opinion, it may be possible to produce.” But in addition to -the beauty of the metal was the fact that it had a greater refractive -and dispersive action on - -[Illustration: ENGLISH “RUMMER” AND DRINKING GLASSES. 18th CENTURY.] - -[Illustration: A BALLUSTER STEM GLASS SHEWING A COIN BLOWN IN THE STEM.] - -[Illustration: EARLY ENGLISH BALLUSTER STEM GLASS. - -FIG. 13.] - -rays of light than any other kind of glass, and consequently lent itself -specially to cutting--the workmanship bringing out the beauty and -brilliancy of the metal, and the quality of the metal enhancing the -effect of the cutting. - -It is difficult to fix, with any degree of precision, the date at which -glass was first cut by way of ornamentation. There are certainly traces -of its employment towards the end of the seventeenth century. At the -beginning the craftsmen of Bohemia were probably far superior to those -of England, but as soon as the special suitability of the English glass -was demonstrated, the native workmen speedily outdid all foreign -competitors. The quality of the glass and of the cutting gradually -improved, until at the close of the eighteenth century practically all -English glass of any importance was ornamented in this fashion, and the -English product was famous all over the Continent. - -In this way the beauty and value of a piece speedily came to depend upon -the amount and the depth of the cutting: the more deeply and profusely -it was incised the greater its artistic merit was assumed to be and the -more highly it was esteemed. In certain instances, undoubtedly, the art -was carried to excess; hence those monstrosities of the Early Victorian -period--clumsy masses of flint glass cut into hob-nails, facets, -pyramids, and spikes of all shapes and dimensions. 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 century. 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 “first gentleman in Europe,” -who afterwards became George IV. Of similar type are the lustres with -their jingling drops that ornamented so many mantelpieces in our -grandmothers’ and great-grandmothers’ day. - -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 below? - -It was under the same conditions that bottles altered their shape and -became decanters. These, as will be seen from the illustrations, -followed the prevailing fashion in being massive and deeply cut. The -stoppers were most frequently of a mushroom shape and were often -delicately cut. These decanters were generally made in pairs or in sets -of four. - -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 glasses. There is no reason to doubt that, even -at so early a period as that in which Chiddingfold was a great centre of -glass manufacture in this country, many important and really fine pieces -were produced. Few examples, however, of what may be termed -miscellaneous eighteenth-century glass can be attributed with any -certainty to a period earlier than the sixties of that century. 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 art. Nor was the change confined to England. In France -the florid style of decoration associated with the name of Louis Quinze -was giving way, even before the death of the monarch after whom it was -named, to the more simple and severely classical style of Louis Seize. -In England the dawning of a new taste in artistic decoration became -evident about the year 1770 in the work of the silversmiths and -goldsmiths, and shortly afterwards in the productions of the porcelain -factories of Bow, Chelsea, and elsewhere. In glass a noticeable feature -of the change was the increasing use of faceting. Flat facets, divided -by sharp angles, are to be found on both stems and shoulders of the -glasses, and oftentimes extended half-way up the body itself. 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 breaking. - -It was about this time, too, that cutting was first done by machinery in -the manner already described in Chapter I. 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 World. - -There is no doubt that much of its popularity was due to the superiority -of the material itself, and this was maintained by the most scrupulous -care in the selection and purification of the ingredients. The sand, in -particular, was most carefully washed and burned so as to destroy all -impurities. In practice, most of it was obtained from Alum Bay in the -Isle of Wight, from Lynn or from Reigate. Sandpits have also been -discovered at Coulsdon and Redhill. The fusing of the ingredients was -also a matter demanding the greatest care so as to ensure the correct -colour. It was found that, generally speaking, the quicker the operation -the better the result. Any delay, too, 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 measure. - -Few persons troubled to consider whether shapes that depended upon the -process of blowing were the most suitable for their purpose, or whether -the cutting and engraving were not sometimes overdone. - -On the whole, 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 engraving. - -Collectors, too, have plenty of scope, for though Georgian glass is -comparatively rare and fine pieces command big prices, yet the amateur -is not faced at the outset, as in the case of glass of a period prior -to this, with two very serious propositions--an almost prohibitive price -and a more or less doubtful authenticity. - -The illustrations shown of eighteenth-century glass will make it clear -that, although they are some of the most satisfactory specimens of the -time, not even an amateur could mistake them for modern, their shapes -alone being almost a guarantee of the date of their origin. Even if the -shape be imitated, the peculiar dark, pearly look of the old flint glass -cannot, and it forms a simple and definite test. - -The pair of decanters on the right (Fig. 14) are almost unique--the deep -cutting, the curiously shaped stoppers, the long or rounded necks, and -the flat-cut shoulders being absolutely characteristic. But it is not -unusual to find these graceful shapes copied; and again the collector -must beware. Some of the quart decanters have, as will be seen from the -two on the left of the illustration, hollow bottoms in which are -inserted tiny musical boxes. When the decanter was raised the box -started playing some familiar air, generally “Home, Sweet Home.” Whether -the intention was to remind - -[Illustration: 18th CENTURY CUT SWEETMEAT GLASSES IN OLD SHEFFIELD -PLATED STANDS.] - -[Illustration: 18th CENTURY DECANTERS, SHEWING VARIETY OF DESIGNS IN -CUTTING. - -FIG. 14.] - -the holder that he was at home, or to hint that he might think of going -there, probably depended upon circumstances. - -Other sets of decanters with engraved festoons and similar decorations -of the same period are equally graceful both in design and execution. -The stoppers are flat pear-shaped drops, and are doubtless of the Adam -period. Another feature is their long, thin necks, which made them more -suitable for private houses than inns. They usually stand from 12 to 18 -inches in height, and when standing grouped together have a charmingly -graceful appearance. They are rarely now to be found in fours, and it is -doubtful if they were so made. I have only seen them in pairs. They are -not particularly rare, many small houses possessing specimens. - -It was at this period also that finger bowls came into fashion. The -first ones made in this country were probably copies of old Roman -coloured bowls. The earliest of all had two lips, used either for -pouring out the contents or for resting a spoon upon. These specimens -are, as a rule, exquisite both in style and shape, and it is, -fortunately, within the power of the ordinary collector to acquire a -specimen or so at a reasonable figure. They are the larger and more -ornamental pieces, some unique in design and others possessing -historical associations, that are priceless. The old chandeliers often -found will give some idea of the fine cutting of the period. The -magnificent pear-drop-shaped lustres, the fine work on the stem, and the -cross-over chains are characteristic of the lavish ornament of the age. -Such have often been converted into pendants for electric light. -Although no ordinary collector may hope to acquire them, they are not -without interest as examples of a bygone fashion. - -Through the kindness of Miss Whitmore Jones, I am enabled to reproduce -from her beautiful collection at Chastleton House the posset pot shown -at page 42 (Fig. 2). It is surrounded by a band of masks and roses and -surmounted by a crown. It is an excellent example of the work of its -period and one of the most admirable and beautiful specimens in -existence. - -Fig. 15 is an interesting illustration of the candlesticks and -tapersticks formerly so widely used. - -Tapersticks were used to hold the tapers used - -[Illustration: FIG. 15--CANDLE AND TAPER STICKS. - -(From the Rees Price Collection, by permission of the Connoisseur.)] - -in sealing letters. That on the left is nearly perfect in style and -ornamentation. Tapersticks are, of course, frequently found in Georgian -silver and also in china, generally with the ink tray, snuffers, and -powder box to hold the sand used in drying the writing. The glass -tapersticks were generally about 7 or 8 in. in height and had domed -feet. - -The candlestick with the twisted stem--which, by the way, is of red -drawn glass--is another fine specimen of the work of this period. -Unluckily, examples are hardly likely to be very easily found; like all -fragile things they have suffered heavily at the hands of Time. Fig. 16 -is a representation of a very rare type of rush-light holder which dates -from Jacobean times. - -There is no doubt that the beauty and style of the Georgian glass, both -early and late, have made it in great demand to-day, so that not only -are enormous prices readily obtained for good specimens, but those -prices are likely to be considerably enhanced in the future. -Nevertheless, there are still many fine specimens to be obtained by a -collector who will take the trouble to seek them off the beaten track. -Many of them are owned by persons quite ignorant of their real value; -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 pleasure. - -It is only essential to emphasise once more the necessity of care; for -glass, unlike china, has no marks by which its period and place of -manufacture can be definitely determined, and collectors can only base -their opinions upon such qualities as shape, style, colour, etc., and in -this, as in other departments of life, the amateur is apt to discover -the truth of the adage that “a little knowledge is a dangerous thing.” -It is best in any case of doubt to refer the question to some one who is -in a position to speak with undoubted authority. - -As to the Victorian Age, although it undoubtedly produced many fine -specimens of glass, yet the pieces have little appeal from the -collector’s point of view. Apart from this, however, it has many merits, -some pieces that I have seen having been most beautifully and choicely -cut and with a fine distinctive style. But, however choice, such pieces -hardly fall within the category of Old English glass, and so lie beyond -the scope of our inquiry. - -[Illustration: RARE JACOBEAN GLASS RUSH-LIGHT HOLDER.] - -[Illustration: SPECIMEN OF AN EARLY ENGLISH WINE GLASS.] - -FIG. 16. - - - - -CHAPTER IV - -MEMORIAL GLASSES - - -No specimens of English glass have greater fascination for the collector -than those which derive their interest, apart from their intrinsic -merits, from their association with some historical event, some great -cause, or some famous personage. - -Fortunately for such, our ancestors in the palmy days of glass -manufacture freely availed themselves of the possibilities of this form -of advertisement and commemoration, so that a considerable number of -memorial pieces are still in existence. Many of these were, of course, -merely intended to record some happening of purely local significance: -the building of a bridge, the opening of a canal, the launching of a -ship; or, narrowing the interest still further, the birth of a son or -the marriage of a daughter. Others, however, had a wider appeal: a great -national victory on sea or land, the winning of an election, or the -passage or defeat of a hotly contested Bill in Parliament. All were -suitably inscribed and generally dated--a fact which adds to their -importance and value--and frequently decorated, in addition to the usual -conventional designs, with a more or less crude pictorial representation -of the event or of some important factor connected with it. Thus the -battle of Trafalgar would be indicated by a picture of the famous -victory or by a portrait of Nelson. Frequently such glasses were -dedicated to the glorification of some famous hero, as were the Nelson -glasses, Keppel glasses, etc.; or to the furtherance of some great -cause, as the Jacobite glasses, with which we shall have presently to -deal at length; or, again, to the diffusion of some political principle. - -The collector must, however, be chary of assuming that a memorial glass -was necessarily contemporary with the event it records. The warning is -particularly necessary in the case of Jacobite glasses, 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 hopes. -And it is perhaps unnecessary to add the further warning - -[Illustration: FIG. 17.--JACOBITE TOASTING GLASSES. - -(From the Rees Price Collection, by permission of the Connoisseur.)] - -that in connection with old glass, as with other antiques, the supply -seems somehow mysteriously to adapt itself to the demand; and it is the -easiest and least detectable of frauds to take a veritable old glass of -no particular merit, and by inscribing it with a motto and an emblem or -two, increase its value twenty-fold. - -There is, of course, much old glass stored, more or less inaccessibly, -in ancient houses up and down the country, and every now and again some -such hidden treasure is brought to light. But it may be generally said -that, in view of the fierce light the modern craze for antiques has -thrown upon such hiding-places, the prospects of the present-day -collector of finding, say, a “Fiat” glass are so remote as to be -practically negligible. - -The Jacobite glasses form by far the most important of English memorial -glasses. They were used by the followers of the ill-fated House of -Stuart, not only in their homes--where, indeed, their use might be -dangerous--but in the clubs and secret societies which met to keep alive -the Pretender’s memory, and to plot for his return. Great numbers were -probably made, mostly, it is thought, at Newcastle, whence the -manufacturers might, in case of need, speedily retire across the Border -and seek concealment from the law among a sympathetic population. -Unfortunately, few only remain, for when the toast had been duly -honoured, it was a frequent custom to shatter the glass, that it might -be used for no inferior purpose. A similar custom prevails still in -certain military messes, the stem of the wine glass being snapped after -the toast of the reigning monarch has been duly drunk. - -Some of the Jacobite glasses, however, were of superior quality and -admirably inscribed and decorated. These, it is assumed, were carried -from place to place by their owners, often in properly fitted cabinets. -Each member of a Jacobite club probably brought his own glass, which was -stored, with the others, between the meetings, in a secret receptacle; -the possession of such a glass being, of course, treason. Thus it is -that many have been preserved--frail memories of a lost cause and -symbols of a loyalty as unparalleled as incomprehensible. 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 unworthy. - -James I. was a foreigner to England and English sentiment, and with none -of the qualities that win admiration or esteem. He was ungainly, -garrulous, vain, pedantic, and, above all, cowardly in an age which -placed physical courage as the first of human attributes. Even his not -inconsiderable intellect failed to compensate for an utter lack of -everything else which his time found worthy of admiration. Charles I. -was a tyrant, narrow, mean, obstinate, and unscrupulous--a man without -ability, a king without honour. His death is the one bright spot in a -dreary and disastrous record, for - - “Nothing in his life - Became him like the leaving of it.” - -Charles II., gay, witty, insouciant, reckless, had, it may be granted, -certain qualities that take the common taste, but he was utterly -profligate, entirely without principle. He sold England to France, -betrayed Holland, robbed the State and the Navy, and starved his sailors -to flatter his mistresses. James II. was cold, callous, cruel--a -sycophant to the strong and a tyrant to the weak. He was a bigot, and -unscrupulous in his bigotry. He was no less licentious than his brother -though much more a hypocrite. - -What was the glamour that made men give their all--house, wealth, lands, -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 people? But we are digressing. There is, in any case, no -doubt as to the glamour which surrounds the Jacobite glasses in the eyes -of the collector of to-day. - -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 -meant, in brief, plotting for the downfall of the House of Hanover, and -in a hard-drinking age it was clear that their consultations could not -have been carried on without a considerable consumption of strong -liquors, and a consequent adequate supply of glasses, the majority of -which were probably engraved in some way or another distinctive of the -occasion. - -The most famous of such clubs was the Cycle Club, founded in 1710 by Sir -Watkin Wynn, - -[Illustration: FIG. 18.--JACOBITE GOBLETS. - -(From the Rees Price Collection, by permission of the Connoisseur.)] - -and one of the most interesting of commemorative glasses refers to him: - - “Let no deceipt within your glass be found, - But glorious Watkin’s health go briskly round.” - -The motto of the Cycle Club appears to have been the Latin “Fiat” (“May -it happen”), and this word is generally found engraved on Jacobite -glasses, which are, in consequence, often referred to as “Fiat” glasses. -A “Fiat” glass is shown in Fig. 21, and other excellent specimens of -Jacobite glasses in Fig. 19. Another motto is “_Redeat_.” - -The best of the Jacobite glasses bear the portrait of “Bonnie Prince -Charlie” on the bowl, encircled by a wreath of laurel, flanked on each -side by Scotland’s emblematic thistle. Others have two roses supporting -the laurels. Sometimes there is the Stuart rose, with two buds, a -reference, perhaps, to James II. and his two sons. The design, too, not -unfrequently includes an oak leaf, a reference to Charles II.’s escape -from the Roundheads, after the battle of Worcester, by taking refuge in -an oak, while - - “Far below the Roundhead rode - And humm’d a surly hymn.” - -Some also are engraved, in addition, with a star--the symbol of a hope -never realised by the hapless Stuart line. Most of these emblems may be -found in the two specimens shown in Fig. 19. - -I have sometimes found the portrait of the Pretender with oak leaves, -thistle, and rose, in place of the usual “Fiat,” and the motto -“_Audentior Ibo_.” - -These glasses have usually air-drawn or knopped stems and funnel-shaped -bowls. These Jacobite glasses are among the luckiest “finds” of the -collector of Old English glass, and it is needless to say that the -greatest care is essential in purchasing anything which purports to be a -genuine specimen. “Fiat” glasses, especially those bearing the portrait -of the Pretender, are imitated in considerable numbers and generally -disposed of through the shops of small country dealers, pawnbrokers, -etc.; but I have seen specimens, even in galleries and large shops in -London, which were flagrant frauds, a fact which should have been -perfectly patent to the vendors. So _caveat emptor_. - -Frequently the ordinary tests for the antiquity of the glass are -useless, since the piece is itself genuine old glass of the proper -period and - -[Illustration: FIG. 19--JACOBITE GLASSES. - -(From the Rees Collection, by permission of the Connoisseur.)] - -only the engraving modern, and this is given a spurious appearance of -age by rubbing down with sand and earth, and by allowing the lines of -the pattern to become filled with dust and dirt. A test that may be -found useful is to hold the piece in a strong light, when some part of -the engraved portion may be found untouched by the “treatment,” and -bearing in its clearness and sharpness of line convincing evidence of -its recent origin. - -Of the Jacobite glasses, those dedicated to the Old Pretender are -entirely beyond the hopes of the ordinary collector. A few exist in old -country houses dotted up and down the country and in various museums. -One in the British Museum bears the mottoes “_Cognoscunt me mei_” and -“_Premium Virtutis_.” Young Pretender glasses are naturally much more -numerous, and it is probable that specimens may still be found in -out-of-the-way places. - -Special finds of Jacobite glasses are occasionally made, a whole set -being discovered in some unexpected hiding-place. One such set is the -famous Oxburgh Hall find, now to be seen and admired in the Victoria and -Albert Museum. Eleven Jacobite glasses in all were discovered, eight of -them being “Fiat” glasses. Four of them, of a larger size, bear the -Prince of Wales’ feathers on the upper surface of the foot. One is the -glass inscribed to Sir Watkin Wynn, previously mentioned, and one is of -special significance, in that it bears in addition to a portrait of the -Young Pretender an inscription, unique in the history of Jacobite glass: - - “Charles ye Great, ye Brave, the Just and Good - Britania’s Prince ye noblest of her Bld. - Thy Glorious Feats ye World may Proᵐ - Britania’s Glory and Britaine Shame.” - -As poetry the verse undoubtedly leaves something to be desired, although -as a panegyric it is fairly comprehensive. That fact will, however, in -nowise detract from its unique interest in the eyes of the collector, -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 Prince, whose doom it was to be always remembered “Over the -water,” “Great, Brave, Just, Good, Britania’s glory,” and the rest! This -was a hero indeed, _sans peur et sans reproche_. Even the legendary -Arthur of Round Table fame could hardly claim more. - -A critic might suggest that the portrait which appears on the other side -of the glass is hardly worthy of these exalted sentiments, though in -point of artistic merit it may fitly challenge comparison with the -quality of the verse. - -The “Chastleton” glasses form another famous Jacobite set. There are two -decanters and eleven wine glasses. The glasses are engraved with the -rose and two buds, representing, presumably, James II. and the two -Pretenders, and the Cycle Club motto, “Fiat.” In addition there is an -oak leaf. Whether this is an allusion to the famous Royal Oak of -Boscobel, in which Charles II. took refuge after Worcester, as -previously mentioned, or is merely the distinguishing mark of the -English Jacobites, just as the thistle was the badge of their Scottish -comrades, is obscure. - -The decanters are still more interesting, having, in addition to the -rose and its two buds, two oak leaves and a compass, the needle of which -points to a star apparently rising towards the zenith--probably in -hopeful anticipation of the fortunes of the Jacobite cause. Miss -Whitmore Jones, the present owner of Chastleton, claims that these were -made at Derby. - -Glasses thus elaborately inscribed do not exhaust the list of Jacobite -glasses. In many cases the rose emblem appears alone, without the -incriminating “Fiat” which would inevitably convict the owner of -treason. In other cases the emblem was hidden from the casual eye by -being engraved underneath the foot. The times were perilous ones, and it -behoved careful folk to exercise the greatest caution; hence arose all -the system of symbols and catchwords associated with the Jacobite cause. -Byrom sums up their attitude in the well-known verse: - - “God bless the King, I mean the faith’s defender; - God bless--no harm in blessing--the Pretender; - But who pretender is, or who is king,-- - God bless us all,--that’s quite another thing.” - -It is possible to meet, here and there, with glasses dedicated to the -early Georges, but these are few and, to say the truth, are lacking in -the interest that their romantic and tragic history threw over -everything associated with the hapless Stuart line. - -Williamite glasses are more numerous. They, - -[Illustration: FIG. 20.--MEMORIAL TOASTING GLASSES--JACOBITE AND -WILLIAMITE.] - -of course, date from the revolution of 1688, 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 Stuart. Many of them were undoubtedly produced -in Ireland, the more interesting commemorating the battle of the Boyne. -Some bear the portrait of the King--generally crossing the Boyne on -horseback. Such specimens are exceedingly rare. Later ones bear only an -inscription, “To the Immortal Memory,” or “To the Immortal Memory of the -glorious King William,” with possibly a rosebud. These are, of course, -more ordinary, but are still worth collecting, providing the purchaser -can assure himself that they have not been specially prepared for his -benefit. - -The phrase above quoted is possibly a reminiscence of the toast given at -Orange meetings: “To the glorious, pious, and immortal memory of the -great and good King William, who freed us from Pope and popery, knavery -and slavery, brass money and wooden shoes”--quite a creditable record of -achievements. - -The “boot” glasses, to which we refer among the freaks, were probably -made in large numbers in George III.’s reign to testify to the national -hatred of Lord Bute, whose punning emblem, “the boot,” was burnt by the -mob in a thousand bonfires, whether justly or unjustly history fails to -say. But there is no doubt that Bute was hated with a fury almost -without precedent, and the King’s mother, whose favourite he was, was -hated with equal intensity. In 1763 a jack-boot and a petticoat were -publicly burnt at Temple Bar, and a crowned ass led through the streets -by a man in a Scottish plaid. Boot glasses are generally from four and a -half to five inches in height. They are often moulded to represent -lacings in the front and trimmings at the sides, and were doubtless used -for strong waters, cordials, and liqueurs. - -Memorial glasses inscribed with the names of our great seamen are, of -course, numerous. One to Admiral Hawke, inscribed “Success to the -British Fleet” and dated 20th November 1759, was evidently made in -commemoration of the battle of Quiberon Bay, in which that great seaman, -deliberately ignoring the fighting instructions, flung convention to the -winds and won a startling victory, and freed Britain from the dread of a -French invasion. Similar glasses - -[Illustration: A “FIAT” GLASS SHEWING STUART ROSE WITH SIX PETALS. - -UNION GLASS, CIRCA. 1801. - -ARMORIAL GLASS. - -WILLIAMITE GLASS. - -FIG. 21.] - -bear the names of Boscawen, Rodney, Anson, Keppel, and Nelson. - -The “Nelson” glasses, as may be supposed, are particularly interesting. -Some bear the hero’s portrait; others are adorned with a representation -of his famous flagship; others, again, were made in commemoration of his -death and his burial in St Paul’s Cathedral. - -One such specimen described by Mr Hartshorne deserves special mention. -It is a goblet rather more than 8 inches in height, on the -straight-sided bowl being engraved a representation of the great -Admiral’s funeral car in the shape of a ship. On the stern is the -historic name _Victory_. At the prow stands an emblematic figure of -Victory, bearing in one hand a laurel wreath and in the other a branch -of bay. On the canopy of the car is inscribed the word “Trafalgar,” -below it the name “Nile.” It is stated that the glasses were made for -the officers of the _Victory_, each of whom received one in memory of -his chief. - -The ordinary commemoration glasses made at the time of Nelson’s funeral, -and publicly sold as memorials of the event, have on the one side a -representation of the funeral car and on the other, encircled by a -laurel wreath, the words: - - In Memory - of LORD - NELSON - Janʸ 9ᵗʰ 1806 - -The date is that of the public funeral. These glasses were probably made -in considerable numbers, but are now very rare. - -Apart, however, 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 victories. - -Miss Wilmer in her book on “Early English Glass” gives an illustration -of a tumbler inscribed with the names of Nelson, Duncan, Howe, and St -Vincent and the date 1st August 1798, together with various nautical -emblems. But, as we have said, the manufacture of commemorative glasses -was not confined to occasions of national importance, nor were such -glasses dedicated only to national heroes. - -Events of very local importance were frequently signalised in this way. -Thus one is inscribed “Up to Sowerby Bridge, 1758,” and serves to record -certain improvements in the - -[Illustration: A NELSON GLASS - -FIG 22.] - -[Illustration: A COMMEMORATIVE CORONATION GLASS OF KING GEORGE IV.] - -navigation of the Calder River. A golden fleece which also forms part of -the decoration symbolises possibly the commercial advantages likely to -accrue thereby. Another commemorates the opening of the Aire to Calder -Canal, and bears the inscription, “Success to Trade and Navigation.” -Others bear political cries, like a cider glass (Fig. 23) from the -Singer Collection. It is characteristically engraved with sprigs of -apple blossom and a barrel, presumably of cider. Around the brim is the -legend, “No Excise,” a probable reference to the political agitation -which followed the attempt of the Chancellor of the Exchequer, Sir -Francis Dashwood, in 1763 to impose a duty of no less than 4s. a -hogshead on cider. - -The next glass is from the same collection. It bears a ship engraved -upon the bowl, and has a thickly twisted opal stem and slightly waisted -sides, which give a peculiar charm to its shape. On it are inscribed the -words, “Success to the Eagle Frigate--John Knill, Commander,” which -seems to indicate that it was made to commemorate the launch of that -vessel. The fine air-twisted goblet, which is the largest in the -illustration, belongs to a period somewhere about 1760. The figure -depicted is that of Frederick the Great, King of Prussia, then our ally -and at the zenith of his military glory. It was through his aid that -Pitt was enabled to win our colonies of India and America on the -battlefields of Europe, and the exhortation to “Keep it up,” which -appears on the glass, was evidently the expression of some British -sympathiser’s goodwill. Possibly the piece was made to celebrate one of -Frederick’s victories. - -The other glass has a small portrait with the inscription, “Long live -George, Prince of Wales, 1759.” It is beautifully engraved and -altogether one of the finest specimens extant. - -Fig. 27 illustrates particularly fine and interesting examples of a -tankard, a covered jar, and a grog glass--all excellent of their kind. -The tankard on the right of the plate is engraved with vine leaves and -bunches of grapes, together with marguerites, and inscribed with the -names Joseph and Jane Burrows, and was probably a “marriage” or -“betrothal” glass. - -The goblet with a square base which stands to the left of the plate -(Fig. 24) is very quaint. There is a representation of a sailing craft -upon - -[Illustration: FIG. 23.--COMMEMORATIVE GLASSES. - -(From the Rees Price Collection, by permission of the Connoisseurs.)] - -one side, with the inscription, “The Ann and Bessie,” and on the -reverse, “James Oddie, Bromley,” probably the name of the owner both of -the craft and the goblet, who registered to posterity his pride in the -one by means of the other. This glass, I am informed, was the property -of the late A. P. Trapnel, Esq., a renowned collector of Bristol -porcelain and, though to a less degree, of old glass. - -The covered grog pot or jar in the centre of the group is artistically -engraved with roses and festoons, with the inscription, “Success to the -Britannia, Edmund Eccleston, 1774.” - -For the illustrations of several of the above pieces I am indebted to -the courtesy of the late Mr J. T. Herbert Bailey. Such examples, which -cannot fail to interest the lover of art as well as the collector of -antiques, amply testify to the strides which glass manufacture had made -in England, and are also useful as indicating the nature of the finds a -collector may even yet make in out-of-the-way places, 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 reproductions. One does not, for example, expect to -find engraving or cutting on early importations from Venice, or that the -glasses made in commemoration of various events invariably bear -appropriate inscriptions, by which they may be immediately identified. -Sometimes there is a date alone, sometimes a figure or merely initials, -and the collector’s imagination and historical knowledge, as well as his -expert acquaintance with the qualities of old glass, are all called into -play to determine the date and occasion when the specimen was produced. - -It need hardly be said that historical and commemorative glass are very -widely imitated, the commonest and most plausible of the various forms -of deception adopted being, as elsewhere suggested, to engrave some -comparatively valueless specimen of real old glass with figures exactly -imitating the genuine thing, and so giving it a fictitious value. - -[Illustration: FIG. 24.--TANKARDS AND GROG GLASSES. EARLY 18th CENTURY. - -(From the Rees Price Collection, by permission of the Connoisseur).] - - - - -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 disappeared. In the palmy days -of its glass industry it boasted no fewer than fifteen “glass-houses,” -and it had no rival in the country either as regards the quantity or the -quality of its output. This was in the year 1760. - -Thirty years later the first glass-maker appears on the roll of the -city’s freemen. But seven years previously we read that a certain -townsman was admitted a freeman of the city upon his undertaking to -train a city schoolboy, as his apprentice, in the difficult art of glass -“grinding” without the usual premium of £7. But as early as 1666 an -order was made by the City Council to the effect that “no stranger or -foreigner should presume to open a shop, _either with or without glass -windows_, under a penalty of £5”--a fact which seems to indicate that, -although glass windows may still have been a novelty, there existed -facilities for their supply if required. - -Apart from casual references like these, the history of Bristol glass is -entirely obscure. But as the trade returns for the year 1695 show that -the duty on glass for that year amounted to £17,642, and that a -“drawback” allowed on exported glass amounted in the case of Bristol to -no less a sum than £2976, it is pretty clear that by that time the -industry in Bristol had assumed very considerable dimensions. - -Bristol glass is certainly the most beautiful of all Old English glass, -and there is no doubt that many of the fine specimens one sees, both -coloured and plain, were actually produced in the factories of that -city. The colouring of Bristol glass is exceptionally brilliant, -especially its deep blues. The opaque milky-white ware, which is most -common, is often “ribbed” with white streaks or ornamented with flowers -in colours and gold, or daubed with red, blue, and yellow, or with one -of these colours only. Fig. 29 shows specimens of both kinds. - -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 period. The exact date at which the famous opaque -ware was made is open to considerable doubt, but the year 1760 cannot be -very wide of the mark, for reasons to which I have already referred. - -In any case, the records of the city show that in that year its glass -furnaces were in full blast. We find recorded in 1715 a bequest of china -and glass, 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 £6, 14s. for glasses. - -At first glass was extremely costly: the corporation was called upon to -pay no less than £4, 16s. for “a glass to be placed in Mr Alderman -Laroche’s coach, which was broken at the gaol delivery.” Fine specimens -of the glass-worker’s art fetched extremely high prices. - -The glass itself was exceedingly brittle and easily broken as compared -with other English and Irish glass. It was frequently decorated with -enamelled colouring, and many specimens are found with finely curved and -twisted handles. It was, in my opinion, the object of the Bristol -glass-houses to imitate white porcelain, and, in support of this idea, -we find manufactured in Bristol glass such articles as vases, cups and -saucers, plates, mugs, and other utensils usually made from porcelain -and earthenware. - -Of course, the art of manufacturing this opaque white or milky glass was -well known abroad. The white glass of Venice, of Orleans, and of -Barcelona was already famous. 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 glass. - -It is no very difficult task for an enthusiast to find to-day excellent -specimens of Bristol ware. Its characteristic features are an -extraordinary fineness in colour and texture, coupled with a delicate -taste both in hue and form. The ware, too, has a peculiar softness to -the touch which is quite characteristic, and provides the amateur -collector, once he has recognised it, with an excellent test as to the -genuineness of the specimen under consideration. The smaller pieces are -often beautifully decorated with painted or enamelled flowers, -maidenhair fern, and the like. - -The illustrations (Figs. 25-26) give an excellent idea of the kind of -decoration adopted by the master craftsmen of Bristol. The designs found -upon Bristol glass were also, now and again, copies of those found on -Venetian and French pieces. But, generally speaking, the decoration of -Bristol glass was entirely English in conception and execution. This is -particularly the case where the pieces were made for some special -occasion or purpose, as, for example, the commemoration of some event of -national importance. - -Many examples from the Bristol factories are to be found in the various -museums, especially at South Kensington, where in the famous Schrieber -Collection are some of the finest examples extant. There is, for -example, a “Venetian glass”--purely Bristol, of course, but on a -Venetian model, which is reproduced as a frontispiece to this -volume--and also a pair of candlesticks beautifully ornamented with -butterflies, wild flowers, and leaves. They stand out as most admirable -specimens from the Bristol factories. - -It is a well-known fact that the Bristol product, so admirable was it in -quality and appearance and so closely did it resemble the real Venetian -glass, was often passed off as the product of the Venice -glass-makers--the pastmasters of the art. Many a collection, ostensibly -hailing from Venice, must, on a closer scrutiny, be attributed to a -place of origin much nearer home. 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 mugs. - -Many of the earliest specimens were left “raw” at the base, and if the -finger be drawn across the ends the existence of sharp edges will become -apparent. This is a test of reasonably good value, as I have found on -more than one occasion when I have been in doubt. Also, and with the -smaller pieces in particular, it was almost universal with the Bristol -manufacturer to leave untouched the “mark” or place where the piece was -nipped from the blower’s tube. Modern reproductions, whilst faithfully -observing and imitating all the beauties of the model, have generally -their bases perfectly smooth. Even where the “mark” has been imitated to -give an added air of verisimilitude to the specimen, the thing has been -overdone, and that so - -[Illustration: A BRISTOL GLASS DECANTER DECORATED WITH OPAQUE WHITE -ENAMEL. THE WORD “MOUNTAIN” BEING THE NAME OF A KIND OF SPANISH WINE -USED IN THIS COUNTRY, CIRC. 1760.] - -[Illustration: EARLY SPECIMEN OF BRISTOL GLASS MUG, WITH THE WORD -“LIBERTY.” - -FIG. 25.] - -awkwardly as inevitably to lead to detection. Sometimes, too, in the -imitation, the colours used to produce the milky-white tone cease -abruptly, leaving the “mark” perfectly transparent. In genuine old -Bristol the colour fades gradually, leaving only the very tip of the -“mark” clear. - -Another good test is to place the specimen in a strong light, preferably -sunlight. If, when examined, the colour is mixed, the piece is of -doubtful authenticity. Spurious specimens often run “cloudy” or patchy, -possibly because of bad mixing. This is, of course, a useful test, -provided one does not rely upon it entirely, for certain specimens of -undoubted authenticity display somewhat similar features. In particular, -I remember an old drinking flask marked with irregular streaks of white, -where this test would have proved absolutely misleading. Possibly the -“feel” of the glass is the best criterion, genuine old Bristol being -much softer to the touch than any modern imitation. - -So many pitfalls await the average collector of Bristol glass that I -should hardly advise anyone to make this his sole hobby, for although it -is still possible to find small pieces--cups, salt-cellars, small -bowls, finger basins, mugs, and the like--the really important pieces of -Bristol glass are few, and they and their owners are pretty well known -to the _cognoscenti_. At any rate I have not met anyone, in recent -years, who could boast of a considerable find in this direction. - -A very fine specimen, described as “Old Bristol, 1760,” was put up for -sale some eighteen months ago, near London. Its genuineness was further -guaranteed by a label pasted on the base, showing that it had passed -through a well-known London auction-room. The owner, a dealer in a small -way, failing to find a customer in London, had put it into the sale of -the effects of a cottage. It was bought in by its owner for £3, 3s., and -eventually at the end of the day realised only 36s. I saw the piece -subsequently. It was obviously a reproduction, though a very good one, -and certainly worth what was given for it; but as he had purchased it as -real old glass, and at a proportionate figure, it will, I fancy, be a -long time before he again endeavours to secure a bargain in Old Bristol. -I have known many such instances, and as a result of my experience I -have come - -[Illustration: FIG. 26.--SPECIMENS OF BRISTOL GLASS. - -(Enamel Colouring by Michael Edkin.)] - -to the conclusion that, while pieces of Bristol can be picked up now and -again, particularly in the west of England, it will not pay the amateur -collector to confine himself to this particular variety. - -I am indebted to Mr Cole of South Molton Street, London, for the -illustration (Fig. 26) of a pair of very fine early Bristol vases which, -although undecorated, are exquisite in colour and form, and a beautiful -example of the maker’s art. The frilling round the base deserves special -notice. - -The central piece in the photograph is a long-necked vase decorated with -coloured enamels, and known to be the work of Michael Edkin, a Bristol -enameller of distinction. If carefully examined, it affords ample -evidence of the skill and painstaking care to which the best specimens -of this ware owe their artistic merit. - -Spiral wine glasses are still often to be found in or near Bristol, 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-makers. Among the examples of Bristol ware here reproduced (Fig. -27) is included a pair of vases. These rank among the finest specimens -still extant of Michael Edkin’s work. This talented artist was a painter -of some merit, who gradually drifted into glass painting, and for some -twenty-six years, from 1762 to 1788, was engaged by various firms to -decorate their ware with birds, flowers, etc. He was also, it may be -added, a singer and an actor of no little distinction. - -Fig. 26 shows a pair of candlesticks, 6½ inches in height, from the -British Museum Collection. They are excellent examples of Edkin’s taste -and delicacy of execution. Great quantities of glass decorated by him -must have been exported, and I have found undoubted specimens of his -work in Rome and the museums of other Continental cities I have visited. -One of the very finest specimens of his art is a richly gilt and -decorated tea-tray, now in the Museum of Practical Geology. Another -example from the British Museum Collection is the fine mug, ornamented -with a portrait and the word “Liberty” in gold, possibly made by some -sympathiser with the revolutionary spirit which strongly affected -Britain as well as France towards the close of the eighteenth century. - -[Illustration: FIG. 27.--SPECIMENS OF OPAQUE WHITE BRISTOL GLASS. 18th -CENTURY. - -(Decorated by M. Edkin.)] - -Edkin also decorated many blue ground pieces, and it is interesting to -learn that his remuneration for the ornamentation of a jug in colour and -gilt, which must have taken a considerable time, was the lordly sum of -8d., a striking commentary upon the value placed upon skilled -craftsmanship in the eighteenth century. Like many other artists he had -to be content with the posthumous reward which fame bestows. - -The Bristol factories are said to have made all sorts of articles, -flasks, bells, walking-sticks, bellows, etc., in glass, but there is -much uncertainty on this head, and I doubt if the greater part of such -articles classified as coming from Bristol should not, as a matter of -fact, claim Nailsea as their place of origin. We can certainly ascribe -oil, vinegar, and pepper pots, candlesticks, salt-cellars, and vases to -Bristol, as the daintily decorated pepper and sugar castors, shown in -Fig. 27, prove, so that it is at least possible for the other articles -enumerated also to have been made there, but where there is so much -uncertainty, the collector who desires to be on the safe side had better -refrain from giving Bristol the benefit of the doubt. - -It must not be inferred, however, that all Bristol glass is of the -opaque kind. The magnificent piece shown in the frontispiece is quite -transparent, the apparent opacity of the background of the landscape -being due to enamel laid on the glass. The fine decanter reproduced in -Fig. 25 is also an example of what Bristol could do in transparent -glass, the decoration, here again, being in enamel. - -_Nailsea Glass._--The glass-works of Nailsea were established in 1788, a -few miles to the south-west of Bristol, and were, for some time, carried -on with success; but the ware was crude and lacking in the finish -characteristic of the best Bristol specimens. The earliest pieces were -made of yellowish or dark green glass, with blotches of white, as in the -jug shown in Fig. 28. They were usually very inferior in style, colour, -texture, and workmanship, and were consequently not greatly sought after -by purchasers; hence the output was restricted, and the factory after a -while seems to have confined its efforts to producing plain white glass -with quaint and curious forms of decoration. A pair of bellows, for -example, was decorated like the fins of a fish, with tiny projections -and spines all over it. Towards the - -[Illustration: FIG. 28.--EARLY NAILSEA GLASS JUGS. EARLY 19th -CENTURY.] - -end of its career, which closed in 1763, the output was a clear glass of -greenish tint, with faintly coloured streaks. Fig. 29 is a -characteristic example. I have also seen a few pieces gilt. The glass is -now exceedingly scarce, and good specimens command a very high price. -There is a curious charm about Nailsea glass. In appearance, the best -specimens are of a dark toffee-like colour, and when held up to a strong -light exhibit a greenish tinge. The lighter and finer kinds display a -characteristic ground which, if not beautiful, is certainly quaint. -Collectors who are fortunate enough to come across a specimen of Nailsea -at a reasonable figure should undoubtedly seize the opportunity of -acquiring it, but such opportunities are few and, were they more -numerous, it is hardly likely that anyone would wish to form a large -collection of it. The “Simpson” Jug, illustrated in Fig. 28, is -transparent, but of a curious yellowish-green tinge, and is probably one -of the last pieces produced at the old factory. - - - - -CHAPTER VI - -IRISH GLASS--CORK AND WATERFORD - - -The history of the manufacture of glass in Ireland is very obscure, and -the dates of its various periods difficult to fix. 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 date. - -Yet numerous specimens do exist, including drinking glasses of all -shapes and sizes, as well as fruit dishes, epergnes, sweetmeat glasses, -decanters, and salt-cellars, which are undoubtedly Irish in their -origin, and which are generally known as “Waterford” glass. - -As far as can be determined, glass-making in various forms, enamelling, -and even mosaic work and cameos, were carried on in Ireland as early as -the beginning of the eighth century. - -The finest examples of the earliest period are to be found in the Royal -Irish Antiquities - -[Illustration: FIG. 29.--NAILSEA JUG AND MUG.] - -Collection, which includes the famous Ardagh Chalice, the Tara Brooch, -the Cross of Cong, and the Crozier of Clonmacnoise, as well as other -well-known and interesting exhibits. At any rate, experts are agreed -that even at this early date the art of enamelling on glass was -practised in Ireland, being probably introduced by the Phœnicians who, -in turn, had acquired the art from Ancient Egypt. In support of this -belief is the fact that a large piece of red enamelled glass was found -in the Rath of Caílchon on Tara Hill; but it is equally clear that the -art of glass-making, if introduced at the time mentioned, speedily fell -into desuetude, for there is no mention of any manufacture of glass -between the ninth and the seventeenth centuries, nor are there to be -found any specimens which may be attributed to this period. There are, -further, no traces of the manufacture even of window glass of the -commonest description. - -In the seventeenth century, however, there were many interesting -squabbles with regard to glass-making patents and their infringement, -and there are records of petitions to the King concerning them; but from -the Patent Roll of King James I. it appears that little was done. -Still, we have it on record that permission was given to import glass in -1675, and it is suggested that craftsmen in Ireland attempted to imitate -the work of Continental glass-workers, and various sums of money were -granted by the Universities and others interested, to assist them in so -doing. Some progress undoubtedly was made, for it is clear that by the -eighteenth century factories were in existence and glass was being -actually made in Dublin, Waterford, Cork, Belfast, and Londonderry. - -Some examples of early Waterford glass are, as far as shape and size go, -replicas of glasses made in England at about the same period, but the -reason for the almost immediate popularity of the Irish glass was its -perfection of colour. A fine specimen which recently came under my -notice is a preserve jar with cover (Fig. 30), about 18 inches in -height, handsomely cut and shaped, with a square base and a fine spiked -cover. It is undoubtedly one of the finest examples of early Waterford -glass which it has been my privilege to inspect. - -Genuine Waterford glass is characterised by a peculiar bluish tint in -its body--due, it is generally recognised, to the presence of lead--but - -[Illustration: OLD WATERFORD GLASS WATER JUGS. 18th-19th CENTURY. - -FIG. 30.] - -attributed by some to some peculiar quality of the flint employed, which -was obtained from pits in the vicinity. Personally, I lean to the former -hypothesis. Cork glass, on the other hand, is distinguishable by a pale -yellow or amber tint--in all probability the result of the presence of -iron. These tones are characteristic, for though the colouring of glass -has been brought by modern workers to a fine art, yet no one has -succeeded in exactly reproducing them so that, to the expert eye, the -genuine old Irish glass is unmistakable. - -About the year 1753 the Dublin Society offered a premium for the -establishment of a glass factory in County Cork. There seems, however, -to have been some reluctance in taking advantage of the offer, for it -was not until 1782 that the first glass factory was established there. -Then Atwell Hayes, Thomas Burnett and Francis Richard Rowe demanded -assistance from Parliament in carrying on the industry. They proposed to -erect two houses, one for bottles and one for window glass and, from -their advertisements appearing shortly after in the Irish papers, -offering to sell glass at their manufactory, and guaranteeing -satisfaction, it would appear that their venture met with considerable -success. - -From 1780 onward Cork exported a good deal of glass. In the year 1801 -alone, the considerable number of 111,000 drinking glasses was sent to -America, Portugal, and various other places abroad, while in the next -year there is record of 6129 dozen bottles and 40,000 drinking glasses -being shipped abroad, which indicates a considerable output. - -The trouble involved in founding such an industry in those days must -have been considerable. In this case, two years were taken up in -procuring the necessary concessions, but the industry, once started, -took firm root, and the advertisements appearing in the Press--in -particular, _The Hibernian Chronicle_ (May 1784) and _The Cork New -Evening Post_ (1792), copies of which are preserved in the Museum of -Dublin Antiquities, indicate what progress it was making and, -incidentally, possess a curious interest from their quaint wording and -setting forth. - -The following is an example:-- - - “With choicest glass from Waterford, - Decanters, Rummers, Draws, and Masons, - Flutes, Hob-nobs, Crofts, and Finger Basins, - -[Illustration: OLD WATERFORD BOWLS. 18th-19th CENTURY.] - -[Illustration: OLD ENGLISH AND IRISH CELERY BOWLS.] - -FIG. 31. - - Proof Bottles, Goblets, Cans, and Wines, - Punch Juggs, Liqueurs, and Gardevins, - Salts, Mustards, Salads, Butter keelers, - And all that’s sold by other dealers. - Engraved or cut in newest taste, - Or plain--whichever pleases best. - Lustres repaired or Polished bright, - And broken glasses matched at sight. - Hall globes of every size and shape, - Or old ones hung and mounted cheap.” - -In style, as we have already said, Waterford glass closely approximates -to Old English of the Georgian period. If anything, however, the cutting -was deeper, the angles and spikes being often so sharp as to make it -dangerous to grasp the pieces tightly. - -Numerous table services of glass of this period exist, as well as -decanters, punch bowls, and dishes. All are deeply cut, the chief -designs being the hobnail and diamond patterns. Sometimes we find fluted -stems and finely cut spiked or striped sides. The majority of the larger -pieces, such as the punch and salad bowls, had square feet or bases -which, while possibly adding to their stability, certainly enhanced the -beauty of their appearance. The salad bowl shown on the left of Fig. 31 -is an excellent example: the collar or turn-over at the rim is -remarkable for its depth and also for its superb cutting. The bowl on -the right is a remarkable specimen of very uncommon type. 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 -edging. The base, too, is in admirable keeping with the rest of the -design. - -Fig. 32 is another particularly fine piece of Waterford glass, worthy of -note as an example of hobnail cutting, as well as for the depth of its -collar and its general effectiveness. - -The celery bowls shown in Fig. 31 are also admirable specimens. That on -the left is waisted and is “strawberry” cut. The centre one is an -example of fine fluted and diamond cutting, with a square base and domed -foot, and the one on the right has a collar and is flat cut on the -middle of the bowl. - -Oval or oblong dishes for fruit or sweetmeats were often made with -fan-shaped rims and sides, high in the centre, then sloping downwards, -to rise again to an equal height at the ends. Old Irish cut-glass -salt-cellars are greatly sought after nowadays for the dinner-table, and -have, - -[Illustration: OLD WATERFORD CENTREPIECE, WITH A DOUBLE COLLAR AND DOME -FOOT.] - -[Illustration: A PAIR OF OLD WATERFORD PRESERVE JARS, COVERS AND STANDS. - -FIG. 32.] - -with collectors, almost completely ousted the old Georgian silver -“salts.” They were often exquisite in design and shape, some being -miniature models of the large punch bowls or sweetmeat glasses. The -illustration (Fig. 14) is of an imitation pair in Old Sheffield stands. - -The water jugs also are of exceptional interest. They were usually -shaped on a fine and graceful model, and are heavily cut into step or -deep-ringed incisions generally with massive ornamentations of leaves or -panel cuttings round the neck, and diamond cuttings and flat fluting at -the base. So eager, indeed, were certain of the designers to ensure that -no part of the jug should be without its ornamentation, that they went -so far as to adorn the handles with deep cutting _inside_, and placed a -huge, deeply cut star on the outside bottom. Weighty substance and -wealth of ornament are thus characteristic of Waterford glass, although -it is, of course, impossible to say that all Irish glass displaying -these qualities came from the Waterford houses. - -The jugs illustrated in Fig. 30 are among the finest specimens in -existence, and are from the Dublin Museum Collection. A careful -inspection will reveal most of the characteristics to which we have -referred. The figure on the left is the type most familiar nowadays; the -neck is step cut, the body is “strawberry,” and the base is flat fluted. -The centre piece is a jug of the earliest shape, and is curiously cut. A -band of strawberry cutting round the widest part of the body is flanked -top and bottom by bands of leaf cutting; the lip seems so -disproportionately large as to give the piece an almost top-heavy -appearance. The handle, too, is abnormally large, and is incised on the -inside. Its interest is rather more historical than artistic. The third, -on the right, is a fine example of flat cutting, the rim being scalloped -and the handle deeply scored with “niches,” besides being lavishly -ornamented. The base is curious in that it is domed--a very unusual form -for a jug. - -Many of the Waterford pieces, especially the preserve jars with -turn-over collars, were made with covers to protect the upper rim. These -are very attractive pieces, and are found in all shapes and sizes. The -smaller ones, both with and without collars, are exceedingly pretty and -not difficult to acquire. - -The four shown in Fig. 33 give an excellent idea of what to expect. Each -is distinct, both - -[Illustration: IRISH BOWLS.] - -[Illustration: SPECIMENS OF IRISH PRESERVE JARS AND COVERS. 18th-19th -CENTURY. - -FIG. 33.] - -as regards design and ornamentation. It will be interesting for the -reader to compare them and discover the characteristic features of each. - -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 date. Three of them are shown in Fig. 34, and it -may be of service to compare them with the four shown in Fig. 14. The -stopper of the central one is of the button type, those of the other two -being of the more common “mushroom” variety. - -The beautiful pair shown in Fig. 35 deserve a word of special mention. -One feature is the lavish use of step cutting round the neck and -shoulders, and another the strawberry empanelment on the body. The fine -diamond cutting and fluting of the stoppers are also worthy of notice. - -Drinking glasses, as we have said, were produced in large numbers. They -are generally of two types, the one barrel or bowl shaped after the -fashion of our English rummers, the other straight-sided glasses on -stems. The specimens shown in Fig. 12 give some idea of their general -style as well as of the variety of ornament employed. - -It may be well to point out here, for the benefit of those who desire to -acquire specimens of Waterford glass, some of the many differences which -may be detected between the genuine article and its modern imitation. - -To begin with a simple example--the prettily shaped wine glasses of the -period with air-threaded or twisted stems are generally reproduced -accurately enough, but the twist or thread in the old glass has a -pronounced milky appearance as compared with the dead white of the -modern reproduction. The twist also is not so regular and even, and the -feet are larger and apparently slightly clumsier in the authentic -specimens. Numerous connoisseurs attach importance to the centre of the -foot, which is usually rough and uneven in the old glass. Another test -frequently relied upon by collectors is the fact of the foot being -turned over--a fashion which, it is said, was followed only with the -earliest specimens. While, however, this may provide corroborative -evidence, I should be sorry to rely upon it as a sole test. - -Probably the best criterion of all is the colour. It has, as I have -already noted, a dull bluish tinge readily recognisable when the -specimen is - -[Illustration: OLD CORK GLASS DECANTERS (EARLY 18th CENTURY).] - -[Illustration: OLD WATERFORD DECANTERS (18th--19th CENTURY). - -FIG. 34.] - -held up to the light. The better kinds, too, have almost invariably a -large and deep-cut star on the bottom. - -Cork glass is rarer than Waterford--a result due to the fact that the -Cork factories were in existence only for a comparatively short time. -The pieces, too, are slighter, less heavy, and by no means so deeply -cut. It is much frailer in appearance and, at the first glance, less -attractive; but its great beauty is a charming delicacy both of colour -and form which grows upon one’s taste. The wine glasses in particular -would at once appeal to a connoisseur from this point of view alone. The -three decanters shown in Fig. 34 need only be compared with the -Waterford decanters shown elsewhere for the lack of heavy cutting to be -immediately noticed. The centre one is interesting as being a -commemoration piece probably made in the year when the Cork Yeomanry was -formed. - -Irish glass was not unfrequently profusely engraved and gilt. The -gilding was done during manufacture, the gold being burnt in by the aid -of borax. In existing specimens much of the gilding has been worn off, -so that only traces remain. In cases where it has disappeared entirely -a careful scrutiny will show pits and roughnesses, indicating where the -decoration formerly stood. Sometimes the places can even be discerned by -the touch. Dutch, German, and Austrian reproductions have from time to -time flooded the market to be sold to the unwary collector as veritable -specimens of Irish art. But these on examination are found to be, as a -rule, so coarse and unfinished in their execution that the fraud is -obvious. The gilding, in particular, is far inferior to the work of the -old craftsmen, who were guided solely by the artist’s desire for -perfection, irrespective of toil or cost. - -Now and again specimens of Irish moulded glass crop up. These are -chiefly pint and half-pint beer glasses with fluted sides and somewhat -sparse engraving. The moulded glass is, of course, easily detected since -the edges of the fluting are rounded and blunt. The pieces themselves -are usually absurdly light if intended for Cork glass, or clumsily heavy -if they are intended to pass for the Waterford variety. - -A large field, therefore, opens to the average collector of Irish glass. -It is wonderfully fine and not too difficult to obtain. Many collectors - -[Illustration: 18th CENTURY CUT GLASS WATERFORD DECANTERS.] - -[Illustration: 18th CENTURY FINGER BOWL. - -FIG. 35.] - -too, in their desire to acquire only the earliest specimens, overlook -the cut glass altogether as too modern. In spite of this Irish cut glass -is now more valuable and far more sought after than any other. After -exhaustive inquiries I am satisfied that in Ireland, England, France, -and the United States specimens of genuine Irish glass are still to be -found, 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 not. - -A little personal experience may be worth repeating here. I was in a -small, dilapidated general shop near the London Docks; the shopkeeper, -fancying he detected in me a possible victim, drew my attention to a -pair of celery glasses and began to descant upon their age, the -difference between them and Cork or Bristol glass, and so on. After I -had examined them carefully and satisfied myself that they were -genuine--they were about 10 in. high with a very thin herring-bone -cutting upon their flat-cut sides--I asked the price, which was absurdly -high; then, disclosing my identity, I asked what he would say if I told -him they were not genuine but only reproductions. To my utter -astonishment, he exclaimed that he “must have been done.” The -price--“if they were any use to me”--dropped considerably. Then I told -him they were genuine, and sent a friend of mine, who is a collector, to -purchase them, 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 articles. - -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 “finds.” Speaking generally, the ordinary shopkeeper’s -knowledge is of the most superficial type and should never be relied -upon, while, of course, his interest lies entirely in one direction. - -Research fails to throw much light upon the glass factory of -Londonderry, nor is it easy to find pieces bearing indisputable proof of -their origin. But it is a fact that in 1820 one John Moore transformed a -sugar establishment in that city into a glass factory and, with his son, -carried on the manufacture until 1825. Then a prohibitive duty stopped -it. It is possible that only the black ale bottles were manufactured -there. As for the glass exported from Londonderry to America, it is -difficult to determine whether it was manufactured in that city or -merely exported thence. The latter is the more probable, since by the -Act of 1746 a duty of 9s. 4d. was imposed on every cwt. of material used -in making Crown plate, flint, and white glass in Ireland, as against a -duty of 2s. 4d. per cwt. in England, from which it will appear that -Ireland in those days had no great incentive to manufacture glass in -opposition to England. - -It is almost impossible to obtain authentic examples of the work of -individual Irish factories. Nor can one state with any degree of -certainty that a certain pattern, cutting, or style is identified with -any one factory or another. Both the Waterford and Cork glass firms came -from England, and brought with them English workmen. Hence it is pretty -certain that the designs and styles adopted by them were replicas of -those utilised in England, and not peculiar to Ireland or copies of -ancient Irish relics. So, too, with the ornamentation. - -Possibly some of the earliest Waterford glass was gilt, for in 1784 one -John Grohl obtained a concession for this purpose. A native of Saxony, -he probably brought with him the secret of his art, for the -“disclosure” of which he and a certain John Hand were rewarded by the -Dublin Society. The finest diamond cutting, strawberry cutting, and flat -fluting were done at Waterford; but pieces were not always cut at their -place of manufacture. Thus we hear of a Waterford dish going to Cork for -ornamentation with the characteristic designs of the factories there. -The cutters, too, had often to decorate their pieces to the purchaser’s -taste. - -There seems to have been little coloured glass made in Ireland, although -specimens are not unfrequently offered for sale. The writer was offered -recently, on the Continent, some “Old Irish glass” of perfect -colouring--deep blue, red, and yellow, with fine heavy cutting--but the -lightness of the pieces proved them modern, probably from some Dutch -factory. - - * * * * * - -In concluding this chapter a word may be given to Scottish glass, which -is very like Irish in texture, although its existence is commonly -ignored by collectors and writers alike. As an industry glass-making -was, of course, of little importance in Scotland, but it is interesting -to learn that in the reign of James VI., John Maria dell’ Aqua of -Venice was appointed Master of the Glass-Works in Scotland. The famous -liqueur glass shaped like the flower of the thistle was probably from a -Bohemian original. It is heavily cut, with an acorn bottom upon a round -stem, and reproductions can be seen in almost every shop window that -displays glass. Early examples are difficult to obtain and their -genuineness equally difficult to guarantee. It is assumed that many of -the Jacobite glasses were manufactured in the Scottish factories. -Secrecy being absolutely essential, it is hardly necessary to state that -no authentic records of production are to be found. - -The courtesy of the authorities of the Dublin Museum has enabled me to -add another, and, from a collector’s point of view, a most interesting, -section on the subject of Irish glass. - -The museum possesses one of the finest collections of Old Irish glass in -existence, many pieces from which are reproduced in the illustrations to -this chapter. These illustrations are of pieces as nearly perfect as it -is possible to obtain, and are therefore useful in enabling the -collector to form a standard as regards this particular form of glass. - -The three decanters illustrated in Fig. 34 are undoubtedly Cork glass. -Apart from the fact that the centre one bears an inscription, “Success -to Cork Yeomen,” 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 factories. - -The drinking glasses (Fig. 12) are also undoubtedly Irish, of about the -same period, and probably came from Waterford. The reader should -carefully note the cutting of the two end pieces; they are of totally -different types, each being perfect in its own style. That on the left -has the hobnail cutting common in England about the time when the Irish -factories were first established. 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 Ireland. - -The end glass on the right-hand side is an excellent example of the -grace, beauty, and simplicity associated with the best Waterford pieces; -its flat-cut sides are characteristic of its place of origin. I have -occasionally seen similar specimens in London, and they have always -appealed to me as the most perfect examples of the Irish drinking glass -of the eighteenth century. The other two specimens are of the same type -as the English rummers or punch glasses; they are prettily engraved, and -make an effective contrast to the other glasses of the same period. - -Irish cut-glass decanters and stoppers, such as the specimens -illustrated in Fig. 34, are not difficult to find nowadays if one is -expert enough and careful enough to avoid the many imitations that -exist. High prices are demanded for genuine pieces in which the cutting -and colour are good, and which satisfy the tests by which the -connoisseur judges the antiquity of his finds. - -The centre decanter has a finger-fluted base, and the length of the neck -makes it an unusual specimen. Possibly the idea was to enable it to be -more easily grasped and held when full; but the design is undoubtedly -graceful, and this is one point which the amateur collector should never -ignore when seeking to make a worthy collection. It is well to bear in -mind both artistic merit and intrinsic worth. - -Two other fine early specimens of Waterford glass are illustrated in -Fig. 31. The “collared” or turn-over flower bowl is a fine example of -eighteenth-century work. The cutting, it will be seen, is entirely -different from that of the piece on the right; for whereas the latter is -entirely flat cut, with the exception of its finely scalloped edges in -the former, the whole design is finished in the “fluted” style. In both, -as in most pieces of the kind and period, the “dome” or hollow foot is -found. - -The large glass dish on a stand on the other side is almost unique. Such -pieces are very difficult to find in their entirety; indeed, the only -other existing, to my knowledge, is in the Marquis of Bute’s collection. -Perfect specimens are hardly obtainable now except when a fine -collection is dispersed at the death of its owner. Even then, as all -such notable pieces are well known to collectors, the competition for -them is very keen, and the private buyer, unless his purse is of the -“bottomless” kind, is hardly likely to obtain them. Occasionally one -may, by happy accident, come across a really fine piece in some -unexpected quarter, but such chances are few and far between. Moreover, -there is always between the finder and his find the spectre of the fake -merchant, whose wont it is to plant his most seductive wares in -out-of-the-way places, so as to give them a fictitious appearance of -genuineness. No important piece should ever be purchased without an -inquiry into its history. 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 doubt; if not, it is best to let the apparent -bargain go. - -I remember, not many years ago, waiting upon a lady in a very ordinary -house in a London suburb. She had replied to an advertisement in which I -had offered to purchase old glass. A glance was sufficient to show me -that her collection contained nothing likely to appeal to my taste. Yet -I did have a find; for she had, in addition to what I saw at first, two -dishes somewhat similar in shape to a large fruit dish, but with the -cipher C.R. cut upon each (Fig. 36). These were actually made and -presented to Queen Charlotte on a visit which Her Majesty paid to some -glass-works during a tour in Ireland. Their authenticity was guaranteed -by a letter from an old tutor of the Queen relating the circumstances -and handing down the pieces as a relic. The owner asked £15 for them. -Needless to say, they changed hands, only to do so again shortly after, -and this time at the enhanced and respectable figure of fifty-five -guineas. In spite of their beauty and their apparent air of genuine -antiquity, I should have hesitated to purchase them but for the -additional evidence afforded by the letter. One cannot be too careful. - -The sweetmeat glasses (Fig. 11) are particularly fine of their kind. -Each has its individuality: the one has an opal-twisted stem with a -“dome” foot and a finely cut edge, whilst the other displays some -exquisite cutting both on the upper part and the base. These, again, are -uncommon pieces, not to be met with every day nor easily procured when -met. Still, they make a more frequent appearance at sales than the -larger pieces. A more ordinary variety is not so high and has flat sides -and cutting. A genuine specimen, though, is not to be despised, but the -type is one very freely imitated. - -Some fine celery bowls of the same period are worthy of note. They are -excellent specimens of the art of glass-cutting both as regards design -and finish, and they are somewhat rare. As much as seven or eight -guineas was recently asked in the West End of London for a - -[Illustration: FIG. 36--SPECIMENS OF IRISH GLASS.] - -plain example with a slight herring-bone cutting. It was certainly -genuine, but was hardly a supreme specimen of the decorative cutter’s -art. The price, however, will give some idea of what would be asked for -such superb specimens as those reproduced in the photograph. - -The Old Irish water jugs shown in Fig. 30 are of the earliest type. That -on the left is the pattern most often seen and most generally copied; in -fact, during the Early Victorian era most jugs were of this design. It, -however, originated in the Irish factories. - -The centre piece, as well as the jug on the right, are both rare; -possibly the style was not often repeated. Certainly the tremendous -handle placed upon the centre one gives it a most clumsy appearance, -while, in regard to the one on the right, one cannot help feeling there -is something wanting at the base. They were improved upon towards the -middle of the nineteenth century, when smaller handles and firmer bases -were added to the design. - -It is curious to note how in this kind of glass the strawberry, or flat, -square style of cutting, prevails. Traces of it appear upon almost every -article, so that it was evidently a favourite form of decoration, and -was possibly regarded as a relief from the flat, scalloped, or slip -cutting then in vogue. - -On the plate (Fig. 33) there are examples of sugar basins or bowls, in -which the cutting is of the same kind, save that the specimen on the -right is “flat” cut, with cut steps. This variety is particularly rare, -and consequently highly prized among collectors. They are usually of -stout, heavy glass, the cutting being very deep and the edges of the -“flats” sharp. These traits will, of course, not help the collector to -discriminate between the veritable antique and its modern replica. But -it should be borne in mind that the modern is invariably more brilliant, -has a whitish look, and is “cleaner” in every detail than the real glass -of this period. - -It may be mentioned that the centre bowl, although particularly -attractive, is by no means so rare as other specimens figured in this -chapter. Indeed, pieces of this character and design are frequently to -be procured. Still, a genuine piece is well worth the collector’s -attention. - -The same plate (Fig. 33) illustrates some rare pickle or jam jars, -displaying among them all the principal cuttings then in vogue. The end -one on the right is the only exception, having an engraved -ornamentation. These specimens are frequently copied, but originals are -still to be obtained. - -The Cork houses, the product of which was finer and slighter than other -Irish glass, turned out a great quantity of these. Prices run from six -guineas upwards. They are copied in great number in Holland, often in -small sizes and with flat cutting, so that care must be taken in -choosing. Unfortunately the distinctive features--design, colour, and -shape--all readily lend themselves to reproduction and, with increasing -skill in imitation, make it exceedingly difficult to determine between -the true and the false. - - - - -CHAPTER VII - -CURIOUS AND FREAK GLASSES - - -Hitherto we have confined our attention to what one may term the -legitimate drinking glass in its different varieties. But there were -many freak glasses and curious objects made of glass by our forefathers, -and these have a special fascination for lovers of the antique. In some -cases they appeal because of their quaintness and _bizarrerie_ of form, -in others because of their purpose, while other examples have little to -commend them save their antiquity. - -One curious specimen which I came across not long ago was a flask in the -shape of a pair of bellows. The nozzle was closed by a cork, and there -was a hole in one handle of the bellows by which it might be suspended -from a nail in the wall. It was probably employed by some ancient -apothecary or alchemist to hold drugs. I should hardly care to dogmatise -as to its period, but it was unmistakably of English origin, and -certainly quaint and interesting enough to be worth acquiring. - -Among the commoner “finds” of this kind are the glass paper weights, -made with, apparently, a bunch of flowers inside, which is visible when -viewed laterally and disappears on a vertical view, when the observer -sees nothing but clear glass. I have seen many examples of this kind on -sale in shop windows in London, and the price asked is usually modest -enough even for a good specimen. - -In olden times it was customary to place names and dates upon the -bottles which held the best ale. Many of these are still in existence, -mostly, however, in collections. They are certainly by no means -beautiful as far as appearance goes, their interest being centred upon -the date, and upon the fact that the practice has now been obsolete for -many years. To a casual eye these ale bottles appear black, but if held -up to a strong light a greenish tinge is plainly marked. They are very -stout and amazingly tough, so that they may even be dropped upon the -ground without fear of breaking or chipping. This, by the way, is often -put forward by experts as the best test of their genuineness. The test -is, however, something on the drastic side. Moreover, dropping other -people’s bottles to test their _bona fides_ is a practice hardly likely -to commend itself to the seller, and one which might prove unexpectedly -costly to the connoisseur. - -There are many other objects made in glass which are worthy of -note--knife-rests, rolling-pins, walking-sticks, quaintly shaped jugs, -baskets, forks, bells and horns. - -The knife-rests often assume most curious forms. A not unfrequent type -was that of a hound running at full stretch, fore and hind legs widely -extended, and the body coloured to nature. Salt-cellars, too, were made, -like the paper weights before mentioned, with sprays of flowers inside. -These were made in two pieces, which were fused together after the -flowers, painted on paper or thin canvas, had been placed between them. - -Small glasses made in the form of flowers or their petals, and glass -buttons and beads decorated (_sic_) with faces, names, dates, initials, -etc., are other examples of freakwork in glass which the amateur should -be glad to acquire. - -Possibly one, more fortunate than his fellows, may chance across a -“toddy-lifter.” At first sight this bears a distinct resemblance to a -tiny decanter; on examination, however, it will be found to be without -either bottom or stopper. - -The toddy-lifter, as its name implies, was used instead of a ladle for -filling glasses with punch or toddy from the bowl. The open bell of the -lifter was dipped into the liquid and at once filled. Then the opening -at the top was closed by the finger and the “lifter” raised out of the -bowl, the contents being retained in it by atmospheric pressure until -the finger was removed from the top, when the contents were discharged -into the consumer’s glass. One would imagine that a ladle would prove -equally useful and more convenient. Possibly, however, the fact that the -toddy-lifter never spilt a drop of its contents, however unsteady the -hand that held it, was not without its advantages in a hard-drinking -age. Similar pieces of Scottish origin may be found. These are usually -more club-shaped, and are even rarer than the English examples. - -None of the foregoing pieces is particularly difficult to acquire, and -it is comparatively easy, therefore, to form an adequate collection of -really fine specimens. By fine I do not, of course, mean rare or -exceptional pieces, but specimens of sterling merit of which the -collector may be proud and which are likely to increase in value. They -are mostly in the hands of people who have no conception of their -merits, either pecuniary or artistic. - -A few years ago I found in an old book shop quite a collection of old -Bristol glass paper weights. 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 identity. One particularly fine -specimen was used as the lid of an old glass ink-pot. Its owner readily -parted with it as a thing of no value, for a few pence. 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 -merits. - -Freak glasses proper include yards and half-yards, boots, cocked hats, -frog glasses, and trick glasses designed to send their contents anywhere -but in the direction which the would-be consumer intended. - -The yards and half-yards are great curiosities; they resemble nothing so -much as a coaching horn in shape and size. There are two kinds, the one -the genuine old Cambridge ale-yards, 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 face, to his great -discomfiture and the huge delight of the onlookers, who had probably -arranged the whole thing for the benefit of some innocent person. - -Unfortunately, in the sudden start with which the drinker received the -unexpected disposition of the contents of his glass, the vessel itself -was so frequently damaged that specimens of ale-yards are very difficult -to obtain. It will be noticed that in our illustration (Fig. 37) the -specimen is cracked near its mouth. It need hardly be said that any -collector who is fortunate enough to obtain an example in reasonably -good condition may esteem himself fortunate. - -As to the reason of the sudden emptying I cannot do better than quote -from Mr Hartshorne, an old friend and the greatest authority on Old -English glass. - -[Illustration: Masonic, Toasting, and Freak Glasses.] - -[Illustration: An Early Cambridge Yard Ale Glass.] - -FIG. 37. - -“The trick yard glass arose from the knob at the end of the footless -one. It was found that on expanding into a bulb the ‘knob’ or ‘knot,’ -the difficulty of emptying the vessel was greatly increased, 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 drinker.” - -This was by no means an uncommon occurrence in wayside inns of the -seventeenth century, the spectators often betting upon the result. - -At the annual “Vinis” of the Mock Corporation of Hanley, Staffs, the -initiation of a member included the drinking of a yard of port, while -the freeman of Stoke-on-Trent had as a preliminary to admission to -dispose of a yard of ale. - -To “floor the long glass” at Eton is also an accomplishment which many -never achieve. - -I have seen many fine specimens, notably one belonging to my old friend, -Mr John George Mortlock of Cambridge; but it is rare to find them -undamaged, the involuntary jerk of the victim who finds the liquid -splashing into his face being usually fatal to the unwieldy glass. - -Another similar example is furnished by such glasses as that shown in -Fig. 37. On the one side it is marked “King,” on the other “Tinker.” The -“innocent” invited to drink was asked to choose from which side he would -drink, and, prompted by loyalty, vanity, or pure folly, he was almost -certain to drink with the king rather than the tinker. But artfully -concealed in the band of decoration round the rim was a series of small -holes, through which, when the glass was tilted, the liquor ran, soaking -the drinker’s waistcoat instead of finding its way down his throat. - -Possibly the old coaching glasses may fitly find a place in this -connection. They are without feet, the stem ending in a bulb which was -often cut. When, in the old coaching days, the vehicle pulled up at a -wayside inn, the landlord brought out his tray with the glasses inverted -upon it. They were filled from the bottle and emptied at once--the idea -being that as the drink would have to be consumed at once, there was no -need to make the glass so that it could be set down while the liquor was -only partly consumed. These are now rare, and to discover one would be a -great achievement for the ordinary collector. - -One may also mention the singing glasses, which were made to vibrate to -a certain musical note, and so would repeat the note when sounded or -sung, just as the string of a piano or violin will do. This, of course, -was a great mystery to unscientific persons, but is susceptible of a -very simple explanation. Evelyn was greatly puzzled over the phenomenon. -Certain glasses, he remarked, “made an echo to the voice, but were so -thin that the very breath broke them.” The fact is, of course, that the -glass broke through the intensity of its own vibration, just as a pane -of glass in a church window will sometimes break when the organ is used. -The note played having the same period of vibration as the pane of -glass, the latter vibrates in unison with it, and if the note is -continued for sufficiently long, the vibration becomes so intense as to -break the pane. It is for an exactly similar reason that a regiment of -soldiers breaks step when marching over a bridge, for fear that the -rhythm of the march might chance to coincide with the period of -vibration of the bridge, and so set up rhythmic movements which might -weaken the structure. - -Such glasses are distantly allied to the musical glasses which, when -filled up to a certain point, produce a musical note when the bowl is -thrown into vibration by the finger or a violin bow. By filling such -glasses to different heights, it is possible to produce a complete -scale, and so to play any desired tune. - -Other freak glasses take the form of boots--some of these are quite -elaborate, the lacing being imitated in glass-work, as also were spurs, -straps, etc. The “boot” glass used to express the popular execration of -Lord Bute has been already referred to in the chapter on Commemorative -Glasses. Then there are cocked hats, various birds and beasts, all -highly inconvenient for the purpose for which a glass is intended, but -all associated with some idea, family crest, or particular superstition. -There are glasses from which, though apparently full, it is impossible -to drink; there are others, with tiny electric bulbs in the base, which -light up on the pressure of a button, irradiating the contents with a -glow of light and adding I know not what meretricious attraction to the -contents. These, I need hardly say, are modern, and have no real place -among Old English glass. One I remember was formed at the base into the -semblance of an eye, with the legend “Eye-water,” a description of the -probable contents, which, it is to be feared, was borne out neither by -their destination nor their character--unless, indeed, they were of so -potent a nature as to bring the water into the bibber’s eyes. - -Another curious example had engraved upon the inside of the bottom the -figure of the gallows-tree, with its ghastly fruit, and the grim legend -“The last drop.” Whether the maker was a humorist or a temperance -reformer anxious to point his moral in the most effective way, I am -unable to decide. - -Somewhat similar are the glasses which have a frog or a snake at the -bottom, possibly with the idea of giving a mild surprise. There are many -other varieties. Indeed, the production of freak glasses was only -limited by the imagination of the time that produced them, and by its -capacity for amusement, and had no relation to taste. They are rarely -produced nowadays: possibly we have become more exacting and less easily -amused than our ancestors. This is a serious and a utilitarian age. - - - - -CHAPTER VIII - -FRAUDS AND IMITATIONS - - -Presumably, as long as there is a demand for old glass, there will be -found persons sufficiently unscrupulous to attempt to eke out the very -limited supply of the genuine article by imposing upon the credulity, or -ignorance, of collectors, and supplying them, greatly to the vendor’s -advantage, with more or less colourable imitations of what they desire. - -I have in a previous chapter dealt with certain experiences of my own -with regard to “Fiat” glasses. That, however, was only by the way. The -subject of frauds and imitations in Old English glass is of quite -sufficient importance to warrant a chapter to itself. There is, -probably, no department of the “antiques” beloved of the collector in -which there is so much room for fraud as in Old English glass, and there -is certainly none in which imitation has been carried to a finer point. - -One can hardly blame the manufacturer for this. The demand for old glass -is much larger than the supply, and the collector, who is desirous of -nothing so much as to complete his “set,” is insistent in his inquiries. -But the trouble comes when a reproduction, altogether admirable in -itself, 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 rarity. - -I saw, not long ago, in a silversmith’s in the south of England, a great -number of specimens set out for sale as genuine old glass, at a price -corresponding to their supposed value, but every piece, without -exception, belonged to what a connoisseur would term the “bad age,”. -_i.e._ anything from the year 1850 onwards. The dealers must have known -its period and its worth, or rather its worthlessness, and yet they -allowed it to be sold as the real thing. Unfortunately, this is no -uncommon occurrence, and it is a pity that the practice cannot be -checked. The ordinary trader is not permitted to sell margarine as -butter, or the publican manufactured spirit as pure grape brandy, but -the dealer in antiques seems to claim a special licence to impose upon -the unwary, and may with impunity--or, at least, often does--pass off as -rare specimens of ancient craftsman’s work things which to the seeing -eye are obvious and clumsy frauds, and virtually worthless. - -Nor is the large dealer the only culprit. Small second-hand shops teem -with “faked” antiques, and many of these, and also certain pawnshops, -make a great part of their profit out of the unwary and unskilled hunter -for bargains in glass, china, engravings, sporting prints, and all the -other objects that tempt a collector’s eye. - -Fig. 14 illustrates a common type of such bargains. These pieces were -procured at a pawnbroker’s establishment in South London. They are -obviously imitations of Early Georgian salt-cellars, but they were -offered to the author as “genuine old Waterford sweetmeat dishes,” and -then as “perhaps salt-cellars,” and finally as “old glass ice-cups,” at -a price dwindling from 31s. 6d., through 25s. to 15s., at which I -purchased them as “awful examples” of the fate that awaits the collector -who goes bargain-hunting in antiques with an enthusiasm greater than his -knowledge. - -It is difficult to lay down any hard and fast rule by which to test the -genuineness of specimens discovered in this haphazard way. Possibly the -best is the colour “test.” Does it look right in colour?--not too green -and not too steely, for crafty imitators often tend to overdo these -qualities. Does it bear too evident signs of age? One has heard of chips -and “hair” 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 vendor. 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 colour, sharpness of cutting and design, -and so on. With caution you may expect now and again to pick up in this -casual way some pieces worthy of your attention, and maybe once or twice -a specimen worth its place in any collection. For good examples of glass -and china have been known to be pawned for a fraction of their worth, -neither the depositor nor the pawnbroker having the slightest inkling of -their value. But the shops above all others to be shunned by the picker -up of unconsidered trifles are the shops whose windows scream, by the -aid of plastered tickets, of the “special bargains” to be obtained -within. The collector may well abandon hope who enters here; there is -probably not a genuine piece in the place. If there is it occupies a -prominent place as a decoy duck, and is generally marked at an absurdly -low price, the salesman depending on his knowledge of human nature to -foist off something else on the unwary or diffident customer. I have -had, on occasion, an unholy joy in entering some such place and -defeating all the efforts of the salesman to divert my attention, -carrying off the only decent piece in the place at a price possibly -fifty per cent. lower than its intrinsic value. But such pleasures are -not for all nor, indeed, for many. In actual practice the would-be -purchaser is generally told that that particular specimen is not for -sale, that “a customer had left it to be valued,” “that it had been put -in the window by mistake,” or some other cock-and-bull story. - -Other places to be shunned are the sham Oriental bazaars where Eastern -jewellery, Japanese ivories, jars, fans, beads, etc., are sold. Many -such establishments cater expressly for the unwary and unwise -collector. He will find, if his hobby be glass, glass of all kinds and -descriptions from Elizabethan downwards, and will be treated with such -charming solicitude and deference that he may well become blinded to the -fact that the whole stock is counterfeit, and that the whole atmosphere -of the place is specially designed to conceal that awkward but essential -fact. The cheat is assisted by the delightful courtesy of the -saleswoman. - -But apart from the scores of recognised ways in which this nefarious -business of planting frauds on the innocent is carried on, there are -many less obvious and consequently more dangerous traps for the unwary. -Of these one only hears from the victims themselves. Thus one, attracted -by a specimen in a shop window, may become an interested listener to a -conversation in which the beauty of the said piece and its phenomenal -cheapness are the theme. It probably never occurs to the dupe that the -respectable-looking lady and gentleman are in the employ of the -shopkeeper, and that their conversation was arranged entirely for his -benefit. - -Then comes the great question of sales, private or otherwise. There is -the complete clearance owing to the proprietor’s death. There is a -window full of miscellaneous stock, including certain good pieces. There -is also the notice, “Nothing sold until the 21st.” By the 21st the few -good pieces, having achieved their object, have disappeared. But the -crowd they have attracted is there, and is there with the intention of -buying--and buys! Again, there is the family compelled by misfortune to -realise immediately all its assets, and in so doing to sacrifice -everything. Who would not pick up a bargain when to do so is to do a -good turn? - -All such methods are transparent enough if one stops to consider and to -analyse. But how seldom one does! - -A very fine and lucrative trade is carried on in Old Bristol and Nailsea -glass, for the reason that in no other kind of glass is it so difficult -to distinguish the false from the true. The milky white surface lends -itself particularly to imitation. I remember some specimens brought to -me by a well-known collector. They were a pair of small bottles, pepper -and vinegar, and my visitor was mightily proud of his “find” and his -bargain. But on a careful examination I fear that he realised, with some -sense of discomfiture, that the “deceased ancestor” who had been -dangled before him was something of a myth, and that the specimens were -only modern reproductions and probably foreign at that. To my surprise, -on visiting a local museum on the West Coast recently, I found the same -two pieces exhibited as specimens of early Bristol glass. The best test -for this description of glass is carefully to scrutinise the decoration -with a strong magnifying glass. The magnification will reveal alike the -perfection of the workmanship of the real old Bristol manufacture and -the poverty and roughness of the imitation. Further, Bristol glass is -soft to the touch, with a beautiful smooth body. Often, too, on turning -the glass upside down you find in the centre a clear spot devoid of the -opal tint, probably due to the workman running all his colour off at -this point. The “fake” will probably in addition to being rough in -texture be light in weight and of a milk and watery hue, possibly even -with a greyish tinge. - -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 Austria, -and although there is every probability that the influx will cease for -some time to come, yet there is, unfortunately, from the point of view -of the amateur collector, already in existence--in England and -America--so large a number of specimens of Bristol and Nailsea glass -with a strong Teutonic “accent” that there is no likelihood of a dearth -of it for some years to come. And although much of it bears such obvious -traces of its origin that “he who runs may read,” yet much is so -perfectly cut and so similar in appearance to the genuine ware that the -amateur is likely to be deceived, and particularly the amateur who, -having learned the characteristics of this make of glass, looks for them -in his “find.” He will certainly discover them, for is it not the -business of the astute manufacturer of fakes to see that they are there? -His business depends upon his ability to deceive the would-be -connoisseur, to whom, in this case, the possession of a little knowledge -is an infinitely dangerous thing. - -The commonest examples of high-class frauds are dishes, salt-cellars, -decanters, and preserve jars. All such should be subjected to a most -careful examination. If the characteristics you have expected to find -are particularly evident, all the more caution is necessary. Even then -you will probably find that you will have to pay for your experience. -For your comfort in misfortune, I may say that I have never yet met a -collector who had not, in the beginning, fallen a victim to the wiles of -the “fake-house.” And only by the experience so gained--and -unfortunately paid for--has he learnt to shun the net that is spread, in -vain, in the sight of any “old” bird. But the process is often a lengthy -one. - -My advice is that when any find appears to be doubtful or, worse, -appears too good to be true, to take it on approval for a day or so, or -purchase it on condition that you receive the full amount paid if the -article is returned safe and sound within, say, a week. You will not -find it difficult to secure such an agreement--only get it in writing. -If the dealer will not consent, and you have made up your mind, take a -day to think over it, and then take your risk and buy. If you have made -a mistake you will probably discover it, and will not repeat it. - -A friend of mine boasted some years ago that he had never made a bad -mistake in judging glass, because he had “kept his eyes open,” and -invariably asked some one who “knew” to accompany him whenever he -thought he had discovered a piece worthy of being added to his -collection; but, alas! during a summer holiday spent among the Irish -lakes he fell a victim. The lady who was the vendor had evidently kissed -the Blarney stone, and as she was moving and the matter was urgent, a -price--a tall one--was fixed on the spot, and my friend became the -possessor of a remarkably fine collection which expert examination -proved to be entirely of Dutch extraction. And the moral! Well, had he -in the beginning relied upon his own judgment he would have made -mistakes, but he would, at the same time, have acquired first-hand -knowledge and have escaped a serious disaster. - -One often finds replicas of old glass moulded; and as moulded glass was, -of course, the earliest kind, the pieces seem to acquire a spurious -value. Moulded glass with its heavy, thick appearance and its rounded -edges lends itself easily to imitation. But the reproductions are often -made in common glass, which gives itself away to the touch. One need -hardly be an expert to detect common glass by its feel and texture. - -It must not be assumed that the best method of forming a collection is -to pick up those pieces which appear to be cheap. Real old glass, like -other genuine antiques, is greatly sought after and commands a highly -respectable price. This question of price is really a considerable -factor to the amateur collector. His aim should be to get a complete -collection, however small, and his danger that of duplicating, simply -because he sees a specimen cheap. “Oh, I must have that; I gave nearly -twice as much for the one I have,” is a sentiment often heard. But the -collector must eliminate duplicates unless he aims at completing a set, -say a dozen of wine glasses or finger basins. The ultimate fate of -duplicates is to be “weeded out” often at a price far below what they -cost. - -I remember a case in point in which a novice found himself, after a -brief experience, the owner of so large a collection that his cupboards -failed to accommodate it, and he had to have larger ones made. And yet -one shelf alone contained four barley wine glasses, five ordinary -air-twisted stem glasses, three Early English plain wine glasses, four -early finger basins, and five rummers of different shapes--all of the -most ordinary type. - -When by experience he had acquired wisdom these and similar articles -were sent to the sale-room. Two lots did not elicit a single bid, and -the remainder went for far less than had been paid for them. Now, -however, he possesses a good representative collection, which will be -sure to fetch, when under the hammer, a sum which will produce a -handsome return upon his expenditure. - -There is to-day such a craze for what is old, that it is difficult to -find anything that is not faked. I often wonder, when dining with -friends, if they are aware of the real nature and origin of the glass -they use. On the other hand, one finds in some places, particularly old -country houses, pieces almost priceless pushed away into corners as if -they were of no value at all. - -I remember some years ago finding in a village not far from Liverpool, -an old dame, who had passed her life as housekeeper to a wealthy -merchant, using a fine, genuine old Waterford bowl, about 18 inches in -diameter, for stewed fruit. The bowl was easily worth from eighteen to -twenty guineas, while the plates on the table were the commonest -procurable. Needless to say, that bowl is no longer in her possession, -having been replaced by a substitute of far greater appeal to her. - -In spite of such occasional finds as this, the amateur who in pursuit of -his hobby makes a habit of raiding old country cottages, shops, and -inns, must be exceedingly wary and look upon exceptional discoveries -with an exceedingly sceptical eye. An amusing experience that befell a -friend of the author’s--a foreign glass merchant--is perhaps worth -recounting in this connection. - -Arriving one day at an inn in the south of England, 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 manufacture. Entering into conversation with the -landlord, he was informed that a distant ancestor of that worthy, -soldiering in Ireland, had the fortune to render some signal service to -a native of that distressful country and was given the glass in token of -gratitude. Apart from the appropriateness of the gift, and a certain -improbability that articles of such fragility would survive the -vicissitudes of a campaign, 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 rarity. The humour of the -situation, however, developed when the prospective purchaser produced a -pocket-book and read to the astonished landlord the last order his firm -had received for “one dozen imitation antique glasses with twisted stems -at twenty-one shillings a dozen.” The difference between this and the -thirty shillings apiece which the landlord demanded left a very pretty -margin of profit. - -Old glass is, of course, so easily imitated that it is hardly surprising -there should be many such pitfalls in the path of the unwary, 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 deception. But it is well, wherever possible, to examine at -leisure any piece that may strike the eye, and in the surroundings which -it will occupy. Artificial light, too, is a very treacherous medium in -which to examine glass of any kind. Any find should be examined by -daylight and side by side with other pieces of whose authenticity there -is no doubt. Then with a little training he should be able to determine -with a fair degree of accuracy the genuine specimens from the false, and -this in spite of the resources of modern science, which have enabled the -“faker” to copy texture and colour with all but exactitude, and of the -skill of the workman who reproduces faithfully the form and decorations -of the original. - - - - -CHAPTER IX - -SOME HINTS TO COLLECTORS - - -Glass-collecting is so full of interest that it need not be followed on -any large scale. It is equally fascinating when pursued in the humblest -fashion, by ransacking old second-hand shops in lowly districts as well -as country cottages. A nucleus is soon formed, and, that accomplished, -the collector is in the toils of his hobby, and unless he is an utter -failure, one of those hopeless and helpless folk who can never learn to -discriminate between the true and the false, he speedily acquires a -collection which has not only provided him with a delightful recreation -but is a source of considerable pride. - -Of course, it must not be imagined that anyone can go into a second-hand -shop, a marine-store dealer’s, or a pawnshop, and come out with a -bargain every time. Nor do I assert that every piece bought will -justify the enthusiasm of the first moments of possession. But I do say -that, given reasonable judgment, anyone may form the nucleus of a small -collection, and that with decent care in adding to it pieces that are -considered rare, genuine, and unusual, the result will be entirely -gratifying--yielding a full measure of artistic satisfaction, to say -nothing of pecuniary advantage. - -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 cities. Rent, rates, and large salary lists preclude any -possibility of cheapness there. And further, if I may venture to let my -readers into a secret, 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 tyro. Their statements, about glass -in particular, are often utterly unreliable. There are good firms to be -found who have expert knowledge and whose judgment may be relied upon, -but they are few and far between. The so-called expert antiquary is only -too often a victim to his own too alluring imagination. He thinks he -_knows_, “good, easy man,” when in reality fancy is building him a home -of romance, into which, unluckily, he leads his too credulous client. -And--then the disillusionment! And confidence in expert opinion vanishes -into the realm of the things that were. - -A friend of mine recently purchased a “Fiat” glass from a large and -famous West End house. He was assured that it was genuine, and on the -strength of that assurance paid a fair price. Within three days he was -back, furious at being deceived. They returned his money. To my own -knowledge, that particular firm has had many old wine glasses engraved -with the “Fiat” decoration and emblems. They are stored in a dark -cupboard and one only is shown at a time. There is little doubt that -many collectors have suffered from this insolent piece of trickery. -Personally, were I starting to collect glass in a small way, and for any -reason preferred not to go out into the highways and byways to gather in -what I might find, I would shun the big dealer altogether. I should -select a small man whom I had reason to believe scrupulous and -“clean”--a man with a reputation to gain and, consequently, a business -to make. Such a man will generally have had a sound training, will know -his subject, and take pleasure in justifying your confidence. - -The question of price is always a serious one, and it is easy to -understand the reluctance of the amateur to inquire the price of a piece -which has taken his fancy, knowing, as he does, that the sum asked may -probably be as many guineas as he may be prepared to pay shillings. Yet -a price, though high, need not necessarily be excessive; a genuine -specimen acquires value in proportion to its rarity rather than its -beauty of design or build. As to genuineness, a decent firm will readily -give a guarantee by writing upon the bill something of this nature, “We -guarantee this article to be genuine old ---- glass, made and decorated -at ----, about the year ----, and in the event of the purchaser wishing to -return it within one week, we will refund in full the amount paid, -provided the article is returned in perfect condition.” A short time -limit is only fair, as the seller must protect himself against a -possible loss of sale. - -One word as to judging glass. It is not necessary to assume that a glass -is old because it “rings” well; yet this is a common belief. The -clearness with which a glass will ring depends on many things, the most -important being its shape. Thus finger basins, rummers, large glasses, -bowls, and preserve jars invariably ring well whether ancient or modern. -The expert will judge by texture, the colour peculiar to the variety of -glass, the shape, and the style of decoration. Even here he may readily -be deceived, all these features being reproduced with remarkable -fidelity. 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 “Early English -glass.” To all appearance it was genuine, and yet it was clearly proved -to be of Dutch, and very recent Dutch, manufacture. This Dutch glass is -imported in large quantities, but the expert eye can readily detect it. -The colour is a uniform green--a kind of deep-sea tint, and very clear. -Moreover, the ware is not nearly so heavy as the genuine Waterford, -which it resembles, and the facets of the cutting are too perfect and -sharp. The muddy-coloured glass is also frequently imitated in the Dutch -factories. Here again the weight is an important test; it is far lighter -than the genuine English product. Even the facial scratches with which -age invariably adorns the bases of all glass vessels are imitated by the -modern “fake” merchant. A brief rubbing with pumice stone or rubbing the -specimen against a stone will produce the desired effect. - -The best training for the amateur collector is to spend a few weeks in -examining a really good collection, say that in the British Museum or in -the South Kensington Museum. Thus the eye becomes educated to the -colour, shape, texture, style of decoration, etc., of the various kinds -of glass, and is less likely to be deceived by even the best of modern -imitations. - -Then there is the eternal question of price. One point should be always -before the collector’s mind: In the event of my being compelled to -realise my collection, what price may I hope to get for it? To the -collector the buying price and the selling price are intimately -connected. There is so much capital to be locked up, so much time -employed, so much skill displayed, and there should be a fair recompense -for all three. And, further, there is the ever-present risk that fashion -may change, and articles once greedily sought after may become -unsaleable because they are “out of fashion.” Of course, one obvious -way of purchasing to advantage is when others have to sell at a -disadvantage; when collections come into the market because of the death -or misfortune of their owner. At such sales I have known many bargains -picked up, although it is again necessary to emphasise the need for -wariness. Bogus sales are not unknown, and it is a common practice for -genuine sales to be “salted,” and often pretty liberally, by the -introduction of inferior imitations, in the hope that, among much that -is undoubtedly genuine, they may escape detection. - -I may, perhaps, be permitted to say a word as to the prices which should -be paid in the ordinary way at such sales. An old Waterford cut-glass -jug is, provided its cutting is perfect, certainly worth a five-pound -note. A very common dodge is to sell an old Waterford jug with a cracked -handle, the crack being where it is least likely to show, _i.e._ at the -top or bottom of the handle close to where it joins the body. For an -ordinary spiral wine glass 7s. 6d. to 10s. is a fair price, but glasses -with baluster stems are easily worth a guinea. Most expensive of all are -the real “Fiat” glasses: £9, £10, £15, and even more may be paid for -one. I saw one sold a few months ago for the record price of nineteen -guineas. - -If you come across a “Fiat” glass priced at a five-pound note, or less, -you may be sure of one of two things: either the owner does not know the -value of the piece or it is an imitation. Baluster stems are not often -to be met with, but they may well be worth anything from £1 to 30s. Of -course, in considering this question of price one must not forget that -often a fancy price is willingly paid in order to complete a set, or for -some other reason. Irish finger glasses with double lip are, roughly, -worth from 5s. to 7s. 6d., and sometimes higher prices are given for -sets of a dozen, or even half a dozen. Opaque glass is rare, and glasses -with opaque twists are worth about 15s. apiece. Masonic, thistle, and -boot glasses run about three, two, and one guinea respectively. -Salt-cellars, with their Irish flat cutting, cost anything from a guinea -each, and vinegar and oil bottles about 30s. I have purposely refrained -from mentioning any large or important pieces; there are many such -perfectly well known to the expert. It is, of course, quite impossible -to fix a price for these. As an Appendix to this book I have drawn up a -list of prices fetched by important pieces at recent sales. A large -Waterford bowl will fetch twenty-five to thirty guineas, and if its -genuineness is incontestable and its artistic merit high, it may well -bring twice that figure. - -Personally, I consider that the high-water mark has been reached in the -price of ordinary pieces of old glass. There is certainly a great demand -for it at the moment; but such crazes are rarely lasting, and the time -may come when antique glass, which has largely dispossessed antique -silver, will itself fall into disfavour before the onset of some newer -fancy. - - - - -A CATALOGUE - - Showing the latest prices of important pieces of glass sold by - auction at recent sales of well-known collections. - - -An ancient Roman Drinking Glass, with indented sides, and two early -Venetian Glasses, of green colours, decorated with trailed lines.....£1 -18 0 - -A Wine Bottle, of early seventeenth century, with seal of a monarch’s -head, highly iridescent; and two others, one inscribed and dated _Henry -Galshell, 1700_.....£2 12 0 - -A Wine Bottle, inscribed _T. Bellamy_, 1773, and another, dated -1772.....£2 6 0 - -A Bristol blue glass Goblet, with inscription in gold:-- - - - “Accept this trifle from a friend, - Whose love for you can never end,” - -a blue Cream Jug, an opalescent Cup, and an oval cup.....£3 5 0 - -A pair of cut-glass Sugar Castors, and one other.....£2 16 0 - -A pair of tall Beer Glasses, decorated with applied bands, 10½ in. (_c._ -1735), and one with engraved body, 17½ in......£2 12 0 - -A large Goblet, with globular body, and another, smaller, with -inscription KING & CONSTITUTION.....£2 0 0 - -A Goblet, with bell-shaped body, decorated with moulded ornament, on -round foot and baluster stem, the centre knop containing a 3d. piece of -Charles II., 9½ in......£10 0 0 - -A large Goblet, 13½ in., the stem containing a specimen of Jernegan’s -silver lottery medal of 1736.....£7 0 0 - -A Goblet, 18 in. high, long stem, with coloured twists, the body and -foot engraved with floral design.....£2 18 0 - -A large Goblet, with globular body, engraved with _I.M.F._ within a -wreath.....£2 5 0 - -A Goblet or Vase, 9 in. high, engraved with portrait of Shakespeare, and -with initials _I. E._ in an oval, with festoons.....£8 5 0 - -A Jug, on rounded foot, engraved with representation of the frigate -SHANNON and CAPN. B.F.E......£6 10 0 - -A large Goblet, 13½ in. high, the body engraved with a youthful Bacchus -seated on a barrel, a fountain, vine leaves, etc......£8 10 0 - -A Bowl on foot, with moulded ornament, inscribed _John Richie & -Christian Cochrane_, 1727, height 8½ in., diam. 9¼ in......£20 10 0 - -A pair of stemmed Cups, and two others, with etched decoration of dogs, -etc......£2 10 0 - -A Goblet, with straight sides, engraved with the _Victory_, and _In -Memory of Lord Nelson, Oct. 21, 1805_, and another, with a newly -launched ship, _Nelson, Launched June 20, 1814_.....£11 5 0 - -A Goblet, engraved with Mail Coach and initials W.M.B., surrounded by -ears of corn, etc......£1 12 0 - -A tall Goblet, engraved with ships and _Success to the Navy_, and -another, with decoration of vine leaves, etc......£4 12 0 - -A Goblet, engraved with the “Victory” and funeral car, inscribed _In -Memory of Lord Nelson, Oct. 21, 1805_, and another, engraved same -subject, dated _Jany. 9, 1806_.....£9 15 0 - -A Goblet, engraved with view of Sunderland Bridge, dated 1838; and two -others.....£2 5 0 - -A straight-sided Goblet, with the Royal arms, etc., and the motto _Ne -M’oubliez pas_, and another, also with Royal arms.....£3 18 0 - -Two Goblets (one imperfect), and two smaller Glasses, with Masonic -emblems.....£3 15 0 - -A Goblet, engraved with horse and jockey, and inscribed _Birmingham, -Doncaster, 1830, Winner of the Great St. Ledger Stakes_, and another, -inscribed _James Oddie, Bromley_.....£4 0 0 - -A Goblet, engraved with a bird on rocks, with inscription _I rest upon a -sure foundation_, and the initials _S. R._, the stem contains a 6d., -dated 1816; and another Goblet, engraved with initials _Q.R._ (Queen -Caroline), and _God and my Rights_.....£2 10 0 - -A Goblet, with Royal arms and G. R. III, and a tall Wine Glass, with -Royal arms, dated MDCCLXVI.....£1 15 0 - -A tall Glass, 8 in., engraved with Arms of the Duke of Cumberland (_c._ -1770), and another, with Arms of the Earl of Malmesbury.....£7 0 0 - -A Vase and Cover, with two handles, engraved with designs of flowers, -grapes, etc......£10 5 0 - -A Jug and Cover, cut and engraved with initials E. L.; a Goblet, of -similar style; and another Goblet, with twisted stem.....£3 10 0 - -A large Goblet, engraved with horse and cart, etc., and initials -E.M.T.C., a coin of 1818 in the stem, and another Goblet, engraved THE -GREAT (a bell) OF LINCOLN.....£5 0 0 - -A large Goblet, engraved with medallions, enclosing sign of The Temple -(lamb and flag), initials _C.C._ and _George the 4, Crownd, July 19, -1821_.....£3 10 0 - -A tall Goblet, 10 in., richly engraved in Renaissance style, with -chimeræ, medallions, etc., and another, with festoons and birds.....£3 5 -0 - -A “yard ale” Glass; two Bâtons, in green glass; and a Bottle, shaped as -a seventeenth-century pistol.....£16 0 0 - -A Bottle, shaped as bellows, 13½ in., in white and clear glass, and -another smaller, decorated with rosettes and green lines.....£2 0 0 - -A Candlestick, 9 in.; a pair of Candlesticks, without nozzles (_c._ -1735), 5 in., and two others.....£6 0 0 - -A tall Cup, with richly cut baluster stem, engraved with sportsman, lady -in a garden, etc. (_c._ 1730).....£10 10 0 - -A Cup, on baluster stem, richly engraved with figures of musicians in a -garden, an English coat of arms, etc., early eighteenth century.....£11 -0 0 - -A Cup, with octagonal foot, engraved with figures, and with inscription -_Het Welvaaren Vrow-Van de Kraam en Kintie_, and a Vase, engraved with -design of Last Supper, after Da Vinci.....£3 10 0 - -A Cup, with Cover, partly gilt, engraved in compartments with lady and -gentleman, Cupid, etc., early eighteenth century.....£5 15 0 - -A Tumbler, engraved in three compartments with a lady in a garden, a -gentleman and a horseman, and another, engraved with officer on horse -and military trophies (_c._ 1740).....£2 12 0 - -A cylindrical Vase, engraved with love tokens, etc., and inscribed -_James Jagger, Bound, July 2, 1776, age 16 years--Miss Polly -Pritteman--Made this in the Year 1776_, and another, engraved with -festoons and birds.....£6 0 0 - -A large cut-glass Tumbler, engraved in a circle with figure of William -IV., and inscription: _May our happy constitution in Church and State -ever continue unimpaired_.....£1 18 0 - -A Mug, engraved with _G.R._, etc. (_t._ George I.), and another, with -gilt ornament.....£1 2 0 - -A pair of Tumblers, engraved with an English coat of arms and motto, -_Indignante invidia florebit_.....£2 10 0 - -A cylindrical Cup, engraved with Cupid shooting, Masonic emblems, _Amour -et Constance_, etc., and another, with scene of a crowned woman, monkey, -ship, etc......£4 0 0 - -A Tumbler, engraved with _Success to the Viper--Capn. Cowee--F. Norris_; -another, with early railway engine and coaches; and another, with sheaf -of corn, etc......£7 10 0 - -A tall Glass, on baluster stem, engraved with scene of Stag Hunt.....£3 -5 0 - -A Goblet, engraved with sporting scene, and another, with floral design -and initials E.F......£2 14 0 - -A Goblet, with Masonic symbols, and another, with the ship and -inscription _Nelson’s Victory_.....£7 5 0 - -Four Goblets, with wide lips.....£3 15 0 - -A pair of small Wine Glasses, and a larger pair, engraved with English -coat of arms and motto _Indignante invidia florebit_.....£5 15 0 - -Two Cups, on cut stems and with shaped edges, and two others, with -ribbon stems.....£2 10 0 - -A tall Glass, engraved “_Willie brew’d a peck of malt_,” and two -engraved Tumblers with square bases.....£3 10 0 - -A Goblet, with coloured ribbon stem, and two others with white -ribbon.....£6 6 0 - -Three tall Glasses, with coloured ribbon stems, one of them inscribed -Mʳˢ B., and another, with ear of corn in gold.....£6 10 0 - -A ribbon coloured stemmed glass, bell shaped, engraved with two birds on -a heart, and inscribed PIER-PIERSEN-1782, and three others.....£4 5 0 - -A stemmed Cup, with wide lip; one other, and a pair of “straw stemmed” -Wine Cups (_c._ 1720).....£1 12 0 - -Six tall Glasses, with rounded stems.....£8 15 0 - -Five Wine Glasses, with coloured ribbon stems, and one with plain -stem.....£3 0 0 - -A pair of Wine Glasses, with faceted stems, the bowls engraved with -birds and flowers, and four others of the same type.....£2 2 0 - -A bell-shaped Goblet, with air-twisted stem, and two tall Glasses, with -drawn stems enclosing tear.....£2 2 0 - -A Jacobite Glass, engraved with the Stuart rose with seven petals and -two buds, and the portrait of Prince Charlie surrounded by the words -_Audentior Ibo_; under the foot is engraved a thistle with two leaves, -straight plain drawn stem, height, 7½ in......£53 0 0 - -A Jacobite Glass, with straight sides, engraved with Stuart rose, buds, -and butterfly, plain stem, 6¾ in......£8 0 0 - -A Jacobite Wine Glass, with air-twisted stem, the bowl engraved with -Jacobite rose, two buds, star, and the word _Redeat_.....£17 10 0 - -A Jacobite Glass, with short plain stem and thick foot, the bowl -engraved with portrait of Prince Charlie, the Stuart rose and buds, and -the words _Audentior Ibo_, 3½ in......£37 0 0 - -A Jacobite Glass, with stem containing two opaque twists, the bowl -engraved with rose, two buds, and butterfly, 5 in......£4 0 0 - -A Glass, with drawn air-twisted stem, the bowl engraved with Jacobite -emblems of rose, two buds, star, oak leaf, and the word _Fiat_, 6 -in......£9 10 0 - -A Glass of similar form, with Jacobite emblems of rose, buds, star, and -oak leaf, 6¼ in......£10 10 0 - -A Glass, with opaque-twisted stem, engraved with Hanoverian rose, said -to have been produced to counteract the influence of the Jacobite -party, and a pair of others with opaque twists.....£2 16 0 - -A Jacobite Glass, with waisted bowl, engraved with rose, two buds, and -butterfly, air-twisted stem, 7 in......£4 0 0 - -A Jacobite Glass, with air-twisted stem, the bowl engraved with emblems -of rose, two buds, star, oak leaf, and the word _Fiat_, 5¾ in......£10 0 -0 - -A Wine Glass, with plain cup, plain drawn stem and folded foot (_c._ -1735); another, with engraved bowl, and two with opaque-twisted -stems.....£1 16 0 - -A Glass, with heavy baluster stem, enclosing air tears; a heavy Spirit -Glass, on short stem and thick foot, and another, smaller.....£3 16 0 - -A Glass, with cut stem, engraved with fox and _Tallyho_, and another -with air-twisted stem, with a prancing horse and _Liberty_.....£3 15 0 - -A Beer Glass, of elegant shape, the stem with double opaque twist and -bowl engraved with barley and hops, initials S.B.I. and date 1762, 7½ -in.; and another, with opaque-twisted stem, engraved barley and hops, -and another, plain drawn stem, 8 in., engraved with rose and -barley.....£4 0 0 - -Two Beer Glasses, engraved with hops and barley, air-twisted stems, and -one other with opaque twist.....£3 3 0 - -A Beer Glass, with opaque-twisted stem and wide bell-shaped bowl, -engraved with hops, barley, and initials _C.B._, and another, with -opaque twist and plain bowl.....£2 15 0 - -A large Cup for light wine, the wide-lipped bowl with five lobes, -twisted stem and fluted foot; another, with ogee bowl and reeded stem, -and another, with broad flutings.....£2 2 0 - -A Beer Cup on short foot engraved Q. (a crown) C. (Queen Caroline), and -the words, _God and my Rights_, and another, engraved _Think on -me_.....£2 18 0 - -Three Wine Cups, with opaque-twisted stems, a knob in the centre, and -another, with air twist and waisted bowl, middle of eighteenth -century.....£2 8 0 - -A Wine Glass, with engraved bowl, air-twisted stem with knop in centre -(_c._ 1760), and two others with opaque twists.....£2 4 0 - -A pair of Glasses, the stems elegantly formed with knops and opaque -twists diminishing towards the foot, 7 in. (_c._ 1730).....£2 5 0 - -A Glass, with heavy moulded stem and folded foot (_c._ 1700), and -another, 8½ in. (_c._ 1730).....£3 5 0 - -Two Glasses, with air-twisted stems and knops (_c._ 1760).....£1 14 0 - -A Glass, with baluster stem and dome-shaped foot, and two Glasses, with -spirally fluted bowls.....£3 10 0 - -Three engraved Glasses, one with air twist, one with baluster stem and -Dutch inscription, and one with plain stem.....£2 2 0 - -Four Glasses, with air-twisted stems and knops, 6¾ in......£4 10 0 - -Four tall Glasses, with double opaque-twisted stems, 8¼ in......£4 0 0 - -A Wine Glass, engraved with crown, thistle, and initials [Illustration: -AUI], stem with opaque twist, and another, engraved with thistle.....£6 -2 6 - -Two Glasses, 7 in., with opaque-twisted stems, and two others with air -twists.....£3 5 0 - -A Glass, with air-twisted stem and domed foot, and three others with air -twist.....£3 10 0 - -Two Glasses, with air-twisted stems and engraved bowls, and two others -with air twists.....£3 18 0 - -A Cider Glass, the stem with air twist, the bowl engraved with apple -branch; another, with faceted stem, 7 in., and two smaller -Glasses.....£7 10 0 - -A Glass, with straight air-twisted stem and dome-shaped foot, the bowl -deeply engraved with flowers (_c._ 1740); another, also engraved and -with twisted stem, swelling in the middle; and two others, with -air-drawn stems.....£4 4 0 - -Four Glasses, with engraved bowls and opaque-twisted stems of different -patterns.....£2 14 0 - -A Glass, with small bowl and long straight stem enclosing opaque twist; -and three others.....£4 10 0 - -A tall Glass (7¾ in.), with coloured twisted stem; one other; one with -gold decoration; and another with engraved bowl.....£4 15 0 - -Two tall Glasses, with engraved bowl and coloured twisted stems; one -with opaque twist; and another with plain stem, the bowl and foot -engraved with roses.....£5 15 0 - -A pair of Glasses, with opaque twists and engraved and fluted bowls; and -another pair, with engraved bowls.....£2 0 0 - -A pair of Glasses, with opaque-twisted stems and partly fluted bowls; -and two others.....£2 15 0 - -A Glass (8 in.), with opaque-twisted stem swelling in the middle; -another with smaller bowl (_c._ 1750); and two others.....£2 10 0 - -Two Glasses, with bowls engraved with the honeysuckle; and two others, -with air-twisted stems.....£3 3 0 - -A Glass (6¾ in.), the waisted bowl engraved with a flower and the stem -faceted (_c._ 1730); and another, engraved with a tree and the words, -_Je meur ou je matache_, with fluted stem and folded foot.....£2 4 0 - -Four Glasses, with plain stems, enclosing tears.....£3 0 0 - -Two bell-shaped Glasses, with opaque and air twists, and two -others.....£3 0 0 - -Two engraved Glasses, with white twisted stems, one other with plain -bowl, and one with engraved bowl and air twist.....£2 2 0 - -A Glass with faceted stem, the bowl engraved with flowers; another, -engraved SANS-SOUCI--1789, and two others, engraved with festoons, -etc......£2 2 0 - -A Glass, with baluster stem, engraved with honeysuckle; another, with -similar stem, and two with faceted stems, engraved with floral -design.....£1 12 0 - -A Glass, with moulded stem and folded foot, 6½ in., the bowl engraved -with figures of a harlequin and musicians, a coat of arms and the -mottoes: SALVS PATRIÆ--CONCORDIA RESPARVÆ-CRESCUNT; two plain Glasses, -and one other, with folded feet, early seventeenth century.....£3 10 0 - -Four Glasses, three with engraved bowls, faceted stems.....£1 18 0 - -A Glass, with moulded stem and dome foot; another, with air twist; and -two, with faceted stems.....£1 14 0 - -Two Glasses, engraved with a coronet and the motto--_Long live the -Duke_; another with _Ld. Wellington for ever_, and another, with the -words, _Duke Wellington and his Army_.....£5 15 0 - -Two “coaching” Glasses, without feet; a small moulded Glass (_c._ 1800), -and three others.....£2 8 0 - -A “coaching” Glass, and five sweetmeat Glasses, with undulating -edges.....£2 0 0 - -Three glass “boot” Cups, of the time of George III., “may have been -made in honour or rather in contempt of Lord Bute”.....£2 10 0 - -A Flask, with applied decoration, end of seventeenth century, and a Vase -and Cover of green glass, with trailed and pinched decoration.....£1 1 0 - -Four sweetmeat Glasses, with square feet, and two engraved Cups, on -feet.....£2 12 0 - -A Lamp with three nozzles, and three other Lamps, early eighteenth -century.....£3 3 0 - -Six Wine Dippers; a Scent Bottle, and three other pieces.....£1 18 0 - -A Cup, with faceted foot and stem, engraved with Prince of Wales’ -Feathers; a Cup, with coat of arms; another Cup, with faceted stem, and -another, with English coat of arms.....£5 15 0 - -A Cup, inscribed BEER AND LIBERTY; one with Masonic symbols, and two -others.....£3 3 0 - -A Cup for light wine, with reeded stem and hollow foot, two with -baluster stems, another with long drawn bowl.....£2 16 0 - -Six Spirit Glasses, with plain stems.....£1 14 0 - -Six Glasses, with plain stems and folded feet.....£1 6 0 - -Two Glasses with stems enclosing tears, and four others, all with -engraved bowls.....£1 14 0 - -Three early Glasses, the stems containing tears, and with moulded feet, -and three others.....£2 10 0 - -A Beer Glass, the bowl engraved with barley and hops, and five other -Glasses with engraved bowls.....£1 15 0 - -A Cup, with moulded stem and folded foot, another drawn bowl, one -engraved with rose and faceted bowl, and another, engraved with -bird.....£1 10 0 - -A Salve Stand, with air twist; another upright Stand, containing figure -of Caryatid; Bottle, Cruet, three Cups, and two Ring Stands.....£2 14 0 - -A plain glass Dish, oblong in shape, with bevelled edge; a Dish, Cover, -and Stand, a cut Sugar Bowl, and six small Liqueur Glasses.....£4 12 6 - -A Liqueur Stand, with two bottles; a Decanter and Stopper; a reeded Jug -with coin; two reeded Tankards (one with coin), and six Liqueur -Glasses.....£4 14 0 - -A set of six cut Goblets, six Custard Barrels, four cut Port Glasses, -six Claret Glasses, engraved in wheat-ears, and a Milk Jug.....£3 14 0 - -Four Rummers, a Glass Dish, eight Wine Glasses, six Custard Cups, and -eight Glasses, various.....£2 10 0 - -Three engraved Tumblers, three Rummers, Goblet, twelve specimen Ale and -Wine Glasses, and a set of six Syllabub Glasses.....£5 0 0 - -An early Water Jug, engraved with initials “A.L.”; an engraved Mug, five -specimen Tumblers, and an engraved Goblet.....£4 4 0 - -An early Bottle, a cut Bowl with handles and Stand, a Waterford oval -Dish, and a Decanter and Stopper.....£2 10 0 - -A pair of Old English Rummers, the bases of the bowls twisted, and a -frosted and ribbed Dish and Cover.....£1 12 0 - -Fourteen old moulded Glasses, various shapes; two Oil Bottles, a double -Oil Flask, and an Ale Jug.....£2 12 0 - -A pair of diamond-cut Decanters and Stoppers, a set of six long cut stem -Glasses, engraved in birds and flowers; five Goblets, and six cut Claret -Glasses.....£6 0 0 - -Twelve Ale Glasses, with opaque-twist stems, and drawn bowls, almost -similar.....£5 0 0 - -A pair of circular Dishes, 7 in. diam., elaborately cut, the centres -engraved in roses on amber ground, and four small Sweetmeat Dishes of -fine quality.....£2 12 0 - -A pair of Wine Glasses, plain baluster stems, with tears and bell bowls, -and four others, with folded feet and plain stems.....£2 14 0 - -Six plain stem Wine Glasses, five of them engraved and with folded -feet.....£2 12 0 - -A Mug, without handle, engraved in bands of leaves, 5½ in. high, and a -Loving Cup, goblet shape, engraved in wheat-ears and monogram, E. M. B., -8½ in. high.....£3 14 0 - -A pair of Wine Glasses, air-twist double baluster stems, with ring heads -and straight bowls, 6¾ in. high, and a Wine Glass, with drawn air-twist -stem, cable centre and bell-shaped bowl, 6½ in. high.....£4 10 0 - -A large Goblet, with cut tear stem and dome foot, the bowl cut at the -base and engraved with a ship and inscription: “T. Welvaren Van de Vrouw -Anna Maria,” 9¼ in. high.....£3 16 0 - -A pair of Wine Glasses, with opaque-twist stems and narrow -straight-sided bowls, engraved in flowers; another pair, with -opaque-twist stems, and another pair, with baluster opaque-twist -stems.....£3 15 0 - -A Waterford Cake Dish and Cover, the cover hive-shaped, elaborately cut -in lozenges and ribbed, the dish, 11 in. diam., has a scalloped border, -12½ in. high.....£6 15 0 - -Four small Sweetmeat Glasses, and a pair of Rummers, on square -bases.....£2 15 0 - -A pair of Wine Glasses, double baluster air-twist stems; two with -air-twist stems and drawn bowls, and a pair with air-twist stems and -drawn waisted bowls.....£5 5 0 - -A pair of Cordial Glasses, engraved with a crown and initials of Charles -X. of Sweden, 1660, 3½ in. high.....£2 10 0 - -Two Goblets, with opaque twist stems, engraved in flowers; two baluster -opaque stem Wine Glasses, a Glass, engraved in hunting scenes, and two -others.....£5 0 0 - -An early Tankard, engraved with Masonic emblems, enclosed with -scroll-work and flowers, surmounted by a crown, 6¼ in. high.....£2 2 0 - -A pair of oval Deep Dishes, with flat scalloped edges, hobnail -cutting.....£3 3 0 - -A pair of Wine Glasses, air-twist slender stems and drawn plain bowls, -7½ in. high, and another, with incised twist stem and indented -straight-sided bowl, 6½ in. high.....£3 10 0 - -A pair of plain Ale Glasses, engraved with a fox and “Tally-ho”; a -smaller one, engraved with a cock-fight; a Rummer, engraved with a -race-horse, and a boot-shaped Spirit Glass.....£5 0 0 - -A Wine Glass, with double ogee bowl and hollow stem; two Pipes, and a -tall Jug, in the form of a coaching horn, 12 in. high.....£3 5 0 - -A pair of Waterford Tapersticks, with beautifully cut stems and nozzles, -and dome-shaped feet, 6¼ in. high.....£15 5 0 - -A Wine Glass, with opaque-twist stem and drawn bowl, engraved in vines -and bird; two, with opaque-twist stems and bell-shaped bowls, similarly -engraved, and a pair of opaque-twist stem Wine Glasses, with plain -shaped bowls.....£3 0 0 - -A Candlestick, with cut shaped stem and indented raised foot, and -another, with square base.....£2 15 0 - -A straight pint Tankard, ribbed and engraved in bands of roses.....£2 4 -0 - -An Ale Glass, with straight-sided bowl engraved with the Royal coat of -arms and festoons of flowers; a pair of Ale Glasses, with coloured -twisted stems, and one other.....£2 4 0 - -A Trifle Dish and Stand, the body with brilliant diamond cutting, the -dish with fan-cut edge, 10½ in. diam......£3 16 0 - -A pair of open-lipped Vases or Celery Glasses, with diamond edges, -hobnailed cutting, 7¾ in. high, and another, oval-topped, 7 in. -high.....£3 15 0 - -A pair of Waterford Liqueur Bottles, with handles and stoppers, bulbous -bodies and long necks, cut in flowers and lozenges, 8½ in. high.....£4 -10 0 - -Three early Wine Glasses, with baluster air-twist stems, and three with -drawn bowls and air-twist stems.....£5 7 6 - -A Waterford straight-sided Rum Pot and Cover, with flat spout, hobnail -cutting.....£4 4 0 - -A pair of Wine Glasses, air-twist stems, straight-sided bowls, engraved -in flowers and butterfly, 6¼ in. high, and a Wine Glass, with baluster -air-twist stem and plain bell-shaped bowl, 6¼ in. high.....£4 0 0 - -A pair of Waterford oval Sweetmeat Stands, 3½ in. high, and a -Candlestick, cut and on square base, 8 in. high.....£2 14 0 - -A Waterford circular Bowl, Cover, and Stand, finely cut, 7 in. -high.....£3 5 0 - -A pair of cut Comports, and a pair of Cake Dishes, with hobnail cutting -and cut scalloped borders, 7¾ in. diam......£5 5 0 - -A Wine Glass, plain stem and ovoid bowl, engraved with a portrait of a -man on horseback and inscription, “In Memory of the Battle of the -Boyne,” 5¾ in. high, and another, with tear and baluster stem and -waisted bowl, engraved with a ship and inscription, folded foot, 6 in. -high.....£3 0 0 - -A Wine Glass, with opaque-twisted stem and drawn ovoid bowl, engraved -with the rose and thistle and inscription, “Honi soit qui mal y pense,” -5¾ in. high, and another Wine Glass, with baluster tear stem, the bowl -engraved in vines and butterfly, folded foot, 6 in. high.....£2 2 0 - -A Waterford Oil Bottle and Stopper.....£1 0 0 - -A Water Jug, ribbed and engraved in Chinese scenes, and a Waterford -Honey Jar, Cover and Stand.....£2 18 0 - -Three Wine Glasses, opaque-twist stems and bell-shaped bowls, engraved -in vines and butterflies, and three opaque-twist stem Wine Glasses, one -with lipped bowl.....£3 3 0 - -A pair of Cork Ale Cups, 5½ in. high, and a Bottle, with pressed quilted -body, 8 in. high.....£1 16 0 - -A Sweetmeat Glass, twisted stem, lipped double ogee bowl and domed foot, -6½ in. high.....£3 15 0 - -A tall Wine Glass, air-twist double-knopped stem and bell-shaped bowl, -engraved with rose and bud, plain foot, 7¼ in. high.....£2 18 0 - -An almost similar Wine Glass, the bowl engraved with a rose, two buds, -and a butterfly, 7 in. high.....£3 3 0 - -A pair of Waterford oviform Vases and Covers, cut in lozenges, square -feet, 12 in. high.....£5 10 0 - -A Wine Glass, with opaque-twisted stem, drawn bowl, engraved in vines -and bud, and three other Wine Glasses, engraved.....£2 2 0 - -A Rose Bowl, elaborately engraved in arabesques, 8¼ in. diam., and a -Waterford circular Dish, with fan cutting, 10 in. diam......£5 0 0 - -A Goblet, with drawn air-twist stem, straight-sided bowl with -indentation at base, conical foot, 8¾ in. high, and a set of four Ale -Glasses, with air-twisted stems, the bowls engraved in wheat-ears.....£3 -5 0 - -A standing Cup and Cover, elaborately engraved in flowers and cut, the -knob and stem with red twist, 11 in. high.....£2 15 0 - -A standing Cup and Cover, cut stem, the bowl cut and engraved in stags -and festoons, 10 in. high.....£1 14 0 - -A finely cut Scent Bottle and Stopper; three others, smaller, with -stoppers, and a Taper Stand, mounted in metal.....£2 10 0 - -A pair of Wine Glasses, air-twist baluster stems and straight bowls, and -three air-twist baluster stem Glasses, with short bowls and heavy -bases.....£4 6 0 - -A beautifully cut Bowl, Cover, and Stand; a beautifully cut Olive Pot -and Cover, and a cut four-division Scent Bottle.....£2 12 0 - -A tall Candlestick, with ribbed nozzle and tears, moulded stem and -ribbed dome foot, 9½ in. high.....£6 5 0 - -A Waterford Water Jug, with hobnail and ribbed cutting, and a Tankard, -with ribbed top and raised scroll lower part.....£3 14 0 - -Four pressed Sweetmeat Plates.....£1 0 0 - -A set of six Wine Glasses, with long slender air-twist stems and small -straight-sided bowls, 9½ in. high.....£2 2 0 - -A Waterford oval Bowl Cover, and Stand, 6 in. high, and a boat-shaped -Bowl, with raised ends, 11 in. long, 5½ in. wide.....£3 12 0 - -A set of six Wine Glasses, air-twist stems and engraved rims to bowls, -and a Dish, the under part cut in portrait of Queen Victoria and Roman -scenes.....£3 3 0 - -Five cut stem Wine Glasses (one dated 1872, others engraved); four cut -Goblets; two cut Ale Glasses, and a large Ale Glass.....£3 12 0 - -A set of six finely cut Waterford Tumblers; a cut Honey Pot, Cover, and -Stand; a pair of cut Spirit Bottles and Stoppers; a pair of cut blue and -white flat Dishes, and a cut Sweet Dish.....£6 10 0 - -A pair of very fine cut Waterford Compotiers, with Covers, vase-shaped, -11 in. high.....£13 5 0 - -A brilliantly cut Old English Compotier and Cover, 13½ in. high.....£6 -10 0 - -A set of twelve Georgian Wine Glasses, the straight-sided flat-bottomed -bowls are engraved with the Prince of Wales’ feathers and motto “Ich -Dien” in scrolls, plain stems and feet; formerly the property of the -Prince Regent and of the late King Edward VII......£6 5 0 - -A set of three Waterford Flower Glasses, with cut edges; a pair of -Waterford Salts, and a Water Jug.....£4 0 0 - -A set of four Wine Glasses, opaque-twist stems and engraved and ribbed -bowls, and six others all with opaque-twist stems.....£4 4 0 - -A fine old English cut Butter Dish, Cover, and Stand, and a large -Bristol Tankard and Cover, reeded and shaped, the cover with a coloured -twist handle, 9½ in. high.....£3 6 0 - -An old cut Jam Dish, Cover, and Stand; two moulded and frosted Cups; a -pair of Waterford Sweetmeat Stands; another pair, cut; six cut Tumblers, -and two Knife Rests.....£3 12 6 - -An engraved Puzzle Jug; two Toddy Lifters; three Sugar Crushers; a -Spoon, and a Dish in the form of a hat.....£1 14 0 - -A pair of plain Firing Glasses, engraved “680”; two Toddy Lifters, and a -plain hat-shaped Basket.....£1 10 0 - -A pair of finely cut Decanters and Stoppers, with shell cut bosses; a -pair of cut circular Salts, and a long Scent Bottle and Stopper.....£2 -16 0 - -A clear glass footed Beer Jug, and an engraved and cut Flower Bowl, with -coin on the base, 6½ in. diam......£3 10 0 - -A Goblet, the body engraved all round, in landscape and deer, 6 in. -high; a Goblet on baluster stem, the body engraved in vases of flowers, -on pedestal, 7 in. high.....£1 0 0 - -A large Old English Jug, the body cut and neck ribbed, 10 in. high, and -an early Cream Jug.....£2 8 0 - -A pair of cut Lustres, with droppers, and a centre Lustre.....£4 12 0 - -A pair of fine cut Decanters and Stoppers, a cut Scent Bottle and -Stopper, and an Olive Pot and Cover.....£3 5 0 - -An early Cake Vase and Cover, ribbed and moulded, 7¾ in. high, and a -Water Jug, engraved in wheat-ears.....£3 5 0 - -A straight-sided Biscuit Jar, Cover, and Stand, cut in lozenges, 9½ in. -high, and a cut hollow Tazza, 5 in. high.....£2 18 0 - -A plain Old English Sylabent Stand, on dome foot, 9 in. diam., and a -Celery Glass, engraved in vines.....£1 10 0 - -An old Treacle Jug, with pewter mount; two cut Scent Bottles and -Stoppers, and two Goblets.....£2 4 0 - -A pair of moulded Candlesticks, 8½ in. high, and an early Water -Jug.....£1 18 0 - -A pair of plain Bristol Vases, with open lips, 12 in. high; a pair of -plain Cups, and six Plates.....£1 16 0 - -A Bristol handled Mug, straight side painted with a portrait, enclosed -in scroll-work and sprays of flowers, 6½ in. high, and a Bowl, painted -in continuous flowers and birds, 8 in. diam......£2 10 0 - -A Bristol Vase, with double handles and dome foot, painted in flowers, -8½ in. high, and two Bristol Mugs, both painted in figures and -flowers.....£2 8 0 - -A pair of barrel-shaped Tankards and Covers, with handles painted in -Watteau scenes and gilded, 8 in. high.....£5 5 0 - -A Vase and Cover, painted in portrait medallions and sprays of flowers -and gilded, the vase on square foot, 10¾ in. high.....£3 3 0 - -A pair of rare Venetian Cups and Saucers, decorated in Chinese figures -and flowers in gold and red.....£5 5 0 - -A Bristol Plate, the centre painted in figures with flags, enclosed in a -star band in red, the border with arabesque, in colours, 7½ in. diam., -and a barrel-shaped Mug, painted with a dog and flowers, 5 in. -high.....£2 4 0 - -A rare Jug and Cover, splashed in blue and brown, 8 in. high, and a pair -of Cups and Saucers, painted in birds and flowers.....£2 8 0 - -Three Bristol straight-sided Tankards, painted in figures and -flowers.....£3 15 0 - -A Jar and Cover, the jar with brown lozenges and double handles, model -of a swan surmounting the cover, 5½ in. high, and a Tankard, painted in -figures and pastoral scenes, 6 in. high.....£2 10 0 - -A Bristol handled Mug, painted in panel and flowers; a Cream Jug, with -inscription “Forget-me-Not”; a small Tazza, and a Vase.....£2 16 0 - -A Vase, a small Cup, two Tankards, a Cup and Saucer, and a Bottle, all -painted.....£2 8 0 - -A plain Bristol double Flask, with Prince of Wales’ feathers; a plain -Bristol bellows Flask, and a plain hollow Candlestick.....£1 8 0 - -A hollow Candlestick, 8½ in. high; a double gourd-shaped Spirit Bottle, -a bellows Flask, and three Scent Bottles, all Bristol.....£1 4 0 - -A double gourd-shaped Bristol Spirit Bottle, three other Spirit Bottles, -and five small Bottles.....£2 0 0 - -A Bristol Jar and Cover, the body shaped, with alternate spirals of ruby -and opaque, 8¼ in. high, and a plain Bristol Basket.....£1 10 0 - -A large Nailsea Jug, deep green splashed in blue and white, 8½ in. high, -and a Tankard, with spiral bands of red and opaque.....£2 8 0 - -A pair of Nailsea Rapiers, blue handles, the blades with blue -centres.....£2 15 0 - -A pair of purple Bristol Vases, 7 in. high; an old green Ear Trumpet, a -purple Cream Jug, and four purple Salts.....£1 2 0 - -A Nailsea Policeman’s Staff, a double Flask, and three single Nailsea -Flasks, various colours.....£2 8 0 - -A rare blue Bristol miniature Dinner and Dessert Service, comprising -Bowls and Covers, Tazze and Covers, Sugar Bowls, Tea Cups and Saucers, -Cream Jugs and Plates (about 120 pieces).....£2 4 0 - -A white Bristol miniature Tea and Coffee Service.....£1 6 0 - -Three Nailsea Rolling Pins, different colours, and a Nailsea Jug, dark -green, mottled in white.....£3 0 0 - -A pink Nailsea Water Jug, splashed in opaque white, and a clear Nailsea -Flask, on circular base, with opaque decoration and appliqué Prince of -Wales’ feathers and edging.....£2 2 0 - -A Bottle and Stopper, with flowers in various colours embedded in the -base; and four Paper Weights of a similar character.....£2 0 0 - -Seven Paper Weights, with various coloured flowers, etc., embedded in -the glass.....£2 6 0 - -Two Paper Weights, with silvered medallions; three green Paper Weights; -two others; and two Inkpots, with tears.....£3 3 0 - -A Bristol plain glass double-handled Vase and Cover, painted in sprays -of flowers, 11 in. high; and a Water Bottle and Stopper, and Well Stand -for same, with close opaque spirals and blue border.....£1 4 0 - -An open-necked Bristol opaque Vase, with bulbous base, the body entwined -with raised ivy leaves and berries in colour, 16 in. high; two mottled -Bristol Bowls, and a blue mottled Vase.....£2 2 0 - -A green Nailsea Cream Jug, with opaque twist decoration, and a Nailsea -Flagon, mottled on green ground.....£2 4 0 - -A pair of Bristol Shells; a Bristol Double Flask, with deep blue -borders; a ruby Bell, with coloured twist handle, and two blue Bristol -Cream Jugs.....£2 6 0 - -A rare Bristol Sugar Crusher, with ring handle, with a central opaque -twist surrounded by blue and red twist; a small flat Flask, with -examples of all the Bristol coloured twists; and another piece, the base -with coloured twist.....£2 2 0 - -A Bristol Pipe, opaque, with green rim; another, opaque, with pink -stripes; and another, blue.....£1 2 0 - -A pair of old green Sussex Bottles, filled with silk and imitation -flowers, 9½ in. long; a pair of Bristol Vases of Flowers, under glass -shades, with glass bases, 6 in. high; and a green Nailsea Model of a -Dog.....£1 2 0 - -A Nailsea Horn, a green Pipe, and two plain Flasks, with opaque -decoration.....£1 11 0 - -A rare green glass Trident, with long handle, 17 in. long; and two -Nailsea Trumpets, one 26 in. long, and the other 18½ in. long.....£2 2 -0 - -A rare old Venetian Goblet, straight sides opening at the top, striped -in white from top to bottom, and having partly gilded mask head bosses, -7 in. high; and a Venetian Bottle, with white spirals.....£4 10 0 - -A pair of old Venetian Cups and Saucers, decorated in white twists from -top to bottom; and a Venetian plate, with similar decoration in -spirals.....£2 12 0 - -An old Venetian moulded Vase, with cross white stripes; an old Venetian -Standing Bowl, a Cup, and a Lemon.....£2 0 0 - -A Venetian gourd-shaped Bottle; a similar Oil Jug, both with white -decoration; and three other pieces of Venetian glass.....£0 14 0 - -A large English Water Bottle and Glass, with red decoration; a deep blue -Bristol Bowl, with irregular white lines; and a Flask, mottled in red -and blue.....£1 12 0 - -A deep blue Water Bottle, Stand and Glass, with gold bands; a blue -Trinket Stand; a deep blue Flask; and thirteen other pieces of whole -coloured ruby, green, purple, and blue glass.....£0 18 0 - -Three large Rolling Pins, a Pestle, and a green and white twisted glass -Puzzle.....£1 18 0 - -A moulded and twisted Bottle, with applied blue bands, and Stopper; a -green barrel-shaped Jar and Cover, 13½ in. high; and a Bowl, with -applied green decoration.....£1 12 0 - -A pair of ruby Tazze, with white lozenge-shaped cuttings, 8 in. diam.; -and a pair of ruby Vases, cut in white flowers, etc., 6¾ in. high.....£2 -0 0 - -Two ruby Scent Bottles and Stoppers, with cut white circles; a blue and -white Goblet; a similar Cup; a ruby and white Cup, and an amber Decanter -and Stopper.....£2 8 0 - -A set of eight Venetian Goblets and eight Wine Glasses, blue open bases, -the bowls in opaque cross stripes.....£1 4 0 - -A Nailsea Flask, four Bristol Balls, a Candlestick, two Jars and Covers, -Scent Bottle and Stopper, and five other pieces.....£0 11 0 - -A pair of blue Candlesticks, with white cutting; two Inkpots of a -similar type; five cut Goblets, a ruby Bristol Pipe, and a square -Decanter and Stopper.....£2 12 0 - - - - THE RIVERSIDE PRESS LIMITED - EDINBURGH - - - - - - - - -End of Project Gutenberg's Old Glass and How to Collect it, by J. 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Sydney Lewis - -This eBook is for the use of anyone anywhere at no cost and with -almost no restrictions whatsoever. You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org/license - - -Title: Old Glass and How to Collect it - -Author: J. Sydney Lewis - -Release Date: August 6, 2016 [EBook #52738] - -Language: English - -Character set encoding: UTF-8 - -*** START OF THIS PROJECT GUTENBERG EBOOK OLD GLASS AND HOW TO COLLECT IT *** - - - - -Produced by Chris Curnow, Chuck Greif and the Online -Distributed Proofreading Team at http://www.pgdp.net (This -file was produced from images generously made available -by The Internet Archive) - - - - - - -</pre> - -<hr class="full" /> - -<p class="figcenter"> -<img src="images/cover.jpg" width="374" height="500" alt="[Image of the book's -cover unavailable.]" /> -</p> - -<table border="0" cellpadding="0" cellspacing="0" summary="" -style="border: 2px black solid;margin:auto auto;max-width:50%; -padding:1%;"> -<tr><td> - -<p class="c"><a href="#CONTENTS">Contents.</a></p> - -<p class="c"><a href="#LIST_OF_ILLUSTRATIONS">List of Illustrations</a><br /> <span class="nonvis">(In certain versions of this etext [in certain browsers] -clicking on the image -will bring up a larger version.)</span></p> - -<p class="c">(etext transcriber's note)</p></td></tr> -</table> - -<div class="closs"> -<p class="oga"> -OLD GLASS<br /> -AND<br /> -HOW TO COLLECT IT</p> - -<p class="rt"> -<img src="images/i_half_title.png" width="150" height="201" alt="" title="" /> -</p> -</div> - -<div class="bbox"> - -<p class="c"> -<i>The Standard Book on the Subject.</i></p> - -<p class="nindd"> -<b>A HISTORY OF ENGLISH STAINED<br /> -GLASS WINDOWS.</b></p> - -<p class="indd"> -By <span class="smcap">Maurice Drake</span>. Fully Illustrated in Colour<br /> -and Half-tone. Foolscap folio. £2, 2s. net.</p> - -<p>“One of the most beautiful, nay, most sumptuous, books -produced in recent years, and from that point of view the Author -and the publisher, the artist and the printer, and, indeed, also -the binder, are to be heartily congratulated. But it is also an -interesting book to read, although the subject is not everyone’s -subject, for it is written, not merely with knowledge, which one -can find anywhere on most subjects, but with knowledge touched -with humanity, which is the kind of knowledge that we want in -a book.”—<i>Daily Chronicle.</i></p> - -<p class="nindd"> -<b>FIRST STEPS IN COLLECTING.</b></p> - -<p class="indd"> -By Mrs <span class="smcap">Grace Vallois</span>, Author of “Antiques -and Curios in our Homes.” 64 Illustrations. -Picture Cover. 6s. net.</p> - -<p>In this book G. M. Vallois has grappled successfully with the -problem of how to give the amateur a slight general knowledge -of a wide subject, without deluging him with technical details.</p> - -<p class="nindd"> -<b>ANTIQUES AND CURIOS IN OUR HOMES.</b></p> - -<p class="indd"> -By <span class="smcap">G. M. Vallois</span>. 61 Illustrations. 6s. net.<br /> -</p> - -<p>In addition to being interesting to those who possess old furniture, -etc., it should appeal to young persons making a home, as, even though -they may not be able to buy Antique Furniture, it is of educational -value to them, inasmuch as it teaches in a most fascinating manner the -difference between Sheraton and Chippendale, between Wedgwood and Willow -Pattern, etc.</p> -</div> - -<p><a name="front" id="front"></a></p> - -<div class="figcenter" style="width: 330px;"> -<a href="images/front_lg.jpg"> -<img src="images/front_sml.jpg" width="330" height="469" alt="[Image unavailable.]" /></a> -<div class="caption"><p>A fine specimen of Early Bristol Glass, with landscape -painted by Edkin.</p></div> -</div> - -<h1> -OLD GLASS AND HOW<br /> -TO COLLECT IT</h1> -<p class="c"> -BY<br /> -J. SYDNEY LEWIS<br /> -<br /><br /> -<span class="sans">ILLUSTRATED</span><br /> -<br /><br /> -LONDON<br /> -T. WERNER LAURIE LTD.<br /> -30 NEW BRIDGE STREET, E.C.4<br /> -</p> - -<div class="blockquot"> -<p class="nind"><span class="smcap">The</span> Author desires to express his best thanks to Miss Whitmore Jones, Mr -Cole of Law, Foulsham & Cole, Mr A. Edwards of Messrs Edwards Limited, -for their kind permission to include examples of old English and Irish -glass from their Collections, and to Messrs Sotheby, Wilkinson & Hodge -for allowing him to include the list of prices fetched by various -specimens at their Sales.</p> - -<p>He is also desirous of acknowledging the assistance he has received from -the Authorities of the British and Dublin Museums, and also to the late -Mr J. Herbert Bailey, to whom and to “The Connoisseur” he is indebted -for several of the illustrations.</p> - -<p>His indebtedness to the great work of Mr A. Hartshorne is one which he -shares with every writer who takes as his subject “Old English Glass.”</p> -</div> - -<p><span class="pagenum"><a name="page_v" id="page_v"></a>{v}</span> </p> - -<h2><a name="CONTENTS" id="CONTENTS"></a>CONTENTS</h2> - -<table border="0" cellpadding="1" cellspacing="0" summary=""> - -<tr><td class="rt"><small>CHAPTER</small></td><td> </td> -<td class="rt"><small>PAGE</small></td></tr> - -<tr><td class="rt" valign="top"><a href="#CHAPTER_I">I.</a></td><td> <span class="smcap">Introductory</span></td><td class="rt" valign="bottom"><a href="#page_001">1</a></td></tr> - -<tr><td class="rt" valign="top"><a href="#CHAPTER_II">II.</a></td><td> <span class="smcap">Early English Glass</span></td><td class="rt" valign="bottom"><a href="#page_027">27</a></td></tr> - -<tr><td class="rt" valign="top"><a href="#CHAPTER_III">III.</a></td><td> <span class="smcap">Eighteenth-century Glass</span></td><td class="rt" valign="bottom"><a href="#page_055">55</a></td></tr> - -<tr><td class="rt" valign="top"><a href="#CHAPTER_IV">IV.</a></td><td> <span class="smcap">Memorial Glasses</span></td><td class="rt" valign="bottom"><a href="#page_095">95</a></td></tr> - -<tr><td class="rt" valign="top"><a href="#CHAPTER_V">V.</a></td><td> <span class="smcap">Bristol and Nailsea Glass</span></td><td class="rt" valign="bottom"><a href="#page_115">115</a></td></tr> - -<tr><td class="rt" valign="top"><a href="#CHAPTER_VI">VI.</a></td><td> <span class="smcap">Irish Glass</span></td><td class="rt" valign="bottom"><a href="#page_128">128</a></td></tr> - -<tr><td class="rt" valign="top"><a href="#CHAPTER_VII">VII.</a></td><td> <span class="smcap">Curious and Freak Glasses</span></td><td class="rt" valign="bottom"><a href="#page_154">154</a></td></tr> - -<tr><td class="rt" valign="top"><a href="#CHAPTER_VIII">VIII.</a></td><td> <span class="smcap">Frauds and Imitations</span></td><td class="rt" valign="bottom"><a href="#page_166">166</a></td></tr> - -<tr><td class="rt" valign="top"><a href="#CHAPTER_IX">IX.</a></td><td> <span class="smcap">Some Hints to Collectors</span></td><td class="rt" valign="bottom"><a href="#page_182">182</a></td></tr> - -<tr><td> </td><td valign="top"><a href="#A_CATALOGUE"><span class="smcap">Catalogue of Prices of Principal Pieces of Glass</span></a></td><td class="rt" valign="bottom"><a href="#page_191">191</a></td></tr> -</table> - -<p><span class="pagenum"><a name="page_vi" id="page_vi"></a>{vi}</span></p> - -<p><span class="pagenum"><a name="page_vii" id="page_vii"></a>{vii}</span></p> - -<h2><a name="LIST_OF_ILLUSTRATIONS" id="LIST_OF_ILLUSTRATIONS"></a>LIST OF ILLUSTRATIONS</h2> - -<table border="0" cellpadding="1" cellspacing="2" summary=""> - -<tr><td> </td><td valign="top">Early Bristol Glass; landscape painted by Edkin</td><td valign="bottom"><a href="#front"><i>Frontispiece</i></a></td></tr> - -<tr><td><small>FIG.</small></td><td> </td><td> </td></tr> - -<tr><td class="rt" valign="top"><a href="#fig_1">1.</a></td><td valign="top"> Elizabethan Glass (Brit. Mus. Coll.)</td> -<td valign="bottom" rowspan="2"><big><big>}</big></big><i>To face page</i><a href="#page_042"> 42</a></td></tr> -<tr><td class="rt" valign="top"><a href="#fig_2">2.</a></td><td valign="top"> Posset Cup (Charles II.)</td></tr> - -<tr><td> </td></tr> -<tr><td class="rt" valign="top"><a href="#fig_3">3.</a></td><td valign="top"> Feeding Cup (William III.) -</td><td valign="bottom" rowspan="2" class="rt"><big><big>}</big></big><span class="ditto">”</span> <a href="#page_048"> 48</a></td></tr> - -<tr><td class="rt" valign="top"><a href="#fig_4">4.</a></td><td valign="top"> Glass Panel (Charles II.)</td></tr> -<tr><td> </td></tr> - -<tr><td class="rt" valign="top"><a href="#fig_5">5.</a></td><td valign="top"> Glass Tankard with Coin blown in Base -</td><td valign="bottom" rowspan="2" class="rt"><big><big>}</big></big><span class="ditto">”</span><a href="#page_050"> 50</a></td></tr> - -<tr><td class="rt" valign="top"><a href="#fig_6">6.</a></td><td valign="top"> Coin blown in Base of Tankard</td></tr> -<tr><td> </td></tr> -<tr><td class="rt" valign="top"><a href="#fig_7">7.</a></td><td valign="top"> Air-twisted Stem Glasses </td><td valign="bottom" class="rt"><span class="ditto">” </span><a href="#page_062">62</a></td></tr> - -<tr><td class="rt" valign="top"><a href="#fig_8">8.</a></td><td valign="top"> Air-twisted Button and Baluster Stem Glasses</td><td valign="bottom" class="rt"><span class="ditto">” </span><a href="#page_066">66</a></td></tr> - -<tr><td class="rt" valign="top"><a href="#fig_9">9.</a></td><td valign="top"> Opaque-twisted Stem and Rose Glasses</td><td valign="bottom" class="rt"><span class="ditto">” </span><a href="#page_068">68</a></td></tr> - -<tr><td class="rt" valign="top"><a href="#fig_10">10.</a></td><td valign="top"> Double Ogee Bowls</td><td valign="bottom" class="rt"><span class="ditto">” </span><a href="#page_072">72</a></td></tr> - -<tr><td class="rt" valign="top"><a href="#fig_11">11.</a></td><td valign="top"> Ale Glasses and Sweetmeat Glasses</td><td valign="bottom" class="rt"><span class="ditto">” </span><a href="#page_074">74</a></td></tr> - -<tr><td class="rt" valign="top"><a href="#fig_12">12.</a></td><td valign="top"> Eighteenth-century Drinking Glasses</td><td valign="bottom" class="rt"><span class="ditto">” </span><a href="#page_076">76</a></td></tr> - -<tr><td class="rt" valign="top"><a href="#fig_13">13.</a></td><td valign="top"> Rummers and Baluster Stem Glasses</td><td valign="bottom" class="rt"><span class="ditto">” </span><a href="#page_084">84</a></td></tr> - -<tr><td class="rt" valign="top"><a href="#fig_14">14.</a></td><td valign="top"> Decanters and Salt-cellars (Eighteenth Cent.)</td><td valign="bottom" class="rt"><span class="ditto">” </span><a href="#page_090">90</a></td></tr> - -<tr><td class="rt" valign="top"><a href="#fig_15">15.</a></td><td valign="top"> Candlesticks and Tapersticks</td><td valign="bottom" class="rt"><span class="ditto">” </span><a href="#page_092">92</a></td></tr> - -<tr><td class="rt" valign="top"><a href="#fig_16">16.</a></td><td valign="top"> Jacobean Rushlight Holder and Wine Glasses</td><td valign="bottom" class="rt"><span class="ditto">” </span><a href="#page_094">94</a></td></tr> - -<tr><td class="rt" valign="top"><a href="#fig_17">17.</a></td><td valign="top"> Jacobite Toasting Glasses</td><td valign="bottom" class="rt"><span class="ditto">” </span><a href="#page_096">96</a></td></tr> - -<tr><td class="rt" valign="top"><a href="#fig_18">18.</a></td><td valign="top"> Jacobite Goblets</td><td valign="bottom" class="rt"><span class="ditto">”</span><a href="#page_100">100</a></td></tr> - -<tr><td class="rt" valign="top"><a href="#fig_19">19.</a></td><td valign="top"> Jacobite Glass</td><td valign="bottom" class="rt"><span class="ditto">”</span><a href="#page_102">102</a></td></tr> - -<tr><td class="rt" valign="top"><a href="#fig_20">20.</a></td><td valign="top"> Memorial Toasting Glasses<span class="pagenum"><a name="page_viii" id="page_viii"></a>{viii}</span></td><td valign="bottom" class="rt"><span class="ditto">”</span><a href="#page_106">106</a></td></tr> - -<tr><td class="rt" valign="top"><a href="#fig_21">21.</a></td><td valign="top"> Memorial Glasses (Various)</td><td valign="bottom" class="rt"><span class="ditto">”</span><a href="#page_108">108</a></td></tr> - -<tr><td class="rt" valign="top"><a href="#fig_22">22.</a></td><td valign="top"> A Nelson Glass and George IV. Coronation Glass</td><td valign="bottom" class="rt"><span class="ditto">”</span><a href="#page_110">110</a></td></tr> - -<tr><td class="rt" valign="top"><a href="#fig_23">23.</a></td><td valign="top"> Commemoration Glasses</td><td valign="bottom" class="rt"><span class="ditto">”</span><a href="#page_112">112</a></td></tr> - -<tr><td class="rt" valign="top"><a href="#fig_24">24.</a></td><td valign="top"> Tankards and Grog Glasses</td><td valign="bottom" class="rt"><span class="ditto">”</span><a href="#page_114">114</a></td></tr> - -<tr><td class="rt" valign="top"><a href="#fig_25">25.</a></td><td valign="top"> Old Bristol Glass Decanter and Mug</td><td valign="bottom" class="rt"><span class="ditto">”</span><a href="#page_120">120</a></td></tr> - -<tr><td class="rt" valign="top"><a href="#fig_26">26.</a></td><td valign="top"> Bristol Glass Vases and Candlesticks</td><td valign="bottom" class="rt"><span class="ditto">”</span><a href="#page_122">122</a></td></tr> - -<tr><td class="rt" valign="top"><a href="#fig_27">27.</a></td><td valign="top"> Bristol Glass Vases and Castors</td><td valign="bottom" class="rt"><span class="ditto">”</span><a href="#page_124">124</a></td></tr> - -<tr><td class="rt" valign="top"><a href="#fig_28">28.</a></td><td valign="top"> Early Nailsea Jugs</td><td valign="bottom" class="rt"><span class="ditto">”</span><a href="#page_126">126</a></td></tr> - -<tr><td class="rt" valign="top"><a href="#fig_29">29.</a></td><td valign="top"> Nailsea Jug and Mug</td><td valign="bottom" class="rt"><span class="ditto">”</span><a href="#page_128">128</a></td></tr> - -<tr><td class="rt" valign="top"><a href="#fig_30">30.</a></td><td valign="top"> Early Irish Glass</td><td valign="bottom" class="rt"><span class="ditto">”</span><a href="#page_130">130</a></td></tr> - -<tr><td class="rt" valign="top"><a href="#fig_31">31.</a></td><td valign="top"> Old Irish Salad Bowls and Celery Glasses</td><td valign="bottom" class="rt"><span class="ditto">”</span><a href="#page_132">132</a></td></tr> - -<tr><td class="rt" valign="top"><a href="#fig_32">32.</a></td><td valign="top"> Old Waterford Centrepiece, with Collar</td><td valign="bottom" class="rt"><span class="ditto">”</span><a href="#page_134">134</a></td></tr> - -<tr><td class="rt" valign="top"><a href="#fig_33">33.</a></td><td valign="top"> Old Waterford Preserve Jars and Bowls</td><td valign="bottom" class="rt"><span class="ditto">”</span><a href="#page_136">136</a></td></tr> - -<tr><td class="rt" valign="top"><a href="#fig_34">34.</a></td><td valign="top"> (1) Old Cork Decanters; (2) Old Waterford Decanters</td><td valign="bottom" class="rt"><span class="ditto">”</span><a href="#page_138">138</a></td></tr> - -<tr><td class="rt" valign="top"><a href="#fig_35">35.</a></td><td valign="top"> Old Cut Irish Decanters and Finger-basins</td><td valign="bottom" class="rt"><span class="ditto">”</span><a href="#page_140">140</a></td></tr> - -<tr><td class="rt" valign="top"><a href="#fig_36">36.</a></td><td valign="top"> Early Irish Fruit Dishes</td><td valign="bottom" class="rt"><span class="ditto">”</span><a href="#page_150">150</a></td></tr> - -<tr><td class="rt" valign="top"><a href="#fig_37">37.</a></td><td valign="top"> Masonic, Toasting, and Freak Glasses; an Early Cambridge Yard Ale Glass </td><td valign="bottom" class="rt"> Page <a href="#page_160">160</a></td></tr> - -<tr><td class="rt" valign="top"><a href="#fig_38">38.</a></td><td valign="top"> Saxon Glass</td><td valign="bottom" class="rt"><span class="ditto">”</span><a href="#page_030">30</a></td></tr> - -<tr><td class="rt" valign="top"><a href="#fig_39">39.</a></td><td valign="top"> Various Styles of Cutting</td><td valign="bottom" class="rt"><span class="ditto">” </span><a href="#page_007">7</a></td></tr> - -<tr><td class="rt" valign="top"><a href="#fig_40">40.</a></td><td valign="top"> Examples of Baluster Stems and Tear Glasses</td><td valign="bottom" class="rt"><span class="ditto">”</span><a href="#page_057">57</a></td></tr> - -<tr><td class="rt" valign="top"><a href="#fig_41">41.</a></td><td valign="top"> Tear Glasses</td><td valign="bottom" class="rt"><span class="ditto">”</span><a href="#page_061">61</a></td></tr> - -<tr><td class="rt" valign="top"><a href="#fig_42">42.</a></td><td valign="top"> Old English Glasses</td><td valign="bottom" class="rt"><span class="ditto">”</span><a href="#page_065">65</a></td></tr> -</table> - -<p><span class="pagenum"><a name="page_001" id="page_001"></a>{1}</span></p> - -<h2><a name="CHAPTER_I" id="CHAPTER_I"></a>CHAPTER I<br /><br /> -<small>INTRODUCTORY</small></h2> - -<p class="nind"><span class="letra">T</span><b>HE</b> origin of glass is lost in antiquity. Pliny, indeed, ascribes its -discovery to certain Phœnician mariners who, being shipwrecked upon a -sandy shore, used a block of the natron which formed their cargo to -support a pot which they were putting over an improvised fire. The heat -fused the sand with the natron, and lo! the glass was discovered in the -ashes.</p> - -<p>Since, however, Pliny’s authority was Rumour, and since, also, 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 century. But the story, if not true, is at least well invented -and serves to show at how early an age in the world’s history glass was -known.<span class="pagenum"><a name="page_002" id="page_002"></a>{2}</span></p> - -<p>It is more than probable that the place of its origin was Ancient Egypt, -and that the Phœnicians, who were undoubtedly acquainted with its use, -drew their knowledge from the workers on the banks of old Nile. At any -rate articles of glass have been discovered in tombs of the fifth and -sixth dynasties—some 3300 years before Christ. This, the earliest known -glass, is generally opaque, and is chiefly used to form small articles -of ornament, such as beads for necklaces, etc. The “aggry” beads, found -in Anglo-Saxon barrows and made in our own time by the Ashantis and -neighbouring tribes, are of similar type. Some admirable specimens of -ancient Egyptian glass are to be found in the British Museum. Among them -is a turquoise-blue opaque glass jar of Thothmes III.—the greatest of -all the kings of Egypt—dating from about 1550 <small>B.C.</small></p> - -<p>At a later date glass was extensively made in Alexandria, the sand in -the vicinity being of exceptional purity and so, suitable for its -manufacture. The city speedily became celebrated for the beauty of its -output, and articles of Alexandrian glass were largely exported to -Greece and to Rome, where also, in the space<span class="pagenum"><a name="page_003" id="page_003"></a>{3}</span> of a few years, -glass-houses were established; and to Constantinople, which was, in -time, to become famous for the manufacture of coloured glass and of the -Mosaics so dear to the Oriental taste.</p> - -<p>The Greeks do not appear to have developed the art of glass-making at a -very early age, but specimens of glass have been found in Grecian tombs, -and, in the Golden Age of Ancient Greece, when art and literature -reached their zenith under Pericles, glass was certainly employed for -purposes of architectural decoration.</p> - -<p>In Rome, however, the art of glass manufacture found a congenial home -and was developed to a high pitch of excellence. 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—domestic, -architectural, and ornamental—than it is to-day, even though the -glazing of windows was in its infancy and the use of the material for -optical purposes was scarcely known. In effect, coloured and ornamental -glass held much the same place in the Roman household that china and -earthenware do among us to-day. Glass was used for<span class="pagenum"><a name="page_004" id="page_004"></a>{4}</span> pavements and for -the external covering of walls. The Roman glass-workers were -particularly happy in their combination of colours, both by fusing -together threads of various colours, or by fusing masses, so as to -imitate onyx, porphyry, serpentine, and other ornamental stones.</p> - -<p>The most interesting of all was the famous cameo glass. A bubble of -opaque white glass was blown, and this was coated with blue and a -further layer of opaque white superimposed. The outer coat of blue was -removed from the portion which was to display the design, leaving the -white to be carved into whatever figures the artist’s fancy dictated. -The finest example extant of this kind of ware is the famous Portland -vase in the British Museum.</p> - -<p>The art, thus brought to such perfection in Rome, naturally spread -throughout Italy and the Roman colonies in France, Spain, Germany, and -Britain. Probably workmen from the Italian cities also established the -first furnaces among the lagoons of Venice, and so laid the foundation -of what were to be the finest glass manufactories in the world. At the -end of the thirteenth century a guild of glass-workers<span class="pagenum"><a name="page_005" id="page_005"></a>{5}</span> was formed. -These sequestered their craft upon the island of Murano, and there -cultivated it with an increasing skill that in a brief space made -Venetian glass the marvel of the civilised world. The peculiar merits of -the Venetian product were grace of form and lightness of execution. Many -of the vessels are surpassingly thin. The quality of the metal, however, -leaves something to be desired. It is dull, frequently tinged with -yellow—due to the presence of iron—or purple—the effect of too great -a proportion of manganese. The workmen became so skilful that, carried -away by the <i>joie d’exécuter</i>, they produced not only the artistic forms -for which Venetian glass is famous, but all sorts of -extravagances—ships, animals, birds, fishes, 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 material.</p> - -<p>Meanwhile, other European nations had taken their cue from Venice, and -glass-houses sprang up in various parts of the Continent, particularly -in France and in Bohemia; the latter, indeed, speedily became the great -rival of Venice.</p> - -<p>In England, as we shall see, glass was made<span class="pagenum"><a name="page_006" id="page_006"></a>{6}</span> during the Roman -occupation. Under the Saxons, glass-workers were imported from the -Continent, but to judge from the number and variety of the specimens -found in Anglo-Saxon tombs, it is probable that it was also manufactured -to an equal extent at home. During the Middle Ages the art appears to -have fallen into abeyance, save in a few isolated instances to be noted -later, but in the sixteenth century the custom of using glass vessels -was introduced from France and the Low Countries, most of the pieces -being imported from Venice. To prevent the money thus expended from -leaving the country, efforts were made about the middle of the century -to establish the art by the aid of workmen from Murano, and the history -of glass manufactured in England may be said to have fairly begun. It -was undoubtedly stimulated by the religious persecutions on the -Continent, particularly the Spanish Terror in the Netherlands, for the -Low Countries were seriously endeavouring to rival Murano in the art, -and the craftsmen who fled for refuge to England undoubtedly did much to -develop their trade in the country of their adoption, as did the -Huguenot refugees at a later period.<span class="pagenum"><a name="page_007" id="page_007"></a>{7}</span></p> - -<p><a name="fig_39" id="fig_39"></a></p> - -<div class="figcenter" style="width: 307px;"> -<a href="images/i_007_lg.png"> -<img src="images/i_007_sml.png" width="307" height="178" alt="[Image unavailable.]" /></a> -<div class="caption"> -<p><span class="smcap">Fig. 39.</span></p></div> -</div> - -<p>In the seventeenth century the whole process was revolutionised by the -introduction of a large proportion of oxide of lead, making what is -technically known as “flint” glass—a glass much more brilliant than any -other, a quality due partly to its transparency and partly to its -increased refractive power, which renders it specially fitted for -“cutting”—a process which enhances its beauty by increasing the number -of ways in which the light rays falling on the glass are dispersed. 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<span class="pagenum"><a name="page_008" id="page_008"></a>{8}</span> sustained by the excellence of their work.</p> - -<p>All this time the art of glass-making on the Continent had been -developing. In particular, 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 artists. An admirable example of what -they achieved in this direction is an old spinet in the South Kensington -Museum, which once belonged to Queen Elizabeth of Bohemia, the daughter -of James I. Whatever its merits as a musical instrument, its once -gorgeous gilt crimson leather case hides an interior of the utmost -interest to students of glass, for the interior of the lid is panelled -into eighteen divisions, each representing some classical -subject—Narcissus, Daphne, Andromeda, Argus, etc.—admirably done in -coloured glass. The front of the keyboard, the stretcher bar and the -keys themselves are also elaborately decorated in similar fashion with -coloured glass, silver or enamel. The keys are covered with ornaments in -coloured glass, the accidentals being faced with blue and white striped -glass and the naturals being fronted with the same.<span class="pagenum"><a name="page_009" id="page_009"></a>{9}</span></p> - -<p>Although it is no part of the purpose of this book to deal in detail -with the technical side of the manufacture of glass, 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 manufacture.</p> - -<p>The scientist will tell us that glass is a double silicate, being -compounded of a silicate of sodium (or potassium) and a silicate of -lime. For the benefit of non-scientific readers, we may remark that a -silicate is a chemical compound formed when silica combines with an -alkaline substance like lime, soda, or potash. Silica is probably the -most widely distributed substance in nature. Silicate of alumina is, for -example, the basis of all clayey soils, and silica, in the pure form of -quartz, is the chief constituent of the sand of the sea and of all those -rocks which are known as sandstones. Rock-crystal, amethyst, agate, -onyx, jasper, flint, etc., are all varieties of silica. Crystalline -silica is hard enough to scratch glass—a fact utilised, as we shall -see, in the sand-blast which is used for the purpose of engraving -patterns on glass. Silica<span class="pagenum"><a name="page_010" id="page_010"></a>{10}</span> is fusible only at a very high temperature, -but readily combines with alkaline substances to form soluble silicates, -which are known in commerce as soluble glass, or water-glass, because it -dissolves readily in hot water. Water-glass is used in making artificial -stone, in coating stone surfaces, <i>e.g.</i> walls of buildings, etc., to -preserve the stone from decay under the weathering influence of the -atmosphere, and in the manufacture of cement.</p> - -<p>Ordinary glass has many valuable properties which make it of great -importance in the arts and manufactures. Among these may be mentioned -the fact that it can be made to take any shape with ease. It resists the -action of all ordinary acids, and hence is of the utmost value to the -chemist and the chemical manufacturer. Hydrofluoric acid alone attacks -it, by combining readily with its silica and so dissolving it. For this -reason, hydrofluoric acid is used in etching on glass. Again, glass is -cheap, being literally made from the dust of the earth; it is -transparent, and so can be used in buildings, transmitting light whilst -protecting from the inclemency of the weather. Its transparency, too, -combined with its high refractive power,<span class="pagenum"><a name="page_011" id="page_011"></a>{11}</span> make it of inestimable value -in the manufacture of optical instruments. It is this high refractive -power, too, which gives to cut glass its beautiful lustre and sparkle, -and one aim of the glass-founder is to increase this refractive power -and so enhance the brilliancy of his product. If glass could be made -which would refract light to the same extent as the diamond does, it -would exhibit the same “fire” as the king of gems. It is hard and close -in texture, and so is capable of taking a high polish. Its great -drawback is its brittleness, but this can be reduced to a great extent -by immersing it, whilst red-hot, in a hot bath of paraffin oil, wax, or -resin. A tumbler of glass so “tempered” may be dropped on the floor -without breaking.</p> - -<p>It may be added, as a matter of common interest, that this brittleness -is largely a result of the fact that glass is an extremely bad conductor -of heat. Because of this, a mass of molten glass, when cooling, becomes -set on its outside surface long before the interior has become -solidified; hence the solid exterior prevents the molecules of the -interior portion from contracting. As a result, a condition of strain is -established, the interior molecules<span class="pagenum"><a name="page_012" id="page_012"></a>{12}</span> tending to contract, while the -exterior tends in the opposite direction; consequently a very slight -blow is enough to cause a fracture.</p> - -<p><i>Varieties of Glass.</i>—As we shall frequently find it necessary to refer -to the various kinds of glass, 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 them.</p> - -<p>As regards quality, the chief kinds are crown glass, flint glass, plate -glass, bottle glass, and crystal glass, and the differences in -composition may be conveniently expressed in the form of a table:—</p> - - -<table border="1" cellpadding="2" cellspacing="0" summary=""> -<tr><td align="left"> </td><td class="c">Silica.</td><td class="c">Potash.</td><td class="c">Soda.</td><td class="c">Lime.</td><td class="c">Alumina.</td><td class="c"> Oxide of<br /> Lead.</td><td class="c"> Oxide of<br /> Iron.</td></tr> -<tr><td align="left">Crown.</td><td class="rt"> 67</td><td class="rt"> 21</td><td class="rt"> —</td><td class="rt"> 10</td><td class="rt"> 2</td><td class="rt"> —</td><td class="rt"> —</td></tr> -<tr><td align="left">Flint.</td><td class="rt"> 44</td><td class="rt"> 12</td><td class="rt"> —</td><td class="rt"> —</td><td class="rt"> 1</td><td class="rt"> 43</td><td class="rt"> —</td></tr> -<tr><td align="left">Plate.</td><td class="rt"> 78</td><td class="rt"> 2</td><td class="rt"> 13</td><td class="rt"> 5</td><td class="rt"> 2</td><td class="rt"> —</td><td class="rt"> —</td></tr> -<tr><td align="left">Bottle.</td><td class="rt"> 59</td><td class="rt"> 3</td><td class="rt"> —</td><td class="rt"> 25</td><td class="rt"> 6</td><td class="rt"> —</td><td class="rt"> 7</td></tr> -<tr><td align="left">Crystal.</td><td class="rt"> 56</td><td class="rt"> 9</td><td class="rt"> —</td><td class="rt"> 3</td><td class="rt"> —</td><td class="rt"> 32</td><td class="rt"> —</td></tr> -</table> - - -<p><span class="pagenum"><a name="page_013" id="page_013"></a>{13}</span></p> - -<p>Cheapest of all glass is bottle glass, where the base is mainly lime. -The metal used for medicine bottles contains more potash and is purer -and clearer. The use of potash and soda makes the glass more easily -fusible; alumina has the opposite effect; lime makes a harder glass; -lead gives lustre, increases fusibility, and heightens the refractive -power. Hence in glass which is to be cut and polished the employment of -lead in sufficient quantity is a factor of the highest importance. This -is a point to be specially noted in connection with English glass. -Lead—chiefly the oxides known as litharge and minium—in small -quantities has long been employed, the introduction of the metal serving -as a flux, but lead glass was generally avoided as being too brittle. -Merret, writing in 1662, remarks that could this glass be made as tough -as crystalline, “it would far surpass it in the glory and beauty of its -colours.” It will be noted that the two kinds of glass in which lead is -used in quantity are flint glass and crystal. The larger the amount of -lead the greater the beauty and brilliancy of the product, a result due, -as previously intimated, to the increase in refractive<span class="pagenum"><a name="page_014" id="page_014"></a>{14}</span> power that is -brought about by its addition.</p> - -<p>Flint glass derives its name from the fact that in England the silica, -which is the main constituent of all glass, was procured from flints -which were calcined and pulverised. Being highly refractive it is -extensively employed in the manufacture of optical -instruments—telescopes, microscopes, etc. Quartz and fine sand are now -used in the place of flints. The glass is soft, and hence easily -scratched and dulled. It is essential that only the purest materials be -employed, and special furnaces and pots are needed. Flint glass was -known in quite early times. It was probably discovered by accident that -certain stones were fusible, for fossil glass is found in many places -where great fires have been. Volcanic glass—obsidian—is a well-known -substance, while there exist in Scotland ancient forts, the stones of -which have been fused together by the action of heat. The Venetians used -quartz in preference to sand, since the latter was liable to contain -impurities, and the Venetian craftsmen who settled in England were -accustomed to ensure the purity of their silica by calcining flints. -Crown glass<span class="pagenum"><a name="page_015" id="page_015"></a>{15}</span> is the finest sort of ordinary window glass. Plate glass is -the superior kind of thick glass used for mirrors, shop windows, etc. It -will be noted that it is the only kind of glass which contains soda.</p> - -<p>The process of glass manufacture comprises three stages, mixing, -melting, and blowing. The various ingredients are first finely ground -and then thoroughly mixed by the aid of a mixer, forming what is known -as the “batch.” This is placed in melting pots. These are crucibles of -fire-clay, <i>i.e.</i> clay capable of withstanding the action of heat. The -clay must be of the finest quality, and be carefully freed from -extraneous matters which might affect the quality of the glass. Hence -the manufacture of the “pots” is itself an industry of some importance, -and as each costs some £10, they form an important item in the expense -of manufacture, especially as the pots are short-lived, some eight to -ten weeks being the average life of one of them.</p> - -<p>The ordinary pot is an inverted section of a cone, the apex being -closed. For flint glass a covered pot is essential, the form ordinarily -adopted being a bell-jar closed at<span class="pagenum"><a name="page_016" id="page_016"></a>{16}</span> the bottom and with an arched -opening at the top. Each pot holds from ten to fifteen cwt. of the -“batch.” When full, the pots are placed in specially constructed -furnaces, holding from five to fifteen pots, and capable of producing a -temperature of from 10,000° to 12,000° F. The details of the firing are -intricate and interesting but have no direct bearing on our purpose; -their object is to produce complete fusion, to allow for the removal of -all impurities, and to ensure the homogeneity of the product.</p> - -<p>The final stage with which we are concerned is that of blowing, since -all table glass, worthy of being called table glass, is blown. In other -words, every decanter, vase, tumbler, 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 eye. It -is this fact which gives glass its individuality. There is no -hard-and-fast rigour of line, no mechanical uniformity of shape, such as -is associated with machine-made goods; even the simplest wine<span class="pagenum"><a name="page_017" id="page_017"></a>{17}</span> glass is -an individual thing, which the taste of the craftsman has endowed with -artistic distinction whilst retaining its simplicity of form.</p> - -<p>It is a matter for regret that the glass-blower’s art is seriously -threatened in these latter days of hurry and competition. The demand for -cheap glass has led to the introduction of blowing machines, in which -the bubble of molten glass is taken up by one of many blowing tubes, and -placed inside a mould, air being driven by machinery through the other -end of the tube and inflating the bubble until it touches the sides of -its mould. The budding craftsman thus loses the practice of blowing -these simpler forms, and as he is now forbidden to work at the furnaces -until he is over fourteen, he often fails to acquire that lightness and -dexterity of hand which are the mark of the first-rate craftsman, and -which can be most readily gained in early life. There is, of course, no -reason why common vessels should not be produced in this way, and -tumblers, decanters, and lamp glasses are so manufactured in large -numbers.</p> - -<p>Needless to say, moulded or pressed glass<span class="pagenum"><a name="page_018" id="page_018"></a>{18}</span> has little value, either -intrinsic or artistic, in the collector’s eye, unless it has acquired -distinction on account of its age; for moulded or pressed glass has been -known from early times, and it is of the greater interest, since only -English glass, <i>i.e.</i> flint glass, or glass of similar characteristics, -can profitably be so dealt with. It will be readily understood that only -glass of a low melting point, which does not quickly solidify, and which -at the moment of solidification expands and fills out the interstices of -the mould, can be successfully treated in this way. One bar to the -extensive use of this form of glass was the cost of the essential lead -and potash. These are often now replaced by baryta and lime, with the -result that a very suitable glass is produced, which contains no -appreciable quantity of either lead or potash.</p> - -<p>The art of glass-cutting in Europe dates back to the middle of the -sixteenth century, when it was extensively practised on the Continent, -particularly in Bohemia. The earliest examples were probably imitated -from the rock-crystal cups of ancient Greece and Rome. There is no doubt -that in both these<span class="pagenum"><a name="page_019" id="page_019"></a>{19}</span> countries the art was practised for the -ornamentation of the famous crystallinum, whilst some vessels were -undoubtedly cut out of the solid block.</p> - -<p>The discovery of flint glass revolutionised the art of glass -ornamentation. The strong refractive powers of the new glass made it -specially suitable for cutting, which brought out a wonderful fire and -sparkle that even the finest art of Bohemia and Venice had not been able -to attain. At first, of course, the English craftsmen were far inferior -in artistic merit—both as regards design and execution—to those of -Bohemia; but the superior brilliancy of the metal atoned to a great -extent for the deficiencies of the workmen, and Early English cut wine -glasses and punch glasses are by no means to be despised. “L’article -Anglais solide et confortable, mais sans élégance,” spread the fame and -fashion of English glass throughout the Continent and, incidentally, -over the world.</p> - -<p>The earliest examples of English cut glass are perhaps the -thistle-shaped glasses, originally fashioned in Bohemia but adopted by -Scotland as representing the national emblem. Apart<span class="pagenum"><a name="page_020" id="page_020"></a>{20}</span> from these, the -ogee-shape was most commonly selected as being more amenable to artistic -treatment than the bell.</p> - -<p>The stem is usually knopped and cut into facets, and is invariably -hexagonal in shape. The cutting is continued beyond the top of the stem -on to the lower part of the bowl, so as to give a kind of finish. -Sometimes, indeed, the cutting is made to include the bowl in a scheme -of decoration, and the rim is engraved with conventional designs, -wreaths of flowers, etc. Towards the end of the eighteenth century the -facets became long flutes.</p> - -<p>The process technically known as glass-cutting is essentially one of -grinding and polishing. The grinding is done by a wheel, made of -cast-iron, and made to rotate rapidly by a continuous band passing over -a revolving shaft. Above the wheel is a receptacle containing sand and -water, which can be fed on to the wheel as desired. Smoothing is done by -a sandstone wheel, similarly mounted, and polishing by a wooden one fed -with putty powder. The craftsman holds his piece in the hand, pressing -it against the rotating wheel.</p> - -<p>Engraving is really very fine grinding, done<span class="pagenum"><a name="page_021" id="page_021"></a>{21}</span> usually with a copper -wheel or, rather, disk, whilst etching is done by coating the glass with -wax, or some similar protective substance, scratching the pattern -through the wax and then subjecting the piece to the action of -hydrofluoric acid.</p> - -<p>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 workman; -the cheaper kinds of glass are all moulded or “pressed.” Pressed glass -is also essentially English, no other kind, save flint glass, being -suitable for treatment in this way. It is, in the first place, essential -to obtain a metal which has a low melting point, and one which does not -shrink in solidifying, as that would draw it away from the sides of the -mould, and so effectively spoil the design. The low melting point of the -metal enables the product to be “fire polished.” In this process it is -reheated to a point sufficient to melt a thin surface layer, and so -remove any roughness due to the process of moulding, and leave a smooth -bright surface. The art of pressing glass has been brought to a high -degree of perfection, elaborate decorations being produced<span class="pagenum"><a name="page_022" id="page_022"></a>{22}</span> with ease. -The cost of the process, too, has in recent years been lessened by the -use of baryta and lime, in the place of lead and potash, and in this way -the output has been greatly cheapened, while baryta glass, if inferior -in sparkle to lead glass, is yet far more brilliant than ordinary glass.</p> - -<p>The problem how to distinguish real old glass from modern imitations is -one that besets the collector at every stage of his progress. A few -specimens supply their own testimony in the shape of a date, but it is -by no means impossible to engrave a date on a piece of specious-looking -real antiquity, and so give it a fictitious value, by making it appear -“the thing which it is not.”</p> - -<p>As to the character of the glasses themselves, shape alone is no -criterion of age. Apart from the possibility of deliberate imitation, it -does not follow that because a piece is ponderous, clumsy in appearance -and, to a modern eye, unduly capacious, that it is necessarily an early -piece. Right from the beginning of glass manufacture in England, two -qualities, at least, were undoubtedly manufactured; the better to -ornament the tables of the great, and the poorer for service in kitchen -and tavern.<span class="pagenum"><a name="page_023" id="page_023"></a>{23}</span> Whereas articles of the former were as dainty and artistic -as the skill of the craftsman would allow, the latter were roughly made -and deliberately ponderous to bear the rougher usage to which they were -subjected. As the same practice continues up to the present day, it -follows that there is in existence a considerable quantity of common -glass with all the attributes, as far as shape and clumsiness of form -are concerned, of that of an earlier period.</p> - -<p>Possibly the appearance of the metal and the style of workmanship are as -reliable guides as any others. The metal of the earliest glasses was by -no means perfect. Instead of the beautiful clarity and perfect -transparency we are accustomed to associate with glass, there is often a -streakiness or cloudiness visible in the material, together with -numerous bubbles and flaws. If the striations are horizontal, the glass -is of an earlier type than if they are perpendicular. The sides of the -bowl are often irregular, and the stems are often clumsy, uneven, badly -balanced, and altogether disproportionate in point of size to an eye -accustomed to the slenderer style of modern glassware. An important -point is the junction between the bowl<span class="pagenum"><a name="page_024" id="page_024"></a>{24}</span> and the stem. For some -extraordinary reason, the welding of the two seems to have given the -ancient glass-blowers considerable trouble, and the join is often too -clearly perceptible. Hence the collector who comes across an apparently -ancient piece bearing evident signs of clumsy joining should give it -more than casual attention. Sometimes, to obviate the difficulty, the -base of the bowl was made into a kind of knop, 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 period.</p> - -<p>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 glass. It is worthy of note that whilst the bubble is almost -invariably present in the baser forms of early eighteenth-century glass, -it is frequently absent from the finer varieties. Another point of -difference is that the better specimens rarely have the folded foot, -which is invariably present in the coarser makes, the turning under of -the rim, whilst plastic, to make a kind of welt, being an obvious -precaution against the rougher usage to which they were<span class="pagenum"><a name="page_025" id="page_025"></a>{25}</span> inevitably -subjected. Sometimes the feet were domed, but these were difficult to -make and the numbers were restricted. In some specimens ridges or ribs -are formed on the upper and lower sides of the foot.</p> - -<p>The earliest glasses were devoid of any attempt at decorative engraving, -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 only. The former -are of the earlier type.</p> - -<p>Among the tests which the collector might apply are the following:—</p> - -<p>Note whether the glass rings clear and sweet in tone. In twisted stems, -note whether the stem twists to the left or the right. The genuine -glasses have almost invariably stems twisted to the left. In -opaque-twisted stems, note particularly the colour of the spiral. In the -forgeries the opacity is less definite, the twist often having a kind of -translucent look.</p> - -<p>Genuine old glass often has a cloudy tinge with frequently a tone of -steely blue. Forgeries may show a greenish tint.</p> - -<p>In old glass the centre of the base, where the piece was, after being -finished, knocked off<span class="pagenum"><a name="page_026" id="page_026"></a>{26}</span> the pontil, is generally left rough; in the -imitations it is generally ground smooth.</p> - -<p>The foot of a genuine old glass is never quite flat, there is always a -slope—sometimes a very pronounced one—from the centre to the edge. The -modern imitation, usually made abroad, often has a perfectly flat foot.</p> - -<p>The edge of the bowl in a genuine old glass is always rounded, never -left hard and sharp.<span class="pagenum"><a name="page_027" id="page_027"></a>{27}</span></p> - -<h2><a name="CHAPTER_II" id="CHAPTER_II"></a>CHAPTER II<br /><br /> -<small>EARLY ENGLISH GLASS</small></h2> - -<p class="nind"><span class="letra">T</span><b>HE</b> early history of glass manufacture in Britain is decidedly obscure. -The earliest specimens of the art extant are certain coloured beads, -known as “aggry” beads. Many of these exist, some probably of Phœnician -origin, others dating from the Roman occupation of Britain—being made -either by the Romans themselves or by a British craftsman under Roman -tuition.</p> - -<p>There can be little doubt that the Romans did introduce the making of -glass into this country, for glass was an indispensable adjunct to Roman -life. Moreover, it was the custom for the conqueror to train the -conquered in his own arts, and the Roman handicrafts followed the Roman -Eagle. In any case, the art of glass-making had, according to Pliny, -extended to Gaul, and there seems no reason why it should not also have -crossed the Channel. Unfortunately, there is no evidence that it did.<span class="pagenum"><a name="page_028" id="page_028"></a>{28}</span></p> - -<p>There is, however, evidence that glass-making was carried on in -Anglo-Saxon times—many specimens of Anglo-Saxon bead-work, etc., having -been found in barrows, tumuli, and burying-places in general. They are -composed of an opaque, vitreous paste—which in places approaches -translucency. Unfortunately, the materials employed were impure, and the -material has consequently disintegrated with time, making it a matter of -exceeding difficulty to determine its original texture and appearance. -The decoration, both as regards colouring and design, is primitive. The -colour is crude, and the patterns consist mainly of simple geometrical -figures, circles, chevrons, stripes, spirals, and so forth.</p> - -<p>Possibly after the Roman withdrawal in 410, the art fell into abeyance, -as did much of the civilisation imposed by the Romans, reviving again -when the various Anglo-Saxon units began to develop a civilisation of -their own, and to pass through various confederacies into a single -kingdom.</p> - -<p>Bede writes that in 675 “Benedict Biscop” sent for glass-workers from -France to glaze the windows of the church at Wearmouth, and that<span class="pagenum"><a name="page_029" id="page_029"></a>{29}</span> they -taught the English their handicraft, making not only windows but -vessels.</p> - -<p>The art must, however, have survived in certain places, for numbers of -vessels which can be referred, on the authority of illuminated MSS., -etc., to Saxon times, are in existence. Such specimens include (<i>a</i>) -vases, ornamented with ribs and applied lobes. These are probably of -German origin, and were introduced into Britain by the Saxon invaders. -(<i>b</i>) Trumpet-shaped cups, ribbed, or stringed, or fluted. These have no -base on which to stand, and are probably of English manufacture, dating -from the latter half of the sixth century, (<i>c</i>) The third type is the -“palm” cup, shaped so as to be conveniently held in the palm of the -hand, having no bottom on which to stand; and (<i>d</i>) bowls of various -shapes. The palm cups and bowls belong to the eighth and ninth -centuries, and later. It should be remembered that the dates given can -only be roughly approximate, and that the various periods fuse one into -the other, so that there is no definite line of demarcation. Moreover, -there is no definite proof that glass vessels were made in England -during Saxon times, save only such<span class="pagenum"><a name="page_030" id="page_030"></a>{30}</span></p> - -<p><a name="fig_38" id="fig_38"></a></p> - -<div class="figcenter" style="width: 272px;"> -<a href="images/i_030_lg.png"> -<img src="images/i_030_sml.png" width="272" height="399" alt="[Image unavailable.]" /></a> -<div class="caption"><p><span class="smcap">Fig. 38.</span></p> - -<p><i>Saxon Glass.</i>—1, 2, 3, Trumpet Cups; 4, a Ribbed and Lobed Vase; 5-9, -Palm Cups and Vases.</p></div> -</div> - -<p><span class="pagenum"><a name="page_031" id="page_031"></a>{31}</span></p> - -<p class="nind">statements as that of the Venerable Bede previously referred to. Only, -while similar vessels are found both in France and Germany, it is -claimed that a greater number and a greater variety are found in -England, the inference being that they were made in this country.</p> - -<p>So remarkable is the paucity of evidence and so absolute the dearth of -authenticated examples in these Dark Ages of glass manufacture, that it -has often been asserted that no glass vessels were made in England -before the fifteenth century. Glass vessels were, of course, known and -used, but these were probably, in the main at any rate, imported from -Venice and the East. On the other hand, it is known that before the -thirteenth century window glass—blown glass too, and not cast -glass—was made, and very successfully. Indeed, old English coloured -glass was particularly fine, and this being so, it is not easy to -understand why the same art should not be applied to vessels.</p> - -<p>Coarse glass vessels were certainly made at a very early date. The -records of Chiddingfold refer to Laurence <i>Vitrearius</i> in 1230, William -le <i>Verir</i> in 1301, and John <i>Glasewryth</i> in 1380. The record, in its -transition from Latin to<span class="pagenum"><a name="page_032" id="page_032"></a>{32}</span> Norman-French, and then to Anglo-Saxon, has -its philological interest as well, but it may be mentioned that John the -<i>Glasewryth</i> made both “brode glas and vessel.”</p> - -<p>There is, too, in existence an ancient cup of glass, disinterred from a -tomb in Peterborough Abbey Church, which, from the records of the Abbey, -must have been buried there, in all probability, in the first half of -the thirteenth century. In the accounts of Henry, the second son of -Edward I., who died in 1274, there is mentioned the purchase of a glass -cup for the sum of twopence halfpenny, a fact which seems to imply that -to be sold so cheaply the vessel must have been of domestic manufacture. -It should not, however, be forgotten that this sum represented the daily -wage of a skilled artisan in the thirteenth century. In the Taxation -Roll of Colchester in 1295, three of the principal burgesses are -referred to as “verrers,” and it seems hardly likely that so many -important citizens were merely glaziers and not glass-makers. However, -it is more than probable that the use of glass was confined to the noble -and wealthy, while the common folk used vessels made of wood, horn, or -leather.<span class="pagenum"><a name="page_033" id="page_033"></a>{33}</span> The “Leather Bottel” has passed into a proverb, and the Black -Jack was so universal in its use that the French, naturally curious as -to English habits, referred to us as a nation of savages who habitually -drank out of their boots. 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 century. -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 acceptable. Those that did exist were probably rather valued -curiosities than articles of everyday utility.</p> - -<p>There was, undoubtedly, produced during this period considerable -quantities of window glass, much of it highly decorated, and exhibiting -characteristics peculiar to the period to which it belongs, so that -experts find little difficulty in distinguishing between the vigour of -the thirteenth and the brilliancy of the fourteenth century. It would -appear, too, that the home product won an increasing appreciation from -the architects who employed it in their buildings; for whereas in 1547 -the contractor<span class="pagenum"><a name="page_034" id="page_034"></a>{34}</span> binds himself not to use it for the windows of the -Beauchamp Chapel at Warwick, in 1485 it is mentioned in such a way as to -imply that it was either better or dearer, or both, than “Dutch, Venice, -or Normandy glass.”</p> - -<p>In the sixteenth century, however, the fashion of using vessels of glass -became almost universal in the west of Europe. Most of these came from -Venice, and, spurred by the desire of establishing so lucrative an -industry at home, the rulers of various countries—notably France, -Holland, and England—sought to induce Venetian craftsmen to settle in -them.</p> - -<p>The glass-workers of Murano—the great glass-making centre in -Venice—were, however, a close corporation, the workmen being -stringently bound, under penalty of death, not to carry their trade -secrets to any other country or to teach them to foreigners. In spite of -this, eight Muranese glass-workers were induced to settle in England in -1549, and built their furnace in the monastery of the Crutched -Friars—one of the minor orders. They derived their name Crutched -(<i>i.e.</i> Crossed) from the ornamental cross which adorned their habits. -Of<span class="pagenum"><a name="page_035" id="page_035"></a>{35}</span> the eight, seven returned to Venice in 1551, having previously -petitioned the Council of Ten to remit the penalties against them. It is -a reasonable assumption—but still only an assumption—that during their -stay they did much to further the art of glass-making, although they -merely produced glass and sedulously refrained from teaching their -“mystery.”</p> - -<p>The “Breviary of Philosophy,” published in 1557, remarks:</p> - -<div class="poetry"> -<div class="poem"><div class="stanza"> -<span class="i0">“As to glassemakers they be scant in this land<br /></span> -<span class="i1">Yet one there is as I doe understand,<br /></span> -<span class="i1">And in Sussex is now his habitacion,<br /></span> -<span class="i1">At Chiddingfold he works by his occupacion.”<br /></span> -</div></div> -</div> - -<p>Evidently, therefore, the old Sussex industry had survived. The product -of the Chiddingfold furnaces was probably, however, a coarse green -glass, and by no means to be compared with the Venetian article.</p> - -<p>In 1564 Cornelius de Lannoy, an alchemist from the Netherlands, came to -England, at the invitation of the Government, to teach the art of -glass-making as practised in the Low Countries. He took up his abode and -set up his furnace in Somerset House. He failed,<span class="pagenum"><a name="page_036" id="page_036"></a>{36}</span> however, with the -materials then available, to produce any very effective results; in -particular, the clay used for the pots failed to withstand the great -heat required to produce transparent glass. Moreover, de Lannoy proved -to be more alchemist than glass-maker, and left various persons in -England the poorer for their quest after the philosopher’s stone which -they had undertaken under his guidance.</p> - -<p>In 1567 Pierre Briet and Jean Carré sought a licence to make glass after -the French fashion, and to teach to English craftsmen the art of its -manufacture as practised in Lorraine and Normandy. Elizabeth, always -with an eye to the main chance, made no difficulty and, joining forces -with a rival licencee, Becker, set up in opposition to the English -glass-makers in Sussex and later at Stourbridge and Newcastle. 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 them, which found vent in popular tumult and, in at -least one instance, in a conspiracy to murder the workers, pillage their -stores and destroy their furnaces. There seems little doubt, however, -that their<span class="pagenum"><a name="page_037" id="page_037"></a>{37}</span> presence must have influenced the quality of English glass -and given an impetus to its manufacture. So did the advent of political -and religious refugees from the Low Countries and from France, and also, -though, of course, to a far greater degree, the influx of French -artisans in the seventeenth century after the revocation of the famous -Edict of Nantes. In spite of their efforts, however, it does not appear -that the importation of fine Venetian glass was in any way checked; it -continued, indeed, on an extensive scale for a long time after.</p> - -<p>The most famous name in the history of Elizabethan glass manufacture is -that of Jacob Verzelini, who came to London in 1575 and stayed for the -remainder of his life—about thirty years. He obtained a patent giving -him the monopoly of manufacturing glass after the Venetian style for -twenty-one years. He set up his establishment in the hall of the -Crutched Friars, where the eight Venetians had built their furnace in -1549, and there made “glass of divers sorts to drink in.” There is -little doubt as to his success, although, with one possible exception, -no tangible evidence of it remains. But<span class="pagenum"><a name="page_038" id="page_038"></a>{38}</span> 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 practitioners, he succeeded sufficiently well to arouse a strong -feeling of jealousy. This was intensified by the traders who had -hitherto sold imported Venetian glass, and the seamen who carried it in -their vessels and who now saw their livelihood menaced.</p> - -<p>The general public, too, showed itself greatly concerned over the great -consumption of wood in the glass-houses. Indeed, during this period the -wasting of the woods was a general complaint wherever furnaces were set -up. So strong was this feeling, indeed, that in 1584 an act was passed -against the making of glass by strangers and outlandish men and for the -preservation of woods spoiled by glass-houses; and in 1589, the year -after the Armada, it was proposed to reduce the number of glass-houses -from fifteen to four, transferring the rest to Ireland, where the loss -of trees did not matter so much, the timber not being urgently needed, -as in England, for the purpose of shipbuilding. One curious fact is that -for a long time—from<span class="pagenum"><a name="page_039" id="page_039"></a>{39}</span> the twelfth century at least in unbroken -record—English window glass of a high order had been produced, as -witness the windows of King’s College Chapel at Cambridge, which date -from 1515-31; and it seems impossible to conceive that, with Venetian -and Eastern glass to copy, the craftsmen who produced the windows should -not have also turned their skill to the making of drinking vessels, -particularly as the fashion for vessels of glass had strongly set in.</p> - -<p>“It is a world to see in these our daies wherein gold and silver most -aboundeth how that our gentilitie as lothing these mettals (because of -the plentie) 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 drink....</p> - -<p>“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 stone, but in fine all go one way that -is to shards at the last.”</p> - -<p>On the other hand, when Sir Richard Mansel<span class="pagenum"><a name="page_040" id="page_040"></a>{40}</span> applied in 1624 for a patent -to manufacture glass and to train Englishmen in the art, it was opposed, -on the ground that fifty years before a similar patent had been granted -to Jacob Verzelini and that it had been altogether neglected, and very -few Englishmen had been brought up in the art. Mansel, in his reply, -stated that he himself had brought many strangers from beyond seas to -instruct his fellow-countrymen in making all sorts of glass, -crystalline, Murano, spectacle glasses, and mirror plates.</p> - -<p>I have stated these facts in the early history of English glass at some -length not only for their intrinsic interest, but also to illustrate the -curious fact that just as there is from Saxon times to 1550 a gap in the -history of its manufacture, which no authenticated examples assist to -fill, so from the accession of Queen Elizabeth to that of King Charles -I. there exist to-day very few indisputable examples of the English -glass-blower’s art of this period; and yet it is hardly possible to -believe that they were not produced in considerable quantity. For, in -spite of specimens bearing the Tudor rose—an ornament, by the way, -largely employed<span class="pagenum"><a name="page_041" id="page_041"></a>{41}</span> at a later date—and of others with detailed and more -or less accredited histories, “Elizabethan glass,” so glibly spoken of -by some collectors, is chiefly conspicuous by its absence. Happy, -therefore, the collector who acquires even a dubious example.</p> - -<p>One famous specimen which may safely be assumed to be authentic is that -from the British Museum Collection shown in Fig. 1. This drinking cup or -goblet stands about 5¼ in. in height and bears the initials G. -S.—probably those of the person for whom it was made—the date 1586, -and the motto, “<span class="smcap">IN: GOD: IS: AL: MY: TRVST.</span>” Experts generally concur in -attributing it to Jacob Verzelini.</p> - -<p>Four years after the Armada, Elizabeth granted to one Thomas Bowes a -monopoly to make drinking glasses “to be as good cheape or better cheape -than those imported from Venice.” As to the success of his venture -history is silent. In the reign of her successor—that British Solomon, -James I.—glass-making seems, however, to have made considerable -progress; for in 1610 a licence was granted for “the invention of -coal-heated glass-houses,” and in the following year Sir Edward Zouche -expended<span class="pagenum"><a name="page_042" id="page_042"></a>{42}</span> no less a sum than £5000 in erecting glass-houses in Lambeth -and perfecting the production of glass with sea-coal. This change is a -momentous one in the history of glass-making, inasmuch as it became -necessary to cover the pots, and this brought about various -improvements. They are mainly associated with the name of Percival, and -it is to be presumed that they included the introduction of oxide of -lead into the frit in quantity, with the result of producing a more -brilliant crystal than had yet been produced. From this time English -glass began to acquire fame, and the industry became a definitely -British art.</p> - -<p>One outcome of this change in the method of manufacture was that the -industry became localised, the glass-houses springing up in those -districts where it was easy to obtain fuel as on the coal-fields, where -the sand was of exceptional quality as at Reigate, or where there was an -abundance of clay suitable for making the pots as at Stourbridge.</p> - -<p>One of the most interesting discoveries in connection with the history -of the glass industry in England was made some sixty or seventy<span class="pagenum"><a name="page_043" id="page_043"></a>{43}</span></p> - -<p><a name="fig_1" id="fig_1"></a></p> - -<p><a name="fig_2" id="fig_2"></a></p> - -<div class="figcenter"> -<a href="images/i_042fpa_lg.jpg"> -<img src="images/i_042fpa_sml.jpg" width="217" height="319" alt="[Image unavailable.]" /></a> -<div class="caption"><p>FIG. 1.—AN EARLY ELIZABETHAN GLASS, DATED 1586. -</p></div> -</div> - -<div class="figcenter" style="width: 175px;"> -<a href="images/i_042fpb_lg.jpg"> -<img src="images/i_042fpb_sml.jpg" width="175" height="312" alt="[Image unavailable.]" /></a> -<div class="caption"><p>FIG. 2.—AN OLD ENGLISH GLASS TANKARD AND COVER.</p></div> -</div> - -<p class="nind">years ago at the little Hampshire village of Buckholt Wood. Excavations -here brought to light fragments of glass, some clear, others with a -greenish or bluish tinge, evidently portions of broken vessels of -various kinds—drinking glasses, jugs, bottles, and so forth. These were -in such quantity that it was evident chance had brought to light one of -the old glass-houses, which were founded in well-wooded districts, and -kept going as long as sufficient wood remained to burn.</p> - -<p>We have seen how, in the beginning, English glass-workers were a nomad -race. As the woods in one place were exhausted they moved to fresh -fields and forests new—much to the annoyance of the populace, who -depended upon those woods for their household firing, and of the -Government, who sought to preserve them for the maintenance of the -fleet.</p> - -<p>In 1615 a proclamation was made forbidding the use of wood for glass -smelting, the furnaces being in future compelled to burn sea-coal or -charcoal or other fuel. The same ordinance prohibited the importation of -foreign glass or the immigration of foreign glass-workers.<span class="pagenum"><a name="page_044" id="page_044"></a>{44}</span></p> - -<p>In the same year Sir Richard Mansel, a man of considerable standing in -the realm, who had been experimenting in glass-making with the aid of -Venetian workmen, was granted a licence for making glass with coal, and -set up furnaces in London and at Purbeck, Milford Haven and Newcastle. -It is a matter for regret that no product of his furnaces is known to -exist to-day, a fact the more surprising in that his licence was renewed -at various times, and so covers a considerable stretch of the most -interesting period of the art. At any rate we find him petitioning in -1641 that he might be protected against persons importing glass from -abroad, whereas he was paying a rent of £1000 per annum for his -monopoly. His name is mentioned as late as 1653, so that for nearly -forty years he controlled, more or less, the business of glass -production in England.</p> - -<p>It is a matter for some congratulation, however, that Mansel employed, -in some kind of managerial capacity in his Broad Street works, a certain -James Howell, who enjoys the reputation of being one of the liveliest -and most pleasing writers of the period. In<span class="pagenum"><a name="page_045" id="page_045"></a>{45}</span> the famous Howell’s -letters, “Epistolæ Ho-Elianæ,” which were published between 1645 and -1655, we have a delightful commentary on the events of his time, and -incidentally a number of curious and useful sidelights on the conduct of -glass manufacture both in England and on the Continent.</p> - -<p>It is said that Sir Kenelm Digby, of Royalist fame, invented in 1632 the -art of making glass bottles to contain the wine which hitherto had been -drawn straight from the wood. But Fame which credits him with this -discovery would seem to have forgotten that in Elizabeth’s time ale was -sold in glass bottles, and a quaint old volume yclept “The English -Housewife” refers in 1575 to round bottles with narrow necks for “bottle -ale,” the corks being tied down with stout string.</p> - -<p>The Commonwealth, save for what may be gleaned from Howell’s pages, adds -but little to our knowledge of glass. The Puritans were, perhaps, more -addicted to smashing it, in the form of stained-glass windows, than -manufacturing it for domestic utilities. But with the Restoration there -came a great<span class="pagenum"><a name="page_046" id="page_046"></a>{46}</span> change. The then Duke of Buckingham, who appears, like -others of his name, to have had a keen eye to the main chance, started a -glass furnace at Greenwich. In 1663 he petitioned the King that he might -be granted a licence to make mirrors, he having been at great expense in -finding out the art and mystery thereof—“a manufactory not known nor -heretofore used in England”—a curious contradiction to Mansel’s claim -in 1620, and one which seems to imply that the Duke was by no means -particular as to what he said provided he might gain his ends.</p> - -<p>There were numbers of competitors at the time all claiming to be the -inventors of crystal glass. The authorities, however, awarded the palm -to one Thomas Tilson, who in 1663 was granted a patent, in which he is -described as the inventor of crystal glass. It appears clear that Tilson -had produced a material of greater merit than any of his predecessors or -contemporaries. It is probable that this material was lead glass—flint -glass as it was and is still called. One point in support of this theory -is that it was too<span class="pagenum"><a name="page_047" id="page_047"></a>{47}</span> brittle to be used in making vessels, and Tilson -consequently confined himself to the manufacture of mirrors, windows for -coaches, etc.</p> - -<p>Specimens of the work of this period may be found in many -places—country houses, mansions, halls, etc.—throughout the country. -At Hampton Court Palace there are, for example, several magnificent -mirrors that testify to the skill of the craftsmen—Venetian and -English—of this period. 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 manganese, which was one of -the constituents. At a slightly later date other glass-houses were -founded in Lambeth, Stourbridge, Newcastle-on-Tyne, and other places, -notably in Surrey and Sussex.</p> - -<p>All this while, however, there was a great trade in imported Venetian -glass, which the Council was, time and again, petitioned to prohibit. -Fortunately both for the future of the art of glass-making in England -and for the cheapness and quality of the ware, which was now in great -demand, the efforts of the protectionists were unavailing.<span class="pagenum"><a name="page_048" id="page_048"></a>{48}</span></p> - -<p>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 Greene, who seems to -have dealt in imported glass, ordering from the Venetian furnaces -vessels to his own specification and design. Fortunately some specimens -of these are still in existence, but it need hardly be said that -examples of the seventeenth century, both home manufactured and -imported, are of the extremest rarity. He would be a fortunate collector -who should discover, say, “a speckled emerald coverd beere glasse” or a -“milk-whit cruet” either with or without “feet and ears of good hansom -fashion.”</p> - -<p>In point of shape the Venetian and English glasses of this period differ -very little, but there is a considerable difference in the character of -the metal. The glass from Venice is colder to the eye, whiter and softer -than the English, which is more brilliant and of a peculiar steely -lustre, while it is far weightier—a fact probably due to the use of a -considerable proportion of lead. The English glasses, too, are heavier -in appearance, with stems, thick and lumpy, of the baluster type. Often, -too, the bulbous stem is blown with a bubble,<span class="pagenum"><a name="page_049" id="page_049"></a>{49}</span></p> - -<p><a name="fig_3" id="fig_3"></a></p> - -<div class="figcenter" style="width: 285px;"> -<a href="images/i_048fpa_lg.jpg"> -<img src="images/i_048fpa_sml.jpg" width="285" height="212" alt="[Image unavailable.]" /></a> -<div class="caption"><p>FIG. 3.—AN EARLY GLASS FEEDING CUP.</p></div> -</div> - -<p><a name="fig_4" id="fig_4"></a></p> - -<div class="figcenter" style="width: 258px;"> -<a href="images/i_048fpb_lg.jpg"> -<img src="images/i_048fpb_sml.jpg" width="258" height="237" alt="[Image unavailable.]" /></a> -<div class="caption"><p>FIG. 4.—A SIXTEENTH CENTURY PANEL GLASS, WITH PORTRAIT -OF CHARLES II.</p></div> -</div> - -<p class="nind">often of considerable size—a primitive attempt at ornamentation. Not -unseldom a coin is inserted in the bulb of the stem or the knop of the -cover. One famous example of Caroline glass is the magnificent posset -cup in the possession of Miss Whitmore Jones, which is shown in Fig. 2. -This unmistakably dates from the time of Charles II. and is a genuine -example of English art. It was probably, as to design, copied from a -Venetian model, but the texture of the glass and the weight of the piece -are strong evidences of its English origin. With the accession of -William, the craft was further stimulated by the importation of many -models, and possibly craftsmen from the Low Countries. Speaking -generally however, the vessels of the reigns of William and of Anne are -but improved specimens of those of Charles. Some, however, have spiral -lines cut round the stems, and are, to this extent, the prototypes of -the twisted stems of the eighteenth century.</p> - -<p>The illustration of a feeding cup (<a href="#fig_3">Fig. 3</a>) provides an excellent example -of the work of this period. Its admirable shape and style and its -exquisite workmanship will readily<span class="pagenum"><a name="page_050" id="page_050"></a>{50}</span> appeal not only to connoisseurs but -also to all who are capable of appreciating artistic merit.</p> - -<p>In Fig. 5 we have portrayed the prototype of the modern tankard. Judging -by the shape and style it was probably an ale glass. 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 base. Fig. 6 is a -photograph showing the coin. Such a piece has almost the value of a -dated specimen, for though it was, of course, possible to insert a coin -of any previous date, the reason for doing so is by no means obvious. It -is hardly likely, for example, that anyone living in William’s reign -would have so enthusiastic a regard for Charles II. as to cause a coin -of that monarch to be embedded in a piece that he had made as an -heirloom. This specimen is in the British Museum, whose mark appears to -the right of the photograph.</p> - -<p>The quaint glass panel seen in Fig. 4 is an interesting relic of the -attention paid to glass-working at this period. The portrait is that of -Old Rowley (Charles II.) himself, and the piece was in all probability -made at Greenwich, possibly in commemoration of his visit<span class="pagenum"><a name="page_051" id="page_051"></a>{51}</span></p> - -<p><a name="fig_5" id="fig_5"></a></p> - -<div class="figcenter" style="width: 242px;"> -<a href="images/i_050fpa_lg.jpg"> -<img src="images/i_050fpa_sml.jpg" width="242" height="316" alt="[Image unavailable.]" /></a> -<div class="caption"><p>FIG. 5.</p></div> -</div> - -<p><a name="fig_6" id="fig_6"></a></p> - -<div class="figcenter" style="width: 253px;"> -<a href="images/i_050fpb_lg.jpg"> -<img src="images/i_050fpb_sml.jpg" width="253" height="239" alt="[Image unavailable.]" /></a> -<div class="caption"><p>FIG. 6.—THE CENTRE SHOWING THE COIN BLOWN IN THE STEM OF -THE TANKARD SHOWN ON THE LEFT-HAND SIDE.</p></div> -</div> - -<p class="nind">there. It was taken from a house in Purfleet and is now in the National -Collection.</p> - -<p>The revocation of the Edict of Nantes in 1685 gave a vast impetus to -glass-working as to other crafts. This measure, and the terrible -persecutions which followed it, cost France a number, variously -estimated at from 250,000 to 600,000, of her best citizens. Great -numbers of these immigrants settled in England, and founded in their new -home the industries which had become famous in the country of their -birth. Among them came glass-workers from Paris, Lorraine, and other -parts of France, who were deservedly famous for their skill in their -craft. 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 other, 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 kinds, even to the famous glass of -Bohemia, which seemed dull and lustreless beside it.</p> - -<p>For these reasons the close of the seventeenth century is an epoch in -the history of English glass, and the period which followed<span class="pagenum"><a name="page_052" id="page_052"></a>{52}</span> it saw the -art of glass manufacture in England attain its zenith.</p> - -<p>It is therefore with eighteenth-century glass that we are chiefly -concerned, and as the great bulk of eighteenth-century glass consisted -of drinking glasses, a great portion of our space will be devoted to -these.</p> - -<p>At the outset some attempt at classification is desirable. We may refer -the reader to the very exhaustive list of varieties which that great -authority, Mr. Albert Hartshorne, has made in his standard work on this -subject. For our purpose it will be sufficient, however, to make a broad -and simple division of drinking glasses into wine glasses, ale and beer -glasses, and cordial or spirit glasses. It is the custom, too, 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 people. Here, however, the distinction is rather one of -quality than of kind.</p> - -<p>The three great groups to which we have referred fall into various -classes according to the diversity of shape in bowl and stem and, to a -less degree, of foot.<span class="pagenum"><a name="page_053" id="page_053"></a>{53}</span></p> - -<p>The bowls are variously funnel-shaped, with straight sides, or waisted, -that is, with the sides curved inward to form a waist, bell-shaped, and -ogee or double-ogee shaped—the last named showing in section the ogee -curve, so widely employed by the architect for his mouldings.</p> - -<p>The stems are of two great classes—drawn stems or stuck stems. The -former are parts of the same lump of molten glass of which the bowl is -formed; the latter consist of a separate piece fused into the bowl.</p> - -<p>As regards shape, stems may be plain rods, rods with knops, rib-twisted, -faceted, air-twisted, air-drawn, or opaque-twisted. We shall deal with -each variety in its appropriate place.</p> - -<p>With regard to the foot, the generality were folded, that is to say, the -edge of the rim was turned under to form a fold or welt, so that the -glass stands on the rim, and not on the flat of the foot. Apart from -this, the only variations are those bearing on the flatness of the foot -and its diameter. In old glasses the feet were never quite flat. There -is always a perceptible slope from the centre to the rim, and very often -the central portion rose up into a dome. The foot was also wider in<span class="pagenum"><a name="page_054" id="page_054"></a>{54}</span> -comparison with the width of the bowl than in the modern type.</p> - -<p>The decoration is of two kinds, engraved and cut. The character of the -engraving is little to the credit of the native designer or craftsman. -Indeed, both as regards artistic design or skilful execution, English -glass ornamentation is distinctly inferior to that of the Continental -pieces. The usual design is the rose, at first heraldic and -conventional, and then more and more natural, with at first a butterfly, -which gradually dwindled to a moth, and then finally disappeared. Other -designs are based upon the nature of the liquids drunk, or refer to -politics, domestic or business affairs, or to some famous personage. The -largest group of designs is associated with -Jacobitism—“Charlie-over-the-water-ism,” as some one has wittily called -it. In rare cases these bore a portrait; more commonly the emblem -selected was the use of two buds—the latter explained as referring to -the two sons of James II., or to the two sons of the Old Pretender, -Charles Edward of “Charlie-is-my-darling” fame, and Henry, who died at -Rome in 1807, as Cardinal York.<span class="pagenum"><a name="page_055" id="page_055"></a>{55}</span></p> - -<h2><a name="CHAPTER_III" id="CHAPTER_III"></a>CHAPTER III<br /><br /> -<small>EIGHTEENTH-CENTURY GLASS</small></h2> - -<p class="nind"><span class="letra">T</span><b>HE</b> eighteenth century is the “Golden Age” of the collector of English -glass. At the beginning of the century glass manufacture was already a -flourishing industry. Vessels of all kinds for ornament, keepsakes, and -for domestic use were being produced in great quantities, and there was -a strong and growing competition between the native craftsmen and the -glass-workers of Venice, Bohemia, Germany, and the Low Countries, a -competition which, thanks to the superiority of the new English “flint” -glass, was steadily trending in favour of the English product.</p> - -<p>As a result, the collector is at once on firmer ground. His knowledge of -earlier periods had been gleaned haphazard from drawings, paintings, -tapestries, mosaics, and historical documents, with only here and there -a specimen, and that of dubious authenticity, to guide him. From this<span class="pagenum"><a name="page_056" id="page_056"></a>{56}</span> -time he is able to observe at first hand, compare, classify, note -differences, excellences, and defects. There is no longer any lack of -material, either of the finer sort suitable for the tables of the great -and wealthy, or of the coarser kind whose only merit was utility.</p> - -<p>With the growing profusion, however, came a veritable confusion of -types, which renders any attempt at classification a matter of very -considerable difficulty. To a great extent this arose from the toping -habits of our forefathers in perhaps the most convivial period of our -history. There was a vast improvement in social conditions and -amenities, and the variety of glasses that sprang into existence affords -ample testimony to this, as well as to the variety of drinks in favour -and to the ingenuity of the times in devising toasts and sentiments, no -less than to the skill of the English craftsmen and the individuality of -the various makers.</p> - -<p>At the beginning of the century, however, the use of different glasses -for different kinds of wine had not yet arisen. A bowl of water was -placed on the table in which the drinkers rinsed their glasses when a -new vintage made its appearance. Subsequently each guest had<span class="pagenum"><a name="page_057" id="page_057"></a>{57}</span></p> - -<p><a name="fig_40" id="fig_40"></a></p> - -<div class="figcenter" style="width: 298px;"> -<a href="images/i_057_lg.png"> -<img src="images/i_057_sml.png" width="298" height="400" alt="[Image unavailable.]" /></a> -<div class="caption"><p><span class="smcap">Fig. 40.</span></p> - -<p>Examples of Baluster Stems and Tear Glasses.</p></div> -</div> - -<p><span class="pagenum"><a name="page_058" id="page_058"></a>{58}</span></p> - -<p class="nind">his special bowl for this purpose. These bowls are exceedingly rare, and -are generally described as wine-coolers. Their modern equivalent is the -finger bowl.</p> - -<p>There was naturally a vast difference between the glass of the early -part of the century and that of the later part. Speaking very broadly, -the order of progress was as follows:—</p> - - -<ul><li>1. Heavy glass with baluster stems.</li> -<li>2. Lighter glass with air-twisted stems.</li> -<li>3. Drawn stems.</li> -<li>4. Opaque-twisted stems.</li> -<li>5. Cut glass.</li></ul> - - - -<p>Many of these glasses are still in existence and it is even possible for -the amateur collector to acquire an occasional specimen. This early -eighteenth-century glass is of remarkable quality, both as regards form -and lustre. It is true that it is less perfect in shape and texture than -the products of to-day, but it is superior in artistic merit, in -originality of design and softness of outline. The lack of perfect -symmetry is one of its charms, as it is in the case of old lace which, -so far as absolute and meticulous perfection of detail is concerned, is -often far behind the modern machine-made product. But what it<span class="pagenum"><a name="page_059" id="page_059"></a>{59}</span> lacks in -symmetry and precision is more than compensated by artistic feeling.</p> - -<p>Mr Hartshorne in his monumental work on “Old English Glasses,” a work to -which the present writer and every other writer on the subject must -acknowledge a vast indebtedness, makes an exhaustive classification of -the various types of eighteenth-century glasses. To his order one is -bound closely to conform, 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 describes.</p> - -<p>The earliest examples have funnel-shaped bowls with tall stems. These -are of great variety of shape. Some are quite plain, others are twisted, -others ribbed. Some, again, are “baluster” shaped, <i>i.e.</i> formed after -the pattern of the columns of a balustrade. Many have a knop or button -in the middle, others are ornamented with twisted lines, either hollow -or filled with glass of different colours, interwoven in spirals, -twists, networks and plaits in all kinds of ingenious ways.</p> - -<p>Of course, all these things being distinctive are imitable, and here the -peril of the collector begins. The expert is rarely deceived as to<span class="pagenum"><a name="page_060" id="page_060"></a>{60}</span> -whether any specimen is genuine old glass; but so pervasive and so -perfect are the imitations that exist, and so plausible the conditions -under which they are found, that it behoves the amateur to use the -extremest caution. I propose to deal at some length with some of the -more obvious and frequent frauds and fakes in a subsequent chapter. 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 colour. There is a curious tint in old glass which the -new never quite achieves. The would-be small collector will be well -advised if, before riding his hobby, he goes through a brief course of -eye-training under the guidance of an expert, until he gets the exact -tone of the old glass firmly impressed upon his memory. As an additional -factor, it should always be borne in mind that the old glass is -invariably heavier than its modern imitation.</p> - -<p>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 -59.</p> - -<p><i>Glasses with Incised and Ribbon-twisted Stems.</i>—The incised or -ribbon-twisted stemmed glass<span class="pagenum"><a name="page_061" id="page_061"></a>{61}</span></p> - -<p><a name="fig_41" id="fig_41"></a></p> - -<div class="figcenter" style="width: 301px;"> -<a href="images/i_061_lg.png"> -<img src="images/i_061_sml.png" width="301" height="400" alt="[Image unavailable.]" /></a> -<div class="caption"> -<p><span class="smcap">Fig. 41.</span></p></div> -</div> - -<p><span class="pagenum"><a name="page_062" id="page_062"></a>{62}</span></p> - -<p class="nind">as shown in Fig. 36, is usually about 6 inches high with, generally, a -flanged or outward curved top and a comparatively slender stem. A series -of ribs was impressed by a mould on the stem whilst yet plastic. The -stem was fixed to its bowl, heated till soft, and then gently twisted -and, at the same time, stretched. The result was a twist, produced in -exactly the same way as in a stick of candy—close at the top and -gradually loosening toward the bottom. Near the foot, by the way, the -spiral generally disappears entirely as the effect of the heating -process necessary when the foot was joined to the stem. The bowl was -almost invariably waisted, that is, its sides were bent inwards. The -foot was folded and there was a characteristic lessening in the diameter -of the stem as it neared the bottom, which the “puller” of toffee will -readily understand.</p> - -<p><i>Air-twisted Stems.</i>—The air-twist probably began with a “tear.” The -tear of the glass-blower is a bubble of air blown into the centre of a -mass of molten glass, possibly at first by accident and afterwards by -design, as a form of ornamentation. When the stem was<span class="pagenum"><a name="page_063" id="page_063"></a>{63}</span></p> - -<p><a name="fig_7" id="fig_7"></a></p> - -<div class="figcenter" style="width: 489px;"> -<a href="images/i_062fp_lg.jpg"> -<img src="images/i_062fp_sml.jpg" width="489" height="368" alt="[Image unavailable.]" /></a> -<div class="caption"><p>FIG. 7—AIR-TWIST STEMS.</p> - -<p>(From the Rees Price Collection, by permission of the Connoisseur).</p></div> -</div> - -<p class="nind">drawn out, the bubble elongated into a tube, and when the stem was -twisted, the tube acquired a spiral shape. Now as the tube was filled -with air, which had a different refractive capacity to the glass which -surrounded it, the effect of the light falling upon it was to produce a -kind of silvery radiance like that of quicksilver. The phenomenon is -familiar to anyone who has ever plunged a substance like wool, which -contains air-bubbles entangled among its meshes, under water. The -bubbles are transformed into drops like quicksilver. So with the tear -and the tube drawn from it in the air-twisted stem. Naturally the -decorative potentialities of this phenomenon were speedily recognised -and utilised, and the air-twisted stems are among the most -characteristic and the most beautiful features of all old English -glasses.</p> - -<p>The bowls were usually of the same general shape as those with incised -and ribbon-twisted stems. The earlier varieties are “waisted,” the later -ones frequently assume the bell shape. They are often engraved, the -early ones with the Tudor rose, with its five petals, while the later -ones affect the<span class="pagenum"><a name="page_064" id="page_064"></a>{64}</span> Stuart variety with six petals. The earliest stems have -necks and collars—there was considerable difficulty in joining the -air-twisted stem on to the bowl without damaging the twist. Later -varieties have necks only. The collars are sometimes knopped, <i>i.e.</i> -have knobs attached, and the stems themselves are shouldered.</p> - -<p>I have dealt at some length with the air-twisted stems, since this is a -characteristic English variety, and one to which the brilliant English -flint glass was specially adapted. Consequently the type persisted for a -considerable period. The later varieties, however, achieve some little -distinction by the adoption of the bell-shaped bowl.</p> - -<p><i>Drawn Stems.</i>—I have already suggested that the fusion of the -air-twisted stem, in order to join it to the bowl, not unfrequently -resulted in damage to the twist. It was an obvious solution of the -difficulty to draw the stem out from the surplus molten metal at the -base of the bowl. If, previously, a series of air-bubbles was introduced -into this mass, each in the process of drawing out became elongated into -a tube, and we have the possibility, by planting “tears” in effective -positions, and then<span class="pagenum"><a name="page_065" id="page_065"></a>{65}</span></p> - -<p><a name="fig_42" id="fig_42"></a></p> - -<div class="figcenter" style="width: 306px;"> -<a href="images/i_065_lg.png"> -<img src="images/i_065_sml.png" width="306" height="261" alt="[Image unavailable.]" /></a> -<div class="caption"><p><span class="smcap">Fig. 42.</span></p> - -<p style="text-indent:-8%;text-align:left;">The figures given above illustrate certain of the characteristic -features of Old English glasses. Thus Fig. 1 is an example of a -double-knopped stem, each of the bulges being technically known as -a “knop.” The foot is “domed.” No. 2 is an illustration of a -shoulder and collar, the shoulder being the bulge near the top, and -the collar the ring above it, which was originally devised to hide -any clumsiness in joining the stem to the bowl. No. 3 is a -“flanged” bowl, No. 4 a “waisted” bowl, and No. 5 shows an -air-twisted stem. -</p></div> -</div> - -<p><span class="pagenum"><a name="page_066" id="page_066"></a>{66}</span></p> - -<p class="nind">judiciously twisting the drawn stem whilst still plastic, of producing -an infinity of pleasing patterns. Thus a number of small “tears” close -together produced a spiral like a yarn of silk; or a central tear might -be blown, and side ones twisted round in encircling spirals.</p> - -<p><i>Baluster-stemmed Glasses.</i>—The baluster stem is a reproduction of a -moulded pillar. It is by no means peculiar to eighteenth-century -glasses. Indeed it formed the almost invariable means of support for the -glasses of Caroline times. The early baluster stems are, to an eye -accustomed to the lighter modern glass, extremely heavy and clumsy in -appearance, and with the development of taste and skill, they were -speedily supplanted by the slenderer and more graceful drawn and -air-twisted stems. But the effect of the baluster moulding was soon -pressed into the service of this more dainty ware, the baluster becoming -more slender and symmetrical, and sometimes, indeed, being modified into -a slight swelling—either gradual or abrupt or a single ring round the -stem. The bowls of this period were almost invariably funnel-shaped, and -were often engraved—the appropriate figure of the vine leaf appearing -for the first time in the<span class="pagenum"><a name="page_067" id="page_067"></a>{67}</span></p> - -<p><a name="fig_8" id="fig_8"></a></p> - -<div class="figcenter" style="width: 281px;"> -<a href="images/i_066fpa_lg.jpg"> -<img src="images/i_066fpa_sml.jpg" width="281" height="309" alt="[Image unavailable.]" /></a> -<div class="caption"><p style="text-align:left;">1. AIR-TWISTED STEM GLASS.<br /> -2. BUTTON STEM.<br /> -3. BALUSTER STEM WITH ROYAL MONOGRAM.<br /> -</p></div> -</div> - -<div class="figcenter" style="width: 165px;"> -<a href="images/i_066fpb_lg.jpg"> -<img src="images/i_066fpb_sml.jpg" width="165" height="325" alt="[Image unavailable.]" /></a> -<div class="caption"><p>(From the Rees Price Collection, by -permission of the Connoisseur.)<br /> -<br /> -FIG. 8.<br /> -</p></div> -</div> - -<p class="nind">history of English glass. The feet are almost always of the folded -variety. Occasionally, in the later specimens, however, the feet are -domed.</p> - -<p><i>Opaque-twisted Stems.</i>—The opaque-twisted stem made its appearance -about the middle of the century. In this case, rods of opaque white or -coloured glass were alternated with rods of clear glass around the -circumference of a circular mould, care being taken to preserve proper -regularity.</p> - -<p>They were then heated, and molten clear glass poured into the central -hollow, filling up the interstices between the rods, binding the whole -when cooled into a solid rod, with a clear centre surrounded by a -particoloured circumference. The mass, being softened by heating, was -then drawn out into slenderer rods, and twisted into spirals.</p> - -<p>The ease of the process accounts for the infinite variety of patterns in -existence. Flat bars could be used, giving tape-like spiral bands, and -the rods could be of various sizes and colours. Many specimens came over -from Holland and from the north of France, generally of inferior -quality, the inferiority<span class="pagenum"><a name="page_068" id="page_068"></a>{68}</span> being displayed in the character of the stems -and the poorness of the metal.</p> - -<p>The simplicity of the manufacture has also given rise to hosts of modern -imitations, largely from the Continent. In a great number of these the -spirals turn to the left, which has given rise to an idea that all -glasses with right-handed opaque spiral stems are modern imitations, -which is by no means the case. All such specimens, however, are -sufficiently suspect to demand careful scrutiny, and the amateur, before -purchasing a right-handed spiral opaque-twisted glass, will do well to -submit it to the judgment of an expert.</p> - -<p>Points to be considered are the colour of the metal, the perfection of -the twist, its opacity, and the character of the foot. The colour and -weight of the glass are probably the best criteria. The forgeries are -generally light, and the beautiful mellow tone of the real old English -glass is replaced by a cold white tint or even a tinge of green. The -twist is often more translucent than in the genuine pieces, and is -frequently imperfectly produced, becoming looser as it descends, the -loosening being particularly pronounced just before its junction with -the foot.</p> - -<p>The appearance of the foot is of the utmost<span class="pagenum"><a name="page_069" id="page_069"></a>{69}</span></p> - -<p><a name="fig_9" id="fig_9"></a></p> - -<div class="figcenter" style="width: 484px;"> -<a href="images/i_068fp_lg.jpg"> -<img src="images/i_068fp_sml.jpg" width="484" height="327" alt="[Image unavailable.]" /></a> -<div class="caption"><p>FIG. 9.—OPAQUE TWIST STEMS AND “ROSE” GLASSES.</p> - -<p>(From the Rees Price Collection, by permission of the Connoisseur.)</p></div> -</div> - -<p class="nind">value. Before the nineteenth century the scar, where the piece after -manufacture was broken away from the pontil, was invariably left rough, -instead of being ground down. The foot in the genuine glasses is never -flat, there being always a slight slope downwards towards the edge. In -the imitations, too, it is apt to be less in diameter, compared with the -bowl, than in the genuine specimens, whilst there is frequently an -absence of “ring.” This last fact, however, must not be unduly -emphasised, since many undoubtedly authentic specimens of this period, -including some of the finest, share the defect. Another test is to note -the edge of the bowl, whether it is well rounded off or whether it has -been left hard and sharp.</p> - -<p>Many of these glasses are engraved with flowers. The rose is so frequent -as to give its name to a special type, the “rose glasses.” The rose has -often a bud or two, and a butterfly is frequently represented as -hovering over the flower. In later specimens the butterfly degenerates -into a moth, and finally vanishes altogether. Other flowers engraved on -glasses of the same type and period were the Rose of Sharon and the St -John’s Wort. Rose glasses,<span class="pagenum"><a name="page_070" id="page_070"></a>{70}</span> with blue and white twisted stems, are in -all probability almost exclusively of English manufacture, and are among -the most valuable of the opaque-twisted type. The foreign importations -of the period were numerous but, apart from certain patterns of twist, -which may be considered exclusively English, the twisting of the Low -Countries was distinctly inferior. One type is characteristic of the -foreign product. This has a central tube of thin white lines, surrounded -by spiral twists. Where the stem is of the baluster type, this central -tube, more or less, follows the contour of the stem.</p> - -<p><i>Straight-sided Glasses.</i>—The term “straight-sided” may be used to -designate a whole series of glasses, of which the bowls are of the shape -of a truncated cone, the narrow end being, of course, downward. 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 curve. The earliest -of the straight-sided glasses had bulbed stems, with a shoulder and -knop. The better sorts of tavern and household glasses were of this -type, the larger specimens being used for wine and punch and the smaller -for cordials and strong waters.<span class="pagenum"><a name="page_071" id="page_071"></a>{71}</span> Two points are worthy of notice: the -folded foot was practically invariable, and the diameter of the foot was -always substantially greater than that of the bowl, thus ensuring a -sound support.</p> - -<p>The bowls themselves were at first plain. About the middle of the -century, however, we find them decorated with conventional flowers and -vine leaves, etc., which were gradually replaced by closer and more -artistic representations of such natural objects as roses, as a matter -of course, lilies of the valley, tulips, and sprays of honeysuckle. -Amongst these, however, certain conventional designs held their place, -<i>e.g.</i> wild roses, St John’s Wort, and other blossoms with large seeded -centres, which seem to have impressed themselves strongly upon the -imagination of the artists to whom the decoration was entrusted. The -bowls were, in very rare instances, fluted.</p> - -<p>The pieces were made in three parts—bowl, stem, and foot—the stem -being sometimes plain, oftener air-twisted, and sometimes -opaque-twisted. The straight-sided bowl was never popular amongst -Continental glass-workers, so that the probability is that any specimen -found is of English manufacture. In examples of<span class="pagenum"><a name="page_072" id="page_072"></a>{72}</span> foreign manufacture, -too, the bowl was generally rounded at the base, and the stems were -often coloured or opaque-twisted. Other characteristics by which these -may be identified are their comparative lightness of weight, their -fragility, their coarse lavishness of decoration, their narrow bases, -while the twisting of the stems is often unduly close, and the bowls -have wide, flat flutes.</p> - -<p><i>Ogee Glasses.</i>—The straight-sided glasses changed by easy degrees into -the well-known ogee shape, the lines of the bowl being gradually merged -into those of the stem. It may be safely asserted that the majority of -ogee-shaped glasses are of English manufacture. The majority have -opaque-twisted stems; sometimes blue lines replace the opaque white. It -is thought that Bristol was the chief place of manufacture, since most -of the finds have been in the west of England. The earliest of them have -unfolded feet, inserted air-twisted stems, and naturally, since the -object of the designer was to preserve the ogee line, no shoulders. Many -of them are of considerable dimensions—a possible result of the custom -of drinking bumpers. A great number of the memorial glasses, treated of -in a separate chapter, were of this type. The<span class="pagenum"><a name="page_073" id="page_073"></a>{73}</span></p> - -<p><a name="fig_10" id="fig_10"></a></p> - -<div class="figcenter" style="width: 489px;"> -<a href="images/i_072fp_lg.jpg"> -<img src="images/i_072fp_sml.jpg" width="489" height="393" alt="[Image unavailable.]" /></a> -<div class="caption"><p>FIG. 10.—DOUBLE OGEE BOWLS.</p> - -<p>(From the Rees Price Collection, by permission of the Connoisseur.)</p></div> -</div> - -<p class="nind">scheme of decoration followed much the same lines as that of the -straight-sided glasses, but a greater proportion were plain; possibly -the curves toward the bottom of the bowl made the engraver’s task more -difficult. In the later specimens, sprigs of laurel and festoons of -various conventional types are to be found. In the Bristol glasses the -bowls were sometimes fluted, and a double ogee curve was employed, the -upper part only being decorated, generally with vine leaves and bunches -of grapes. The stems were bulbed or knopped, and the feet were folded.</p> - -<p><i>Champagne Glasses.</i>—There is, of course, no real reason why one kind -of wine should be drunk from a glass of special shape and another from a -totally different one, but once glass drinking vessels had become the -vogue, 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 port, sherry, champagne, claret, and liqueur -glasses. In the beginning there was a far greater diversity, for England -in the eighteenth century was famous for the number (and potency) of its -beverages and, speaking<span class="pagenum"><a name="page_074" id="page_074"></a>{74}</span> generally, each had its appropriate glass. -Frequently, of course, there was little diversity of shape, the -difference being in the nature of the ornamentation, which in a number -of cases was specially devised to indicate the purpose of the glass. -Thus an ale glass would be adorned with ears of barley or bunches of -hops; a wine glass with vine leaves or bunches of grapes; a cider glass -with sprays of apple blossom, and so forth.</p> - -<p>Champagne was, in the eighteenth century, a wine of comparatively recent -introduction, and was drunk only by the rich and great. Probably at -first no special glasses were used for it, the more elegant of those -already in existence, presumably bell-shaped and air-stemmed, being -pressed into the service, but about 1730 special glasses were made, with -wide, shallow bowls, of the double-ogee variety and a baluster. They had -knopped or double-knopped stems and domed feet. Sometimes, as might be -anticipated, an air or opaque-twisted stem was employed, while the shape -of the bowl varied towards the bell shape, in that it became -hemispherical.</p> - -<p>Subsequently the bowl became elongated into<span class="pagenum"><a name="page_075" id="page_075"></a>{75}</span></p> - -<p><a name="fig_11" id="fig_11"></a></p> - -<div class="figcenter" style="width: 490px;"> -<a href="images/i_074fp_lg.jpg"> -<img src="images/i_074fp_sml.jpg" width="490" height="235" alt="[Image unavailable.]" /></a> -<div class="caption"> -<p> -FIG. 11.—SWEETMEAT GLASSES. -<span class="spc"> </span> - - -ALE GLASSES.<br /> -</p> - -<p>(From the Rees Price Collection, by permission of the Connoisseur.)</p></div> -</div> - -<p class="nind">a narrow cone, the stems exemplifying the various patterns of the -day—baluster, knopped, double-knopped, air-twisted, opaque-twisted, and -drawn. In the later examples the elongation was so pronounced that the -glasses approximated to the familiar flute shape. In these the stem is -often faceted, the facets sometimes extending some considerable distance -up the glass. The modern champagne glass, with a wide saucer-like bowl -and a hollow stem, seems to be a sort of combination of the two. The -wine being a rarity, the glasses are scarce, and the collector who -unearths a genuine specimen of an early eighteenth-century champagne -glass may esteem himself fortunate.</p> - -<p>The shallow glasses were so little known that a hundred years later, in -1832, Disraeli, writing to his sister, remarks: “We drank champagne out -of a saucer of glass mounted on a pedestal of cut glass,” so that the -form was evidently a novelty, at least to him.</p> - -<p><i>Sweetmeat Glasses.</i>—Closely allied to the shallow champagne glasses -were the sweetmeat glasses. The latter are, however, much solider, while -their edges are crinkled and undulated and vandyked into various -patterns. The feet<span class="pagenum"><a name="page_076" id="page_076"></a>{76}</span> are generally domed, sometimes plain, and at other -times ribbed or ornamented with knobs. The bowls are generally either of -the double-ogee type or bell-shaped with a lip. They are often ribbed in -the earlier varieties, and cut in the later ones. The glasses were made -in sets, which stood upon a glass pedestal or centre-piece made to a -similar pattern. This had a flat, tray-like top, with a raised rim. One -interesting feature is that each set consisted of a number of small -glasses and one large one, known as a “Captain” or “Master” glass, which -was not necessarily of the same pattern as the smaller ones. The Captain -had generally an abnormally small foot, so that it might not unduly -encroach upon the standing space.</p> - -<p><i>Ale and Beer Glasses.</i>—There is no particular difference between the -tall champagne glass and the ale glass; possibly the ale glass was -modelled upon the flute-shaped champagne glass, or possibly the shapes -were used indiscriminately for both beverages—the finer and more -elegant specimens for the champagne, and the heavier and more -substantial ones for the humbler ale. That they were so used is -sufficiently indicated by the fact that many<span class="pagenum"><a name="page_077" id="page_077"></a>{77}</span></p> - -<p><a name="fig_12" id="fig_12"></a></p> - -<div class="figcenter" style="width: 288px;"> -<a href="images/i_076fpa_lg.jpg"> -<img src="images/i_076fpa_sml.jpg" width="288" height="133" alt="[Image unavailable.]" /></a> -<div class="caption"><p>SPECIMEN OF IRISH DRINKING GLASSES, SHEWING VARIETY IN -CUTTINGS. 18th-19th CENTURY.</p></div> -</div> - -<div class="figcenter" style="width: 330px;"> -<a href="images/i_076fpb_lg.jpg"> -<img src="images/i_076fpb_sml.jpg" width="330" height="192" alt="[Image unavailable.]" /></a> -<div class="caption"><p>ENGLISH DRINKING GLASSES. 18th CENTURY.</p> - -<p style="text-align:left;"> -1. A CORDIAL GLASS WITH AIR-TWISTED STEM.<br /> -2. A BARLEY WATER GLASS WITH OPAL-TWISTED STEM.<br /> -3. AN OLD “TEAR” GLASS.<br /> -4. A STRONG WATER CORDIAL GLASS WITH “TEAR” IN STEM.<br /> -</p> - -<p>FIG. 12.</p></div> -</div> - -<p class="nind">specimens have been discovered which are engraved with festoons or -bunches of hops and ears of barley. The earlier specimens, however, were -plain. It may be useful to point out that the form of the stem affords -some indication of the relative age of the piece, the chronological -order being roughly as follows:—(1) Waisted bowls, with plain stems and -folded feet; (2) air-twisted stems, shouldered, collared, and knopped; -(3) plain drawn stems; (4) opaque-twisted stems. The glasses diminish in -height as the century progresses.</p> - -<p><i>Other Kinds of Glasses.</i>—It is customary to include in the -classification of eighteenth-century glasses those used for cider and -perry, mumm, mead, and syllabub. It is difficult to prove that any -particular kind of glass was set apart for the consumption of these -liquors. Cider, however, was produced in large quantities, and glasses -were possibly made specially for it. Certain specimens exist, and are -recognised by their being engraved with apple blossom, apple trees, -etc., whilst one—mentioned in the chapter on Memorial Glasses—is -inscribed with the motto “No Excise.” Speaking generally, it may be -asserted that ordinary<span class="pagenum"><a name="page_078" id="page_078"></a>{78}</span> cider was probably drunk from earthenware mugs, -after the fashion of the beer mugs of to-day, whilst the strong cider -was consumed from wine glasses. No glass has so far been distinctively -associated with perry.</p> - -<p>Mumm was a somewhat awesome decoction, in which the principal ingredient -was malted wheat, to which were added a little oats or bean-meal, the -brew being flavoured with various pungent and aromatic herbs and the -inner bark and tips of the fir tree. It is presumed to have been drunk -from glasses of the ale-champagne type, but among the common folk it is -probable mugs were preferred.</p> - -<div class="poetry"> -<div class="poem"><div class="stanza"> -<span class="i0">“The clamorous crowd is hush’d with mugs of mum<br /></span> -<span class="i1">Till all, tun’d equal, send a general hum.”—<span class="smcap">Pope.</span><br /></span> -</div></div> -</div> - -<p>Mead (or meath) was a drink the basis of which was honey. This, being -dissolved in boiling water, was flavoured with spices and ground malt -added, and the whole left to ferment. It was drunk from bowl-shaped -glasses, or else from glasses of the low tumbler type. If carefully made -it would keep for a long time, and from the number of references to it -which appear in literature, it was evidently a favourite drink,<span class="pagenum"><a name="page_079" id="page_079"></a>{79}</span> -particularly among the lower classes. Ben Jonson in his “The Devil is an -Ass,” written in 1616, remarks:</p> - -<div class="poetry"> -<div class="poem"><div class="stanza"> -<span class="i15">“ ...Carmen<br /></span> -<span class="i0">Are got into their yellow starch, and chimney-sweepers<br /></span> -<span class="i0">To their tobacco and strong waters—Hum,<br /></span> -<span class="i0">Meath and Obarni.”<br /></span> -</div></div> -</div> - -<p>Syllabub was a mixture of wine, ale, or cider, with cream or milk, and -flavoured with lemon or rose-water. The whipped syllabubs were beaten -into a froth before drinking. They were often made with milk drawn fresh -from the cow, the drinkers repairing to the dairy for the purpose.</p> - -<div class="poetry"> -<div class="poem"><div class="stanza"> -<span class="i0">“Your ale-berries, caudles and possets each one,<br /></span> -<span class="i2">And sillabubs made at the milking pail,<br /></span> -<span class="i1">Although they be many, beer comes not in any,<br /></span> -<span class="i2">But all are composed with a pot of good ale.”<br /></span> -</div></div> -</div> - -<p>Syllabub glasses, as far as there were special glasses used, were of -deep cup or tumbler shape, the brim flaring outward.</p> - -<p><i>Cordial and Strong Waters Glasses.</i>—The art of distillation came from -Arabia, as the name alcohol (al Kohl) indicates. Northern peoples, -however, for a long time preferred, to the distilled products, cordial -waters made from honey,<span class="pagenum"><a name="page_080" id="page_080"></a>{80}</span> fruit syrups, spices, and various herbs. Each -notable housewife had her own recipes for cordials, and many and quaint -were the products that came from the family still-room. It was not, -indeed, until comparatively recent times that the habit of -spirit-drinking made any great headway in England. Whisky was made in -Ireland in the fourteenth century, and must consequently have been known -in England. Howell in his “Letters” refers to the <i>usquebaugh</i> of -Ireland, but remarks that “whereas in England they drink it in aqua vitæ -glasses, in Ireland they drink it in beer glasses.” The quotation proves -that even at that early period special glasses for spirits were in use. -Greene, some thirty years later, includes among the glasses he ordered -from Venice small glasses marked for <i>brandj</i>.</p> - -<p>The taste was probably intensified after the Revolution of 1688 brought -numbers of Dutchmen into the country. The glasses employed were, -generally speaking, miniature replicas of the wine glasses in vogue; -others are short-stemmed, and as this did not lend itself to -air-twisting, the baluster type was mostly affected, which in such small -glasses gives a peculiarly<span class="pagenum"><a name="page_081" id="page_081"></a>{81}</span> massive appearance. Opaque-twisted stems -are, however, more frequently met with, as are fluted ones. Sometimes -the bowls are fluted or faceted. The dumpy, thick-stemmed, wide-bowled -cordial glasses are often termed “Hogarth” glasses, they being the -prevailing type in his pictures.</p> - -<p>The modern equivalents are the “firing” glasses used at Masonic -banquets, the members after each toast knocking the glasses in unison on -the table—the sound produced being fancifully likened to the reports of -guns. Figs. 1 and 2 (p. 160) are illustrations of firing glasses, the -former being antique and the latter modern and strictly utilitarian.</p> - -<p>Not all cordial and strong waters glasses belong to this type. Some of -the most valuable have long stems, either plain or opaque-twisted. Many -of the latter, however, came from the Netherlands and stand outside the -category of English glasses.</p> - -<p>The “thistle” glass has come to be the recognised Scottish liqueur -glass. The form originated, it is believed, in Bohemia, but once it had -made its way here, it was natural that the Scots should take for their -national liquor<span class="pagenum"><a name="page_082" id="page_082"></a>{82}</span> the glass that bore the form of their national emblem. -At any rate the beginning of the Scottish glass industry was marked by -the production of a thistle glass, which was made at the factories in -Edinburgh.</p> - -<p><i>Tavern and Household Glasses.</i>—It is customary to refer to tavern and -household glass as belonging to a separate classification. There is -really no justification for any such division; it is perfectly natural -that utensils for common use should be stronger and clumsier editions of -the better-class glasses. The very earliest were clumsy in the extreme -as regards design, and rough in execution, but later specimens show -greater elaboration and skill.</p> - -<p>With the advent of the drawn glass, most tavern and household glasses -took this form, and have retained it with little variation. Two kinds -are noticeable—those with a “blow” inside the stem, and those without. -In the drawn stems the blow shrank in dimensions, and became a tear, -which, by the way, is almost invariably upside down, the broader end -being uppermost. Half-way through the eighteenth century the tear -vanished altogether, and the plain solid stem came into use. The common -wine glasses were<span class="pagenum"><a name="page_083" id="page_083"></a>{83}</span> small editions of the larger glasses, and frequently -bore rudely executed decorations of festoons, vine leaves, and flowers. -The feet are flat, and may be either folded or unfolded, the former -being of the earlier type. Specimens are fairly easily obtainable, the -thickness of the metal and the stoutness of the design carrying them -safely through the dangers to which they were specially liable. Apart -from their age they have no special merit. The metal is as inferior as -the form.</p> - -<p>Tumblers were less frequently made in the eighteenth century than were -wine glasses, and in the early part, at any rate, those that were met -with were chiefly foreign importations. It is possible that the plain -lines of the tumbler did not appeal to tastes accustomed to the graceful -outlines of the wine glasses. The early ones are cylinder-shaped, and -very large, while eighteenth-century tumblers taper somewhat toward the -base. Both are very scarce. Now and again one meets the barrel shape. -Foreign tumblers are often profusely decorated by engraving, colouring, -and gilding—the quality of the decoration being distinctly inferior to -its quantity.<span class="pagenum"><a name="page_084" id="page_084"></a>{84}</span></p> - -<p>The rummer is a characteristic Old English public-house glass, and is of -various types. It was, of course, as the name implies, used for making -punch. Among the types are the ogee-shaped bowls—either plain or -pressed—barrel-shaped bowls, and trumpet-shaped bowls. All have short, -thick stems, often with a collar, sometimes baluster-shaped. The base is -strong and generally flat. Some specimens have heavy, square bases, -evidently designed to secure their stability.</p> - -<p><i>Cut Glass.</i>—The introduction of the so-called flint glass—which was, -in effect, glass containing a greater quantity of lead than had -previously been used—created something of a revolution in the art of -English glass manufacture. M. Peligot, a leading French authority, -remarks: “To the English should really be attributed the honour of -having created, in their flint glass, 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 -which, in my opinion, it may be possible to produce.” But in addition to -the beauty of the metal was the fact that it had a greater refractive -and dispersive action on<span class="pagenum"><a name="page_085" id="page_085"></a>{85}</span></p> - -<p><a name="fig_13" id="fig_13"></a></p> - -<div class="figcenter" style="width: 241px;"> -<a href="images/i_084fpa_lg.jpg"> -<img src="images/i_084fpa_sml.jpg" width="241" height="170" alt="[Image unavailable.]" /></a> -<div class="caption"><p>ENGLISH “RUMMER” AND DRINKING GLASSES. 18th CENTURY.</p></div> -</div> - -<div class="figcenter" style="width: 127px;"> -<a href="images/i_084fpb-1_lg.jpg"> -<img src="images/i_084fpb-1_sml.jpg" width="127" height="273" alt="[Image unavailable.]" /></a> -<div class="caption"><p>A BALLUSTER STEM GLASS SHEWING A COIN BLOWN IN THE STEM.</p></div> -</div> - -<div class="figcenter" style="width: 136px;"> -<a href="images/i_084fpb-2_lg.jpg"> -<img src="images/i_084fpb-2_sml.jpg" width="136" height="284" alt="[Image unavailable.]" /></a> -<div class="caption"><p>EARLY ENGLISH BALLUSTER STEM GLASS.</p> - -<p>FIG. 13.</p></div> -</div> - -<p class="nind">rays of light than any other kind of glass, and consequently lent itself -specially to cutting—the workmanship bringing out the beauty and -brilliancy of the metal, and the quality of the metal enhancing the -effect of the cutting.</p> - -<p>It is difficult to fix, with any degree of precision, the date at which -glass was first cut by way of ornamentation. There are certainly traces -of its employment towards the end of the seventeenth century. At the -beginning the craftsmen of Bohemia were probably far superior to those -of England, but as soon as the special suitability of the English glass -was demonstrated, the native workmen speedily outdid all foreign -competitors. The quality of the glass and of the cutting gradually -improved, until at the close of the eighteenth century practically all -English glass of any importance was ornamented in this fashion, and the -English product was famous all over the Continent.</p> - -<p>In this way the beauty and value of a piece speedily came to depend upon -the amount and the depth of the cutting: the more deeply and profusely -it was incised the greater its artistic merit was assumed to be and the -more highly it was esteemed. In certain instances,<span class="pagenum"><a name="page_086" id="page_086"></a>{86}</span> undoubtedly, the art -was carried to excess; hence those monstrosities of the Early Victorian -period—clumsy masses of flint glass cut into hob-nails, facets, -pyramids, and spikes of all shapes and dimensions. 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 century. 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 “first gentleman in Europe,” -who afterwards became George IV. Of similar type are the lustres with -their jingling drops that ornamented so many mantelpieces in our -grandmothers’ and great-grandmothers’ day.</p> - -<p>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 below?</p> - -<p>It was under the same conditions that bottles altered their shape and -became decanters. These, as will be seen from the illustrations, -followed<span class="pagenum"><a name="page_087" id="page_087"></a>{87}</span> the prevailing fashion in being massive and deeply cut. The -stoppers were most frequently of a mushroom shape and were often -delicately cut. These decanters were generally made in pairs or in sets -of four.</p> - -<p>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 glasses. There is no reason to doubt that, even -at so early a period as that in which Chiddingfold was a great centre of -glass manufacture in this country, many important and really fine pieces -were produced. Few examples, however, of what may be termed -miscellaneous eighteenth-century glass can be attributed with any -certainty to a period earlier than the sixties of that century. 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 art. Nor was the change confined to England. In France -the florid style of decoration associated with the name of Louis Quinze -was giving way, even before the death of the monarch after whom it was -named, to the more simple and severely classical style of Louis Seize. -In England the<span class="pagenum"><a name="page_088" id="page_088"></a>{88}</span> dawning of a new taste in artistic decoration became -evident about the year 1770 in the work of the silversmiths and -goldsmiths, and shortly afterwards in the productions of the porcelain -factories of Bow, Chelsea, and elsewhere. In glass a noticeable feature -of the change was the increasing use of faceting. Flat facets, divided -by sharp angles, are to be found on both stems and shoulders of the -glasses, and oftentimes extended half-way up the body itself. 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 breaking.</p> - -<p>It was about this time, too, that cutting was first done by machinery in -the manner already described in Chapter I. 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 World.</p> - -<p>There is no doubt that much of its popularity was due to the superiority -of the material itself, and this was maintained by the most scrupulous -care in the selection and purification of the<span class="pagenum"><a name="page_089" id="page_089"></a>{89}</span> ingredients. The sand, in -particular, was most carefully washed and burned so as to destroy all -impurities. In practice, most of it was obtained from Alum Bay in the -Isle of Wight, from Lynn or from Reigate. Sandpits have also been -discovered at Coulsdon and Redhill. The fusing of the ingredients was -also a matter demanding the greatest care so as to ensure the correct -colour. It was found that, generally speaking, the quicker the operation -the better the result. Any delay, too, 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 measure.</p> - -<p>Few persons troubled to consider whether shapes that depended upon the -process of blowing were the most suitable for their purpose, or whether -the cutting and engraving were not sometimes overdone.</p> - -<p>On the whole, 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 engraving.</p> - -<p>Collectors, too, have plenty of scope, for though Georgian glass is -comparatively rare and fine pieces command big prices, yet the amateur -is<span class="pagenum"><a name="page_090" id="page_090"></a>{90}</span> not faced at the outset, as in the case of glass of a period prior -to this, with two very serious propositions—an almost prohibitive price -and a more or less doubtful authenticity.</p> - -<p>The illustrations shown of eighteenth-century glass will make it clear -that, although they are some of the most satisfactory specimens of the -time, not even an amateur could mistake them for modern, their shapes -alone being almost a guarantee of the date of their origin. Even if the -shape be imitated, the peculiar dark, pearly look of the old flint glass -cannot, and it forms a simple and definite test.</p> - -<p>The pair of decanters on the right (<a href="#fig_14">Fig. 14</a>) are almost unique—the deep -cutting, the curiously shaped stoppers, the long or rounded necks, and -the flat-cut shoulders being absolutely characteristic. But it is not -unusual to find these graceful shapes copied; and again the collector -must beware. Some of the quart decanters have, as will be seen from the -two on the left of the illustration, hollow bottoms in which are -inserted tiny musical boxes. When the decanter was raised the box -started playing some familiar air, generally “Home, Sweet Home.” Whether -the intention was to remind<span class="pagenum"><a name="page_091" id="page_091"></a>{91}</span></p> - -<p><a name="fig_14" id="fig_14"></a></p> - -<div class="figcenter" style="width: 301px;"> -<a href="images/i_090fpa_lg.jpg"> -<img src="images/i_090fpa_sml.jpg" width="301" height="150" alt="[Image unavailable.]" /></a> -<div class="caption"><p>18th CENTURY CUT SWEETMEAT GLASSES IN OLD SHEFFIELD -PLATED STANDS.</p></div> -</div> - -<div class="figcenter" style="width: 347px;"> -<a href="images/i_090fpb_lg.jpg"> -<img src="images/i_090fpb_sml.jpg" width="347" height="168" alt="[Image unavailable.]" /></a> -<div class="caption"><p>18th CENTURY DECANTERS, SHEWING VARIETY OF DESIGNS IN -CUTTING.</p> - -<p>FIG. 14.</p></div> -</div> - -<p class="nind">the holder that he was at home, or to hint that he might think of going -there, probably depended upon circumstances.</p> - -<p>Other sets of decanters with engraved festoons and similar decorations -of the same period are equally graceful both in design and execution. -The stoppers are flat pear-shaped drops, and are doubtless of the Adam -period. Another feature is their long, thin necks, which made them more -suitable for private houses than inns. They usually stand from 12 to 18 -inches in height, and when standing grouped together have a charmingly -graceful appearance. They are rarely now to be found in fours, and it is -doubtful if they were so made. I have only seen them in pairs. They are -not particularly rare, many small houses possessing specimens.</p> - -<p>It was at this period also that finger bowls came into fashion. The -first ones made in this country were probably copies of old Roman -coloured bowls. The earliest of all had two lips, used either for -pouring out the contents or for resting a spoon upon. These specimens -are, as a rule, exquisite both in style and shape, and it is, -fortunately, within the power of the ordinary collector to acquire a -specimen or so at<span class="pagenum"><a name="page_092" id="page_092"></a>{92}</span> a reasonable figure. They are the larger and more -ornamental pieces, some unique in design and others possessing -historical associations, that are priceless. The old chandeliers often -found will give some idea of the fine cutting of the period. The -magnificent pear-drop-shaped lustres, the fine work on the stem, and the -cross-over chains are characteristic of the lavish ornament of the age. -Such have often been converted into pendants for electric light. -Although no ordinary collector may hope to acquire them, they are not -without interest as examples of a bygone fashion.</p> - -<p>Through the kindness of Miss Whitmore Jones, I am enabled to reproduce -from her beautiful collection at Chastleton House the posset pot shown -at page 42 (<a href="#fig_2">Fig. 2</a>). It is surrounded by a band of masks and roses and -surmounted by a crown. It is an excellent example of the work of its -period and one of the most admirable and beautiful specimens in -existence.</p> - -<p>Fig. 15 is an interesting illustration of the candlesticks and -tapersticks formerly so widely used.</p> - -<p>Tapersticks were used to hold the tapers used<span class="pagenum"><a name="page_093" id="page_093"></a>{93}</span></p> - -<p><a name="fig_15" id="fig_15"></a></p> - -<div class="figcenter" style="width: 313px;"> -<a href="images/i_092fp_lg.jpg"> -<img src="images/i_092fp_sml.jpg" width="313" height="368" alt="[Image unavailable.]" /></a> -<div class="caption"><p>FIG. 15—CANDLE AND TAPER STICKS.</p> - -<p>(From the Rees Price Collection, by permission of the Connoisseur.)</p></div> -</div> - -<p class="nind">in sealing letters. That on the left is nearly perfect in style and -ornamentation. Tapersticks are, of course, frequently found in Georgian -silver and also in china, generally with the ink tray, snuffers, and -powder box to hold the sand used in drying the writing. The glass -tapersticks were generally about 7 or 8 in. in height and had domed -feet.</p> - -<p>The candlestick with the twisted stem—which, by the way, is of red -drawn glass—is another fine specimen of the work of this period. -Unluckily, examples are hardly likely to be very easily found; like all -fragile things they have suffered heavily at the hands of Time. Fig. 16 -is a representation of a very rare type of rush-light holder which dates -from Jacobean times.</p> - -<p>There is no doubt that the beauty and style of the Georgian glass, both -early and late, have made it in great demand to-day, so that not only -are enormous prices readily obtained for good specimens, but those -prices are likely to be considerably enhanced in the future. -Nevertheless, there are still many fine specimens to be obtained by a -collector who will take the trouble to seek them off the beaten track. -Many of them are owned by persons quite ignorant of their real<span class="pagenum"><a name="page_094" id="page_094"></a>{94}</span> value; -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 pleasure.</p> - -<p>It is only essential to emphasise once more the necessity of care; for -glass, unlike china, has no marks by which its period and place of -manufacture can be definitely determined, and collectors can only base -their opinions upon such qualities as shape, style, colour, etc., and in -this, as in other departments of life, the amateur is apt to discover -the truth of the adage that “a little knowledge is a dangerous thing.” -It is best in any case of doubt to refer the question to some one who is -in a position to speak with undoubted authority.</p> - -<p>As to the Victorian Age, although it undoubtedly produced many fine -specimens of glass, yet the pieces have little appeal from the -collector’s point of view. Apart from this, however, it has many merits, -some pieces that I have seen having been most beautifully and choicely -cut and with a fine distinctive style. But, however choice, such pieces -hardly fall within the category of Old English glass, and so lie beyond -the scope of our inquiry.<span class="pagenum"><a name="page_095" id="page_095"></a>{95}</span></p> - -<p><a name="fig_16" id="fig_16"></a></p> - -<div class="figcenter" style="width: 187px;"> -<a href="images/i_094fpa_lg.jpg"> -<img src="images/i_094fpa_sml.jpg" width="187" height="252" alt="[Image unavailable.]" /></a> -<div class="caption"><p>RARE JACOBEAN GLASS RUSH-LIGHT HOLDER.</p></div> -</div> - -<div class="figcenter" style="width: 199px;"> -<a href="images/i_094fpb_lg.jpg"> -<img src="images/i_094fpb_sml.jpg" width="199" height="310" alt="[Image unavailable.]" /></a> -<div class="caption"><p>SPECIMEN OF AN EARLY ENGLISH WINE GLASS.</p> -<p>FIG. 16.</p></div> -</div> - - - -<h2><a name="CHAPTER_IV" id="CHAPTER_IV"></a>CHAPTER IV<br /><br /> -<small>MEMORIAL GLASSES</small></h2> - -<p class="nind"><span class="letra">N</span><b>O</b> specimens of English glass have greater fascination for the collector -than those which derive their interest, apart from their intrinsic -merits, from their association with some historical event, some great -cause, or some famous personage.</p> - -<p>Fortunately for such, our ancestors in the palmy days of glass -manufacture freely availed themselves of the possibilities of this form -of advertisement and commemoration, so that a considerable number of -memorial pieces are still in existence. Many of these were, of course, -merely intended to record some happening of purely local significance: -the building of a bridge, the opening of a canal, the launching of a -ship; or, narrowing the interest still further, the birth of a son or -the marriage of a daughter. Others, however, had a wider appeal: a great -national victory on sea or land, the winning of<span class="pagenum"><a name="page_096" id="page_096"></a>{96}</span> an election, or the -passage or defeat of a hotly contested Bill in Parliament. All were -suitably inscribed and generally dated—a fact which adds to their -importance and value—and frequently decorated, in addition to the usual -conventional designs, with a more or less crude pictorial representation -of the event or of some important factor connected with it. Thus the -battle of Trafalgar would be indicated by a picture of the famous -victory or by a portrait of Nelson. Frequently such glasses were -dedicated to the glorification of some famous hero, as were the Nelson -glasses, Keppel glasses, etc.; or to the furtherance of some great -cause, as the Jacobite glasses, with which we shall have presently to -deal at length; or, again, to the diffusion of some political principle.</p> - -<p>The collector must, however, be chary of assuming that a memorial glass -was necessarily contemporary with the event it records. The warning is -particularly necessary in the case of Jacobite glasses, 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 hopes. -And it is perhaps unnecessary to add the further warning<span class="pagenum"><a name="page_097" id="page_097"></a>{97}</span></p> - -<p><a name="fig_17" id="fig_17"></a></p> - -<div class="figcenter" style="width: 245px;"> -<a href="images/i_096fp_lg.jpg"> -<img src="images/i_096fp_sml.jpg" width="245" height="292" alt="[Image unavailable.]" /></a> -<div class="caption"><p>FIG. 17.—JACOBITE TOASTING GLASSES.</p> - -<p>(From the Rees Price Collection, by permission of the Connoisseur.)</p></div> -</div> - -<p class="nind">that in connection with old glass, as with other antiques, the supply -seems somehow mysteriously to adapt itself to the demand; and it is the -easiest and least detectable of frauds to take a veritable old glass of -no particular merit, and by inscribing it with a motto and an emblem or -two, increase its value twenty-fold.</p> - -<p>There is, of course, much old glass stored, more or less inaccessibly, -in ancient houses up and down the country, and every now and again some -such hidden treasure is brought to light. But it may be generally said -that, in view of the fierce light the modern craze for antiques has -thrown upon such hiding-places, the prospects of the present-day -collector of finding, say, a “Fiat” glass are so remote as to be -practically negligible.</p> - -<p>The Jacobite glasses form by far the most important of English memorial -glasses. They were used by the followers of the ill-fated House of -Stuart, not only in their homes—where, indeed, their use might be -dangerous—but in the clubs and secret societies which met to keep alive -the Pretender’s memory, and to plot for his return. Great numbers were -probably made, mostly, it is thought, at Newcastle, whence the<span class="pagenum"><a name="page_098" id="page_098"></a>{98}</span> -manufacturers might, in case of need, speedily retire across the Border -and seek concealment from the law among a sympathetic population. -Unfortunately, few only remain, for when the toast had been duly -honoured, it was a frequent custom to shatter the glass, that it might -be used for no inferior purpose. A similar custom prevails still in -certain military messes, the stem of the wine glass being snapped after -the toast of the reigning monarch has been duly drunk.</p> - -<p>Some of the Jacobite glasses, however, were of superior quality and -admirably inscribed and decorated. These, it is assumed, were carried -from place to place by their owners, often in properly fitted cabinets. -Each member of a Jacobite club probably brought his own glass, which was -stored, with the others, between the meetings, in a secret receptacle; -the possession of such a glass being, of course, treason. Thus it is -that many have been preserved—frail memories of a lost cause and -symbols of a loyalty as unparalleled as incomprehensible. 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 unworthy.<span class="pagenum"><a name="page_099" id="page_099"></a>{99}</span></p> - -<p>James I. was a foreigner to England and English sentiment, and with none -of the qualities that win admiration or esteem. He was ungainly, -garrulous, vain, pedantic, and, above all, cowardly in an age which -placed physical courage as the first of human attributes. Even his not -inconsiderable intellect failed to compensate for an utter lack of -everything else which his time found worthy of admiration. Charles I. -was a tyrant, narrow, mean, obstinate, and unscrupulous—a man without -ability, a king without honour. His death is the one bright spot in a -dreary and disastrous record, for</p> - -<div class="poetry"> -<div class="poem"><div class="stanza"> -<span class="i5">“Nothing in his life<br /></span> -<span class="i0">Became him like the leaving of it.”<br /></span> -</div></div> -</div> - -<p class="nind">Charles II., gay, witty, insouciant, reckless, had, it may be granted, -certain qualities that take the common taste, but he was utterly -profligate, entirely without principle. He sold England to France, -betrayed Holland, robbed the State and the Navy, and starved his sailors -to flatter his mistresses. James II. was cold, callous, cruel—a -sycophant to the strong and a tyrant to the weak. He was a bigot, and -unscrupulous in his bigotry. He was no less<span class="pagenum"><a name="page_100" id="page_100"></a>{100}</span> licentious than his brother -though much more a hypocrite.</p> - -<p>What was the glamour that made men give their all—house, wealth, lands, -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 people? But we are digressing. There is, in any case, no -doubt as to the glamour which surrounds the Jacobite glasses in the eyes -of the collector of to-day.</p> - -<p>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 -meant, in brief, plotting for the downfall of the House of Hanover, and -in a hard-drinking age it was clear that their consultations could not -have been carried on without a considerable consumption of strong -liquors, and a consequent adequate supply of glasses, the majority of -which were probably engraved in some way or another distinctive of the -occasion.</p> - -<p>The most famous of such clubs was the Cycle Club, founded in 1710 by Sir -Watkin Wynn,<span class="pagenum"><a name="page_101" id="page_101"></a>{101}</span></p> - -<p><a name="fig_18" id="fig_18"></a></p> - -<div class="figcenter" style="width: 287px;"> -<a href="images/i_100fp_lg.jpg"> -<img src="images/i_100fp_sml.jpg" width="287" height="323" alt="[Image unavailable.]" /></a> -<div class="caption"><p>FIG. 18.—JACOBITE GOBLETS.</p> - -<p>(From the Rees Price Collection, by permission of the Connoisseur.)</p></div> -</div> - -<p class="nind">and one of the most interesting of commemorative glasses refers to him:</p> - -<div class="poetry"> -<div class="poem"><div class="stanza"> -<span class="i0">“Let no deceipt within your glass be found,<br /></span> -<span class="i1">But glorious Watkin’s health go briskly round.”<br /></span> -</div></div> -</div> - -<p class="nind">The motto of the Cycle Club appears to have been the Latin “Fiat” (“May -it happen”), and this word is generally found engraved on Jacobite -glasses, which are, in consequence, often referred to as “Fiat” glasses. -A “Fiat” glass is shown in Fig. 21, and other excellent specimens of -Jacobite glasses in Fig. 19. Another motto is “<i>Redeat</i>.”</p> - -<p>The best of the Jacobite glasses bear the portrait of “Bonnie Prince -Charlie” on the bowl, encircled by a wreath of laurel, flanked on each -side by Scotland’s emblematic thistle. Others have two roses supporting -the laurels. Sometimes there is the Stuart rose, with two buds, a -reference, perhaps, to James II. and his two sons. The design, too, not -unfrequently includes an oak leaf, a reference to Charles II.’s escape -from the Roundheads, after the battle of Worcester, by taking refuge in -an oak, while</p> - -<div class="poetry"> -<div class="poem"><div class="stanza"> -<span class="i0">“Far below the Roundhead rode<br /></span> -<span class="i1">And humm’d a surly hymn.”<br /></span> -</div></div> -</div> - -<p class="nind">Some also are engraved, in addition, with a star—the symbol<span class="pagenum"><a name="page_102" id="page_102"></a>{102}</span> of a hope -never realised by the hapless Stuart line. Most of these emblems may be -found in the two specimens shown in Fig. 19.</p> - -<p>I have sometimes found the portrait of the Pretender with oak leaves, -thistle, and rose, in place of the usual “Fiat,” and the motto -“<i>Audentior Ibo</i>.”</p> - -<p>These glasses have usually air-drawn or knopped stems and funnel-shaped -bowls. These Jacobite glasses are among the luckiest “finds” of the -collector of Old English glass, and it is needless to say that the -greatest care is essential in purchasing anything which purports to be a -genuine specimen. “Fiat” glasses, especially those bearing the portrait -of the Pretender, are imitated in considerable numbers and generally -disposed of through the shops of small country dealers, pawnbrokers, -etc.; but I have seen specimens, even in galleries and large shops in -London, which were flagrant frauds, a fact which should have been -perfectly patent to the vendors. So <i>caveat emptor</i>.</p> - -<p>Frequently the ordinary tests for the antiquity of the glass are -useless, since the piece is itself genuine old glass of the proper -period and<span class="pagenum"><a name="page_103" id="page_103"></a>{103}</span></p> - -<p><a name="fig_19" id="fig_19"></a></p> - -<div class="figcenter" style="width: 485px;"> -<a href="images/i_102fp_lg.jpg"> -<img src="images/i_102fp_sml.jpg" width="485" height="294" alt="[Image unavailable.]" /></a> -<div class="caption"><p>FIG. 19—JACOBITE GLASSES.</p> - -<p>(From the Rees Collection, by permission of the Connoisseur.)</p></div> -</div> - -<p class="nind">only the engraving modern, and this is given a spurious appearance of -age by rubbing down with sand and earth, and by allowing the lines of -the pattern to become filled with dust and dirt. A test that may be -found useful is to hold the piece in a strong light, when some part of -the engraved portion may be found untouched by the “treatment,” and -bearing in its clearness and sharpness of line convincing evidence of -its recent origin.</p> - -<p>Of the Jacobite glasses, those dedicated to the Old Pretender are -entirely beyond the hopes of the ordinary collector. A few exist in old -country houses dotted up and down the country and in various museums. -One in the British Museum bears the mottoes “<i>Cognoscunt me mei</i>” and -“<i>Premium Virtutis</i>.” Young Pretender glasses are naturally much more -numerous, and it is probable that specimens may still be found in -out-of-the-way places.</p> - -<p>Special finds of Jacobite glasses are occasionally made, a whole set -being discovered in some unexpected hiding-place. One such set is the -famous Oxburgh Hall find, now to be seen and admired in the Victoria and -Albert Museum. Eleven Jacobite glasses in all were discovered,<span class="pagenum"><a name="page_104" id="page_104"></a>{104}</span> eight of -them being “Fiat” glasses. Four of them, of a larger size, bear the -Prince of Wales’ feathers on the upper surface of the foot. One is the -glass inscribed to Sir Watkin Wynn, previously mentioned, and one is of -special significance, in that it bears in addition to a portrait of the -Young Pretender an inscription, unique in the history of Jacobite glass:</p> - -<div class="poetry"> -<div class="poem"><div class="stanza"> -<span class="i0">“Charles ye Great, ye Brave, the Just and Good<br /></span> -<span class="i1">Britania’s Prince ye noblest of her Bld.<br /></span> -<span class="i1">Thy Glorious Feats ye World may Proᵐ<br /></span> -<span class="i1">Britania’s Glory and Britaine Shame.”<br /></span> -</div></div> -</div> - -<p>As poetry the verse undoubtedly leaves something to be desired, although -as a panegyric it is fairly comprehensive. That fact will, however, in -nowise detract from its unique interest in the eyes of the collector, -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 Prince, whose doom it was to be always remembered “Over the -water,” “Great, Brave, Just, Good, Britania’s glory,” and the rest! This -was a hero indeed, <i>sans peur et sans reproche</i>. Even the legendary<span class="pagenum"><a name="page_105" id="page_105"></a>{105}</span> -Arthur of Round Table fame could hardly claim more.</p> - -<p>A critic might suggest that the portrait which appears on the other side -of the glass is hardly worthy of these exalted sentiments, though in -point of artistic merit it may fitly challenge comparison with the -quality of the verse.</p> - -<p>The “Chastleton” glasses form another famous Jacobite set. There are two -decanters and eleven wine glasses. The glasses are engraved with the -rose and two buds, representing, presumably, James II. and the two -Pretenders, and the Cycle Club motto, “Fiat.” In addition there is an -oak leaf. Whether this is an allusion to the famous Royal Oak of -Boscobel, in which Charles II. took refuge after Worcester, as -previously mentioned, or is merely the distinguishing mark of the -English Jacobites, just as the thistle was the badge of their Scottish -comrades, is obscure.</p> - -<p>The decanters are still more interesting, having, in addition to the -rose and its two buds, two oak leaves and a compass, the needle of which -points to a star apparently rising towards the zenith—probably in -hopeful anticipation of the fortunes of the Jacobite cause. Miss<span class="pagenum"><a name="page_106" id="page_106"></a>{106}</span> -Whitmore Jones, the present owner of Chastleton, claims that these were -made at Derby.</p> - -<p>Glasses thus elaborately inscribed do not exhaust the list of Jacobite -glasses. In many cases the rose emblem appears alone, without the -incriminating “Fiat” which would inevitably convict the owner of -treason. In other cases the emblem was hidden from the casual eye by -being engraved underneath the foot. The times were perilous ones, and it -behoved careful folk to exercise the greatest caution; hence arose all -the system of symbols and catchwords associated with the Jacobite cause. -Byrom sums up their attitude in the well-known verse:</p> - -<div class="poetry"> -<div class="poem"><div class="stanza"> -<span class="i0">“God bless the King, I mean the faith’s defender;<br /></span> -<span class="i1">God bless—no harm in blessing—the Pretender;<br /></span> -<span class="i1">But who pretender is, or who is king,—<br /></span> -<span class="i1">God bless us all,—that’s quite another thing.”<br /></span> -</div></div> -</div> - -<p>It is possible to meet, here and there, with glasses dedicated to the -early Georges, but these are few and, to say the truth, are lacking in -the interest that their romantic and tragic history threw over -everything associated with the hapless Stuart line.</p> - -<p>Williamite glasses are more numerous. They,<span class="pagenum"><a name="page_107" id="page_107"></a>{107}</span></p> - -<p><a name="fig_20" id="fig_20"></a></p> - -<div class="figcenter" style="width: 466px;"> -<a href="images/i_106fp_lg.jpg"> -<img src="images/i_106fp_sml.jpg" width="466" height="311" alt="[Image unavailable.]" /></a> -<div class="caption"><p>FIG. 20.—MEMORIAL TOASTING GLASSES—JACOBITE AND -WILLIAMITE.</p></div> -</div> - -<p class="nind">of course, date from the revolution of 1688, 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 Stuart. Many of them were undoubtedly produced -in Ireland, the more interesting commemorating the battle of the Boyne. -Some bear the portrait of the King—generally crossing the Boyne on -horseback. Such specimens are exceedingly rare. Later ones bear only an -inscription, “To the Immortal Memory,” or “To the Immortal Memory of the -glorious King William,” with possibly a rosebud. These are, of course, -more ordinary, but are still worth collecting, providing the purchaser -can assure himself that they have not been specially prepared for his -benefit.</p> - -<p>The phrase above quoted is possibly a reminiscence of the toast given at -Orange meetings: “To the glorious, pious, and immortal memory of the -great and good King William, who freed us from Pope and popery, knavery -and slavery, brass money and wooden shoes”—quite a creditable record of -achievements.</p> - -<p>The “boot” glasses, to which we refer among the freaks, were probably -made in large numbers in George III.’s reign to testify to the<span class="pagenum"><a name="page_108" id="page_108"></a>{108}</span> national -hatred of Lord Bute, whose punning emblem, “the boot,” was burnt by the -mob in a thousand bonfires, whether justly or unjustly history fails to -say. But there is no doubt that Bute was hated with a fury almost -without precedent, and the King’s mother, whose favourite he was, was -hated with equal intensity. In 1763 a jack-boot and a petticoat were -publicly burnt at Temple Bar, and a crowned ass led through the streets -by a man in a Scottish plaid. Boot glasses are generally from four and a -half to five inches in height. They are often moulded to represent -lacings in the front and trimmings at the sides, and were doubtless used -for strong waters, cordials, and liqueurs.</p> - -<p>Memorial glasses inscribed with the names of our great seamen are, of -course, numerous. One to Admiral Hawke, inscribed “Success to the -British Fleet” and dated 20th November 1759, was evidently made in -commemoration of the battle of Quiberon Bay, in which that great seaman, -deliberately ignoring the fighting instructions, flung convention to the -winds and won a startling victory, and freed Britain from the dread of a -French invasion. Similar glasses<span class="pagenum"><a name="page_109" id="page_109"></a>{109}</span></p> - -<p><a name="fig_21" id="fig_21"></a></p> - -<div class="figcenter" style="width: 490px;"> -<a href="images/i_108fp_lg.jpg"> -<img src="images/i_108fp_sml.jpg" width="490" height="298" alt="[Image unavailable.]" /></a> -<div class="caption"> - -<table summary=""> -<tr><td>A “FIAT” GLASS SHEWING STUART ROSE WITH SIX PETALS.</td> -<td>UNION GLASS, CIRCA. 1801.</td> -<td>ARMORIAL GLASS.</td> -<td>WILLIAMITE GLASS.</td></tr> -</table> - -<p>FIG. 21.</p></div> -</div> - -<p class="nind">bear the names of Boscawen, Rodney, Anson, Keppel, and Nelson.</p> - -<p>The “Nelson” glasses, as may be supposed, are particularly interesting. -Some bear the hero’s portrait; others are adorned with a representation -of his famous flagship; others, again, were made in commemoration of his -death and his burial in St Paul’s Cathedral.</p> - -<p>One such specimen described by Mr Hartshorne deserves special mention. -It is a goblet rather more than 8 inches in height, on the -straight-sided bowl being engraved a representation of the great -Admiral’s funeral car in the shape of a ship. On the stern is the -historic name <i>Victory</i>. At the prow stands an emblematic figure of -Victory, bearing in one hand a laurel wreath and in the other a branch -of bay. On the canopy of the car is inscribed the word “Trafalgar,” -below it the name “Nile.” It is stated that the glasses were made for -the officers of the <i>Victory</i>, each of whom received one in memory of -his chief.</p> - -<p>The ordinary commemoration glasses made at the time of Nelson’s funeral, -and publicly sold as memorials of the event, have on the one side a -representation of the funeral car and<span class="pagenum"><a name="page_110" id="page_110"></a>{110}</span> on the other, encircled by a -laurel wreath, the words:</p> - -<p class="c"> -In Memory<br /> -of <span class="smcap">Lord</span><br /> -<span class="smcap">Nelson</span><br /> -Janʸ 9ᵗʰ 1806<br /> -</p> - -<p class="nind">The date is that of the public funeral. These glasses were probably made -in considerable numbers, but are now very rare.</p> - -<p>Apart, however, 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 victories.</p> - -<p>Miss Wilmer in her book on “Early English Glass” gives an illustration -of a tumbler inscribed with the names of Nelson, Duncan, Howe, and St -Vincent and the date 1st August 1798, together with various nautical -emblems. But, as we have said, the manufacture of commemorative glasses -was not confined to occasions of national importance, nor were such -glasses dedicated only to national heroes.</p> - -<p>Events of very local importance were frequently signalised in this way. -Thus one is inscribed “Up to Sowerby Bridge, 1758,” and serves to record -certain improvements in the<span class="pagenum"><a name="page_111" id="page_111"></a>{111}</span></p> - -<p><a name="fig_22" id="fig_22"></a></p> - -<div class="figcenter" style="width: 141px;"> -<a href="images/i_110fpa_lg.jpg"> -<img src="images/i_110fpa_sml.jpg" width="141" height="187" alt="[Image unavailable.]" /></a> -<div class="caption"><p>A NELSON GLASS</p> - -<p>FIG 22.</p></div> -</div> - -<div class="figcenter" style="width: 163px;"> -<a href="images/i_110fpb_lg.jpg"> -<img src="images/i_110fpb_sml.jpg" width="163" height="235" alt="[Image unavailable.]" /></a> -<div class="caption"><p>A COMMEMORATIVE CORONATION GLASS OF KING GEORGE IV.</p></div> -</div> - -<p class="nind">navigation of the Calder River. A golden fleece which also forms part of -the decoration symbolises possibly the commercial advantages likely to -accrue thereby. Another commemorates the opening of the Aire to Calder -Canal, and bears the inscription, “Success to Trade and Navigation.” -Others bear political cries, like a cider glass (<a href="#fig_23">Fig. 23</a>) from the -Singer Collection. It is characteristically engraved with sprigs of -apple blossom and a barrel, presumably of cider. Around the brim is the -legend, “No Excise,” a probable reference to the political agitation -which followed the attempt of the Chancellor of the Exchequer, Sir -Francis Dashwood, in 1763 to impose a duty of no less than 4s. a -hogshead on cider.</p> - -<p>The next glass is from the same collection. It bears a ship engraved -upon the bowl, and has a thickly twisted opal stem and slightly waisted -sides, which give a peculiar charm to its shape. On it are inscribed the -words, “Success to the Eagle Frigate—John Knill, Commander,” which -seems to indicate that it was made to commemorate the launch of that -vessel. The fine air-twisted goblet, which is the largest in the -illustration, belongs to a period<span class="pagenum"><a name="page_112" id="page_112"></a>{112}</span> somewhere about 1760. The figure -depicted is that of Frederick the Great, King of Prussia, then our ally -and at the zenith of his military glory. It was through his aid that -Pitt was enabled to win our colonies of India and America on the -battlefields of Europe, and the exhortation to “Keep it up,” which -appears on the glass, was evidently the expression of some British -sympathiser’s goodwill. Possibly the piece was made to celebrate one of -Frederick’s victories.</p> - -<p>The other glass has a small portrait with the inscription, “Long live -George, Prince of Wales, 1759.” It is beautifully engraved and -altogether one of the finest specimens extant.</p> - -<p>Fig. 27 illustrates particularly fine and interesting examples of a -tankard, a covered jar, and a grog glass—all excellent of their kind. -The tankard on the right of the plate is engraved with vine leaves and -bunches of grapes, together with marguerites, and inscribed with the -names Joseph and Jane Burrows, and was probably a “marriage” or -“betrothal” glass.</p> - -<p>The goblet with a square base which stands to the left of the plate -(<a href="#fig_24">Fig. 24</a>) is very quaint. There is a representation of a sailing craft -upon<span class="pagenum"><a name="page_113" id="page_113"></a>{113}</span></p> - -<p><a name="fig_23" id="fig_23"></a></p> - -<div class="figcenter" style="width: 489px;"> -<a href="images/i_112fp_lg.jpg"> -<img src="images/i_112fp_sml.jpg" width="489" height="268" alt="[Image unavailable.]" /></a> -<div class="caption"><p>FIG. 23.—COMMEMORATIVE GLASSES.</p> - -<p>(From the Rees Price Collection, by permission of the Connoisseurs.)</p></div> -</div> - -<p class="nind">one side, with the inscription, “The Ann and Bessie,” and on the -reverse, “James Oddie, Bromley,” probably the name of the owner both of -the craft and the goblet, who registered to posterity his pride in the -one by means of the other. This glass, I am informed, was the property -of the late A. P. Trapnel, Esq., a renowned collector of Bristol -porcelain and, though to a less degree, of old glass.</p> - -<p>The covered grog pot or jar in the centre of the group is artistically -engraved with roses and festoons, with the inscription, “Success to the -Britannia, Edmund Eccleston, 1774.”</p> - -<p>For the illustrations of several of the above pieces I am indebted to -the courtesy of the late Mr J. T. Herbert Bailey. Such examples, which -cannot fail to interest the lover of art as well as the collector of -antiques, amply testify to the strides which glass manufacture had made -in England, and are also useful as indicating the nature of the finds a -collector may even yet make in out-of-the-way places, 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 reproductions. One does not, for example,<span class="pagenum"><a name="page_114" id="page_114"></a>{114}</span> expect to -find engraving or cutting on early importations from Venice, or that the -glasses made in commemoration of various events invariably bear -appropriate inscriptions, by which they may be immediately identified. -Sometimes there is a date alone, sometimes a figure or merely initials, -and the collector’s imagination and historical knowledge, as well as his -expert acquaintance with the qualities of old glass, are all called into -play to determine the date and occasion when the specimen was produced.</p> - -<p>It need hardly be said that historical and commemorative glass are very -widely imitated, the commonest and most plausible of the various forms -of deception adopted being, as elsewhere suggested, to engrave some -comparatively valueless specimen of real old glass with figures exactly -imitating the genuine thing, and so giving it a fictitious value.<span class="pagenum"><a name="page_115" id="page_115"></a>{115}</span></p> - -<p><a name="fig_24" id="fig_24"></a></p> - -<div class="figcenter" style="width: 490px;"> -<a href="images/i_114fp_lg.jpg"> -<img src="images/i_114fp_sml.jpg" width="490" height="272" alt="[Image unavailable.]" /></a> -<div class="caption"><p>FIG. 24.—TANKARDS AND GROG GLASSES. EARLY 18th CENTURY.</p> - -<p>(From the Rees Price Collection, by permission of the Connoisseur).</p></div> -</div> - -<h2><a name="CHAPTER_V" id="CHAPTER_V"></a>CHAPTER V<br /><br /> -<small>BRISTOL AND NAILSEA GLASS</small></h2> - -<p class="nind"><span class="letra">I</span><b>T</b> is a matter of regret that Bristol’s ancient fame for making and -cutting glass should have so completely disappeared. In the palmy days -of its glass industry it boasted no fewer than fifteen “glass-houses,” -and it had no rival in the country either as regards the quantity or the -quality of its output. This was in the year 1760.</p> - -<p>Thirty years later the first glass-maker appears on the roll of the -city’s freemen. But seven years previously we read that a certain -townsman was admitted a freeman of the city upon his undertaking to -train a city schoolboy, as his apprentice, in the difficult art of glass -“grinding” without the usual premium of £7. But as early as 1666 an -order was made by the City Council to the effect that “no stranger or -foreigner should presume to open a shop, <i>either with or without glass -windows</i>, under a penalty of £5”—a fact which seems to indicate that, -although<span class="pagenum"><a name="page_116" id="page_116"></a>{116}</span> glass windows may still have been a novelty, there existed -facilities for their supply if required.</p> - -<p>Apart from casual references like these, the history of Bristol glass is -entirely obscure. But as the trade returns for the year 1695 show that -the duty on glass for that year amounted to £17,642, and that a -“drawback” allowed on exported glass amounted in the case of Bristol to -no less a sum than £2976, it is pretty clear that by that time the -industry in Bristol had assumed very considerable dimensions.</p> - -<p>Bristol glass is certainly the most beautiful of all Old English glass, -and there is no doubt that many of the fine specimens one sees, both -coloured and plain, were actually produced in the factories of that -city. The colouring of Bristol glass is exceptionally brilliant, -especially its deep blues. The opaque milky-white ware, which is most -common, is often “ribbed” with white streaks or ornamented with flowers -in colours and gold, or daubed with red, blue, and yellow, or with one -of these colours only. Fig. 29 shows specimens of both kinds.</p> - -<p>It is a matter for great regret that the factories renowned in early -times for the beauty and<span class="pagenum"><a name="page_117" id="page_117"></a>{117}</span> finish of their output did not maintain their -existence for a longer period. The exact date at which the famous opaque -ware was made is open to considerable doubt, but the year 1760 cannot be -very wide of the mark, for reasons to which I have already referred.</p> - -<p>In any case, the records of the city show that in that year its glass -furnaces were in full blast. We find recorded in 1715 a bequest of china -and glass, 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 £6, 14s. for glasses.</p> - -<p>At first glass was extremely costly: the corporation was called upon to -pay no less than £4, 16s. for “a glass to be placed in Mr Alderman -Laroche’s coach, which was broken at the gaol delivery.” Fine specimens -of the glass-worker’s art fetched extremely high prices.</p> - -<p>The glass itself was exceedingly brittle and easily broken as compared -with other English and Irish glass. It was frequently decorated with -enamelled colouring, and many specimens are found with finely curved and -twisted handles. It was, in my opinion, the object of the Bristol -glass-houses to imitate white porcelain, and,<span class="pagenum"><a name="page_118" id="page_118"></a>{118}</span> in support of this idea, -we find manufactured in Bristol glass such articles as vases, cups and -saucers, plates, mugs, and other utensils usually made from porcelain -and earthenware.</p> - -<p>Of course, the art of manufacturing this opaque white or milky glass was -well known abroad. The white glass of Venice, of Orleans, and of -Barcelona was already famous. 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 glass.</p> - -<p>It is no very difficult task for an enthusiast to find to-day excellent -specimens of Bristol ware. Its characteristic features are an -extraordinary fineness in colour and texture, coupled with a delicate -taste both in hue and form. The ware, too, has a peculiar softness to -the touch which is quite characteristic, and provides the amateur -collector, once he has recognised it, with an excellent test as to the -genuineness of the specimen under consideration. The smaller pieces are -often beautifully decorated with painted or enamelled flowers, -maidenhair fern, and the like.<span class="pagenum"><a name="page_119" id="page_119"></a>{119}</span></p> - -<p>The illustrations (Figs. <a href="#fig_25">25</a>-<a href="#fig_26">26</a>) give an excellent idea of the kind of -decoration adopted by the master craftsmen of Bristol. The designs found -upon Bristol glass were also, now and again, copies of those found on -Venetian and French pieces. But, generally speaking, the decoration of -Bristol glass was entirely English in conception and execution. This is -particularly the case where the pieces were made for some special -occasion or purpose, as, for example, the commemoration of some event of -national importance.</p> - -<p>Many examples from the Bristol factories are to be found in the various -museums, especially at South Kensington, where in the famous Schrieber -Collection are some of the finest examples extant. There is, for -example, a “Venetian glass”—purely Bristol, of course, but on a -Venetian model, which is reproduced as a frontispiece to this -volume—and also a pair of candlesticks beautifully ornamented with -butterflies, wild flowers, and leaves. They stand out as most admirable -specimens from the Bristol factories.</p> - -<p>It is a well-known fact that the Bristol product, so admirable was it in -quality and appearance<span class="pagenum"><a name="page_120" id="page_120"></a>{120}</span> and so closely did it resemble the real Venetian -glass, was often passed off as the product of the Venice -glass-makers—the pastmasters of the art. Many a collection, ostensibly -hailing from Venice, must, on a closer scrutiny, be attributed to a -place of origin much nearer home. 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 mugs.</p> - -<p>Many of the earliest specimens were left “raw” at the base, and if the -finger be drawn across the ends the existence of sharp edges will become -apparent. This is a test of reasonably good value, as I have found on -more than one occasion when I have been in doubt. Also, and with the -smaller pieces in particular, it was almost universal with the Bristol -manufacturer to leave untouched the “mark” or place where the piece was -nipped from the blower’s tube. Modern reproductions, whilst faithfully -observing and imitating all the beauties of the model, have generally -their bases perfectly smooth. Even where the “mark” has been imitated to -give an added air of verisimilitude to the specimen, the thing has been -overdone, and that so<span class="pagenum"><a name="page_121" id="page_121"></a>{121}</span></p> - -<p><a name="fig_25" id="fig_25"></a></p> - -<div class="figcenter" style="width: 155px;"> -<a href="images/i_120fpa_lg.jpg"> -<img src="images/i_120fpa_sml.jpg" width="155" height="313" alt="[Image unavailable.]" /></a> -<div class="caption"><p>A BRISTOL GLASS DECANTER DECORATED WITH OPAQUE WHITE -ENAMEL. THE WORD “MOUNTAIN” BEING THE NAME OF A KIND OF SPANISH WINE -USED IN THIS COUNTRY, CIRC. 1760.</p></div> -</div> - -<div class="figcenter" style="width: 170px;"> -<a href="images/i_120fpb_lg.jpg"> -<img src="images/i_120fpb_sml.jpg" width="170" height="245" alt="[Image unavailable.]" /></a> -<div class="caption"><p>EARLY SPECIMEN OF BRISTOL GLASS MUG, WITH THE WORD -“LIBERTY.”</p> - -<p>FIG. 25.</p></div> -</div> - -<p class="nind">awkwardly as inevitably to lead to detection. Sometimes, too, in the -imitation, the colours used to produce the milky-white tone cease -abruptly, leaving the “mark” perfectly transparent. In genuine old -Bristol the colour fades gradually, leaving only the very tip of the -“mark” clear.</p> - -<p>Another good test is to place the specimen in a strong light, preferably -sunlight. If, when examined, the colour is mixed, the piece is of -doubtful authenticity. Spurious specimens often run “cloudy” or patchy, -possibly because of bad mixing. This is, of course, a useful test, -provided one does not rely upon it entirely, for certain specimens of -undoubted authenticity display somewhat similar features. In particular, -I remember an old drinking flask marked with irregular streaks of white, -where this test would have proved absolutely misleading. Possibly the -“feel” of the glass is the best criterion, genuine old Bristol being -much softer to the touch than any modern imitation.</p> - -<p>So many pitfalls await the average collector of Bristol glass that I -should hardly advise anyone to make this his sole hobby, for although it -is still possible to find small pieces—cups,<span class="pagenum"><a name="page_122" id="page_122"></a>{122}</span> salt-cellars, small -bowls, finger basins, mugs, and the like—the really important pieces of -Bristol glass are few, and they and their owners are pretty well known -to the <i>cognoscenti</i>. At any rate I have not met anyone, in recent -years, who could boast of a considerable find in this direction.</p> - -<p>A very fine specimen, described as “Old Bristol, 1760,” was put up for -sale some eighteen months ago, near London. Its genuineness was further -guaranteed by a label pasted on the base, showing that it had passed -through a well-known London auction-room. The owner, a dealer in a small -way, failing to find a customer in London, had put it into the sale of -the effects of a cottage. It was bought in by its owner for £3, 3s., and -eventually at the end of the day realised only 36s. I saw the piece -subsequently. It was obviously a reproduction, though a very good one, -and certainly worth what was given for it; but as he had purchased it as -real old glass, and at a proportionate figure, it will, I fancy, be a -long time before he again endeavours to secure a bargain in Old Bristol. -I have known many such instances, and as a result of my experience I -have come<span class="pagenum"><a name="page_123" id="page_123"></a>{123}</span></p> - -<p><a name="fig_26" id="fig_26"></a></p> - -<div class="figcenter" style="width: 400px;"> -<a href="images/i_122fpa_lg.jpg"> -<img src="images/i_122fpa_sml.jpg" width="200" height="184" alt="[Image unavailable.]" /></a> -<br /> -<a href="images/i_122fpb_lg.jpg"> -<img src="images/i_122fpb_sml.jpg" width="329" height="202" alt="[Image unavailable.]" /></a> -<div class="caption"><p>FIG. 26.—SPECIMENS OF BRISTOL GLASS.</p> - -<p>(Enamel Colouring by Michael Edkin.)</p></div> -</div> - -<p class="nind">to the conclusion that, while pieces of Bristol can be picked up now and -again, particularly in the west of England, it will not pay the amateur -collector to confine himself to this particular variety.</p> - -<p>I am indebted to Mr Cole of South Molton Street, London, for the -illustration (<a href="#fig_26">Fig. 26</a>) of a pair of very fine early Bristol vases which, -although undecorated, are exquisite in colour and form, and a beautiful -example of the maker’s art. The frilling round the base deserves special -notice.</p> - -<p>The central piece in the photograph is a long-necked vase decorated with -coloured enamels, and known to be the work of Michael Edkin, a Bristol -enameller of distinction. If carefully examined, it affords ample -evidence of the skill and painstaking care to which the best specimens -of this ware owe their artistic merit.</p> - -<p>Spiral wine glasses are still often to be found in or near Bristol, 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-makers. Among the examples of Bristol ware here reproduced (<a href="#fig_27">Fig. -27</a>) is included a pair of vases. These<span class="pagenum"><a name="page_124" id="page_124"></a>{124}</span> rank among the finest specimens -still extant of Michael Edkin’s work. This talented artist was a painter -of some merit, who gradually drifted into glass painting, and for some -twenty-six years, from 1762 to 1788, was engaged by various firms to -decorate their ware with birds, flowers, etc. He was also, it may be -added, a singer and an actor of no little distinction.</p> - -<p>Fig. 26 shows a pair of candlesticks, 6½ inches in height, from the -British Museum Collection. They are excellent examples of Edkin’s taste -and delicacy of execution. Great quantities of glass decorated by him -must have been exported, and I have found undoubted specimens of his -work in Rome and the museums of other Continental cities I have visited. -One of the very finest specimens of his art is a richly gilt and -decorated tea-tray, now in the Museum of Practical Geology. Another -example from the British Museum Collection is the fine mug, ornamented -with a portrait and the word “Liberty” in gold, possibly made by some -sympathiser with the revolutionary spirit which strongly affected -Britain as well as France towards the close of the eighteenth century.<span class="pagenum"><a name="page_125" id="page_125"></a>{125}</span></p> - -<p><a name="fig_27" id="fig_27"></a></p> - -<div class="figcenter" style="width: 300px;"> -<a href="images/i_124fpa_lg.jpg"> -<img src="images/i_124fpa_sml.jpg" width="234" height="246" alt="[Image unavailable.]" /></a> -<br /> -<a href="images/i_124fpb_lg.jpg"> -<img src="images/i_124fpb_sml.jpg" width="268" height="274" alt="[Image unavailable.]" /></a> - -<div class="caption"><p>FIG. 27.—SPECIMENS OF OPAQUE WHITE BRISTOL GLASS. 18th -CENTURY.</p> - -<p>(Decorated by M. Edkin.)</p></div> -</div> - -<p>Edkin also decorated many blue ground pieces, and it is interesting to -learn that his remuneration for the ornamentation of a jug in colour and -gilt, which must have taken a considerable time, was the lordly sum of -8d., a striking commentary upon the value placed upon skilled -craftsmanship in the eighteenth century. Like many other artists he had -to be content with the posthumous reward which fame bestows.</p> - -<p>The Bristol factories are said to have made all sorts of articles, -flasks, bells, walking-sticks, bellows, etc., in glass, but there is -much uncertainty on this head, and I doubt if the greater part of such -articles classified as coming from Bristol should not, as a matter of -fact, claim Nailsea as their place of origin. We can certainly ascribe -oil, vinegar, and pepper pots, candlesticks, salt-cellars, and vases to -Bristol, as the daintily decorated pepper and sugar castors, shown in -Fig. 27, prove, so that it is at least possible for the other articles -enumerated also to have been made there, but where there is so much -uncertainty, the collector who desires to be on the safe side had better -refrain from giving Bristol the benefit of the doubt.</p> - -<p>It must not be inferred, however, that all<span class="pagenum"><a name="page_126" id="page_126"></a>{126}</span> Bristol glass is of the -opaque kind. The magnificent piece shown in the frontispiece is quite -transparent, the apparent opacity of the background of the landscape -being due to enamel laid on the glass. The fine decanter reproduced in -Fig. 25 is also an example of what Bristol could do in transparent -glass, the decoration, here again, being in enamel.</p> - -<p><i>Nailsea Glass.</i>—The glass-works of Nailsea were established in 1788, a -few miles to the south-west of Bristol, and were, for some time, carried -on with success; but the ware was crude and lacking in the finish -characteristic of the best Bristol specimens. The earliest pieces were -made of yellowish or dark green glass, with blotches of white, as in the -jug shown in Fig. 28. They were usually very inferior in style, colour, -texture, and workmanship, and were consequently not greatly sought after -by purchasers; hence the output was restricted, and the factory after a -while seems to have confined its efforts to producing plain white glass -with quaint and curious forms of decoration. A pair of bellows, for -example, was decorated like the fins of a fish, with tiny projections -and spines all over it. Towards the<span class="pagenum"><a name="page_127" id="page_127"></a>{127}</span></p> - -<p><a name="fig_28" id="fig_28"></a></p> - -<div class="figcenter" style="width: 500px;"> -<a href="images/i_126fp_lg.jpg"> -<img src="images/i_126fp_sml.jpg" width="484" height="311" alt="[Image unavailable.]" /></a> -<div class="caption"><p>FIG. 28.—EARLY NAILSEA GLASS JUGS. EARLY 19th -CENTURY.</p></div> -</div> - -<p class="nind">end of its career, which closed in 1763, the output was a clear glass of -greenish tint, with faintly coloured streaks. Fig. 29 is a -characteristic example. I have also seen a few pieces gilt. The glass is -now exceedingly scarce, and good specimens command a very high price. -There is a curious charm about Nailsea glass. In appearance, the best -specimens are of a dark toffee-like colour, and when held up to a strong -light exhibit a greenish tinge. The lighter and finer kinds display a -characteristic ground which, if not beautiful, is certainly quaint. -Collectors who are fortunate enough to come across a specimen of Nailsea -at a reasonable figure should undoubtedly seize the opportunity of -acquiring it, but such opportunities are few and, were they more -numerous, it is hardly likely that anyone would wish to form a large -collection of it. The “Simpson” Jug, illustrated in Fig. 28, is -transparent, but of a curious yellowish-green tinge, and is probably one -of the last pieces produced at the old factory.<span class="pagenum"><a name="page_128" id="page_128"></a>{128}</span></p> - -<h2><a name="CHAPTER_VI" id="CHAPTER_VI"></a>CHAPTER VI<br /><br /> -<small>IRISH GLASS—CORK AND WATERFORD</small></h2> - -<p class="nind"><span class="letra">T</span><b>HE</b> history of the manufacture of glass in Ireland is very obscure, and -the dates of its various periods difficult to fix. 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 date.</p> - -<p>Yet numerous specimens do exist, including drinking glasses of all -shapes and sizes, as well as fruit dishes, epergnes, sweetmeat glasses, -decanters, and salt-cellars, which are undoubtedly Irish in their -origin, and which are generally known as “Waterford” glass.</p> - -<p>As far as can be determined, glass-making in various forms, enamelling, -and even mosaic work and cameos, were carried on in Ireland as early as -the beginning of the eighth century.</p> - -<p>The finest examples of the earliest period are to be found in the Royal -Irish Antiquities<span class="pagenum"><a name="page_129" id="page_129"></a>{129}</span></p> - -<p><a name="fig_29" id="fig_29"></a></p> - -<div class="figcenter" style="width: 500px;"> -<a href="images/i_128fp_lg.jpg"> -<img src="images/i_128fp_sml.jpg" width="484" height="311" alt="[Image unavailable.]" /></a> -<div class="caption"><p>FIG. 29.—NAILSEA JUG AND MUG.</p></div> -</div> - -<p>Collection, which includes the famous Ardagh Chalice, the Tara Brooch, -the Cross of Cong, and the Crozier of Clonmacnoise, as well as other -well-known and interesting exhibits. At any rate, experts are agreed -that even at this early date the art of enamelling on glass was -practised in Ireland, being probably introduced by the Phœnicians who, -in turn, had acquired the art from Ancient Egypt. In support of this -belief is the fact that a large piece of red enamelled glass was found -in the Rath of Caílchon on Tara Hill; but it is equally clear that the -art of glass-making, if introduced at the time mentioned, speedily fell -into desuetude, for there is no mention of any manufacture of glass -between the ninth and the seventeenth centuries, nor are there to be -found any specimens which may be attributed to this period. There are, -further, no traces of the manufacture even of window glass of the -commonest description.</p> - -<p>In the seventeenth century, however, there were many interesting -squabbles with regard to glass-making patents and their infringement, -and there are records of petitions to the King concerning them; but from -the Patent Roll of King James I. it appears that little was done.<span class="pagenum"><a name="page_130" id="page_130"></a>{130}</span> -Still, we have it on record that permission was given to import glass in -1675, and it is suggested that craftsmen in Ireland attempted to imitate -the work of Continental glass-workers, and various sums of money were -granted by the Universities and others interested, to assist them in so -doing. Some progress undoubtedly was made, for it is clear that by the -eighteenth century factories were in existence and glass was being -actually made in Dublin, Waterford, Cork, Belfast, and Londonderry.</p> - -<p>Some examples of early Waterford glass are, as far as shape and size go, -replicas of glasses made in England at about the same period, but the -reason for the almost immediate popularity of the Irish glass was its -perfection of colour. A fine specimen which recently came under my -notice is a preserve jar with cover (<a href="#fig_30">Fig. 30</a>), about 18 inches in -height, handsomely cut and shaped, with a square base and a fine spiked -cover. It is undoubtedly one of the finest examples of early Waterford -glass which it has been my privilege to inspect.</p> - -<p>Genuine Waterford glass is characterised by a peculiar bluish tint in -its body—due, it is generally recognised, to the presence of lead—but<span class="pagenum"><a name="page_131" id="page_131"></a>{131}</span></p> - -<p><a name="fig_30" id="fig_30"></a></p> - -<div class="figcenter" style="width: 330px;"> -<a href="images/i_130fpa_lg.jpg"> -<img src="images/i_130fpa_sml.jpg" width="330" height="212" alt="[Image unavailable.]" /></a> -<br /> -<a href="images/i_130fpb_lg.jpg"> -<img src="images/i_130fpb_sml.jpg" width="329" height="163" alt="[Image unavailable.]" /></a> -<div class="caption"><p>OLD WATERFORD GLASS WATER JUGS. 18th-19th CENTURY.</p> - -<p>FIG. 30.</p></div> -</div> - -<p class="nind">attributed by some to some peculiar quality of the flint employed, which -was obtained from pits in the vicinity. Personally, I lean to the former -hypothesis. Cork glass, on the other hand, is distinguishable by a pale -yellow or amber tint—in all probability the result of the presence of -iron. These tones are characteristic, for though the colouring of glass -has been brought by modern workers to a fine art, yet no one has -succeeded in exactly reproducing them so that, to the expert eye, the -genuine old Irish glass is unmistakable.</p> - -<p>About the year 1753 the Dublin Society offered a premium for the -establishment of a glass factory in County Cork. There seems, however, -to have been some reluctance in taking advantage of the offer, for it -was not until 1782 that the first glass factory was established there. -Then Atwell Hayes, Thomas Burnett and Francis Richard Rowe demanded -assistance from Parliament in carrying on the industry. They proposed to -erect two houses, one for bottles and one for window glass and, from -their advertisements appearing shortly after in the Irish papers, -offering to sell glass at their manufactory, and guaranteeing -satisfaction, it would appear<span class="pagenum"><a name="page_132" id="page_132"></a>{132}</span> that their venture met with considerable -success.</p> - -<p>From 1780 onward Cork exported a good deal of glass. In the year 1801 -alone, the considerable number of 111,000 drinking glasses was sent to -America, Portugal, and various other places abroad, while in the next -year there is record of 6129 dozen bottles and 40,000 drinking glasses -being shipped abroad, which indicates a considerable output.</p> - -<p>The trouble involved in founding such an industry in those days must -have been considerable. In this case, two years were taken up in -procuring the necessary concessions, but the industry, once started, -took firm root, and the advertisements appearing in the Press—in -particular, <i>The Hibernian Chronicle</i> (May 1784) and <i>The Cork New -Evening Post</i> (1792), copies of which are preserved in the Museum of -Dublin Antiquities, indicate what progress it was making and, -incidentally, possess a curious interest from their quaint wording and -setting forth.</p> - -<p>The following is an example:—</p> - -<div class="poetry"> -<div class="poem"><div class="stanza"> -<span class="i0">“With choicest glass from Waterford,<br /></span> -<span class="i1">Decanters, Rummers, Draws, and Masons,<br /></span> -<span class="i1">Flutes, Hob-nobs, Crofts, and Finger Basins,<br /></span> -</div></div> -</div> - -<p><span class="pagenum"><a name="page_133" id="page_133"></a>{133}</span></p> - -<p><a name="fig_31" id="fig_31"></a></p> - -<div class="figcenter" style="width: 326px;"> -<a href="images/i_132fpa_lg.jpg"> -<img src="images/i_132fpa_sml.jpg" width="326" height="161" alt="[Image unavailable.]" /></a> -<div class="caption"><p>OLD WATERFORD BOWLS. 18th-19th CENTURY.</p></div> -</div> - -<div class="figcenter" style="width: 319px;"> -<a href="images/i_132fpb_lg.jpg"> -<img src="images/i_132fpb_sml.jpg" width="319" height="172" alt="[Image unavailable.]" /></a> -<div class="caption"><p>OLD ENGLISH AND IRISH CELERY BOWLS.</p> -<p>FIG. 31.</p></div> -</div> - - -<div class="poetry"> -<div class="poem"><div class="stanza"> -<span class="i0">Proof Bottles, Goblets, Cans, and Wines,<br /></span> -<span class="i0">Punch Juggs, Liqueurs, and Gardevins,<br /></span> -<span class="i0">Salts, Mustards, Salads, Butter keelers,<br /></span> -<span class="i0">And all that’s sold by other dealers.<br /></span> -<span class="i0">Engraved or cut in newest taste,<br /></span> -<span class="i0">Or plain—whichever pleases best.<br /></span> -<span class="i0">Lustres repaired or Polished bright,<br /></span> -<span class="i0">And broken glasses matched at sight.<br /></span> -<span class="i0">Hall globes of every size and shape,<br /></span> -<span class="i0">Or old ones hung and mounted cheap.”<br /></span> -</div></div> -</div> - -<p>In style, as we have already said, Waterford glass closely approximates -to Old English of the Georgian period. If anything, however, the cutting -was deeper, the angles and spikes being often so sharp as to make it -dangerous to grasp the pieces tightly.</p> - -<p>Numerous table services of glass of this period exist, as well as -decanters, punch bowls, and dishes. All are deeply cut, the chief -designs being the hobnail and diamond patterns. Sometimes we find fluted -stems and finely cut spiked or striped sides. The majority of the larger -pieces, such as the punch and salad bowls, had square feet or bases -which, while possibly adding to their stability, certainly enhanced the -beauty of their appearance. The salad bowl shown on the left of Fig. 31 -is an excellent example: the<span class="pagenum"><a name="page_134" id="page_134"></a>{134}</span> collar or turn-over at the rim is -remarkable for its depth and also for its superb cutting. The bowl on -the right is a remarkable specimen of very uncommon type. 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 -edging. The base, too, is in admirable keeping with the rest of the -design.</p> - -<p>Fig. 32 is another particularly fine piece of Waterford glass, worthy of -note as an example of hobnail cutting, as well as for the depth of its -collar and its general effectiveness.</p> - -<p>The celery bowls shown in Fig. 31 are also admirable specimens. That on -the left is waisted and is “strawberry” cut. The centre one is an -example of fine fluted and diamond cutting, with a square base and domed -foot, and the one on the right has a collar and is flat cut on the -middle of the bowl.</p> - -<p>Oval or oblong dishes for fruit or sweetmeats were often made with -fan-shaped rims and sides, high in the centre, then sloping downwards, -to rise again to an equal height at the ends. Old Irish cut-glass -salt-cellars are greatly sought after nowadays for the dinner-table, and -have,<span class="pagenum"><a name="page_135" id="page_135"></a>{135}</span></p> - -<p><a name="fig_32" id="fig_32"></a></p> - -<div class="figcenter" style="width: 222px;"> -<a href="images/i_134fpa_lg.jpg"> -<img src="images/i_134fpa_sml.jpg" width="222" height="190" alt="[Image unavailable.]" /></a> -<div class="caption"><p>OLD WATERFORD CENTREPIECE, WITH A DOUBLE COLLAR AND DOME -FOOT.</p></div> -</div> - -<div class="figcenter" style="width: 325px;"> -<a href="images/i_134fpb_lg.jpg"> -<img src="images/i_134fpb_sml.jpg" width="325" height="125" alt="[Image unavailable.]" /></a> -<div class="caption"><p>A PAIR OF OLD WATERFORD PRESERVE JARS, COVERS AND STANDS.</p> - -<p>FIG. 32.</p></div> -</div> - -<p class="nind">with collectors, almost completely ousted the old Georgian silver -“salts.” They were often exquisite in design and shape, some being -miniature models of the large punch bowls or sweetmeat glasses. The -illustration (<a href="#fig_14">Fig. 14</a>) is of an imitation pair in Old Sheffield stands.</p> - -<p>The water jugs also are of exceptional interest. They were usually -shaped on a fine and graceful model, and are heavily cut into step or -deep-ringed incisions generally with massive ornamentations of leaves or -panel cuttings round the neck, and diamond cuttings and flat fluting at -the base. So eager, indeed, were certain of the designers to ensure that -no part of the jug should be without its ornamentation, that they went -so far as to adorn the handles with deep cutting <i>inside</i>, and placed a -huge, deeply cut star on the outside bottom. Weighty substance and -wealth of ornament are thus characteristic of Waterford glass, although -it is, of course, impossible to say that all Irish glass displaying -these qualities came from the Waterford houses.</p> - -<p>The jugs illustrated in Fig. 30 are among the finest specimens in -existence, and are from the Dublin Museum Collection. A careful -inspection will reveal most of the characteristics<span class="pagenum"><a name="page_136" id="page_136"></a>{136}</span> to which we have -referred. The figure on the left is the type most familiar nowadays; the -neck is step cut, the body is “strawberry,” and the base is flat fluted. -The centre piece is a jug of the earliest shape, and is curiously cut. A -band of strawberry cutting round the widest part of the body is flanked -top and bottom by bands of leaf cutting; the lip seems so -disproportionately large as to give the piece an almost top-heavy -appearance. The handle, too, is abnormally large, and is incised on the -inside. Its interest is rather more historical than artistic. The third, -on the right, is a fine example of flat cutting, the rim being scalloped -and the handle deeply scored with “niches,” besides being lavishly -ornamented. The base is curious in that it is domed—a very unusual form -for a jug.</p> - -<p>Many of the Waterford pieces, especially the preserve jars with -turn-over collars, were made with covers to protect the upper rim. These -are very attractive pieces, and are found in all shapes and sizes. The -smaller ones, both with and without collars, are exceedingly pretty and -not difficult to acquire.</p> - -<p>The four shown in Fig. 33 give an excellent idea of what to expect. Each -is distinct, both<span class="pagenum"><a name="page_137" id="page_137"></a>{137}</span></p> - -<p><a name="fig_33" id="fig_33"></a></p> - -<div class="figcenter" style="width: 327px;"> -<a href="images/i_136fpa_lg.jpg"> -<img src="images/i_136fpa_sml.jpg" width="327" height="122" alt="[Image unavailable.]" /></a> -<div class="caption"><p>IRISH BOWLS.</p></div> -</div> - -<div class="figcenter" style="width: 327px;"> -<a href="images/i_136fpb_lg.jpg"> -<img src="images/i_136fpb_sml.jpg" width="327" height="160" alt="[Image unavailable.]" /></a> -<div class="caption"><p>SPECIMENS OF IRISH PRESERVE JARS AND COVERS. 18th-19th -CENTURY.</p> - -<p>FIG. 33.</p></div> -</div> - -<p class="nind">as regards design and ornamentation. It will be interesting for the -reader to compare them and discover the characteristic features of each.</p> - -<p>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 date. Three of them are shown in Fig. 34, and it -may be of service to compare them with the four shown in Fig. 14. The -stopper of the central one is of the button type, those of the other two -being of the more common “mushroom” variety.</p> - -<p>The beautiful pair shown in Fig. 35 deserve a word of special mention. -One feature is the lavish use of step cutting round the neck and -shoulders, and another the strawberry empanelment on the body. The fine -diamond cutting and fluting of the stoppers are also worthy of notice.</p> - -<p>Drinking glasses, as we have said, were produced in large numbers. They -are generally of two types, the one barrel or bowl shaped after the -fashion of our English rummers, the other straight-sided glasses on -stems. The specimens shown in Fig. 12 give some idea of their general -style as well as of the variety of ornament employed.<span class="pagenum"><a name="page_138" id="page_138"></a>{138}</span></p> - -<p>It may be well to point out here, for the benefit of those who desire to -acquire specimens of Waterford glass, some of the many differences which -may be detected between the genuine article and its modern imitation.</p> - -<p>To begin with a simple example—the prettily shaped wine glasses of the -period with air-threaded or twisted stems are generally reproduced -accurately enough, but the twist or thread in the old glass has a -pronounced milky appearance as compared with the dead white of the -modern reproduction. The twist also is not so regular and even, and the -feet are larger and apparently slightly clumsier in the authentic -specimens. Numerous connoisseurs attach importance to the centre of the -foot, which is usually rough and uneven in the old glass. Another test -frequently relied upon by collectors is the fact of the foot being -turned over—a fashion which, it is said, was followed only with the -earliest specimens. While, however, this may provide corroborative -evidence, I should be sorry to rely upon it as a sole test.</p> - -<p>Probably the best criterion of all is the colour. It has, as I have -already noted, a dull bluish tinge readily recognisable when the -specimen is<span class="pagenum"><a name="page_139" id="page_139"></a>{139}</span></p> - -<p><a name="fig_34" id="fig_34"></a></p> - -<div class="figcenter" style="width: 294px;"> -<a href="images/i_138fpa_lg.jpg"> -<img src="images/i_138fpa_sml.jpg" width="294" height="222" alt="[Image unavailable.]" /></a> -<div class="caption"><p>OLD CORK GLASS DECANTERS (EARLY 18th CENTURY).</p></div> -</div> - -<div class="figcenter" style="width: 317px;"> -<a href="images/i_138fpb_lg.jpg"> -<img src="images/i_138fpb_sml.jpg" width="317" height="229" alt="[Image unavailable.]" /></a> -<div class="caption"><p>OLD WATERFORD DECANTERS (18th—19th CENTURY).</p> - -<p>FIG. 34.</p></div> -</div> - -<p class="nind">held up to the light. The better kinds, too, have almost invariably a -large and deep-cut star on the bottom.</p> - -<p>Cork glass is rarer than Waterford—a result due to the fact that the -Cork factories were in existence only for a comparatively short time. -The pieces, too, are slighter, less heavy, and by no means so deeply -cut. It is much frailer in appearance and, at the first glance, less -attractive; but its great beauty is a charming delicacy both of colour -and form which grows upon one’s taste. The wine glasses in particular -would at once appeal to a connoisseur from this point of view alone. The -three decanters shown in Fig. 34 need only be compared with the -Waterford decanters shown elsewhere for the lack of heavy cutting to be -immediately noticed. The centre one is interesting as being a -commemoration piece probably made in the year when the Cork Yeomanry was -formed.</p> - -<p>Irish glass was not unfrequently profusely engraved and gilt. The -gilding was done during manufacture, the gold being burnt in by the aid -of borax. In existing specimens much of the gilding has been worn off, -so that only traces remain. In cases where it has disappeared<span class="pagenum"><a name="page_140" id="page_140"></a>{140}</span> entirely -a careful scrutiny will show pits and roughnesses, indicating where the -decoration formerly stood. Sometimes the places can even be discerned by -the touch. Dutch, German, and Austrian reproductions have from time to -time flooded the market to be sold to the unwary collector as veritable -specimens of Irish art. But these on examination are found to be, as a -rule, so coarse and unfinished in their execution that the fraud is -obvious. The gilding, in particular, is far inferior to the work of the -old craftsmen, who were guided solely by the artist’s desire for -perfection, irrespective of toil or cost.</p> - -<p>Now and again specimens of Irish moulded glass crop up. These are -chiefly pint and half-pint beer glasses with fluted sides and somewhat -sparse engraving. The moulded glass is, of course, easily detected since -the edges of the fluting are rounded and blunt. The pieces themselves -are usually absurdly light if intended for Cork glass, or clumsily heavy -if they are intended to pass for the Waterford variety.</p> - -<p>A large field, therefore, opens to the average collector of Irish glass. -It is wonderfully fine and not too difficult to obtain. Many collectors<span class="pagenum"><a name="page_141" id="page_141"></a>{141}</span></p> - -<p><a name="fig_35" id="fig_35"></a></p> - -<div class="figcenter" style="width: 222px;"> -<a href="images/i_140fpa_lg.jpg"> -<img src="images/i_140fpa_sml.jpg" width="222" height="222" alt="[Image unavailable.]" /></a> -<div class="caption"><p>18th CENTURY CUT GLASS WATERFORD DECANTERS.</p></div> -</div> - -<div class="figcenter" style="width: 324px;"> -<a href="images/i_140fpb_lg.jpg"> -<img src="images/i_140fpb_sml.jpg" width="324" height="106" alt="[Image unavailable.]" /></a> -<div class="caption"><p>18th CENTURY FINGER BOWL.</p> - -<p>FIG. 35.</p></div> -</div> - -<p class="nind">too, in their desire to acquire only the earliest specimens, overlook -the cut glass altogether as too modern. In spite of this Irish cut glass -is now more valuable and far more sought after than any other. After -exhaustive inquiries I am satisfied that in Ireland, England, France, -and the United States specimens of genuine Irish glass are still to be -found, 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 not.</p> - -<p>A little personal experience may be worth repeating here. I was in a -small, dilapidated general shop near the London Docks; the shopkeeper, -fancying he detected in me a possible victim, drew my attention to a -pair of celery glasses and began to descant upon their age, the -difference between them and Cork or Bristol glass, and so on. After I -had examined them carefully and satisfied myself that they were -genuine—they were about 10 in. high with a very thin herring-bone -cutting upon their flat-cut sides—I asked the price, which was absurdly -high; then, disclosing my identity, I asked what he would say if I told -him they were not genuine but only reproductions. To my utter -astonishment,<span class="pagenum"><a name="page_142" id="page_142"></a>{142}</span> he exclaimed that he “must have been done.” The -price—“if they were any use to me”—dropped considerably. Then I told -him they were genuine, and sent a friend of mine, who is a collector, to -purchase them, 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 articles.</p> - -<p>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 “finds.” Speaking generally, the ordinary shopkeeper’s -knowledge is of the most superficial type and should never be relied -upon, while, of course, his interest lies entirely in one direction.</p> - -<p>Research fails to throw much light upon the glass factory of -Londonderry, nor is it easy to find pieces bearing indisputable proof of -their origin. But it is a fact that in 1820 one John Moore transformed a -sugar establishment in that city into a glass factory and, with his son, -carried on the manufacture until 1825. Then a prohibitive duty stopped -it. It is possible that only the black ale bottles were manufactured -there. As for the glass exported from Londonderry to<span class="pagenum"><a name="page_143" id="page_143"></a>{143}</span> America, it is -difficult to determine whether it was manufactured in that city or -merely exported thence. The latter is the more probable, since by the -Act of 1746 a duty of 9s. 4d. was imposed on every cwt. of material used -in making Crown plate, flint, and white glass in Ireland, as against a -duty of 2s. 4d. per cwt. in England, from which it will appear that -Ireland in those days had no great incentive to manufacture glass in -opposition to England.</p> - -<p>It is almost impossible to obtain authentic examples of the work of -individual Irish factories. Nor can one state with any degree of -certainty that a certain pattern, cutting, or style is identified with -any one factory or another. Both the Waterford and Cork glass firms came -from England, and brought with them English workmen. Hence it is pretty -certain that the designs and styles adopted by them were replicas of -those utilised in England, and not peculiar to Ireland or copies of -ancient Irish relics. So, too, with the ornamentation.</p> - -<p>Possibly some of the earliest Waterford glass was gilt, for in 1784 one -John Grohl obtained a concession for this purpose. A native of Saxony, -he probably brought with him the secret of his<span class="pagenum"><a name="page_144" id="page_144"></a>{144}</span> art, for the -“disclosure” of which he and a certain John Hand were rewarded by the -Dublin Society. The finest diamond cutting, strawberry cutting, and flat -fluting were done at Waterford; but pieces were not always cut at their -place of manufacture. Thus we hear of a Waterford dish going to Cork for -ornamentation with the characteristic designs of the factories there. -The cutters, too, had often to decorate their pieces to the purchaser’s -taste.</p> - -<p>There seems to have been little coloured glass made in Ireland, although -specimens are not unfrequently offered for sale. The writer was offered -recently, on the Continent, some “Old Irish glass” of perfect -colouring—deep blue, red, and yellow, with fine heavy cutting—but the -lightness of the pieces proved them modern, probably from some Dutch -factory.</p> - -<hr style="width: 45%;" /> - -<p>In concluding this chapter a word may be given to Scottish glass, which -is very like Irish in texture, although its existence is commonly -ignored by collectors and writers alike. As an industry glass-making -was, of course, of little importance in Scotland, but it is interesting -to learn that in the reign of James VI., John Maria<span class="pagenum"><a name="page_145" id="page_145"></a>{145}</span> dell’ Aqua of -Venice was appointed Master of the Glass-Works in Scotland. The famous -liqueur glass shaped like the flower of the thistle was probably from a -Bohemian original. It is heavily cut, with an acorn bottom upon a round -stem, and reproductions can be seen in almost every shop window that -displays glass. Early examples are difficult to obtain and their -genuineness equally difficult to guarantee. It is assumed that many of -the Jacobite glasses were manufactured in the Scottish factories. -Secrecy being absolutely essential, it is hardly necessary to state that -no authentic records of production are to be found.</p> - -<p>The courtesy of the authorities of the Dublin Museum has enabled me to -add another, and, from a collector’s point of view, a most interesting, -section on the subject of Irish glass.</p> - -<p>The museum possesses one of the finest collections of Old Irish glass in -existence, many pieces from which are reproduced in the illustrations to -this chapter. These illustrations are of pieces as nearly perfect as it -is possible to obtain, and are therefore useful in enabling the -collector to form a standard as regards this particular form of glass.</p> - -<p>The three decanters illustrated in Fig. 34 are<span class="pagenum"><a name="page_146" id="page_146"></a>{146}</span> undoubtedly Cork glass. -Apart from the fact that the centre one bears an inscription, “Success -to Cork Yeomen,” 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 factories.</p> - -<p>The drinking glasses (<a href="#fig_12">Fig. 12</a>) are also undoubtedly Irish, of about the -same period, and probably came from Waterford. The reader should -carefully note the cutting of the two end pieces; they are of totally -different types, each being perfect in its own style. That on the left -has the hobnail cutting common in England about the time when the Irish -factories were first established. 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 Ireland.</p> - -<p>The end glass on the right-hand side is an excellent example of the -grace, beauty, and simplicity associated with the best Waterford pieces; -its flat-cut sides are characteristic of its place of origin. I have -occasionally seen similar specimens in London, and they have always -appealed to me as the most perfect examples of<span class="pagenum"><a name="page_147" id="page_147"></a>{147}</span> the Irish drinking glass -of the eighteenth century. The other two specimens are of the same type -as the English rummers or punch glasses; they are prettily engraved, and -make an effective contrast to the other glasses of the same period.</p> - -<p>Irish cut-glass decanters and stoppers, such as the specimens -illustrated in Fig. 34, are not difficult to find nowadays if one is -expert enough and careful enough to avoid the many imitations that -exist. High prices are demanded for genuine pieces in which the cutting -and colour are good, and which satisfy the tests by which the -connoisseur judges the antiquity of his finds.</p> - -<p>The centre decanter has a finger-fluted base, and the length of the neck -makes it an unusual specimen. Possibly the idea was to enable it to be -more easily grasped and held when full; but the design is undoubtedly -graceful, and this is one point which the amateur collector should never -ignore when seeking to make a worthy collection. It is well to bear in -mind both artistic merit and intrinsic worth.</p> - -<p>Two other fine early specimens of Waterford glass are illustrated in -Fig. 31. The “collared” or turn-over flower bowl is a fine example<span class="pagenum"><a name="page_148" id="page_148"></a>{148}</span> of -eighteenth-century work. The cutting, it will be seen, is entirely -different from that of the piece on the right; for whereas the latter is -entirely flat cut, with the exception of its finely scalloped edges in -the former, the whole design is finished in the “fluted” style. In both, -as in most pieces of the kind and period, the “dome” or hollow foot is -found.</p> - -<p>The large glass dish on a stand on the other side is almost unique. Such -pieces are very difficult to find in their entirety; indeed, the only -other existing, to my knowledge, is in the Marquis of Bute’s collection. -Perfect specimens are hardly obtainable now except when a fine -collection is dispersed at the death of its owner. Even then, as all -such notable pieces are well known to collectors, the competition for -them is very keen, and the private buyer, unless his purse is of the -“bottomless” kind, is hardly likely to obtain them. Occasionally one -may, by happy accident, come across a really fine piece in some -unexpected quarter, but such chances are few and far between. Moreover, -there is always between the finder and his find the spectre of the fake -merchant, whose wont it is to plant his most seductive wares in -out-of-the-way<span class="pagenum"><a name="page_149" id="page_149"></a>{149}</span> places, so as to give them a fictitious appearance of -genuineness. No important piece should ever be purchased without an -inquiry into its history. It ought to be possible in every such case to -discover sufficient as to its origin and former ownership to place its -<i>bona fides</i> beyond doubt; if not, it is best to let the apparent -bargain go.</p> - -<p>I remember, not many years ago, waiting upon a lady in a very ordinary -house in a London suburb. She had replied to an advertisement in which I -had offered to purchase old glass. A glance was sufficient to show me -that her collection contained nothing likely to appeal to my taste. Yet -I did have a find; for she had, in addition to what I saw at first, two -dishes somewhat similar in shape to a large fruit dish, but with the -cipher C.R. cut upon each (<a href="#fig_36">Fig. 36</a>). These were actually made and -presented to Queen Charlotte on a visit which Her Majesty paid to some -glass-works during a tour in Ireland. Their authenticity was guaranteed -by a letter from an old tutor of the Queen relating the circumstances -and handing down the pieces as a relic. The owner asked £15 for them. -Needless to say, they changed<span class="pagenum"><a name="page_150" id="page_150"></a>{150}</span> hands, only to do so again shortly after, -and this time at the enhanced and respectable figure of fifty-five -guineas. In spite of their beauty and their apparent air of genuine -antiquity, I should have hesitated to purchase them but for the -additional evidence afforded by the letter. One cannot be too careful.</p> - -<p>The sweetmeat glasses (<a href="#fig_11">Fig. 11</a>) are particularly fine of their kind. -Each has its individuality: the one has an opal-twisted stem with a -“dome” foot and a finely cut edge, whilst the other displays some -exquisite cutting both on the upper part and the base. These, again, are -uncommon pieces, not to be met with every day nor easily procured when -met. Still, they make a more frequent appearance at sales than the -larger pieces. A more ordinary variety is not so high and has flat sides -and cutting. A genuine specimen, though, is not to be despised, but the -type is one very freely imitated.</p> - -<p>Some fine celery bowls of the same period are worthy of note. They are -excellent specimens of the art of glass-cutting both as regards design -and finish, and they are somewhat rare. As much as seven or eight -guineas was recently asked in the West End of London for a<span class="pagenum"><a name="page_151" id="page_151"></a>{151}</span></p> - -<p><a name="fig_36" id="fig_36"></a></p> - -<div class="figcenter" style="width: 407px;"> -<a href="images/i_150fp_lg.jpg"> -<img src="images/i_150fp_sml.jpg" width="407" height="190" alt="[Image unavailable.]" /></a> -<div class="caption"><p>FIG. 36—SPECIMENS OF IRISH GLASS.</p></div> -</div> - -<p class="nind">plain example with a slight herring-bone cutting. It was certainly -genuine, but was hardly a supreme specimen of the decorative cutter’s -art. The price, however, will give some idea of what would be asked for -such superb specimens as those reproduced in the photograph.</p> - -<p>The Old Irish water jugs shown in Fig. 30 are of the earliest type. That -on the left is the pattern most often seen and most generally copied; in -fact, during the Early Victorian era most jugs were of this design. It, -however, originated in the Irish factories.</p> - -<p>The centre piece, as well as the jug on the right, are both rare; -possibly the style was not often repeated. Certainly the tremendous -handle placed upon the centre one gives it a most clumsy appearance, -while, in regard to the one on the right, one cannot help feeling there -is something wanting at the base. They were improved upon towards the -middle of the nineteenth century, when smaller handles and firmer bases -were added to the design.</p> - -<p>It is curious to note how in this kind of glass the strawberry, or flat, -square style of cutting, prevails. Traces of it appear upon almost every -article, so that it was evidently a favourite form<span class="pagenum"><a name="page_152" id="page_152"></a>{152}</span> of decoration, and -was possibly regarded as a relief from the flat, scalloped, or slip -cutting then in vogue.</p> - -<p>On the plate (<a href="#fig_33">Fig. 33</a>) there are examples of sugar basins or bowls, in -which the cutting is of the same kind, save that the specimen on the -right is “flat” cut, with cut steps. This variety is particularly rare, -and consequently highly prized among collectors. They are usually of -stout, heavy glass, the cutting being very deep and the edges of the -“flats” sharp. These traits will, of course, not help the collector to -discriminate between the veritable antique and its modern replica. But -it should be borne in mind that the modern is invariably more brilliant, -has a whitish look, and is “cleaner” in every detail than the real glass -of this period.</p> - -<p>It may be mentioned that the centre bowl, although particularly -attractive, is by no means so rare as other specimens figured in this -chapter. Indeed, pieces of this character and design are frequently to -be procured. Still, a genuine piece is well worth the collector’s -attention.</p> - -<p>The same plate (<a href="#fig_33">Fig. 33</a>) illustrates some rare pickle or jam jars, -displaying among them all the principal cuttings then in vogue. The end<span class="pagenum"><a name="page_153" id="page_153"></a>{153}</span> -one on the right is the only exception, having an engraved -ornamentation. These specimens are frequently copied, but originals are -still to be obtained.</p> - -<p>The Cork houses, the product of which was finer and slighter than other -Irish glass, turned out a great quantity of these. Prices run from six -guineas upwards. They are copied in great number in Holland, often in -small sizes and with flat cutting, so that care must be taken in -choosing. Unfortunately the distinctive features—design, colour, and -shape—all readily lend themselves to reproduction and, with increasing -skill in imitation, make it exceedingly difficult to determine between -the true and the false.<span class="pagenum"><a name="page_154" id="page_154"></a>{154}</span></p> - -<h2><a name="CHAPTER_VII" id="CHAPTER_VII"></a>CHAPTER VII<br /><br /> -<small>CURIOUS AND FREAK GLASSES</small></h2> - -<p class="nind"><span class="letra">H</span><b>ITHERTO</b> we have confined our attention to what one may term the -legitimate drinking glass in its different varieties. But there were -many freak glasses and curious objects made of glass by our forefathers, -and these have a special fascination for lovers of the antique. In some -cases they appeal because of their quaintness and <i>bizarrerie</i> of form, -in others because of their purpose, while other examples have little to -commend them save their antiquity.</p> - -<p>One curious specimen which I came across not long ago was a flask in the -shape of a pair of bellows. The nozzle was closed by a cork, and there -was a hole in one handle of the bellows by which it might be suspended -from a nail in the wall. It was probably employed by some ancient -apothecary or alchemist to hold drugs. I should hardly care to dogmatise -as to its period, but it was unmistakably of English<span class="pagenum"><a name="page_155" id="page_155"></a>{155}</span> origin, and -certainly quaint and interesting enough to be worth acquiring.</p> - -<p>Among the commoner “finds” of this kind are the glass paper weights, -made with, apparently, a bunch of flowers inside, which is visible when -viewed laterally and disappears on a vertical view, when the observer -sees nothing but clear glass. I have seen many examples of this kind on -sale in shop windows in London, and the price asked is usually modest -enough even for a good specimen.</p> - -<p>In olden times it was customary to place names and dates upon the -bottles which held the best ale. Many of these are still in existence, -mostly, however, in collections. They are certainly by no means -beautiful as far as appearance goes, their interest being centred upon -the date, and upon the fact that the practice has now been obsolete for -many years. To a casual eye these ale bottles appear black, but if held -up to a strong light a greenish tinge is plainly marked. They are very -stout and amazingly tough, so that they may even be dropped upon the -ground without fear of breaking or chipping. This, by the way, is often -put forward by experts as the best test<span class="pagenum"><a name="page_156" id="page_156"></a>{156}</span> of their genuineness. The test -is, however, something on the drastic side. Moreover, dropping other -people’s bottles to test their <i>bona fides</i> is a practice hardly likely -to commend itself to the seller, and one which might prove unexpectedly -costly to the connoisseur.</p> - -<p>There are many other objects made in glass which are worthy of -note—knife-rests, rolling-pins, walking-sticks, quaintly shaped jugs, -baskets, forks, bells and horns.</p> - -<p>The knife-rests often assume most curious forms. A not unfrequent type -was that of a hound running at full stretch, fore and hind legs widely -extended, and the body coloured to nature. Salt-cellars, too, were made, -like the paper weights before mentioned, with sprays of flowers inside. -These were made in two pieces, which were fused together after the -flowers, painted on paper or thin canvas, had been placed between them.</p> - -<p>Small glasses made in the form of flowers or their petals, and glass -buttons and beads decorated (<i>sic</i>) with faces, names, dates, initials, -etc., are other examples of freakwork in glass which the amateur should -be glad to acquire.</p> - -<p>Possibly one, more fortunate than his fellows,<span class="pagenum"><a name="page_157" id="page_157"></a>{157}</span> may chance across a -“toddy-lifter.” At first sight this bears a distinct resemblance to a -tiny decanter; on examination, however, it will be found to be without -either bottom or stopper.</p> - -<p>The toddy-lifter, as its name implies, was used instead of a ladle for -filling glasses with punch or toddy from the bowl. The open bell of the -lifter was dipped into the liquid and at once filled. Then the opening -at the top was closed by the finger and the “lifter” raised out of the -bowl, the contents being retained in it by atmospheric pressure until -the finger was removed from the top, when the contents were discharged -into the consumer’s glass. One would imagine that a ladle would prove -equally useful and more convenient. Possibly, however, the fact that the -toddy-lifter never spilt a drop of its contents, however unsteady the -hand that held it, was not without its advantages in a hard-drinking -age. Similar pieces of Scottish origin may be found. These are usually -more club-shaped, and are even rarer than the English examples.</p> - -<p>None of the foregoing pieces is particularly difficult to acquire, and -it is comparatively easy, therefore, to form an adequate collection<span class="pagenum"><a name="page_158" id="page_158"></a>{158}</span> of -really fine specimens. By fine I do not, of course, mean rare or -exceptional pieces, but specimens of sterling merit of which the -collector may be proud and which are likely to increase in value. They -are mostly in the hands of people who have no conception of their -merits, either pecuniary or artistic.</p> - -<p>A few years ago I found in an old book shop quite a collection of old -Bristol glass paper weights. 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 identity. One particularly fine -specimen was used as the lid of an old glass ink-pot. Its owner readily -parted with it as a thing of no value, for a few pence. 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 -merits.</p> - -<p>Freak glasses proper include yards and half-yards, boots, cocked hats, -frog glasses, and trick glasses designed to send their contents anywhere -but in the direction which the would-be consumer intended.<span class="pagenum"><a name="page_159" id="page_159"></a>{159}</span></p> - -<p>The yards and half-yards are great curiosities; they resemble nothing so -much as a coaching horn in shape and size. There are two kinds, the one -the genuine old Cambridge ale-yards, 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 face, to his great -discomfiture and the huge delight of the onlookers, who had probably -arranged the whole thing for the benefit of some innocent person.</p> - -<p>Unfortunately, in the sudden start with which the drinker received the -unexpected disposition of the contents of his glass, the vessel itself -was so frequently damaged that specimens of ale-yards are very difficult -to obtain. It will be noticed that in our illustration (<a href="#fig_37">Fig. 37</a>) the -specimen is cracked near its mouth. It need hardly be said that any -collector who is fortunate enough to obtain an example in reasonably -good condition may esteem himself fortunate.</p> - -<p>As to the reason of the sudden emptying I cannot do better than quote -from Mr Hartshorne, an old friend and the greatest authority on Old -English glass.<span class="pagenum"><a name="page_160" id="page_160"></a>{160}</span></p> - -<p><a name="fig_37" id="fig_37"></a></p> - -<div class="figcenter" style="width: 304px;"> -<a href="images/i_160a_lg.png"> -<img src="images/i_160a_sml.png" width="304" height="277" alt="[Image unavailable.]" /></a> -<div class="caption"><p>Masonic, Toasting, and Freak Glasses.</p></div> -</div> - -<div class="figcenter" style="width: 303px;"> -<a href="images/i_160b_lg.png"> -<img src="images/i_160b_sml.png" width="303" height="41" alt="[Image unavailable.]" /></a> -<div class="caption"><p>An Early Cambridge Yard Ale Glass.<br /><br /> -<span class="smcap">Fig. 37.</span></p></div> -</div> - -<p><span class="pagenum"><a name="page_161" id="page_161"></a>{161}</span></p> - -<p>“The trick yard glass arose from the knob at the end of the footless -one. It was found that on expanding into a bulb the ‘knob’ or ‘knot,’ -the difficulty of emptying the vessel was greatly increased, 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 drinker.”</p> - -<p>This was by no means an uncommon occurrence in wayside inns of the -seventeenth century, the spectators often betting upon the result.</p> - -<p>At the annual “Vinis” of the Mock Corporation of Hanley, Staffs, the -initiation of a member included the drinking of a yard of port, while -the freeman of Stoke-on-Trent had as a preliminary to admission to -dispose of a yard of ale.</p> - -<p>To “floor the long glass” at Eton is also an accomplishment which many -never achieve.</p> - -<p>I have seen many fine specimens, notably one belonging to my old friend, -Mr John George Mortlock of Cambridge; but it is rare to find them -undamaged, the involuntary jerk of the victim who finds the liquid -splashing into his face being usually fatal to the unwieldy glass.</p> - -<p>Another similar example is furnished by such<span class="pagenum"><a name="page_162" id="page_162"></a>{162}</span> glasses as that shown in -Fig. 37. On the one side it is marked “King,” on the other “Tinker.” The -“innocent” invited to drink was asked to choose from which side he would -drink, and, prompted by loyalty, vanity, or pure folly, he was almost -certain to drink with the king rather than the tinker. But artfully -concealed in the band of decoration round the rim was a series of small -holes, through which, when the glass was tilted, the liquor ran, soaking -the drinker’s waistcoat instead of finding its way down his throat.</p> - -<p>Possibly the old coaching glasses may fitly find a place in this -connection. They are without feet, the stem ending in a bulb which was -often cut. When, in the old coaching days, the vehicle pulled up at a -wayside inn, the landlord brought out his tray with the glasses inverted -upon it. They were filled from the bottle and emptied at once—the idea -being that as the drink would have to be consumed at once, there was no -need to make the glass so that it could be set down while the liquor was -only partly consumed. These are now rare, and to discover one would be a -great achievement for the ordinary collector.<span class="pagenum"><a name="page_163" id="page_163"></a>{163}</span></p> - -<p>One may also mention the singing glasses, which were made to vibrate to -a certain musical note, and so would repeat the note when sounded or -sung, just as the string of a piano or violin will do. This, of course, -was a great mystery to unscientific persons, but is susceptible of a -very simple explanation. Evelyn was greatly puzzled over the phenomenon. -Certain glasses, he remarked, “made an echo to the voice, but were so -thin that the very breath broke them.” The fact is, of course, that the -glass broke through the intensity of its own vibration, just as a pane -of glass in a church window will sometimes break when the organ is used. -The note played having the same period of vibration as the pane of -glass, the latter vibrates in unison with it, and if the note is -continued for sufficiently long, the vibration becomes so intense as to -break the pane. It is for an exactly similar reason that a regiment of -soldiers breaks step when marching over a bridge, for fear that the -rhythm of the march might chance to coincide with the period of -vibration of the bridge, and so set up rhythmic movements which might -weaken the structure.</p> - -<p>Such glasses are distantly allied to the musical<span class="pagenum"><a name="page_164" id="page_164"></a>{164}</span> glasses which, when -filled up to a certain point, produce a musical note when the bowl is -thrown into vibration by the finger or a violin bow. By filling such -glasses to different heights, it is possible to produce a complete -scale, and so to play any desired tune.</p> - -<p>Other freak glasses take the form of boots—some of these are quite -elaborate, the lacing being imitated in glass-work, as also were spurs, -straps, etc. The “boot” glass used to express the popular execration of -Lord Bute has been already referred to in the chapter on Commemorative -Glasses. Then there are cocked hats, various birds and beasts, all -highly inconvenient for the purpose for which a glass is intended, but -all associated with some idea, family crest, or particular superstition. -There are glasses from which, though apparently full, it is impossible -to drink; there are others, with tiny electric bulbs in the base, which -light up on the pressure of a button, irradiating the contents with a -glow of light and adding I know not what meretricious attraction to the -contents. These, I need hardly say, are modern, and have no real place -among Old English glass. One I remember was formed at the base into the<span class="pagenum"><a name="page_165" id="page_165"></a>{165}</span> -semblance of an eye, with the legend “Eye-water,” a description of the -probable contents, which, it is to be feared, was borne out neither by -their destination nor their character—unless, indeed, they were of so -potent a nature as to bring the water into the bibber’s eyes.</p> - -<p>Another curious example had engraved upon the inside of the bottom the -figure of the gallows-tree, with its ghastly fruit, and the grim legend -“The last drop.” Whether the maker was a humorist or a temperance -reformer anxious to point his moral in the most effective way, I am -unable to decide.</p> - -<p>Somewhat similar are the glasses which have a frog or a snake at the -bottom, possibly with the idea of giving a mild surprise. There are many -other varieties. Indeed, the production of freak glasses was only -limited by the imagination of the time that produced them, and by its -capacity for amusement, and had no relation to taste. They are rarely -produced nowadays: possibly we have become more exacting and less easily -amused than our ancestors. This is a serious and a utilitarian age.<span class="pagenum"><a name="page_166" id="page_166"></a>{166}</span></p> - -<h2><a name="CHAPTER_VIII" id="CHAPTER_VIII"></a>CHAPTER VIII<br /><br /> -<small>FRAUDS AND IMITATIONS</small></h2> - -<p class="nind"><span class="letra">P</span><b>RESUMABLY</b>, as long as there is a demand for old glass, there will be -found persons sufficiently unscrupulous to attempt to eke out the very -limited supply of the genuine article by imposing upon the credulity, or -ignorance, of collectors, and supplying them, greatly to the vendor’s -advantage, with more or less colourable imitations of what they desire.</p> - -<p>I have in a previous chapter dealt with certain experiences of my own -with regard to “Fiat” glasses. That, however, was only by the way. The -subject of frauds and imitations in Old English glass is of quite -sufficient importance to warrant a chapter to itself. There is, -probably, no department of the “antiques” beloved of the collector in -which there is so much room for fraud as in Old English glass, and there -is certainly none in which imitation has been carried to a finer point.<span class="pagenum"><a name="page_167" id="page_167"></a>{167}</span></p> - -<p>One can hardly blame the manufacturer for this. The demand for old glass -is much larger than the supply, and the collector, who is desirous of -nothing so much as to complete his “set,” is insistent in his inquiries. -But the trouble comes when a reproduction, altogether admirable in -itself, 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 rarity.</p> - -<p>I saw, not long ago, in a silversmith’s in the south of England, a great -number of specimens set out for sale as genuine old glass, at a price -corresponding to their supposed value, but every piece, without -exception, belonged to what a connoisseur would term the “bad age,”. -<i>i.e.</i> anything from the year 1850 onwards. The dealers must have known -its period and its worth, or rather its worthlessness, and yet they -allowed it to be sold as the real thing. Unfortunately, this is no -uncommon occurrence, and it is a pity that the practice cannot be -checked. The ordinary trader is not permitted to sell margarine as -butter, or the publican manufactured spirit as pure grape brandy, but -the dealer in antiques seems to claim a special licence to<span class="pagenum"><a name="page_168" id="page_168"></a>{168}</span> impose upon -the unwary, and may with impunity—or, at least, often does—pass off as -rare specimens of ancient craftsman’s work things which to the seeing -eye are obvious and clumsy frauds, and virtually worthless.</p> - -<p>Nor is the large dealer the only culprit. Small second-hand shops teem -with “faked” antiques, and many of these, and also certain pawnshops, -make a great part of their profit out of the unwary and unskilled hunter -for bargains in glass, china, engravings, sporting prints, and all the -other objects that tempt a collector’s eye.</p> - -<p>Fig. 14 illustrates a common type of such bargains. These pieces were -procured at a pawnbroker’s establishment in South London. They are -obviously imitations of Early Georgian salt-cellars, but they were -offered to the author as “genuine old Waterford sweetmeat dishes,” and -then as “perhaps salt-cellars,” and finally as “old glass ice-cups,” at -a price dwindling from 31s. 6d., through 25s. to 15s., at which I -purchased them as “awful examples” of the fate that awaits the collector -who goes bargain-hunting in antiques with an enthusiasm greater than his -knowledge.<span class="pagenum"><a name="page_169" id="page_169"></a>{169}</span></p> - -<p>It is difficult to lay down any hard and fast rule by which to test the -genuineness of specimens discovered in this haphazard way. Possibly the -best is the colour “test.” Does it look right in colour?—not too green -and not too steely, for crafty imitators often tend to overdo these -qualities. Does it bear too evident signs of age? One has heard of chips -and “hair” 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 vendor. 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 colour, sharpness of cutting and design, -and so on. With caution you may expect now and again to pick up in this -casual way some pieces worthy of your attention, and maybe once or twice -a specimen worth its place in any collection. For good examples of glass -and china have been known to be pawned for a fraction of their worth, -neither the depositor nor the pawnbroker having the slightest inkling of -their value. But the shops above all others to be shunned by the picker -up of unconsidered trifles are the shops<span class="pagenum"><a name="page_170" id="page_170"></a>{170}</span> whose windows scream, by the -aid of plastered tickets, of the “special bargains” to be obtained -within. The collector may well abandon hope who enters here; there is -probably not a genuine piece in the place. If there is it occupies a -prominent place as a decoy duck, and is generally marked at an absurdly -low price, the salesman depending on his knowledge of human nature to -foist off something else on the unwary or diffident customer. I have -had, on occasion, an unholy joy in entering some such place and -defeating all the efforts of the salesman to divert my attention, -carrying off the only decent piece in the place at a price possibly -fifty per cent. lower than its intrinsic value. But such pleasures are -not for all nor, indeed, for many. In actual practice the would-be -purchaser is generally told that that particular specimen is not for -sale, that “a customer had left it to be valued,” “that it had been put -in the window by mistake,” or some other cock-and-bull story.</p> - -<p>Other places to be shunned are the sham Oriental bazaars where Eastern -jewellery, Japanese ivories, jars, fans, beads, etc., are sold. Many -such establishments cater expressly for<span class="pagenum"><a name="page_171" id="page_171"></a>{171}</span> the unwary and unwise -collector. He will find, if his hobby be glass, glass of all kinds and -descriptions from Elizabethan downwards, and will be treated with such -charming solicitude and deference that he may well become blinded to the -fact that the whole stock is counterfeit, and that the whole atmosphere -of the place is specially designed to conceal that awkward but essential -fact. The cheat is assisted by the delightful courtesy of the -saleswoman.</p> - -<p>But apart from the scores of recognised ways in which this nefarious -business of planting frauds on the innocent is carried on, there are -many less obvious and consequently more dangerous traps for the unwary. -Of these one only hears from the victims themselves. Thus one, attracted -by a specimen in a shop window, may become an interested listener to a -conversation in which the beauty of the said piece and its phenomenal -cheapness are the theme. It probably never occurs to the dupe that the -respectable-looking lady and gentleman are in the employ of the -shopkeeper, and that their conversation was arranged entirely for his -benefit.</p> - -<p>Then comes the great question of sales, private or otherwise. There is -the complete clearance<span class="pagenum"><a name="page_172" id="page_172"></a>{172}</span> owing to the proprietor’s death. There is a -window full of miscellaneous stock, including certain good pieces. There -is also the notice, “Nothing sold until the 21st.” By the 21st the few -good pieces, having achieved their object, have disappeared. But the -crowd they have attracted is there, and is there with the intention of -buying—and buys! Again, there is the family compelled by misfortune to -realise immediately all its assets, and in so doing to sacrifice -everything. Who would not pick up a bargain when to do so is to do a -good turn?</p> - -<p>All such methods are transparent enough if one stops to consider and to -analyse. But how seldom one does!</p> - -<p>A very fine and lucrative trade is carried on in Old Bristol and Nailsea -glass, for the reason that in no other kind of glass is it so difficult -to distinguish the false from the true. The milky white surface lends -itself particularly to imitation. I remember some specimens brought to -me by a well-known collector. They were a pair of small bottles, pepper -and vinegar, and my visitor was mightily proud of his “find” and his -bargain. But on a careful examination I fear that he realised, with some -sense of discomfiture, that<span class="pagenum"><a name="page_173" id="page_173"></a>{173}</span> the “deceased ancestor” who had been -dangled before him was something of a myth, and that the specimens were -only modern reproductions and probably foreign at that. To my surprise, -on visiting a local museum on the West Coast recently, I found the same -two pieces exhibited as specimens of early Bristol glass. The best test -for this description of glass is carefully to scrutinise the decoration -with a strong magnifying glass. The magnification will reveal alike the -perfection of the workmanship of the real old Bristol manufacture and -the poverty and roughness of the imitation. Further, Bristol glass is -soft to the touch, with a beautiful smooth body. Often, too, on turning -the glass upside down you find in the centre a clear spot devoid of the -opal tint, probably due to the workman running all his colour off at -this point. The “fake” will probably in addition to being rough in -texture be light in weight and of a milk and watery hue, possibly even -with a greyish tinge.</p> - -<p>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 Austria, -and although there<span class="pagenum"><a name="page_174" id="page_174"></a>{174}</span> is every probability that the influx will cease for -some time to come, yet there is, unfortunately, from the point of view -of the amateur collector, already in existence—in England and -America—so large a number of specimens of Bristol and Nailsea glass -with a strong Teutonic “accent” that there is no likelihood of a dearth -of it for some years to come. And although much of it bears such obvious -traces of its origin that “he who runs may read,” yet much is so -perfectly cut and so similar in appearance to the genuine ware that the -amateur is likely to be deceived, and particularly the amateur who, -having learned the characteristics of this make of glass, looks for them -in his “find.” He will certainly discover them, for is it not the -business of the astute manufacturer of fakes to see that they are there? -His business depends upon his ability to deceive the would-be -connoisseur, to whom, in this case, the possession of a little knowledge -is an infinitely dangerous thing.</p> - -<p>The commonest examples of high-class frauds are dishes, salt-cellars, -decanters, and preserve jars. All such should be subjected to a most -careful examination. If the characteristics you have expected to find -are particularly evident,<span class="pagenum"><a name="page_175" id="page_175"></a>{175}</span> all the more caution is necessary. Even then -you will probably find that you will have to pay for your experience. -For your comfort in misfortune, I may say that I have never yet met a -collector who had not, in the beginning, fallen a victim to the wiles of -the “fake-house.” And only by the experience so gained—and -unfortunately paid for—has he learnt to shun the net that is spread, in -vain, in the sight of any “old” bird. But the process is often a lengthy -one.</p> - -<p>My advice is that when any find appears to be doubtful or, worse, -appears too good to be true, to take it on approval for a day or so, or -purchase it on condition that you receive the full amount paid if the -article is returned safe and sound within, say, a week. You will not -find it difficult to secure such an agreement—only get it in writing. -If the dealer will not consent, and you have made up your mind, take a -day to think over it, and then take your risk and buy. If you have made -a mistake you will probably discover it, and will not repeat it.</p> - -<p>A friend of mine boasted some years ago that he had never made a bad -mistake in judging glass, because he had “kept his eyes open,” and -invariably asked some one who “knew” to<span class="pagenum"><a name="page_176" id="page_176"></a>{176}</span> accompany him whenever he -thought he had discovered a piece worthy of being added to his -collection; but, alas! during a summer holiday spent among the Irish -lakes he fell a victim. The lady who was the vendor had evidently kissed -the Blarney stone, and as she was moving and the matter was urgent, a -price—a tall one—was fixed on the spot, and my friend became the -possessor of a remarkably fine collection which expert examination -proved to be entirely of Dutch extraction. And the moral! Well, had he -in the beginning relied upon his own judgment he would have made -mistakes, but he would, at the same time, have acquired first-hand -knowledge and have escaped a serious disaster.</p> - -<p>One often finds replicas of old glass moulded; and as moulded glass was, -of course, the earliest kind, the pieces seem to acquire a spurious -value. Moulded glass with its heavy, thick appearance and its rounded -edges lends itself easily to imitation. But the reproductions are often -made in common glass, which gives itself away to the touch. One need -hardly be an expert to detect common glass by its feel and texture.</p> - -<p>It must not be assumed that the best method<span class="pagenum"><a name="page_177" id="page_177"></a>{177}</span> of forming a collection is -to pick up those pieces which appear to be cheap. Real old glass, like -other genuine antiques, is greatly sought after and commands a highly -respectable price. This question of price is really a considerable -factor to the amateur collector. His aim should be to get a complete -collection, however small, and his danger that of duplicating, simply -because he sees a specimen cheap. “Oh, I must have that; I gave nearly -twice as much for the one I have,” is a sentiment often heard. But the -collector must eliminate duplicates unless he aims at completing a set, -say a dozen of wine glasses or finger basins. The ultimate fate of -duplicates is to be “weeded out” often at a price far below what they -cost.</p> - -<p>I remember a case in point in which a novice found himself, after a -brief experience, the owner of so large a collection that his cupboards -failed to accommodate it, and he had to have larger ones made. And yet -one shelf alone contained four barley wine glasses, five ordinary -air-twisted stem glasses, three Early English plain wine glasses, four -early finger basins, and five rummers of different shapes—all of the -most ordinary type.</p> - -<p>When by experience he had acquired wisdom<span class="pagenum"><a name="page_178" id="page_178"></a>{178}</span> these and similar articles -were sent to the sale-room. Two lots did not elicit a single bid, and -the remainder went for far less than had been paid for them. Now, -however, he possesses a good representative collection, which will be -sure to fetch, when under the hammer, a sum which will produce a -handsome return upon his expenditure.</p> - -<p>There is to-day such a craze for what is old, that it is difficult to -find anything that is not faked. I often wonder, when dining with -friends, if they are aware of the real nature and origin of the glass -they use. On the other hand, one finds in some places, particularly old -country houses, pieces almost priceless pushed away into corners as if -they were of no value at all.</p> - -<p>I remember some years ago finding in a village not far from Liverpool, -an old dame, who had passed her life as housekeeper to a wealthy -merchant, using a fine, genuine old Waterford bowl, about 18 inches in -diameter, for stewed fruit. The bowl was easily worth from eighteen to -twenty guineas, while the plates on the table were the commonest -procurable. Needless to say, that bowl is no longer in her<span class="pagenum"><a name="page_179" id="page_179"></a>{179}</span> possession, -having been replaced by a substitute of far greater appeal to her.</p> - -<p>In spite of such occasional finds as this, the amateur who in pursuit of -his hobby makes a habit of raiding old country cottages, shops, and -inns, must be exceedingly wary and look upon exceptional discoveries -with an exceedingly sceptical eye. An amusing experience that befell a -friend of the author’s—a foreign glass merchant—is perhaps worth -recounting in this connection.</p> - -<p>Arriving one day at an inn in the south of England, 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 manufacture. Entering into conversation with the -landlord, he was informed that a distant ancestor of that worthy, -soldiering in Ireland, had the fortune to render some signal service to -a native of that distressful country and was given the glass in token of -gratitude. Apart from the appropriateness of the gift, and a certain -improbability that articles of such fragility would survive the -vicissitudes of a campaign, the landlord proved not only willing but -eager to<span class="pagenum"><a name="page_180" id="page_180"></a>{180}</span> dispose of his valued heirlooms at a price unexpectedly -moderate for pieces of such antiquity and rarity. The humour of the -situation, however, developed when the prospective purchaser produced a -pocket-book and read to the astonished landlord the last order his firm -had received for “one dozen imitation antique glasses with twisted stems -at twenty-one shillings a dozen.” The difference between this and the -thirty shillings apiece which the landlord demanded left a very pretty -margin of profit.</p> - -<p>Old glass is, of course, so easily imitated that it is hardly surprising -there should be many such pitfalls in the path of the unwary, 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 deception. But it is well, wherever possible, to examine at -leisure any piece that may strike the eye, and in the surroundings which -it will occupy. Artificial light, too, is a very treacherous medium in -which to examine glass of any kind. Any find should be examined by -daylight and side by side with other pieces of whose authenticity there -is no doubt. Then with a little training he should<span class="pagenum"><a name="page_181" id="page_181"></a>{181}</span> be able to determine -with a fair degree of accuracy the genuine specimens from the false, and -this in spite of the resources of modern science, which have enabled the -“faker” to copy texture and colour with all but exactitude, and of the -skill of the workman who reproduces faithfully the form and decorations -of the original.<span class="pagenum"><a name="page_182" id="page_182"></a>{182}</span></p> - -<h2><a name="CHAPTER_IX" id="CHAPTER_IX"></a>CHAPTER IX<br /><br /> -<small>SOME HINTS TO COLLECTORS</small></h2> - -<p class="nind"><span class="letra">G</span><b>LASS-COLLECTING</b> is so full of interest that it need not be followed on -any large scale. It is equally fascinating when pursued in the humblest -fashion, by ransacking old second-hand shops in lowly districts as well -as country cottages. A nucleus is soon formed, and, that accomplished, -the collector is in the toils of his hobby, and unless he is an utter -failure, one of those hopeless and helpless folk who can never learn to -discriminate between the true and the false, he speedily acquires a -collection which has not only provided him with a delightful recreation -but is a source of considerable pride.</p> - -<p>Of course, it must not be imagined that anyone can go into a second-hand -shop, a marine-store dealer’s, or a pawnshop, and come out with a -bargain every time. Nor do I assert<span class="pagenum"><a name="page_183" id="page_183"></a>{183}</span> that every piece bought will -justify the enthusiasm of the first moments of possession. But I do say -that, given reasonable judgment, anyone may form the nucleus of a small -collection, and that with decent care in adding to it pieces that are -considered rare, genuine, and unusual, the result will be entirely -gratifying—yielding a full measure of artistic satisfaction, to say -nothing of pecuniary advantage.</p> - -<p>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 cities. Rent, rates, and large salary lists preclude any -possibility of cheapness there. And further, if I may venture to let my -readers into a secret, 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 tyro. Their statements, about glass -in particular, are often utterly unreliable. There are good firms to be -found who have expert knowledge and whose judgment may be relied upon, -but they are few and far between. The so-called expert antiquary is only -too often a victim to his own too alluring imagination. He thinks<span class="pagenum"><a name="page_184" id="page_184"></a>{184}</span> he -<i>knows</i>, “good, easy man,” when in reality fancy is building him a home -of romance, into which, unluckily, he leads his too credulous client. -And—then the disillusionment! And confidence in expert opinion vanishes -into the realm of the things that were.</p> - -<p>A friend of mine recently purchased a “Fiat” glass from a large and -famous West End house. He was assured that it was genuine, and on the -strength of that assurance paid a fair price. Within three days he was -back, furious at being deceived. They returned his money. To my own -knowledge, that particular firm has had many old wine glasses engraved -with the “Fiat” decoration and emblems. They are stored in a dark -cupboard and one only is shown at a time. There is little doubt that -many collectors have suffered from this insolent piece of trickery. -Personally, were I starting to collect glass in a small way, and for any -reason preferred not to go out into the highways and byways to gather in -what I might find, I would shun the big dealer altogether. I should -select a small man whom I had reason to believe scrupulous and -“clean”—a man with a reputation to gain and, consequently, a business -to<span class="pagenum"><a name="page_185" id="page_185"></a>{185}</span> make. Such a man will generally have had a sound training, will know -his subject, and take pleasure in justifying your confidence.</p> - -<p>The question of price is always a serious one, and it is easy to -understand the reluctance of the amateur to inquire the price of a piece -which has taken his fancy, knowing, as he does, that the sum asked may -probably be as many guineas as he may be prepared to pay shillings. Yet -a price, though high, need not necessarily be excessive; a genuine -specimen acquires value in proportion to its rarity rather than its -beauty of design or build. As to genuineness, a decent firm will readily -give a guarantee by writing upon the bill something of this nature, “We -guarantee this article to be genuine old —— glass, made and decorated -at ——, about the year ——, and in the event of the purchaser wishing to -return it within one week, we will refund in full the amount paid, -provided the article is returned in perfect condition.” A short time -limit is only fair, as the seller must protect himself against a -possible loss of sale.</p> - -<p>One word as to judging glass. It is not necessary to assume that a glass -is old because<span class="pagenum"><a name="page_186" id="page_186"></a>{186}</span> it “rings” well; yet this is a common belief. The -clearness with which a glass will ring depends on many things, the most -important being its shape. Thus finger basins, rummers, large glasses, -bowls, and preserve jars invariably ring well whether ancient or modern. -The expert will judge by texture, the colour peculiar to the variety of -glass, the shape, and the style of decoration. Even here he may readily -be deceived, all these features being reproduced with remarkable -fidelity. 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 “Early English -glass.” To all appearance it was genuine, and yet it was clearly proved -to be of Dutch, and very recent Dutch, manufacture. This Dutch glass is -imported in large quantities, but the expert eye can readily detect it. -The colour is a uniform green—a kind of deep-sea tint, and very clear. -Moreover, the ware is not nearly so heavy as the genuine Waterford, -which it resembles, and the facets of the cutting are too perfect and -sharp. The muddy-coloured glass is also frequently imitated in the Dutch -factories. Here again the weight is an important test; it is far lighter -than the genuine<span class="pagenum"><a name="page_187" id="page_187"></a>{187}</span> English product. Even the facial scratches with which -age invariably adorns the bases of all glass vessels are imitated by the -modern “fake” merchant. A brief rubbing with pumice stone or rubbing the -specimen against a stone will produce the desired effect.</p> - -<p>The best training for the amateur collector is to spend a few weeks in -examining a really good collection, say that in the British Museum or in -the South Kensington Museum. Thus the eye becomes educated to the -colour, shape, texture, style of decoration, etc., of the various kinds -of glass, and is less likely to be deceived by even the best of modern -imitations.</p> - -<p>Then there is the eternal question of price. One point should be always -before the collector’s mind: In the event of my being compelled to -realise my collection, what price may I hope to get for it? To the -collector the buying price and the selling price are intimately -connected. There is so much capital to be locked up, so much time -employed, so much skill displayed, and there should be a fair recompense -for all three. And, further, there is the ever-present risk that fashion -may change, and articles once greedily sought after may become -unsaleable<span class="pagenum"><a name="page_188" id="page_188"></a>{188}</span> because they are “out of fashion.” Of course, one obvious -way of purchasing to advantage is when others have to sell at a -disadvantage; when collections come into the market because of the death -or misfortune of their owner. At such sales I have known many bargains -picked up, although it is again necessary to emphasise the need for -wariness. Bogus sales are not unknown, and it is a common practice for -genuine sales to be “salted,” and often pretty liberally, by the -introduction of inferior imitations, in the hope that, among much that -is undoubtedly genuine, they may escape detection.</p> - -<p>I may, perhaps, be permitted to say a word as to the prices which should -be paid in the ordinary way at such sales. An old Waterford cut-glass -jug is, provided its cutting is perfect, certainly worth a five-pound -note. A very common dodge is to sell an old Waterford jug with a cracked -handle, the crack being where it is least likely to show, <i>i.e.</i> at the -top or bottom of the handle close to where it joins the body. For an -ordinary spiral wine glass 7s. 6d. to 10s. is a fair price, but glasses -with baluster stems are easily worth a guinea. Most expensive of all are -the real “Fiat” glasses: £9, £10, £15, and<span class="pagenum"><a name="page_189" id="page_189"></a>{189}</span> even more may be paid for -one. I saw one sold a few months ago for the record price of nineteen -guineas.</p> - -<p>If you come across a “Fiat” glass priced at a five-pound note, or less, -you may be sure of one of two things: either the owner does not know the -value of the piece or it is an imitation. Baluster stems are not often -to be met with, but they may well be worth anything from £1 to 30s. Of -course, in considering this question of price one must not forget that -often a fancy price is willingly paid in order to complete a set, or for -some other reason. Irish finger glasses with double lip are, roughly, -worth from 5s. to 7s. 6d., and sometimes higher prices are given for -sets of a dozen, or even half a dozen. Opaque glass is rare, and glasses -with opaque twists are worth about 15s. apiece. Masonic, thistle, and -boot glasses run about three, two, and one guinea respectively. -Salt-cellars, with their Irish flat cutting, cost anything from a guinea -each, and vinegar and oil bottles about 30s. I have purposely refrained -from mentioning any large or important pieces; there are many such -perfectly well known to the expert. It is, of course,<span class="pagenum"><a name="page_190" id="page_190"></a>{190}</span> quite impossible -to fix a price for these. As an Appendix to this book I have drawn up a -list of prices fetched by important pieces at recent sales. A large -Waterford bowl will fetch twenty-five to thirty guineas, and if its -genuineness is incontestable and its artistic merit high, it may well -bring twice that figure.</p> - -<p>Personally, I consider that the high-water mark has been reached in the -price of ordinary pieces of old glass. There is certainly a great demand -for it at the moment; but such crazes are rarely lasting, and the time -may come when antique glass, which has largely dispossessed antique -silver, will itself fall into disfavour before the onset of some newer -fancy.<span class="pagenum"><a name="page_191" id="page_191"></a>{191}</span></p> - -<h2><a name="A_CATALOGUE" id="A_CATALOGUE"></a>A CATALOGUE</h2> - -<p class="c">Showing the latest prices of important pieces of glass sold by -auction at recent sales of well-known collections.</p> - -<table border="0" cellpadding="2" cellspacing="0" summary="" -style="margin:auto auto;max-width:60%;"> - -<tr><td valign="top" class="hang">An ancient Roman Drinking Glass, with indented -sides, and two early Venetian Glasses, -of green colours, decorated with trailed -lines</td><td valign="bottom" class="rt">£1 18 0</td></tr> - -<tr><td valign="top" class="hang">A Wine Bottle, of early seventeenth century, -with seal of a monarch’s head, highly iridescent; -and two others, one inscribed and dated -<i>Henry Galshell, 1700</i></td><td valign="bottom" class="rt">£2 12 0</td></tr> - -<tr><td valign="top" class="hang">A Wine Bottle, inscribed <i>T. Bellamy</i>, 1773, and -another, dated 1772</td><td valign="bottom" class="rt">£2 6 0</td></tr> - -<tr><td valign="top" class="hang">A Bristol blue glass Goblet, with inscription in -gold:—</td></tr> -</table> - -<div class="poetry"> -<div class="poem"><div class="stanza"> -<span class="i0">“Accept this trifle from a friend,<br /></span> -<span class="i1">Whose love for you can never end,”<br /></span> -</div></div> -</div> - -<table border="0" cellpadding="2" cellspacing="0" summary="" -style="margin:auto auto;max-width:60%;"> - -<tr><td valign="top" class="hang">a blue Cream Jug, an opalescent Cup, and an -oval cup<span class="pagenum"><a name="page_192" id="page_192"></a>{192}</span></td><td valign="bottom" class="rt">£3 5 0</td></tr> - -<tr><td valign="top" class="hang">A pair of cut-glass Sugar Castors, and one -other</td><td valign="bottom" class="rt">£2 16 0</td></tr> - -<tr><td valign="top" class="hang">A pair of tall Beer Glasses, decorated with -applied bands, 10½ in. (<i>c.</i> 1735), and one with -engraved body, 17½ in.</td><td valign="bottom" class="rt">£2 12 0</td></tr> - -<tr><td valign="top" class="hang">A large Goblet, with globular body, and -another, smaller, with inscription <small>KING & -CONSTITUTION</small></td><td valign="bottom" class="rt">£2 0 0</td></tr> - -<tr><td valign="top" class="hang">A Goblet, with bell-shaped body, decorated with -moulded ornament, on round foot and baluster -stem, the centre knop containing a 3d. piece -of Charles II., 9½ in.</td><td valign="bottom" class="rt">£10 0 0</td></tr> - -<tr><td valign="top" class="hang">A large Goblet, 13½ in., the stem containing a -specimen of Jernegan’s silver lottery medal of -1736</td><td valign="bottom" class="rt">£7 0 0</td></tr> - -<tr><td valign="top" class="hang">A Goblet, 18 in. high, long stem, with coloured -twists, the body and foot engraved with floral -design</td><td valign="bottom" class="rt">£2 18 0</td></tr> - -<tr><td valign="top" class="hang">A large Goblet, with globular body, engraved -with <i>I.M.F.</i> within a wreath</td><td valign="bottom" class="rt">£2 5 0</td></tr> - -<tr><td valign="top" class="hang">A Goblet or Vase, 9 in. high, engraved with -portrait of Shakespeare, and with initials <i>I. E.</i> -in an oval, with festoons</td><td valign="bottom" class="rt">£8 5 0</td></tr> - -<tr><td valign="top" class="hang">A Jug, on rounded foot, engraved with representation -of the frigate <small>SHANNON</small> and <small>CAPN. -B.F.E.</small><span class="pagenum"><a name="page_193" id="page_193"></a>{193}</span></td><td valign="bottom" class="rt">£6 10 0</td></tr> - -<tr><td valign="top" class="hang">A large Goblet, 13½ in. high, the body engraved -with a youthful Bacchus seated on a barrel, a -fountain, vine leaves, etc.</td><td valign="bottom" class="rt">£8 10 0</td></tr> - -<tr><td valign="top" class="hang">A Bowl on foot, with moulded ornament, inscribed -<i>John Richie & Christian Cochrane</i>, -1727, height 8½ in., diam. 9¼ in.</td><td valign="bottom" class="rt">£20 10 0</td></tr> - -<tr><td valign="top" class="hang">A pair of stemmed Cups, and two others, with -etched decoration of dogs, etc.</td><td valign="bottom" class="rt">£2 10 0</td></tr> - -<tr><td valign="top" class="hang">A Goblet, with straight sides, engraved with the -<i>Victory</i>, and <i>In Memory of Lord Nelson, Oct. -21, 1805</i>, and another, with a newly launched -ship, <i>Nelson, Launched June 20, 1814</i></td><td valign="bottom" class="rt">£11 5 0</td></tr> - -<tr><td valign="top" class="hang">A Goblet, engraved with Mail Coach and initials -W.M.B., surrounded by ears of corn, etc.</td><td valign="bottom" class="rt">£1 12 0</td></tr> - -<tr><td valign="top" class="hang">A tall Goblet, engraved with ships and <i>Success -to the Navy</i>, and another, with decoration of -vine leaves, etc.</td><td valign="bottom" class="rt">£4 12 0</td></tr> - -<tr><td valign="top" class="hang">A Goblet, engraved with the “Victory” and -funeral car, inscribed <i>In Memory of Lord -Nelson, Oct. 21, 1805</i>, and another, engraved -same subject, dated <i>Jany. 9, 1806</i></td><td valign="bottom" class="rt">£9 15 0</td></tr> - -<tr><td valign="top" class="hang">A Goblet, engraved with view of Sunderland -Bridge, dated 1838; and two others</td><td valign="bottom" class="rt">£2 5 0</td></tr> - -<tr><td valign="top" class="hang">A straight-sided Goblet, with the Royal arms,<span class="pagenum"><a name="page_194" id="page_194"></a>{194}</span> -etc., and the motto <i>Ne M’oubliez pas</i>, and -another, also with Royal arms</td><td valign="bottom" class="rt">£3 18 0</td></tr> - -<tr><td valign="top" class="hang">Two Goblets (one imperfect), and two smaller -Glasses, with Masonic emblems</td><td valign="bottom" class="rt">£3 15 0</td></tr> - -<tr><td valign="top" class="hang">A Goblet, engraved with horse and jockey, and -inscribed <i>Birmingham, Doncaster, 1830, Winner -of the Great St. Ledger Stakes</i>, and another, -inscribed <i>James Oddie, Bromley</i></td><td valign="bottom" class="rt">£4 0 0</td></tr> - -<tr><td valign="top" class="hang">A Goblet, engraved with a bird on rocks, with -inscription <i>I rest upon a sure foundation</i>, and -the initials <i>S. R.</i>, the stem contains a 6d., -dated 1816; and another Goblet, engraved -with initials <small><i>Q.R.</i></small> (Queen Caroline), and <i>God -and my Rights</i></td><td valign="bottom" class="rt">£2 10 0</td></tr> - -<tr><td valign="top" class="hang">A Goblet, with Royal arms and <small>G. R. III</small>, and a -tall Wine Glass, with Royal arms, dated -<small>MDCCLXVI</small></td><td valign="bottom" class="rt">£1 15 0</td></tr> - -<tr><td valign="top" class="hang">A tall Glass, 8 in., engraved with Arms of the -Duke of Cumberland (<i>c.</i> 1770), and another, -with Arms of the Earl of Malmesbury</td><td valign="bottom" class="rt">£7 0 0</td></tr> - -<tr><td valign="top" class="hang">A Vase and Cover, with two handles, engraved -with designs of flowers, grapes, etc.</td><td valign="bottom" class="rt">£10 5 0</td></tr> - -<tr><td valign="top" class="hang">A Jug and Cover, cut and engraved with initials -E. L.; a Goblet, of similar style; and another -Goblet, with twisted stem<span class="pagenum"><a name="page_195" id="page_195"></a>{195}</span></td><td valign="bottom" class="rt">£3 10 0</td></tr> - -<tr><td valign="top" class="hang">A large Goblet, engraved with horse and cart, -etc., and initials E.M.T.C., a coin of 1818 in -the stem, and another Goblet, engraved <small>THE -GREAT</small> (a bell) <small>OF LINCOLN</small></td><td valign="bottom" class="rt">£5 0 0</td></tr> - -<tr><td valign="top" class="hang">A large Goblet, engraved with medallions, enclosing -sign of The Temple (lamb and flag), -initials <i>C.C.</i> and <i>George the 4, Crownd, July -19, 1821</i></td><td valign="bottom" class="rt">£3 10 0</td></tr> - -<tr><td valign="top" class="hang">A tall Goblet, 10 in., richly engraved in Renaissance -style, with chimeræ, medallions, etc., and -another, with festoons and birds</td><td valign="bottom" class="rt">£3 5 0</td></tr> - -<tr><td valign="top" class="hang">A “yard ale” Glass; two Bâtons, in green glass; -and a Bottle, shaped as a seventeenth-century -pistol</td><td valign="bottom" class="rt">£16 0 0</td></tr> - -<tr><td valign="top" class="hang">A Bottle, shaped as bellows, 13½ in., in white -and clear glass, and another smaller, decorated -with rosettes and green lines</td><td valign="bottom" class="rt">£2 0 0</td></tr> - -<tr><td valign="top" class="hang">A Candlestick, 9 in.; a pair of Candlesticks, -without nozzles (<i>c.</i> 1735), 5 in., and two -others</td><td valign="bottom" class="rt">£6 0 0</td></tr> - -<tr><td valign="top" class="hang">A tall Cup, with richly cut baluster stem, engraved -with sportsman, lady in a garden, etc. -(<i>c.</i> 1730)</td><td valign="bottom" class="rt">£10 10 0</td></tr> - -<tr><td valign="top" class="hang">A Cup, on baluster stem, richly engraved with -figures of musicians in a garden, an English coat -of arms, etc., early eighteenth century<span class="pagenum"><a name="page_196" id="page_196"></a>{196}</span></td><td valign="bottom" class="rt">£11 0 0</td></tr> - -<tr><td valign="top" class="hang">A Cup, with octagonal foot, engraved with -figures, and with inscription <i>Het Welvaaren -Vrow-Van de Kraam en Kintie</i>, and a Vase, -engraved with design of Last Supper, after -Da Vinci</td><td valign="bottom" class="rt">£3 10 0</td></tr> - -<tr><td valign="top" class="hang">A Cup, with Cover, partly gilt, engraved in -compartments with lady and gentleman, -Cupid, etc., early eighteenth century</td><td valign="bottom" class="rt">£5 15 0</td></tr> - -<tr><td valign="top" class="hang">A Tumbler, engraved in three compartments -with a lady in a garden, a gentleman and a -horseman, and another, engraved with officer -on horse and military trophies (<i>c.</i> 1740)</td><td valign="bottom" class="rt">£2 12 0</td></tr> - -<tr><td valign="top" class="hang">A cylindrical Vase, engraved with love tokens, -etc., and inscribed <i>James Jagger, Bound, -July 2, 1776, age 16 years—Miss Polly -Pritteman—Made this in the Year 1776</i>, and -another, engraved with festoons and birds</td><td valign="bottom" class="rt">£6 0 0</td></tr> - -<tr><td valign="top" class="hang">A large cut-glass Tumbler, engraved in a circle -with figure of William IV., and inscription: -<i>May our happy constitution in Church and -State ever continue unimpaired</i></td><td valign="bottom" class="rt">£1 18 0</td></tr> - -<tr><td valign="top" class="hang">A Mug, engraved with <i>G.R.</i>, etc. (<i>t.</i> George I.), -and another, with gilt ornament<span class="pagenum"><a name="page_197" id="page_197"></a>{197}</span></td><td valign="bottom" class="rt">£1 2 0</td></tr> - -<tr><td valign="top" class="hang">A pair of Tumblers, engraved with an English -coat of arms and motto, <i>Indignante invidia -florebit</i></td><td valign="bottom" class="rt">£2 10 0</td></tr> - -<tr><td valign="top" class="hang">A cylindrical Cup, engraved with Cupid shooting, -Masonic emblems, <i>Amour et Constance</i>, -etc., and another, with scene of a crowned -woman, monkey, ship, etc.</td><td valign="bottom" class="rt">£4 0 0</td></tr> - -<tr><td valign="top" class="hang">A Tumbler, engraved with <i>Success to the Viper—Capn. -Cowee—F. Norris</i>; another, with -early railway engine and coaches; and another, -with sheaf of corn, etc.</td><td valign="bottom" class="rt">£7 10 0</td></tr> - -<tr><td valign="top" class="hang">A tall Glass, on baluster stem, engraved with -scene of Stag Hunt</td><td valign="bottom" class="rt">£3 5 0</td></tr> - -<tr><td valign="top" class="hang">A Goblet, engraved with sporting scene, and -another, with floral design and initials E.F.</td><td valign="bottom" class="rt">£2 14 0</td></tr> - -<tr><td valign="top" class="hang">A Goblet, with Masonic symbols, and another, -with the ship and inscription <i>Nelson’s Victory</i></td><td valign="bottom" class="rt">£7 5 0</td></tr> - -<tr><td valign="top" class="hang">Four Goblets, with wide lips</td><td valign="bottom" class="rt">£3 15 0</td></tr> - -<tr><td valign="top" class="hang">A pair of small Wine Glasses, and a larger pair, -engraved with English coat of arms and motto -<i>Indignante invidia florebit</i></td><td valign="bottom" class="rt">£5 15 0</td></tr> - -<tr><td valign="top" class="hang">Two Cups, on cut stems and with shaped edges, -and two others, with ribbon stems</td><td valign="bottom" class="rt">£2 10 0</td></tr> - -<tr><td valign="top" class="hang">A tall Glass, engraved “<i>Willie brew’d a peck of<span class="pagenum"><a name="page_198" id="page_198"></a>{198}</span> -malt</i>,” and two engraved Tumblers with square -bases</td><td valign="bottom" class="rt">£3 10 0</td></tr> - -<tr><td valign="top" class="hang">A Goblet, with coloured ribbon stem, and two -others with white ribbon</td><td valign="bottom" class="rt">£6 6 0</td></tr> - -<tr><td valign="top" class="hang">Three tall Glasses, with coloured ribbon stems, -one of them inscribed Mʳˢ B., and another, -with ear of corn in gold</td><td valign="bottom" class="rt">£6 10 0</td></tr> - -<tr><td valign="top" class="hang">A ribbon coloured stemmed glass, bell shaped, -engraved with two birds on a heart, and -inscribed <small>PIER-PIERSEN</small>-1782, and three others</td><td valign="bottom" class="rt">£4 5 0</td></tr> - -<tr><td valign="top" class="hang">A stemmed Cup, with wide lip; one other, and -a pair of “straw stemmed” Wine Cups -(<i>c.</i> 1720)</td><td valign="bottom" class="rt">£1 12 0</td></tr> - -<tr><td valign="top" class="hang">Six tall Glasses, with rounded stems</td><td valign="bottom" class="rt">£8 15 0</td></tr> - -<tr><td valign="top" class="hang">Five Wine Glasses, with coloured ribbon stems, -and one with plain stem</td><td valign="bottom" class="rt">£3 0 0</td></tr> - -<tr><td valign="top" class="hang">A pair of Wine Glasses, with faceted stems, -the bowls engraved with birds and flowers, -and four others of the same type</td><td valign="bottom" class="rt">£2 2 0</td></tr> - -<tr><td valign="top" class="hang">A bell-shaped Goblet, with air-twisted stem, -and two tall Glasses, with drawn stems enclosing -tear</td><td valign="bottom" class="rt">£2 2 0</td></tr> - -<tr><td valign="top" class="hang">A Jacobite Glass, engraved with the Stuart -rose with seven petals and two buds, and -the portrait of Prince Charlie surrounded by<span class="pagenum"><a name="page_199" id="page_199"></a>{199}</span> -the words <i>Audentior Ibo</i>; under the foot is -engraved a thistle with two leaves, straight -plain drawn stem, height, 7½ in.</td><td valign="bottom" class="rt">£53 0 0</td></tr> - -<tr><td valign="top" class="hang">A Jacobite Glass, with straight sides, engraved -with Stuart rose, buds, and butterfly, plain -stem, 6¾ in.</td><td valign="bottom" class="rt">£8 0 0</td></tr> - -<tr><td valign="top" class="hang">A Jacobite Wine Glass, with air-twisted stem, -the bowl engraved with Jacobite rose, two -buds, star, and the word <i>Redeat</i></td><td valign="bottom" class="rt">£17 10 0</td></tr> - -<tr><td valign="top" class="hang">A Jacobite Glass, with short plain stem and -thick foot, the bowl engraved with portrait of -Prince Charlie, the Stuart rose and buds, -and the words <i>Audentior Ibo</i>, 3½ in.</td><td valign="bottom" class="rt">£37 0 0</td></tr> - -<tr><td valign="top" class="hang">A Jacobite Glass, with stem containing two -opaque twists, the bowl engraved with rose, -two buds, and butterfly, 5 in.</td><td valign="bottom" class="rt">£4 0 0</td></tr> - -<tr><td valign="top" class="hang">A Glass, with drawn air-twisted stem, the bowl -engraved with Jacobite emblems of rose, two -buds, star, oak leaf, and the word <i>Fiat</i>, 6 in.</td><td valign="bottom" class="rt">£9 10 0</td></tr> - -<tr><td valign="top" class="hang">A Glass of similar form, with Jacobite emblems -of rose, buds, star, and oak leaf, 6¼ in.</td><td valign="bottom" class="rt">£10 10 0</td></tr> - -<tr><td valign="top" class="hang">A Glass, with opaque-twisted stem, engraved -with Hanoverian rose, said to have been<span class="pagenum"><a name="page_200" id="page_200"></a>{200}</span> -produced to counteract the influence of the -Jacobite party, and a pair of others with -opaque twists</td><td valign="bottom" class="rt">£2 16 0</td></tr> - -<tr><td valign="top" class="hang">A Jacobite Glass, with waisted bowl, engraved -with rose, two buds, and butterfly, air-twisted -stem, 7 in.</td><td valign="bottom" class="rt">£4 0 0</td></tr> - -<tr><td valign="top" class="hang">A Jacobite Glass, with air-twisted stem, the -bowl engraved with emblems of rose, two -buds, star, oak leaf, and the word <i>Fiat</i>, 5¾ in.</td><td valign="bottom" class="rt">£10 0 0</td></tr> - -<tr><td valign="top" class="hang">A Wine Glass, with plain cup, plain drawn -stem and folded foot (<i>c.</i> 1735); another, with -engraved bowl, and two with opaque-twisted -stems</td><td valign="bottom" class="rt">£1 16 0</td></tr> - -<tr><td valign="top" class="hang">A Glass, with heavy baluster stem, enclosing -air tears; a heavy Spirit Glass, on short -stem and thick foot, and another, smaller</td><td valign="bottom" class="rt">£3 16 0</td></tr> - -<tr><td valign="top" class="hang">A Glass, with cut stem, engraved with fox and -<i>Tallyho</i>, and another with air-twisted stem, -with a prancing horse and <i>Liberty</i></td><td valign="bottom" class="rt">£3 15 0</td></tr> - -<tr><td valign="top" class="hang">A Beer Glass, of elegant shape, the stem with -double opaque twist and bowl engraved with -barley and hops, initials S.B.I. and date 1762, -7½ in.; and another, with opaque-twisted stem, -engraved barley and hops, and another, plain<span class="pagenum"><a name="page_201" id="page_201"></a>{201}</span> -drawn stem, 8 in., engraved with rose and -barley</td><td valign="bottom" class="rt">£4 0 0</td></tr> - -<tr><td valign="top" class="hang">Two Beer Glasses, engraved with hops and -barley, air-twisted stems, and one other with -opaque twist</td><td valign="bottom" class="rt">£3 3 0</td></tr> - -<tr><td valign="top" class="hang">A Beer Glass, with opaque-twisted stem and -wide bell-shaped bowl, engraved with hops, -barley, and initials <small><i>C.B.</i></small>, and another, with -opaque twist and plain bowl</td><td valign="bottom" class="rt">£2 15 0</td></tr> - -<tr><td valign="top" class="hang">A large Cup for light wine, the wide-lipped -bowl with five lobes, twisted stem and fluted -foot; another, with ogee bowl and reeded -stem, and another, with broad flutings</td><td valign="bottom" class="rt">£2 2 0</td></tr> - -<tr><td valign="top" class="hang">A Beer Cup on short foot engraved Q. (a crown) -C. (Queen Caroline), and the words, <i>God and -my Rights</i>, and another, engraved <i>Think on -me</i></td><td valign="bottom" class="rt">£2 18 0</td></tr> - -<tr><td valign="top" class="hang">Three Wine Cups, with opaque-twisted stems, -a knob in the centre, and another, with air -twist and waisted bowl, middle of eighteenth -century</td><td valign="bottom" class="rt">£2 8 0</td></tr> - -<tr><td valign="top" class="hang">A Wine Glass, with engraved bowl, air-twisted -stem with knop in centre (<i>c.</i> 1760), and two -others with opaque twists</td><td valign="bottom" class="rt">£2 4 0</td></tr> - -<tr><td valign="top" class="hang">A pair of Glasses, the stems elegantly formed<span class="pagenum"><a name="page_202" id="page_202"></a>{202}</span> -with knops and opaque twists diminishing -towards the foot, 7 in. (<i>c.</i> 1730)</td><td valign="bottom" class="rt">£2 5 0</td></tr> - -<tr><td valign="top" class="hang">A Glass, with heavy moulded stem and folded -foot (<i>c.</i> 1700), and another, 8½ in. (<i>c.</i> 1730)</td><td valign="bottom" class="rt">£3 5 0</td></tr> - -<tr><td valign="top" class="hang">Two Glasses, with air-twisted stems and knops -(<i>c.</i> 1760)</td><td valign="bottom" class="rt">£1 14 0</td></tr> - -<tr><td valign="top" class="hang">A Glass, with baluster stem and dome-shaped -foot, and two Glasses, with spirally fluted -bowls</td><td valign="bottom" class="rt">£3 10 0</td></tr> - -<tr><td valign="top" class="hang">Three engraved Glasses, one with air twist, one -with baluster stem and Dutch inscription, and -one with plain stem</td><td valign="bottom" class="rt">£2 2 0</td></tr> - -<tr><td valign="top" class="hang">Four Glasses, with air-twisted stems and knops, -6¾ in.</td><td valign="bottom" class="rt">£4 10 0</td></tr> - -<tr><td valign="top" class="hang">Four tall Glasses, with double opaque-twisted -stems, 8¼ in.</td><td valign="bottom" class="rt">£4 0 0</td></tr> - -<tr><td valign="top" class="hang">A Wine Glass, engraved with crown, thistle, and -initials -<img src="images/i_pg_202.png" -style="vertical-align:middle;" -width="45" -height="34" -alt="AUI" -/>, stem with opaque twist, and -another, engraved with thistle</td><td valign="bottom" class="rt">£6 2 6</td></tr> - -<tr><td valign="top" class="hang">Two Glasses, 7 in., with opaque-twisted stems, -and two others with air twists</td><td valign="bottom" class="rt">£3 5 0</td></tr> - -<tr><td valign="top" class="hang">A Glass, with air-twisted stem and domed foot, -and three others with air twist</td><td valign="bottom" class="rt">£3 10 0</td></tr> - -<tr><td valign="top" class="hang">Two Glasses, with air-twisted stems and engraved -bowls, and two others with air twists<span class="pagenum"><a name="page_203" id="page_203"></a>{203}</span></td><td valign="bottom" class="rt">£3 18 0</td></tr> - -<tr><td valign="top" class="hang">A Cider Glass, the stem with air twist, the bowl -engraved with apple branch; another, with -faceted stem, 7 in., and two smaller Glasses</td><td valign="bottom" class="rt">£7 10 0</td></tr> - -<tr><td valign="top" class="hang">A Glass, with straight air-twisted stem and -dome-shaped foot, the bowl deeply engraved -with flowers (<i>c.</i> 1740); another, also engraved -and with twisted stem, swelling in the middle; -and two others, with air-drawn stems</td><td valign="bottom" class="rt">£4 4 0</td></tr> - -<tr><td valign="top" class="hang">Four Glasses, with engraved bowls and opaque-twisted -stems of different patterns</td><td valign="bottom" class="rt">£2 14 0</td></tr> - -<tr><td valign="top" class="hang">A Glass, with small bowl and long straight stem -enclosing opaque twist; and three others</td><td valign="bottom" class="rt">£4 10 0</td></tr> - -<tr><td valign="top" class="hang">A tall Glass (7¾ in.), with coloured twisted -stem; one other; one with gold decoration; -and another with engraved bowl</td><td valign="bottom" class="rt">£4 15 0</td></tr> - -<tr><td valign="top" class="hang">Two tall Glasses, with engraved bowl and -coloured twisted stems; one with opaque -twist; and another with plain stem, the -bowl and foot engraved with roses</td><td valign="bottom" class="rt">£5 15 0</td></tr> - -<tr><td valign="top" class="hang">A pair of Glasses, with opaque twists and engraved -and fluted bowls; and another pair, -with engraved bowls<span class="pagenum"><a name="page_204" id="page_204"></a>{204}</span></td><td valign="bottom" class="rt">£2 0 0</td></tr> - -<tr><td valign="top" class="hang">A pair of Glasses, with opaque-twisted stems -and partly fluted bowls; and two others</td><td valign="bottom" class="rt">£2 15 0</td></tr> - -<tr><td valign="top" class="hang">A Glass (8 in.), with opaque-twisted stem swelling -in the middle; another with smaller bowl -(<i>c.</i> 1750); and two others</td><td valign="bottom" class="rt">£2 10 0</td></tr> - -<tr><td valign="top" class="hang">Two Glasses, with bowls engraved with the -honeysuckle; and two others, with air-twisted -stems</td><td valign="bottom" class="rt">£3 3 0</td></tr> - -<tr><td valign="top" class="hang">A Glass (6¾ in.), the waisted bowl engraved -with a flower and the stem faceted (<i>c.</i> 1730); -and another, engraved with a tree and the -words, <i>Je meur ou je matache</i>, with fluted -stem and folded foot</td><td valign="bottom" class="rt">£2 4 0</td></tr> - -<tr><td valign="top" class="hang">Four Glasses, with plain stems, enclosing tears</td><td valign="bottom" class="rt">£3 0 0</td></tr> - -<tr><td valign="top" class="hang">Two bell-shaped Glasses, with opaque and air -twists, and two others</td><td valign="bottom" class="rt">£3 0 0</td></tr> - -<tr><td valign="top" class="hang">Two engraved Glasses, with white twisted stems, -one other with plain bowl, and one with -engraved bowl and air twist</td><td valign="bottom" class="rt">£2 2 0</td></tr> - -<tr><td valign="top" class="hang">A Glass with faceted stem, the bowl engraved -with flowers; another, engraved <small>SANS-SOUCI</small>—1789, -and two others, engraved with festoons, -etc.</td><td valign="bottom" class="rt">£2 2 0</td></tr> - -<tr><td valign="top" class="hang">A Glass, with baluster stem, engraved with<span class="pagenum"><a name="page_205" id="page_205"></a>{205}</span> -honeysuckle; another, with similar stem, and -two with faceted stems, engraved with -floral design</td><td valign="bottom" class="rt">£1 12 0</td></tr> - -<tr><td valign="top" class="hang">A Glass, with moulded stem and folded foot, -6½ in., the bowl engraved with figures of a -harlequin and musicians, a coat of arms and -the mottoes: <small>SALVS PATRIÆ—CONCORDIA -RESPARVÆ-CRESCUNT</small>; two plain Glasses, and -one other, with folded feet, early seventeenth -century</td><td valign="bottom" class="rt">£3 10 0</td></tr> - -<tr><td valign="top" class="hang">Four Glasses, three with engraved bowls, -faceted stems</td><td valign="bottom" class="rt">£1 18 0</td></tr> - -<tr><td valign="top" class="hang">A Glass, with moulded stem and dome foot; -another, with air twist; and two, with faceted -stems</td><td valign="bottom" class="rt">£1 14 0</td></tr> - -<tr><td valign="top" class="hang">Two Glasses, engraved with a coronet and the -motto—<i>Long live the Duke</i>; another with -<i>Ld. Wellington for ever</i>, and another, with -the words, <i>Duke Wellington and his Army</i></td><td valign="bottom" class="rt">£5 15 0</td></tr> - -<tr><td valign="top" class="hang">Two “coaching” Glasses, without feet; a small -moulded Glass (<i>c.</i> 1800), and three others</td><td valign="bottom" class="rt">£2 8 0</td></tr> - -<tr><td valign="top" class="hang">A “coaching” Glass, and five sweetmeat -Glasses, with undulating edges</td><td valign="bottom" class="rt">£2 0 0</td></tr> - -<tr><td valign="top" class="hang">Three glass “boot” Cups, of the time of<span class="pagenum"><a name="page_206" id="page_206"></a>{206}</span> -George III., “may have been made in honour -or rather in contempt of Lord Bute”</td><td valign="bottom" class="rt">£2 10 0</td></tr> - -<tr><td valign="top" class="hang">A Flask, with applied decoration, end of seventeenth -century, and a Vase and Cover of -green glass, with trailed and pinched decoration</td><td valign="bottom" class="rt">£1 1 0</td></tr> - -<tr><td valign="top" class="hang">Four sweetmeat Glasses, with square feet, and -two engraved Cups, on feet</td><td valign="bottom" class="rt">£2 12 0</td></tr> - -<tr><td valign="top" class="hang">A Lamp with three nozzles, and three other -Lamps, early eighteenth century</td><td valign="bottom" class="rt">£3 3 0</td></tr> - -<tr><td valign="top" class="hang">Six Wine Dippers; a Scent Bottle, and three -other pieces</td><td valign="bottom" class="rt">£1 18 0</td></tr> - -<tr><td valign="top" class="hang">A Cup, with faceted foot and stem, engraved -with Prince of Wales’ Feathers; a Cup, with -coat of arms; another Cup, with faceted -stem, and another, with English coat of arms</td><td valign="bottom" class="rt">£5 15 0</td></tr> - -<tr><td valign="top" class="hang">A Cup, inscribed <small>BEER AND LIBERTY</small>; one with -Masonic symbols, and two others</td><td valign="bottom" class="rt">£3 3 0</td></tr> - -<tr><td valign="top" class="hang">A Cup for light wine, with reeded stem and -hollow foot, two with baluster stems, another -with long drawn bowl</td><td valign="bottom" class="rt">£2 16 0</td></tr> - -<tr><td valign="top" class="hang">Six Spirit Glasses, with plain stems</td><td valign="bottom" class="rt">£1 14 0</td></tr> - -<tr><td valign="top" class="hang">Six Glasses, with plain stems and folded feet<span class="pagenum"><a name="page_207" id="page_207"></a>{207}</span></td><td valign="bottom" class="rt">£1 6 0</td></tr> - -<tr><td valign="top" class="hang">Two Glasses with stems enclosing tears, and -four others, all with engraved bowls</td><td valign="bottom" class="rt">£1 14 0</td></tr> - -<tr><td valign="top" class="hang">Three early Glasses, the stems containing tears, -and with moulded feet, and three others</td><td valign="bottom" class="rt">£2 10 0</td></tr> - -<tr><td valign="top" class="hang">A Beer Glass, the bowl engraved with barley -and hops, and five other Glasses with engraved -bowls</td><td valign="bottom" class="rt">£1 15 0</td></tr> - -<tr><td valign="top" class="hang">A Cup, with moulded stem and folded foot, -another drawn bowl, one engraved with rose -and faceted bowl, and another, engraved -with bird</td><td valign="bottom" class="rt">£1 10 0</td></tr> - -<tr><td valign="top" class="hang">A Salve Stand, with air twist; another upright -Stand, containing figure of Caryatid; Bottle, -Cruet, three Cups, and two Ring Stands</td><td valign="bottom" class="rt">£2 14 0</td></tr> - -<tr><td valign="top" class="hang">A plain glass Dish, oblong in shape, with -bevelled edge; a Dish, Cover, and Stand, a -cut Sugar Bowl, and six small Liqueur -Glasses</td><td valign="bottom" class="rt">£4 12 6</td></tr> - -<tr><td valign="top" class="hang">A Liqueur Stand, with two bottles; a Decanter -and Stopper; a reeded Jug with coin; two -reeded Tankards (one with coin), and six -Liqueur Glasses</td><td valign="bottom" class="rt">£4 14 0</td></tr> - -<tr><td valign="top" class="hang">A set of six cut Goblets, six Custard Barrels,<span class="pagenum"><a name="page_208" id="page_208"></a>{208}</span> -four cut Port Glasses, six Claret Glasses, engraved -in wheat-ears, and a Milk Jug</td><td valign="bottom" class="rt">£3 14 0</td></tr> - -<tr><td valign="top" class="hang">Four Rummers, a Glass Dish, eight Wine -Glasses, six Custard Cups, and eight Glasses, -various</td><td valign="bottom" class="rt">£2 10 0</td></tr> - -<tr><td valign="top" class="hang">Three engraved Tumblers, three Rummers, -Goblet, twelve specimen Ale and Wine Glasses, -and a set of six Syllabub Glasses</td><td valign="bottom" class="rt">£5 0 0</td></tr> - -<tr><td valign="top" class="hang">An early Water Jug, engraved with initials -“<small>A.L.</small>”; an engraved Mug, five specimen -Tumblers, and an engraved Goblet</td><td valign="bottom" class="rt">£4 4 0</td></tr> - -<tr><td valign="top" class="hang">An early Bottle, a cut Bowl with handles and -Stand, a Waterford oval Dish, and a Decanter -and Stopper</td><td valign="bottom" class="rt">£2 10 0</td></tr> - -<tr><td valign="top" class="hang">A pair of Old English Rummers, the bases of -the bowls twisted, and a frosted and ribbed -Dish and Cover</td><td valign="bottom" class="rt">£1 12 0</td></tr> - -<tr><td valign="top" class="hang">Fourteen old moulded Glasses, various shapes; -two Oil Bottles, a double Oil Flask, and an -Ale Jug</td><td valign="bottom" class="rt">£2 12 0</td></tr> - -<tr><td valign="top" class="hang">A pair of diamond-cut Decanters and Stoppers, -a set of six long cut stem Glasses, engraved -in birds and flowers; five Goblets, and six -cut Claret Glasses</td><td valign="bottom" class="rt">£6 0 0</td></tr> - -<tr><td valign="top" class="hang">Twelve Ale Glasses, with opaque-twist stems, -and drawn bowls, almost similar<span class="pagenum"><a name="page_209" id="page_209"></a>{209}</span></td><td valign="bottom" class="rt">£5 0 0</td></tr> - -<tr><td valign="top" class="hang">A pair of circular Dishes, 7 in. diam., elaborately -cut, the centres engraved in roses on amber -ground, and four small Sweetmeat Dishes of -fine quality</td><td valign="bottom" class="rt">£2 12 0</td></tr> - -<tr><td valign="top" class="hang">A pair of Wine Glasses, plain baluster stems, -with tears and bell bowls, and four others, -with folded feet and plain stems</td><td valign="bottom" class="rt">£2 14 0</td></tr> - -<tr><td valign="top" class="hang">Six plain stem Wine Glasses, five of them -engraved and with folded feet</td><td valign="bottom" class="rt">£2 12 0</td></tr> - -<tr><td valign="top" class="hang">A Mug, without handle, engraved in bands of -leaves, 5½ in. high, and a Loving Cup, goblet -shape, engraved in wheat-ears and monogram, -E. M. B., 8½ in. high</td><td valign="bottom" class="rt">£3 14 0</td></tr> - -<tr><td valign="top" class="hang">A pair of Wine Glasses, air-twist double baluster -stems, with ring heads and straight bowls, -6¾ in. high, and a Wine Glass, with drawn -air-twist stem, cable centre and bell-shaped -bowl, 6½ in. high</td><td valign="bottom" class="rt">£4 10 0</td></tr> - -<tr><td valign="top" class="hang">A large Goblet, with cut tear stem and dome -foot, the bowl cut at the base and engraved -with a ship and inscription: “T. Welvaren -Van de Vrouw Anna Maria,” 9¼ in. high</td><td valign="bottom" class="rt">£3 16 0</td></tr> - -<tr><td valign="top" class="hang">A pair of Wine Glasses, with opaque-twist -stems and narrow straight-sided bowls, -engraved in flowers; another pair, with<span class="pagenum"><a name="page_210" id="page_210"></a>{210}</span> -opaque-twist stems, and another pair, with -baluster opaque-twist stems</td><td valign="bottom" class="rt">£3 15 0</td></tr> - -<tr><td valign="top" class="hang">A Waterford Cake Dish and Cover, the cover -hive-shaped, elaborately cut in lozenges and -ribbed, the dish, 11 in. diam., has a scalloped -border, 12½ in. high</td><td valign="bottom" class="rt">£6 15 0</td></tr> - -<tr><td valign="top" class="hang">Four small Sweetmeat Glasses, and a pair of -Rummers, on square bases</td><td valign="bottom" class="rt">£2 15 0</td></tr> - -<tr><td valign="top" class="hang">A pair of Wine Glasses, double baluster air-twist -stems; two with air-twist stems and -drawn bowls, and a pair with air-twist stems -and drawn waisted bowls</td><td valign="bottom" class="rt">£5 5 0</td></tr> - -<tr><td valign="top" class="hang">A pair of Cordial Glasses, engraved with a -crown and initials of Charles X. of Sweden, -1660, 3½ in. high</td><td valign="bottom" class="rt">£2 10 0</td></tr> - -<tr><td valign="top" class="hang">Two Goblets, with opaque twist stems, engraved -in flowers; two baluster opaque stem Wine -Glasses, a Glass, engraved in hunting scenes, -and two others</td><td valign="bottom" class="rt">£5 0 0</td></tr> - -<tr><td valign="top" class="hang">An early Tankard, engraved with Masonic -emblems, enclosed with scroll-work and -flowers, surmounted by a crown, 6¼ in. high</td><td valign="bottom" class="rt">£2 2 0</td></tr> - -<tr><td valign="top" class="hang">A pair of oval Deep Dishes, with flat scalloped -edges, hobnail cutting</td><td valign="bottom" class="rt">£3 3 0</td></tr> - -<tr><td valign="top" class="hang">A pair of Wine Glasses, air-twist slender stems<span class="pagenum"><a name="page_211" id="page_211"></a>{211}</span> -and drawn plain bowls, 7½ in. high, and -another, with incised twist stem and indented -straight-sided bowl, 6½ in. high</td><td valign="bottom" class="rt">£3 10 0</td></tr> - -<tr><td valign="top" class="hang">A pair of plain Ale Glasses, engraved with a -fox and “Tally-ho”; a smaller one, engraved -with a cock-fight; a Rummer, engraved with -a race-horse, and a boot-shaped Spirit Glass</td><td valign="bottom" class="rt">£5 0 0</td></tr> - -<tr><td valign="top" class="hang">A Wine Glass, with double ogee bowl and -hollow stem; two Pipes, and a tall Jug, in -the form of a coaching horn, 12 in. high</td><td valign="bottom" class="rt">£3 5 0</td></tr> - -<tr><td valign="top" class="hang">A pair of Waterford Tapersticks, with beautifully -cut stems and nozzles, and dome-shaped feet, -6¼ in. high</td><td valign="bottom" class="rt">£15 5 0</td></tr> - -<tr><td valign="top" class="hang">A Wine Glass, with opaque-twist stem and -drawn bowl, engraved in vines and bird; two, -with opaque-twist stems and bell-shaped -bowls, similarly engraved, and a pair of -opaque-twist stem Wine Glasses, with plain -shaped bowls</td><td valign="bottom" class="rt">£3 0 0</td></tr> - -<tr><td valign="top" class="hang">A Candlestick, with cut shaped stem and -indented raised foot, and another, with -square base</td><td valign="bottom" class="rt">£2 15 0</td></tr> - -<tr><td valign="top" class="hang">A straight pint Tankard, ribbed and engraved -in bands of roses<span class="pagenum"><a name="page_212" id="page_212"></a>{212}</span></td><td valign="bottom" class="rt">£2 4 0</td></tr> - -<tr><td valign="top" class="hang">An Ale Glass, with straight-sided bowl engraved -with the Royal coat of arms and festoons of -flowers; a pair of Ale Glasses, with coloured -twisted stems, and one other</td><td valign="bottom" class="rt">£2 4 0</td></tr> - -<tr><td valign="top" class="hang">A Trifle Dish and Stand, the body with brilliant -diamond cutting, the dish with fan-cut edge, -10½ in. diam.</td><td valign="bottom" class="rt">£3 16 0</td></tr> - -<tr><td valign="top" class="hang">A pair of open-lipped Vases or Celery Glasses, -with diamond edges, hobnailed cutting, 7¾ in. -high, and another, oval-topped, 7 in. high</td><td valign="bottom" class="rt">£3 15 0</td></tr> - -<tr><td valign="top" class="hang">A pair of Waterford Liqueur Bottles, with -handles and stoppers, bulbous bodies and long -necks, cut in flowers and lozenges, 8½ in. high</td><td valign="bottom" class="rt">£4 10 0</td></tr> - -<tr><td valign="top" class="hang">Three early Wine Glasses, with baluster air-twist -stems, and three with drawn bowls -and air-twist stems</td><td valign="bottom" class="rt">£5 7 6</td></tr> - -<tr><td valign="top" class="hang">A Waterford straight-sided Rum Pot and Cover, -with flat spout, hobnail cutting</td><td valign="bottom" class="rt">£4 4 0</td></tr> - -<tr><td valign="top" class="hang">A pair of Wine Glasses, air-twist stems, straight-sided -bowls, engraved in flowers and butterfly, -6¼ in. high, and a Wine Glass, with baluster -air-twist stem and plain bell-shaped bowl, -6¼ in. high</td><td valign="bottom" class="rt">£4 0 0</td></tr> - -<tr><td valign="top" class="hang">A pair of Waterford oval Sweetmeat Stands,<span class="pagenum"><a name="page_213" id="page_213"></a>{213}</span> -3½ in. high, and a Candlestick, cut and on -square base, 8 in. high</td><td valign="bottom" class="rt">£2 14 0</td></tr> - -<tr><td valign="top" class="hang">A Waterford circular Bowl, Cover, and Stand, -finely cut, 7 in. high</td><td valign="bottom" class="rt">£3 5 0</td></tr> - -<tr><td valign="top" class="hang">A pair of cut Comports, and a pair of Cake -Dishes, with hobnail cutting and cut -scalloped borders, 7¾ in. diam.</td><td valign="bottom" class="rt">£5 5 0</td></tr> - -<tr><td valign="top" class="hang">A Wine Glass, plain stem and ovoid bowl, -engraved with a portrait of a man on horseback -and inscription, “In Memory of the -Battle of the Boyne,” 5¾ in. high, and another, -with tear and baluster stem and waisted bowl, -engraved with a ship and inscription, folded -foot, 6 in. high</td><td valign="bottom" class="rt">£3 0 0</td></tr> - -<tr><td valign="top" class="hang">A Wine Glass, with opaque-twisted stem and -drawn ovoid bowl, engraved with the rose and -thistle and inscription, “Honi soit qui mal y -pense,” 5¾ in. high, and another Wine Glass, -with baluster tear stem, the bowl engraved in -vines and butterfly, folded foot, 6 in. high</td><td valign="bottom" class="rt">£2 2 0</td></tr> - -<tr><td valign="top" class="hang">A Waterford Oil Bottle and Stopper</td><td valign="bottom" class="rt">£1 0 0</td></tr> - -<tr><td valign="top" class="hang">A Water Jug, ribbed and engraved in Chinese -scenes, and a Waterford Honey Jar, Cover -and Stand</td><td valign="bottom" class="rt">£2 18 0</td></tr> - -<tr><td valign="top" class="hang">Three Wine Glasses, opaque-twist stems and<span class="pagenum"><a name="page_214" id="page_214"></a>{214}</span> -bell-shaped bowls, engraved in vines and -butterflies, and three opaque-twist stem Wine -Glasses, one with lipped bowl</td><td valign="bottom" class="rt">£3 3 0</td></tr> - -<tr><td valign="top" class="hang">A pair of Cork Ale Cups, 5½ in. high, and a -Bottle, with pressed quilted body, 8 in. high</td><td valign="bottom" class="rt">£1 16 0</td></tr> - -<tr><td valign="top" class="hang">A Sweetmeat Glass, twisted stem, lipped double -ogee bowl and domed foot, 6½ in. high</td><td valign="bottom" class="rt">£3 15 0</td></tr> - -<tr><td valign="top" class="hang">A tall Wine Glass, air-twist double-knopped -stem and bell-shaped bowl, engraved with -rose and bud, plain foot, 7¼ in. high</td><td valign="bottom" class="rt">£2 18 0</td></tr> - -<tr><td valign="top" class="hang">An almost similar Wine Glass, the bowl -engraved with a rose, two buds, and a -butterfly, 7 in. high</td><td valign="bottom" class="rt">£3 3 0</td></tr> - -<tr><td valign="top" class="hang">A pair of Waterford oviform Vases and -Covers, cut in lozenges, square feet, 12 in. -high</td><td valign="bottom" class="rt">£5 10 0</td></tr> - -<tr><td valign="top" class="hang">A Wine Glass, with opaque-twisted stem, drawn -bowl, engraved in vines and bud, and three -other Wine Glasses, engraved</td><td valign="bottom" class="rt">£2 2 0</td></tr> - -<tr><td valign="top" class="hang">A Rose Bowl, elaborately engraved in arabesques, -8¼ in. diam., and a Waterford circular Dish, -with fan cutting, 10 in. diam.</td><td valign="bottom" class="rt">£5 0 0</td></tr> - -<tr><td valign="top" class="hang">A Goblet, with drawn air-twist stem, straight-sided -bowl with indentation at base, conical<span class="pagenum"><a name="page_215" id="page_215"></a>{215}</span> -foot, 8¾ in. high, and a set of four Ale Glasses, -with air-twisted stems, the bowls engraved -in wheat-ears</td><td valign="bottom" class="rt">£3 5 0</td></tr> - -<tr><td valign="top" class="hang">A standing Cup and Cover, elaborately engraved -in flowers and cut, the knob and stem with -red twist, 11 in. high</td><td valign="bottom" class="rt">£2 15 0</td></tr> - -<tr><td valign="top" class="hang">A standing Cup and Cover, cut stem, the bowl -cut and engraved in stags and festoons, 10 in. -high</td><td valign="bottom" class="rt">£1 14 0</td></tr> - -<tr><td valign="top" class="hang">A finely cut Scent Bottle and Stopper; three -others, smaller, with stoppers, and a Taper -Stand, mounted in metal</td><td valign="bottom" class="rt">£2 10 0</td></tr> - -<tr><td valign="top" class="hang">A pair of Wine Glasses, air-twist baluster stems -and straight bowls, and three air-twist baluster -stem Glasses, with short bowls and heavy -bases</td><td valign="bottom" class="rt">£4 6 0</td></tr> - -<tr><td valign="top" class="hang">A beautifully cut Bowl, Cover, and Stand; a -beautifully cut Olive Pot and Cover, and a -cut four-division Scent Bottle</td><td valign="bottom" class="rt">£2 12 0</td></tr> - -<tr><td valign="top" class="hang">A tall Candlestick, with ribbed nozzle and tears, -moulded stem and ribbed dome foot, 9½ in. -high</td><td valign="bottom" class="rt">£6 5 0</td></tr> - -<tr><td valign="top" class="hang">A Waterford Water Jug, with hobnail and -ribbed cutting, and a Tankard, with ribbed -top and raised scroll lower part</td><td valign="bottom" class="rt">£3 14 0</td></tr> - -<tr><td valign="top" class="hang">Four pressed Sweetmeat Plates<span class="pagenum"><a name="page_216" id="page_216"></a>{216}</span></td><td valign="bottom" class="rt">£1 0 0</td></tr> - -<tr><td valign="top" class="hang">A set of six Wine Glasses, with long slender air-twist -stems and small straight-sided bowls, -9½ in. high</td><td valign="bottom" class="rt">£2 2 0</td></tr> - -<tr><td valign="top" class="hang">A Waterford oval Bowl Cover, and Stand, -6 in. high, and a boat-shaped Bowl, with -raised ends, 11 in. long, 5½ in. wide</td><td valign="bottom" class="rt">£3 12 0</td></tr> - -<tr><td valign="top" class="hang">A set of six Wine Glasses, air-twist stems and -engraved rims to bowls, and a Dish, the under -part cut in portrait of Queen Victoria and -Roman scenes</td><td valign="bottom" class="rt">£3 3 0</td></tr> - -<tr><td valign="top" class="hang">Five cut stem Wine Glasses (one dated 1872, -others engraved); four cut Goblets; two cut -Ale Glasses, and a large Ale Glass</td><td valign="bottom" class="rt">£3 12 0</td></tr> - -<tr><td valign="top" class="hang">A set of six finely cut Waterford Tumblers; a -cut Honey Pot, Cover, and Stand; a pair of -cut Spirit Bottles and Stoppers; a pair of cut -blue and white flat Dishes, and a cut Sweet -Dish</td><td valign="bottom" class="rt">£6 10 0</td></tr> - -<tr><td valign="top" class="hang">A pair of very fine cut Waterford Compotiers, -with Covers, vase-shaped, 11 in. high</td><td valign="bottom" class="rt">£13 5 0</td></tr> - -<tr><td valign="top" class="hang">A brilliantly cut Old English Compotier and -Cover, 13½ in. high</td><td valign="bottom" class="rt">£6 10 0</td></tr> - -<tr><td valign="top" class="hang">A set of twelve Georgian Wine Glasses, the -straight-sided flat-bottomed bowls are engraved -with the Prince of Wales’ feathers and<span class="pagenum"><a name="page_217" id="page_217"></a>{217}</span> -motto “Ich Dien” in scrolls, plain stems and -feet; formerly the property of the Prince -Regent and of the late King Edward VII.</td><td valign="bottom" class="rt">£6 5 0</td></tr> - -<tr><td valign="top" class="hang">A set of three Waterford Flower Glasses, with -cut edges; a pair of Waterford Salts, and a -Water Jug</td><td valign="bottom" class="rt">£4 0 0</td></tr> - -<tr><td valign="top" class="hang">A set of four Wine Glasses, opaque-twist stems -and engraved and ribbed bowls, and six others -all with opaque-twist stems</td><td valign="bottom" class="rt">£4 4 0</td></tr> - -<tr><td valign="top" class="hang">A fine old English cut Butter Dish, Cover, and -Stand, and a large Bristol Tankard and Cover, -reeded and shaped, the cover with a coloured -twist handle, 9½ in. high</td><td valign="bottom" class="rt">£3 6 0</td></tr> - -<tr><td valign="top" class="hang">An old cut Jam Dish, Cover, and Stand; two -moulded and frosted Cups; a pair of Waterford -Sweetmeat Stands; another pair, cut; -six cut Tumblers, and two Knife Rests</td><td valign="bottom" class="rt">£3 12 6</td></tr> - -<tr><td valign="top" class="hang">An engraved Puzzle Jug; two Toddy Lifters; -three Sugar Crushers; a Spoon, and a Dish -in the form of a hat</td><td valign="bottom" class="rt">£1 14 0</td></tr> - -<tr><td valign="top" class="hang">A pair of plain Firing Glasses, engraved “680”; -two Toddy Lifters, and a plain hat-shaped -Basket</td><td valign="bottom" class="rt">£1 10 0</td></tr> - -<tr><td valign="top" class="hang">A pair of finely cut Decanters and Stoppers,<span class="pagenum"><a name="page_218" id="page_218"></a>{218}</span> -with shell cut bosses; a pair of cut circular Salts, -and a long Scent Bottle and Stopper</td><td valign="bottom" class="rt">£2 16 0</td></tr> - -<tr><td valign="top" class="hang">A clear glass footed Beer Jug, and an engraved -and cut Flower Bowl, with coin on the base, -6½ in. diam.</td><td valign="bottom" class="rt">£3 10 0</td></tr> - -<tr><td valign="top" class="hang">A Goblet, the body engraved all round, in -landscape and deer, 6 in. high; a Goblet on -baluster stem, the body engraved in vases -of flowers, on pedestal, 7 in. high</td><td valign="bottom" class="rt">£1 0 0</td></tr> - -<tr><td valign="top" class="hang">A large Old English Jug, the body cut and -neck ribbed, 10 in. high, and an early -Cream Jug</td><td valign="bottom" class="rt">£2 8 0</td></tr> - -<tr><td valign="top" class="hang">A pair of cut Lustres, with droppers, and a -centre Lustre</td><td valign="bottom" class="rt">£4 12 0</td></tr> - -<tr><td valign="top" class="hang">A pair of fine cut Decanters and Stoppers, a -cut Scent Bottle and Stopper, and an Olive -Pot and Cover</td><td valign="bottom" class="rt">£3 5 0</td></tr> - -<tr><td valign="top" class="hang">An early Cake Vase and Cover, ribbed and -moulded, 7¾ in. high, and a Water Jug, -engraved in wheat-ears</td><td valign="bottom" class="rt">£3 5 0</td></tr> - -<tr><td valign="top" class="hang">A straight-sided Biscuit Jar, Cover, and Stand, -cut in lozenges, 9½ in. high, and a cut hollow -Tazza, 5 in. high</td><td valign="bottom" class="rt">£2 18 0</td></tr> - -<tr><td valign="top" class="hang">A plain Old English Sylabent Stand, on dome -foot, 9 in. diam., and a Celery Glass, engraved -in vines<span class="pagenum"><a name="page_219" id="page_219"></a>{219}</span></td><td valign="bottom" class="rt">£1 10 0</td></tr> - -<tr><td valign="top" class="hang">An old Treacle Jug, with pewter mount; two -cut Scent Bottles and Stoppers, and two -Goblets</td><td valign="bottom" class="rt">£2 4 0</td></tr> - -<tr><td valign="top" class="hang">A pair of moulded Candlesticks, 8½ in. high, -and an early Water Jug</td><td valign="bottom" class="rt">£1 18 0</td></tr> - -<tr><td valign="top" class="hang">A pair of plain Bristol Vases, with open lips, -12 in. high; a pair of plain Cups, and six -Plates</td><td valign="bottom" class="rt">£1 16 0</td></tr> - -<tr><td valign="top" class="hang">A Bristol handled Mug, straight side painted -with a portrait, enclosed in scroll-work and -sprays of flowers, 6½ in. high, and a Bowl, -painted in continuous flowers and birds, -8 in. diam.</td><td valign="bottom" class="rt">£2 10 0</td></tr> - -<tr><td valign="top" class="hang">A Bristol Vase, with double handles and dome -foot, painted in flowers, 8½ in. high, and two -Bristol Mugs, both painted in figures and -flowers</td><td valign="bottom" class="rt">£2 8 0</td></tr> - -<tr><td valign="top" class="hang">A pair of barrel-shaped Tankards and Covers, -with handles painted in Watteau scenes and -gilded, 8 in. high</td><td valign="bottom" class="rt">£5 5 0</td></tr> - -<tr><td valign="top" class="hang">A Vase and Cover, painted in portrait medallions -and sprays of flowers and gilded, the vase -on square foot, 10¾ in. high</td><td valign="bottom" class="rt">£3 3 0</td></tr> - -<tr><td valign="top" class="hang">A pair of rare Venetian Cups and Saucers, -decorated in Chinese figures and flowers in -gold and red<span class="pagenum"><a name="page_220" id="page_220"></a>{220}</span></td><td valign="bottom" class="rt">£5 5 0</td></tr> - -<tr><td valign="top" class="hang">A Bristol Plate, the centre painted in figures -with flags, enclosed in a star band in red, -the border with arabesque, in colours, 7½ in. -diam., and a barrel-shaped Mug, painted with -a dog and flowers, 5 in. high</td><td valign="bottom" class="rt">£2 4 0</td></tr> - -<tr><td valign="top" class="hang">A rare Jug and Cover, splashed in blue and -brown, 8 in. high, and a pair of Cups -and Saucers, painted in birds and flowers</td><td valign="bottom" class="rt">£2 8 0</td></tr> - -<tr><td valign="top" class="hang">Three Bristol straight-sided Tankards, painted -in figures and flowers</td><td valign="bottom" class="rt">£3 15 0</td></tr> - -<tr><td valign="top" class="hang">A Jar and Cover, the jar with brown lozenges -and double handles, model of a swan surmounting -the cover, 5½ in. high, and a -Tankard, painted in figures and pastoral -scenes, 6 in. high</td><td valign="bottom" class="rt">£2 10 0</td></tr> - -<tr><td valign="top" class="hang">A Bristol handled Mug, painted in panel and -flowers; a Cream Jug, with inscription -“Forget-me-Not”; a small Tazza, and a -Vase</td><td valign="bottom" class="rt">£2 16 0</td></tr> - -<tr><td valign="top" class="hang">A Vase, a small Cup, two Tankards, a Cup and -Saucer, and a Bottle, all painted</td><td valign="bottom" class="rt">£2 8 0</td></tr> - -<tr><td valign="top" class="hang">A plain Bristol double Flask, with Prince of -Wales’ feathers; a plain Bristol bellows Flask, -and a plain hollow Candlestick</td><td valign="bottom" class="rt">£1 8 0</td></tr> - -<tr><td valign="top" class="hang">A hollow Candlestick, 8½ in. high; a double<span class="pagenum"><a name="page_221" id="page_221"></a>{221}</span> -gourd-shaped Spirit Bottle, a bellows Flask, -and three Scent Bottles, all Bristol</td><td valign="bottom" class="rt">£1 4 0</td></tr> - -<tr><td valign="top" class="hang">A double gourd-shaped Bristol Spirit Bottle, -three other Spirit Bottles, and five small -Bottles</td><td valign="bottom" class="rt">£2 0 0</td></tr> - -<tr><td valign="top" class="hang">A Bristol Jar and Cover, the body shaped, with -alternate spirals of ruby and opaque, 8¼ in. -high, and a plain Bristol Basket</td><td valign="bottom" class="rt">£1 10 0</td></tr> - -<tr><td valign="top" class="hang">A large Nailsea Jug, deep green splashed in blue -and white, 8½ in. high, and a Tankard, with -spiral bands of red and opaque</td><td valign="bottom" class="rt">£2 8 0</td></tr> - -<tr><td valign="top" class="hang">A pair of Nailsea Rapiers, blue handles, the -blades with blue centres</td><td valign="bottom" class="rt">£2 15 0</td></tr> - -<tr><td valign="top" class="hang">A pair of purple Bristol Vases, 7 in. high; an -old green Ear Trumpet, a purple Cream Jug, -and four purple Salts</td><td valign="bottom" class="rt">£1 2 0</td></tr> - -<tr><td valign="top" class="hang">A Nailsea Policeman’s Staff, a double Flask, -and three single Nailsea Flasks, various -colours</td><td valign="bottom" class="rt">£2 8 0</td></tr> - -<tr><td valign="top" class="hang">A rare blue Bristol miniature Dinner and -Dessert Service, comprising Bowls and Covers, -Tazze and Covers, Sugar Bowls, Tea Cups -and Saucers, Cream Jugs and Plates (about -120 pieces)</td><td valign="bottom" class="rt">£2 4 0</td></tr> - -<tr><td valign="top" class="hang">A white Bristol miniature Tea and Coffee -Service<span class="pagenum"><a name="page_222" id="page_222"></a>{222}</span></td><td valign="bottom" class="rt">£1 6 0</td></tr> - -<tr><td valign="top" class="hang">Three Nailsea Rolling Pins, different colours, -and a Nailsea Jug, dark green, mottled in -white</td><td valign="bottom" class="rt">£3 0 0</td></tr> - -<tr><td valign="top" class="hang">A pink Nailsea Water Jug, splashed in opaque -white, and a clear Nailsea Flask, on circular -base, with opaque decoration and appliqué -Prince of Wales’ feathers and edging</td><td valign="bottom" class="rt">£2 2 0</td></tr> - -<tr><td valign="top" class="hang">A Bottle and Stopper, with flowers in various -colours embedded in the base; and four Paper -Weights of a similar character</td><td valign="bottom" class="rt">£2 0 0</td></tr> - -<tr><td valign="top" class="hang">Seven Paper Weights, with various coloured -flowers, etc., embedded in the glass</td><td valign="bottom" class="rt">£2 6 0</td></tr> - -<tr><td valign="top" class="hang">Two Paper Weights, with silvered medallions; -three green Paper Weights; two others; and -two Inkpots, with tears</td><td valign="bottom" class="rt">£3 3 0</td></tr> - -<tr><td valign="top" class="hang">A Bristol plain glass double-handled Vase and -Cover, painted in sprays of flowers, 11 in. -high; and a Water Bottle and Stopper, and -Well Stand for same, with close opaque -spirals and blue border</td><td valign="bottom" class="rt">£1 4 0</td></tr> - -<tr><td valign="top" class="hang">An open-necked Bristol opaque Vase, with -bulbous base, the body entwined with raised -ivy leaves and berries in colour, 16 in. high; -two mottled Bristol Bowls, and a blue mottled -Vase<span class="pagenum"><a name="page_223" id="page_223"></a>{223}</span></td><td valign="bottom" class="rt">£2 2 0</td></tr> - -<tr><td valign="top" class="hang">A green Nailsea Cream Jug, with opaque twist -decoration, and a Nailsea Flagon, mottled -on green ground</td><td valign="bottom" class="rt">£2 4 0</td></tr> - -<tr><td valign="top" class="hang">A pair of Bristol Shells; a Bristol Double Flask, -with deep blue borders; a ruby Bell, with -coloured twist handle, and two blue Bristol -Cream Jugs</td><td valign="bottom" class="rt">£2 6 0</td></tr> - -<tr><td valign="top" class="hang">A rare Bristol Sugar Crusher, with ring handle, -with a central opaque twist surrounded by -blue and red twist; a small flat Flask, with -examples of all the Bristol coloured twists; -and another piece, the base with coloured -twist</td><td valign="bottom" class="rt">£2 2 0</td></tr> - -<tr><td valign="top" class="hang">A Bristol Pipe, opaque, with green rim; -another, opaque, with pink stripes; and -another, blue</td><td valign="bottom" class="rt">£1 2 0</td></tr> - -<tr><td valign="top" class="hang">A pair of old green Sussex Bottles, filled with -silk and imitation flowers, 9½ in. long; a pair -of Bristol Vases of Flowers, under glass shades, -with glass bases, 6 in. high; and a green -Nailsea Model of a Dog</td><td valign="bottom" class="rt">£1 2 0</td></tr> - -<tr><td valign="top" class="hang">A Nailsea Horn, a green Pipe, and two plain -Flasks, with opaque decoration</td><td valign="bottom" class="rt">£1 11 0</td></tr> - -<tr><td valign="top" class="hang">A rare green glass Trident, with long handle, -17 in. long; and two Nailsea Trumpets, one -26 in. long, and the other 18½ in. long<span class="pagenum"><a name="page_224" id="page_224"></a>{224}</span></td><td valign="bottom" class="rt">£2 2 0</td></tr> - -<tr><td valign="top" class="hang">A rare old Venetian Goblet, straight sides -opening at the top, striped in white from top -to bottom, and having partly gilded mask -head bosses, 7 in. high; and a Venetian -Bottle, with white spirals</td><td valign="bottom" class="rt">£4 10 0</td></tr> - -<tr><td valign="top" class="hang">A pair of old Venetian Cups and Saucers, decorated -in white twists from top to bottom; -and a Venetian plate, with similar decoration -in spirals</td><td valign="bottom" class="rt">£2 12 0</td></tr> - -<tr><td valign="top" class="hang">An old Venetian moulded Vase, with cross -white stripes; an old Venetian Standing Bowl, -a Cup, and a Lemon</td><td valign="bottom" class="rt">£2 0 0</td></tr> - -<tr><td valign="top" class="hang">A Venetian gourd-shaped Bottle; a similar Oil -Jug, both with white decoration; and three -other pieces of Venetian glass</td><td valign="bottom" class="rt">£0 14 0</td></tr> - -<tr><td valign="top" class="hang">A large English Water Bottle and Glass, with -red decoration; a deep blue Bristol Bowl, -with irregular white lines; and a Flask, -mottled in red and blue</td><td valign="bottom" class="rt">£1 12 0</td></tr> - -<tr><td valign="top" class="hang">A deep blue Water Bottle, Stand and Glass, -with gold bands; a blue Trinket Stand; a -deep blue Flask; and thirteen other pieces of -whole coloured ruby, green, purple, and blue -glass</td><td valign="bottom" class="rt">£0 18 0</td></tr> - -<tr><td valign="top" class="hang">Three large Rolling Pins, a Pestle, and a green -and white twisted glass Puzzle<span class="pagenum"><a name="page_225" id="page_225"></a>{225}</span></td><td valign="bottom" class="rt">£1 18 0</td></tr> - -<tr><td valign="top" class="hang">A moulded and twisted Bottle, with applied -blue bands, and Stopper; a green barrel-shaped -Jar and Cover, 13½ in. high; and a -Bowl, with applied green decoration</td><td valign="bottom" class="rt">£1 12 0</td></tr> - -<tr><td valign="top" class="hang">A pair of ruby Tazze, with white lozenge-shaped -cuttings, 8 in. diam.; and a pair of ruby -Vases, cut in white flowers, etc., 6¾ in. high</td><td valign="bottom" class="rt">£2 0 0</td></tr> - -<tr><td valign="top" class="hang">Two ruby Scent Bottles and Stoppers, with cut -white circles; a blue and white Goblet; a -similar Cup; a ruby and white Cup, and an -amber Decanter and Stopper </td><td valign="bottom" class="rt">£2 8 0</td></tr> - -<tr><td valign="top" class="hang">A set of eight Venetian Goblets and eight Wine -Glasses, blue open bases, the bowls in opaque -cross stripes</td><td valign="bottom" class="rt">£1 4 0</td></tr> - -<tr><td valign="top" class="hang">A Nailsea Flask, four Bristol Balls, a Candlestick, -two Jars and Covers, Scent Bottle and -Stopper, and five other pieces</td><td valign="bottom" class="rt">£0 11 0</td></tr> - -<tr><td valign="top" class="hang">A pair of blue Candlesticks, with white cutting; -two Inkpots of a similar type; five cut Goblets, -a ruby Bristol Pipe, and a square -Decanter and Stopper</td><td valign="bottom" class="rt">£2 12 0</td></tr> -</table> - -<p><span class="pagenum"><a name="page_226" id="page_226"></a>{226}</span></p> - -<p class="c"> <br /><small> -THE RIVERSIDE PRESS LIMITED<br /> -EDINBURGH</small><br /> -</p> - -<hr class="full" /> - - - - - - - -<pre> - - - - - -End of Project Gutenberg's Old Glass and How to Collect it, by J. 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