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+metadata, and any other content or labor, has been confirmed to be
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+
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+Project Gutenberg (https://www.gutenberg.org) public repository for
+eBook #54381 (https://www.gutenberg.org/ebooks/54381)
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-The Project Gutenberg EBook of Collecting Old Glass, by J. H. Yoxall
-
-This eBook is for the use of anyone anywhere in the United States and most
-other parts of the world 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.  If you are not located in the United States, you'll have
-to check the laws of the country where you are located before using this ebook.
-
-Title: Collecting Old Glass
-       English and Irish
-
-Author: J. H. Yoxall
-
-Release Date: March 18, 2017 [EBook #54381]
-
-Language: English
-
-Character set encoding: UTF-8
-
-*** START OF THIS PROJECT GUTENBERG EBOOK COLLECTING OLD GLASS ***
-
-
-
-
-Produced by Chris Curnow, Chris Jordan and the Online
-Distributed Proofreading Team at http://www.pgdp.net (This
-file was produced from images generously made available
-by The Internet Archive)
-
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-
-
-
-
-
-
-
-                     THE COLLECTORS’ POCKET SERIES
-                   EDITED BY SIR JAMES YOXALL, M.P.
-
-
-                              COLLECTING
-                               OLD GLASS
-
-
-  THE COLLECTORS’ POCKET SERIES
-  EDITED BY SIR JAMES YOXALL, M.P.
-
-  Each Volume Illustrated. Price 3s 6d net
-
-[Illustration]
-
-
-    COLLECTING OLD GLASS
-                    By J. H. Yoxall
-
-    COLLECTING OLD MINIATURES
-                    By J. H. Yoxall
-
-    COLLECTING OLD LUSTRE WARE
-                    By W. Bosanko
-
-    COLLECTING OLD PEWTER
-                    By H. J. L. J. Massé
-
-    COLLECTING OLD PRINTS
-                    By E. Gray
-
-    COLLECTING OLD WATER-COLOURS
-                    By R. W. Howes
-
-          (Other Volumes in Preparation)
-
-[Illustration: decoration]
-
-    LONDON: WILLIAM HEINEMANN, LTD
-
-
-
-
-                              COLLECTING
-                               OLD GLASS
-                           ENGLISH AND IRISH
-
-                            BY J. H. YOXALL
-                Author of “The Wander Years” “The A B C
-               about Collecting” “More about Collecting”
-
-
-                    _The glass of fashion and the
-             mould of form_: Hamlet, iii. 1
-
-[Illustration]
-
-                                LONDON
-                        WILLIAM HEINEMANN, LTD
-
-
-
-
-                  _First published January 1916_
-                   _New Impression March 1925_
-
-
-                    _Printed in Great Britain_
-
-
-
-
-PREFACE
-
-
-I hope the reader may find that this book, though smaller than others
-on the same subject, is more helpful and even more comprehensive than
-they are; that it deals with the glass articles which they mention
-and with others which they omit; that it simplifies and classifies
-the study and practice of glass-collecting more than has been done in
-print heretofore; and that it can do these things because it is written
-out of personal knowledge, gained from much experience, and not from
-hearsay or from other books.
-
-Diffuseness has been avoided, but this, I hope, has enabled me to make
-the book the more lucid, as well as the more succinct. At any rate,
-it affords hints, general rules, and warnings more numerous and more
-practical than any published until now; I have also tried to give to
-it a quality which reviewers have found present in my other books on
-Collecting--that is, a simplicity and clearness of explanation, done
-at the most difficult and necessary points, and in an interesting way.
-Moreover, this book has had the great advantage of revision (before
-printing) by Mr. G. F. Collins, of 53 the Lanes, Brighton, a pupil of
-Mr. Hartshorne’s, and well known to all principal collectors of old
-glass. Most of the illustrations represent typical pieces in my own
-collection, but for some of the finest I have to thank the kindness
-of Mrs. Devitt, of Herontye, East Grinstead, a collector indeed. The
-illustrations do not represent relative sizes to the same scale.
-
-  J. H. YOXALL
-
-
-
-
-CONTENTS
-
-
-    CHAPTER                                         PAGE
-
-    I.      OLD ENGLISH GLASSWARE                      1
-
-    II.     SEVEN GENERAL GUIDES AND TESTS            14
-
-    III.    BLOWN WARE                                26
-
-    IV.     CUT, MOULDED, AND ENGRAVED WARE           29
-
-    V.      OLD COLOURED GLASS                        35
-
-    VI.     OLD DRINKING GLASSES                      40
-
-    VII.    THE VARIOUS TYPES OF STEM                 46
-
-    VIII.   THE VARIOUS SHAPES OF BOWL                56
-
-    IX.     OTHER STEMMED DRINKING GLASSES            60
-
-    X.      JACOBITE, WILLIAMITE, AND HANOVERIAN
-            GLASSES                                   66
-
-    XI.     TUMBLERS, TANKARDS, “JOEYS,” AND
-            “BOOT” GLASSES                            73
-
-    XII.    BOTTLES, DECANTERS, AND JUGS              76
-
-    XIII.   BOWLS, LIFTERS, SUGAR-CRUSHERS,
-            SPOONS, ETC.                              79
-
-    XIV.    CANDLESTICKS, LUSTRES, AND LAMPS          81
-
-    XV.     COMPORTS, SWEETMEAT, JELLY AND
-            CUSTARD GLASSES                           84
-
-    XVI.    SALT CELLARS, PEPPER BOXES, SUGAR
-            BASINS, ETC.                              88
-
-    XVII.   MIRRORS, GLASS PICTURES, GLASS KNOBS      90
-
-    XVIII.  OLD PASTE, GLASS BEADS, AND TAWS          92
-
-    XIX.    GENERAL HINTS AND WARNINGS                95
-
-    INDEX                                            107
-
-
-
-
-I. OLD ENGLISH GLASSWARE
-
-
-The glassware made in England and Ireland during the eighteenth and
-part of the nineteenth century was the best of the kind ever made. In
-quality, tint, feel, and ring the plain blown glass was a beautiful
-product, and when it was cut or engraved the decoration was done by
-fine craftsmen and often with excellent taste. Old glass has its own
-peculiar charm; the dark beauty of the crystal metal, the variety
-of form, the bell-like ring when flipped, the satiny feeling of
-the surface, the sparkle of the cut facets, and the combination of
-gracefulness and usefulness attract a collector: in cabinets it shines,
-gleams, glows, and sparkles in a reticent, well-bred way.
-
-[Illustration: (1) MOULDED; (2) COTTON-WHITE; (3) CUT KNOPPED; AND (4)
-CUT AND MOULDED CAPTAIN GLASSES]
-
-Then there is attraction in the historical and social traditions which
-have gathered around the ware; romance lingers on in the Jacobite
-glasses, the Williamite glasses, the Georgian glasses, the rummers and
-groggers engraved and drunk from to celebrate the victories of Nelson
-or famous elections; and humour resides in many of the relics of the
-punch-bowl and six-bottle days. To honour particular occasions one’s
-fine old glasses may come out of the cabinet and be used at table
-again; I know a collector of “captain glasses” who brings them out for
-champagne. For decoration or in use old glass has a refined, artistic,
-aristocratic air.
-
-
-NEITHER TOO RARE NOR TOO PLENTIFUL
-
-The sound of the past seems to throb in the ring of this frail and
-dainty ware; at your touch the cry of the bygone seems heard again.
-Because of fragility, enough of eighteenth-century glass has not
-lasted on to make it common, and yet so much of it is still extant
-that a collector’s hunt for it is by no means a hopeless quest. It may
-still be acquired at reasonable prices from dealers in antiques, and a
-hunter for it in odd corners, who buys in shillings, not in pounds, may
-reasonably hope to pick up many fine specimens for next to nothing even
-yet. Four years ago I bought a fine drawn cordial glass for 2d. Within
-the past three years I have myself bought a perfect captain glass for
-3s. 6d.; within the last year I have bought six punch-lifters for
-17s. 6d. in all, uncommon as these bibulous old siphons are. A large
-Bristol coloured-glass paper-weight may cost you £3 in a dealer’s shop,
-because three years ago they began to be a “rage,” but within the past
-two years I have bought a Bristol glass article, equally beautiful in
-colour and glass-flowers, and much rarer, for 2s. Footless coaching
-glasses and thistle-shaped fuddling glasses are seldom seen, even on a
-dealer’s shelves, but I have found one of each, in odd corners, for 6d.
-
-
-THE TIME TO COLLECT IS NOW
-
-[Illustration: WATERFORD GLASS ENGRAVED AND CUT: NOTE THE FANLIKE
-EDGING AND THE “STAR” CUT TO EDGE OF BASE; ALSO THE DEEP CUTTING OF THE
-FLORAL ORNAMENT]
-
-Now, if ever, is the time to collect old glass rather cheaply, for
-already the prices of it are mounting in a remarkable way. Thirty
-years ago old wine glasses engraved with roses, rosebuds, and
-butterflies--rose glasses, as they are called--could be bought for
-half-a-crown apiece or less--dozens of them; this price has multiplied
-nearly twentyfold. Waterford cut-glass grows more and more dear to
-buy, from dealers who know it when they possess it--they will soon be
-selling it as if it were antique silver, at so much per ounce--but only
-last year I bought in a provincial town a captain glass of this ware
-for 15s., though £8 was the price asked for one just like it in the
-West End. Now, if ever, is the time for a beginner to take up this line
-of collecting; old English and Irish glass will never again be so easy
-to find at reasonable prices as it is now.
-
-
-SUCH CONNOISSEURSHIP NOT DIFFICULT
-
-Collecting is a form of education, but it is not difficult to become a
-knowledgeable collector of old glass. Counterfeits are sent out by the
-thousand, forgeries lie in wait, totally new glassware, imitative of
-the old, is on sale in hundreds of curio dealers’ shops, some of them
-otherwise honest and respectable; but only ignorance or carelessness
-need be taken in. A little study, a little observation, a little care,
-and the beginner will soon be able to avoid mistakes. Connoisseurship
-in old glass is less difficult than it is in old china, for example;
-porcelain or earthenware collecting is more various, more detailed,
-has reference to longer periods of manufacture, and involves much
-more specific knowledge than glass-collecting does. Yet I have known
-two or three collectors of porcelain who declined to begin collecting
-old glass because, they said, they would “never dare”--as if an
-almost miraculous skill were needed to become a connoisseur in old
-glass! In point of fact, this is the easiest hobby to study and know;
-glass-collecting requires an eye for the different shades and tints of
-the metal, a finger-tip for the feel of it, an ear for the ring of it,
-and not much money as yet, and practically that is all. There are no
-trade-marks to puzzle or deceive you; there is no such distinction,
-difficult to understand and master, as between “soft” china and “hard.”
-At present old glass is easy to know, and not difficult to find.
-
-I propose in this book to _give general hints, “tips,” and instructions
-applicable to every variety of old glass; to explain the seven
-principal tests of genuine age and antique make; to prepare the
-beginner to go out collecting glass with the infallible rules and
-principles for it fixed in his mind_. Equipped with these, anyone may
-examine, test, and if satisfactory buy any vessel of glass which he or
-she may find in any odd corner. I am not writing the book for the rich,
-but for people with more taste and cultivation than money, and though I
-deprecate “collecting” for the sake of selling again at a profit, I may
-well point out that old English and Irish glass, bought cheaply now,
-may become an investment _de père de famille_; the collector may have
-the joy of finding it, the continual pleasure of owning it, and yet
-know that it will turn out to be “good business” for his heirs, when
-the sale comes, at the end.
-
-
-ADVANTAGES ASSOCIATED WITH GLASS
-
-The collecting of old glass is not yet systematized; there are no
-dealers’ catalogues of it or prices current. For the next few years
-this advantage will continue in connexion with old glass. Every dealer
-knows the high price which square-marked Worcester china can command;
-every second-hand bookseller knows the price current of first editions,
-or copies of rare books; but such is not the case with old glass as
-yet. Systematization has hardly begun; there has been little research
-into the history of makes and the names of makers. Here is another
-advantage for a collector: he may discover things of that kind at
-present unknown, and thus attach his name to the history of old glass
-which will some day be written. A local collector may at no great cost
-make a donation of his treasures to the local museum. There is no
-public collection of Newcastle-made glass at Newcastle, for instance,
-or of Sunderland-made glass at Sunderland, and no local antiquary has
-studied the history of the fine glass products made on the Tyne and
-the Wear. Nobody knows which kinds of glass were made at Norwich or
-Lynn. A history of Stourbridge glass-making and glassware has yet to be
-written. So that research, that additional delight of collecting, is
-more open in connexion with glass than with any other well-known “line.”
-
-
-COLLECTABLE GLASS ARTICLES
-
-[Illustration: LARGE MUG AND COIN MUG, IMITATING OLD SILVER SHAPES]
-
-
-The number and diversity of old glass articles may be indicated by the
-following incomplete list: wine glasses, beer glasses, cider glasses,
-rummers, cordial glasses, liqueur glasses, tumblers, firing glasses,
-coaching glasses, fuddling glasses, beakers, mugs, tankards, champagne
-glasses, grog glasses, Masonic glasses, goblets, Joey glasses, “boot”
-glasses, “yards of ale,” toy glasses; flasks, decanters, trays and
-waiters; punch or salad bowls, trifle bowls; wine bottles, spirit
-bottles; jugs, punch-lifters, decanter stands; jelly glasses, custard
-glasses, flip glasses, syllabub glasses; fruit baskets, centre-pieces,
-sweetmeat glasses, captain glasses, comports or sweetmeat glass stands,
-epergnes, tazzas; salt cellars, sugar castors, pepper boxes; caddy
-sugar bowls; lamps, lanterns, chandeliers, candlesticks, nightlight
-glasses, taper holders; finger bowls, wine coolers; oil bottles,
-vinegar bottles, mustard bottles; jars, pickle jars; tea trays,
-preserve pots; vases, covered vases; rolling-pins, knife rests, knife
-and fork handles, spoons, sugar crushers; butter pots, celery glasses;
-weather glasses, chemical glasses, eye baths, witch-balls, porringers,
-posset vessels, holy-water vessels; door-stops, paper-weights; mirrors,
-knobs, glass pictures, bellows-shaped flasks, lustres, paste jewels,
-beads, taws, toy birds, animals, tobacco pipes, bellows on stands,
-walking-sticks, rapiers, and other elaborate baubles and oddities
-made for ornament or as _tours de force_. There seems to have been a
-Glass-makers’ Festival held at Newcastle some hundred years ago, and
-it was for exhibition then that most of the freak glass toys and
-ornaments were made.
-
-Much old English and Irish glass was contemporaneously sent to the
-American market, and the following articles were advertised as on
-sale at New York in the year 1773: “Very Rich Cut Glass Candlesticks,
-Cut Glass Sugar Boxes and Cream Potts, Wine, Wine-and-Water Glasses,
-and Beer Glasses, with Cut Shanks, Jelly and Syllabub Glasses, Glass
-Salvers, also Cyder Glasses, Orange and Top Glasses, Glass Cans, Glass
-Cream Buckets and Crewets, Royal Arch Mason Glasses, Globe and Barrel
-Lamps, etc.” The “etc.” would be capacious; it would include most of
-the articles mentioned in the paragraph just preceding this, and such
-things as crystal globes to be filled with water through which a candle
-might throw and condense its rays, for sewing or lace-making purposes,
-at night.
-
-[Illustration: (1) BRISTOL; AND (2) NAILSEA COLOURED GLASS WITCH-BALLS]
-
-A collector ignores window-glass, unless he can come upon stained
-glass, purchasing, for £5 perhaps, a leaded square or oval of
-sixteenth-century Swiss or German painted glass, to hang in one of
-his windows. A collector ignores plate-glass, except in the form of
-mirrors, perhaps. A collector ignores carboys, and also ordinary
-bottles, but he acquires when he can one of the thick, stumpy, almost
-black glass bottles in which Georgian people bottled their own claret
-or port, imported in the cask. It adds interest to an antique bookcase,
-corner cupboard, or cabinet if the panes, or some of them, show the
-slight curvature characteristic before perfectly flat sheet-glass could
-be cast; and there are some old panes in which the oxides have turned
-to a violet colour--a silversmith’s shop nearly opposite the top end of
-the Haymarket still displays some--which are of interest to-day. There
-used to be glass objects which, I suppose, we shall never come upon
-now: the “mortar” or nightlight-glass, of the kind which stood beside
-the last sleep of Charles I, and the “singing-glasses” which Pepys
-heard in 1668, when he “had one or two singing-glasses made, which
-make an echo to the voice, the first I ever saw; but so thin, that the
-very breath broke one or two of them.” These, and many other beautiful
-pieces of old glass, are for ever gone out of reach.
-
-But the hunter may come upon pieces which came into existence before
-Queen Anne died: Jacobean glass, of the reign of Charles II at latest,
-is occasionally found. For a guinea I obtained a fine sacramental
-vessel in purfled and wreathed glass bearing the symbol of the Trinity
-(see next page); for 5s. a pistol-shaped scent bottle; and for 12s. 6d.
-a hand lamp, all three of Jacobean date.
-
-
-THE HUNT FOR IT
-
-In fact, the limits in glass-collecting are not yet fixable; you never
-know what quaint or rare thing you may not come upon in old glass.
-Other lines of collecting are already systematized, and part of the
-systematization is a limiting of what you may expect to find and a
-raising of what you may have to pay. With glass there are no such
-boundaries, at present; anything out of the ordinary in shape, purpose,
-or date, may be acquired, and should be--the uncommon pieces are the
-best--though often because a piece is quite unusual, it will be offered
-you at a very low price. The smaller dealers know that from half a
-guinea to a couple of guineas is what they may charge for an old wine
-glass, according to the knobs or the spiral in its stem, but they do
-not know any fixed price for less common specimens, and they will sell
-at a hundred per cent. profit on the very small charges they themselves
-have paid.
-
-[Illustration: COMMUNION VESSEL, SHOWING PURFLING ON THE HANDLE, AND
-“WRITHEN” ORNAMENT ON THE BOWL (DATE CHARLES II)]
-
-Armed with knowledge of the general tests which I give in the next
-chapter, a collector may enter a dealer’s shop near Bond Street or
-a marine stores in the Old Kent Road, a broker’s at Hackney or a
-cabinet-maker’s warehouse in a country town, a second-hand furniture
-shop at Hammersmith or the Caledonian market on a Friday; he may look
-into a butler’s pantry, peer into a cupboard in a kitchen corner,
-search amidst the dust of a lumber-room, or reach to the deep interior
-of a farmhouse dresser or sideboard; and almost always he will come
-upon a collectable bit of old glass. He may hope to come upon an old
-crystal gazing-ball, used by fashionable fortune-tellers a century ago;
-or even one of the old glass eggs which eighteenth-century ladies held
-in their hands to keep their palms cool for a lover’s kiss.
-
-
-THE COLLECTOR’S RANGE
-
-[Illustration: MASONIC ENGRAVED GOBLET, WITH CUT STEM; THE GROOVES OF
-THE CUTTING ENCROACHING ON THE BOWL]
-
-The beginner should recognize from the first that the range of the
-collector of old glass is not yet defined; that the practical hints and
-rules given in this book may be applied to _any_ piece of glass, and
-should be, no matter how unusual its form or inexplicable now its use
-in its time. During the next few years things which now seem oddities,
-because they are so unusual, may become particularly sought after,
-and valued because they are rare. I therefore advise the beginner to
-be a general and diffusing collector, leaving no genuine old piece
-unsnapped-up which comes within his reach and means. At present cut
-Waterford glass and spiral-stemmed blown wine glasses are the things
-most sought after by glass collectors, but they may not be so a few
-years hence. I do not mean that they will ever drop in selling value
-now, but I anticipate that the selling value of other glass articles,
-rather neglected now, may appreciate; that is why I recommend the
-practice of general and diffusive collecting and a wide range. But
-if a collector prefers to specialize, he may set out to collect wine
-glasses only, or inscribed glasses only, or what-not in that way; he
-may go in for cut-glass only, or blown glass only, or coloured glass
-only, or toys and eccentricities only; he may choose geographically,
-collecting Irish glass only, or English glass only, or Bristol glass
-only, and so forth. In any case his range will be limited by certain
-dates; he will very seldom come upon a piece so old as the reign of
-Charles II, and he will not care to collect glassware made so late
-as the year in which Victoria came to the throne. With Venice-made
-glass this book has nothing to do. Much old Dutch-made glass exists in
-England, but the student of this book will be enabled to detect it, and
-not unintentionally to acquire it believing it to be English made.
-Bohemian-made glass, cut and coloured, is seldom taken up by collectors
-here. The range in these islands is for English and Irish glass, for it
-is the ware most readily collectable, most likely to increase in value,
-and to be most readily sold when a collection comes to be dispersed;
-I mention this latter consideration because any collector not wealthy
-must, in justice to his heirs and dependents, in this matter “look to
-the end.”
-
-
-
-
-II. SEVEN GENERAL GUIDES AND TESTS
-
-
-Setting forth to collect old glassware, therefore, what general guides
-may the beginner use, and what reliable tests can he apply?
-
-There are seven: (1) the _tint_ of the glass; (2) the _sound_ of the
-glass; (3) the _quality_ of the glass metal (or material); (4) the
-_weight_; (5) the _signs of use and wear_; (6) the _pontil-mark_; and
-(7) the _workmanship_.
-
-These seven suffice to equip the beginner. But as he collects and gains
-experience, many details and developments of them will come to his
-knowledge, which I shall refer to in their place.
-
-It should be remembered that there are no maker’s marks to go by in
-glass, as there are in porcelain, earthenware, Sheffield plate, or
-pewter; and no signatures, as there are in paintings, drawings, and
-etchings.
-
-
-1. THE TINTS OF OLD GLASS
-
-Old glass is _darkly_ brilliant. It is not _whitely_ crystal as
-modern glass is; the eye can only see what it looks for, ever, and to
-uninstructed eyes all glass is merely glass-colour, but the experienced
-collector sees that there are many different tints and tinges in the
-crystal of glass. These tints and tinges are the chief guide, test, and
-principle by which one judges whether a piece of glass is one of the
-nineteenth century, eighteenth century, or seventeenth century, as the
-case may be.
-
-To judge the tint, place the piece of glass upon a white tablecloth,
-near to a tumbler or decanter known to be modern because of recent
-purchase from an ordinary vendor of household glass. The eye, looking
-for it, will then notice in the two pieces of glass a striking
-difference of tint, if one of them is old, that is; the old piece is
-not only darker than the white of the tablecloth, but darker than the
-piece of modern glass. And _the darker (or sootier) its tint the older
-the glass_, as a rule. Tint or tinge is a constant feature in old
-glass, and an obvious feature directly the eye knows what to look for.
-Varieties of dark tint may be detected, and by these varieties the bit
-of glass may be dated, its period determined, and its age assigned.
-
-[Illustration: HUNTING GOBLET, DOME FOOT]
-
-If you place near each other, upon a white damask cloth, a glass of
-Charles II date, a William and Mary glass, a George III glass, and a
-Victorian glass, you will notice a darkening and then a whitening in
-tint (though not a brightening) as your eye travels from the oldest
-glass to the most modern. By “tint” or “tinge” I do not mean “colour,”
-in the sense of red or green or blue; I will deal with coloured glass
-later on. By “tint” or “tinge” I mean the shade of leaden, darkish
-hue in the metal from which the glass article was blown or moulded.
-This tint or tinge was inherent in the molten glass, before shaping
-and cooling began. The metal or raw material was mixed according to
-recipe--each glassworks had its own recipe--and one of the materials
-was lead. The older the Georgian glass, the more impure the metal--that
-is, the fuller of lead oxides--and therefore the darker; what are
-called improvements in glass-mixing have gradually eliminated the
-oxides, and therefore the leaden tint or tinge also; it is astonishing
-how many different shades and tinges of darkness (in that sense) a
-cabinet of old glass can show. In a few glasses the bowl is pale
-sapphire or aquamarine colour, the stem being the tint of plain glass.
-
-[Illustration: “TRAFALGAR” GLASS: RUMMER ON BALUSTER STEM AND RAISED
-FOOT; EXAMPLE OF ELABORATE ENGRAVING]
-
-The glass collector exercises his sight and applies the test; it
-enables him to detect a counterfeit, though in shape and general
-appearance it imitates the genuine antique; it is too whitely crystal,
-too tintless to be old. Curio-shop windows at Brighton, for instance,
-are full of frauds in glass, chiefly cut-glass, or glass moulded to
-resemble cut-glass; but the chalky-white tint betrays and condemns
-them, and the instructed collector will not be taken in. Also he will
-recognize genuine Waterford glass by its own tinge of colour, and
-genuine Cork glass in a similar way; he will see that old Dutch-made
-glass, when thick, has a smeary, milk-and-watery tint, and when thin
-has a flashy, meretricious absence of deep tinting: he will learn that
-old Stourbridge glass was whiter than antique Bristol or Newcastle
-glass, and sometimes was milky-white; in course of time and practice
-he will come to be able to “date” and “place” a piece of old glass at
-sight, as well as instantly to reject a fraud.
-
-_The tints of Irish-made glass._ Glass made at Waterford, late in the
-eighteenth century and early in the nineteenth, was a fine product,
-often exquisitely cut: it is distinguishable in more than one way, but
-has a characteristic tinge which, once seen, is unmistakable. I cannot
-find exact words for it, it is not a blue nor a green nor a blackish
-tint, but is something of all three, and was due to excessive presence
-of oxide of lead. Nobody has done any research as to Irish-made glass,
-and people suppose that Cork-made glass resembled the Waterford glass,
-but that is very unlikely, because each factory mixed according to
-its own recipe, and also used a different variety of each of the
-raw materials common to all glass. In point of fact, Cork glass is
-“duller” than Waterford, and it has quite a different, a pale, almost
-dun or yellowish, tinge, particularly visible in the thicker parts;
-a good many lustre-ornaments seem to have been made at Cork. Belfast
-glass was yellowish, too, if we may judge by the tint of Williamite
-glasses.
-
-
-2. THE SOUND OF OLD GLASS
-
-[Illustration: EXAMPLE OF FINE QUALITY ROSE GLASS. COTTON-WHITE SPIRAL.
-NOTE THE ROSE LEAVES AND STEMS]
-
-Perhaps because more lead was used in the “metal” or raw material, but
-at any rate for some distinctive reason, _old English and Irish-made
-glass has a more musical sound than any made abroad_. Flick or flip
-with your finger-nail, or pinch near your ear, a piece of this old
-ware, and _a vibrant, resonant, and lingering ring is audible_. The
-thinner the part of the glass you flick the more the sound, of course;
-but something of a ring should come from almost any part of the
-article. Another way of producing this characteristic sound is to keep
-on rubbing a wetted finger around the edge of the bowl of a wine glass
-or finger bowl, till rhythmic vibration is set up, and the sound steals
-forth. And it is a _bell-like, musical note_, almost the F sharp or G
-sharp, or A or B of the 4th octave in a pianoforte keyboard: darkish
-glass with this resonance is almost sure to be old English or Irish
-made. Much eighteenth-century Dutch glass is still extant here, and is
-often mistaken for English; but it need not be: thin or thick, _Dutch
-glass sends out no lingering resonance_, long, clear, musical, and
-true. _Dutch glass tinkles_ when you flip it, but the sound is dead a
-few seconds after being born. The sound test for old English or Irish
-glass is, Does it ring with a musical note that throbs, sings, and
-lingers in a way to delight the ear? _The sound of old Dutch, French,
-Italian, or German glass is cracked, so to speak_, though the vessel
-itself is not; but
-
-    _O hark, O hear! how thin and clear,
-    And thinner, clearer, farther going!_
-
-are lines which Tennyson might have written to describe the music of
-old English and Irish glass; too much stress cannot be laid upon this
-test--the _lasting_ note is the criterion.
-
-So that now, with both tint and sound to guide us, we need not be taken
-in by modern copies or old Dutch glass.
-
-
-3. THE QUALITY OF OLD GLASS METAL
-
-[Illustration: EXAMPLE OF FINE QUALITY; SHOWING THE BUTTERFLY AND THE
-COTTON-WHITE WREATHING AROUND THE CENTRAL TUBE]
-
-Italians and Frenchmen came to England in the sixteenth century to
-teach the art and mystery of glass-making to our islanders; yet neither
-old Italian nor French glass metal has the _quality_ of old English
-and Irish glass metal. The glassware made here between the reigns of
-Queen Anne and Queen Victoria had the best _quality_ of any glass
-ever made in the world. But what is _quality_ in this connexion?
-It means material, but it also means the manipulation of material
-and the effect produced. The glass made during the reigns of the
-four Georges was called “flint glass” and “lead glass”--misnomers,
-perhaps, but I need not take up space here in discussing that; the
-important point is that the _quality_ of the metal and the skill
-of the manipulation resulted in thinness, rigidity, shapeliness, a
-velvety surface, dark sheen, brilliancy, radiancy of facets when cut,
-and the vibrant, musical ring of the eighteenth-century glass. Glass
-made under Charles II was not so dark, and Victorian glass was whiter;
-Victorian and modern English glass is of excellent quality, but is
-uniform to almost a painful degree. It lacks character and diversity;
-the Georgian glass was individual and original, so to speak. There were
-faults in it--little air-blobs, or vesicles, that feel like pimples
-on the surface, or show as bubbles within it; striations, like lines
-of fibre, also; and deviations from the strict mathematic line or
-curve, which were due to hand-work. But if you examine contemporary
-Dutch-made, French-made, or Italian-made glass, you notice that the
-same defects exist, and more numerously, while there is a flimsiness,
-or a lumpiness, or a smeary look and harsh feel which are absent from
-old English and Irish glass.
-
-A specked, pimply surface, and a dull thickness and clumsy lumpiness
-or flashy thin lightness, are found in old Dutch-made glass; and this,
-taken in conjunction with the absence of true ring, enables a collector
-to reject the old ware sent over from Holland. _The quality of the
-English and Irish glass metal comes out in the surface_, too, a little;
-the fingers feel the surface of an old blown wine glass to be _cool_,
-_smooth_, _hard_, _and yet velvety_; while the surface of Waterford
-cut-glass has a _silky feel_.
-
-
-4. THE WEIGHT OF OLD GLASS
-
-In his privately circulated book on “English Baluster Stemmed Glasses
-of the Seventeenth and Eighteenth Centuries” Mr. Francis Buckley aptly
-says that “English-made glasses of the first period were all light in
-weight and cloudy in appearance. Some time between the Restoration and
-the end of the seventeenth century, but when precisely it is difficult
-to say, the English glass-makers began to try experiments with a view
-to removing from their glasses this dull and cloudy appearance. Their
-object was to produce a substance like crystal; and this object they
-eventually achieved by introducing into their metal a large quantity of
-lead.” This gave the characteristic weight.
-
-The old Dutch glass seems light in weight, even when it is thick; _old
-English and Irish glass seems relatively heavy_ even when it is thin.
-_Waterford glass is especially heavy._ These differences in weight are
-probably due to differences in the materials used for mixing the metal;
-but whatever the cause, they aid the collector to know the real from
-the counterfeit, and the old English from the Dutch. Even the thick,
-clumsy glasses made here in the reign of William and Mary seem more
-weighty than those otherwise exactly similar which were then brought
-over from Holland.
-
-
-5. THE SIGNS OF USE AND WEAR
-
-Many fantastic pieces of old glass were made as curiosities or
-ornaments, but most old glass was made for use. Glass is easily
-scratched; as the wine glasses and decanters were set down upon
-the hard, polished mahogany of dinner-tables, after the cloth was
-drawn, and were moved, the feet of the wine glasses and the bases
-of the decanters become scratched thereby. Lustre-ornaments, glass
-candlesticks, or glass vases which stood upon marble or hard wood
-mantelpieces, being moved when maidservants were dusting, became
-scratched at the base. The collector will therefore carefully examine
-those parts of a piece of glass which, if it is old, may be expected
-to show the signs of use and wear caused by contact and movement upon
-hard surfaces; it is well to do this by the aid of a pocket-lens--which
-ought to be a glass collector’s constant companion.
-
-_In a genuine old piece the scratches are numerous, do not all run the
-same way, and are dust-coloured, more or less._ Most counterfeits show
-no scratches at all, but _the more elaborate forgeries show artificial
-scratches; these usually run all one way, however, or seem all to have
-been made together at the same time, and sometimes these artificial
-scratchings appear in parts of the glass which would not be exposed to
-marking of the kind when in use_, as, for instance, inside the bowls.
-
-Yet it is not wise to condemn and refuse as a fraud a piece of glass
-which shows the other four or five general evidences of genuineness
-simply because only slight scratching is evident; for the glass may
-have been standing in a cupboard unused for many years, its nose put
-out of joint by some change of fashion in table-ware soon after it
-had been bought, and have passed into a collector’s cabinet before
-coming into your hands for examination. Nor is it safe to suppose that
-the more the scratches the older the piece; it may have had more than
-the common amount of usage. If the glass has a “folded foot” or a
-“ring-base” to stand on, the scratches will be at the very edge of the
-foot, or on the ring, just where it touched the table or mantelpiece,
-and there only.
-
-
-6. THE PONTIL-MARK
-
-I mention this last because it does not apply to all old glass; it does
-not apply to glass that was cast or moulded, but it applies to all old
-blown glass, and is a very important test and guide indeed.
-
-The pontil-mark is either a depression in the glass, shallow, about
-the size of the third finger-end, or a lump about that size, standing
-up from the level of the glass around it. The pontil-mark indicates
-_first_ that the piece of glass was originally blown, and _second_ that
-before removing the blow-pipe the workman, as usual, attached the blown
-glass to a pontil. The pontil or punt is an iron rod, joined to the
-vessel by a little melted glass while the vessel is still hot. When
-the time comes for taking away the pontil, it is done by contact with
-cold water, which causes the glass to contract around the pontil-end
-and the pontil to become detached. Glass vessels which were blown,
-only, show the depression or the lump accordingly: blown-glass vessels
-which were afterwards “cut” show it in part only, or not at all, if the
-glass-cutter removed it: vessels neither blown nor cut, but cast in
-a mould, do not show it because they never had it. In the eighteenth
-century and the first quarter of the nineteenth, glass moulding seldom
-took place; _so that the presence of the pontil-mark, whether it be a
-hollow or a lump, usually indicates age in the vessel which shows it_.
-
-[Illustration: UNDER-SIDE OF WINE GLASS FOOT, SHOWING THE PONTIL-MARK
-AND THE HEMMED OR “FOLDED FOOT” EDGE]
-
-In the oldest glass the pontil-hole is flaked with something which
-rather resembles mica. In the oldest wine glasses the pontil-lump
-stands out knobbily. In every case there are signs of the local
-fracture. As a rule, the older the glass the bigger and rougher the
-pontil-mark.
-
-
-7. THE WORKMANSHIP
-
-The sensible, practical adaptation to purpose and the workmanlike make
-of English and Irish old glass afford another test; compared with our
-native product, French glass of the same period seems meagre, and Dutch
-flimsy or clumsy; Italian is fantastic and tawdry. The French and the
-Italian ware was often gilded, the Dutch painted: these are features
-seldom seen on English and Irish glass. In place of gilding or other
-added external decoration the island ware presented a substance neither
-too thin nor too thick, bowls perfectly rounded, stems strong and stout
-but not bulky, too tall, or too short; feet that hold on to the table
-well, and are not warped and uneven. In the freak and toy pieces, too,
-the excellence of the workmanship is obvious.
-
-
-
-
-III. BLOWN WARE
-
-
-The blow-pipe is not so old an implement as the potter’s wheel, but it
-seems to have been used 5000 years ago, in Egypt. Pliny first gave the
-fanciful account of Phœnician mariners accidentally fusing carbonate
-of soda with sea-sand; Dr. Johnson commented on that as follows: “Who,
-when he saw the first sand or ashes by a casual intenseness of heat
-melted into a metallic form, rugged with excrescences, and clouded
-with impurities, would have imagined that in this shapeless lump lay
-concealed so many conveniences of life as would in time constitute a
-great part of the happiness of the world? Yet by some such fortuitous
-liquefaction was mankind taught to procure a body at once in a high
-degree solid and transparent; which might admit the light of the sun
-and exclude the violence of the wind; which might extend the view
-of the philosopher to new ranges of existence, supply the decays of
-nature, and succour old age with subsidiary sight.”
-
-Perhaps the first glassware was cast, or moulded, and there is no
-record of when or where the blow-pipe was first used. Ancient glass
-beads were probably made by moulding: probably the first glass ever
-made in England (the windows at Wearmouth Church, in A.D. 675) was
-cast. Not until the sixteenth century, apparently, was any blown
-glass made in England, and none of it remains both extant and intact;
-collectors are fortunate who come upon a piece of date so early as
-the first half of the seventeenth century, even; but from the last
-few years of the seventeenth century to the first few years of the
-nineteenth century inclusive, English and Irish blown glass was the
-best in the world. Therefore it is the _blown_ pieces which are the
-most characteristic, whether blown only or blown and afterwards
-engraved or cut. And the blown pieces, being intended for use, are
-the more numerous, and the more readily collected; the cut and
-engraved pieces, being for ornament, were more costly, and therefore
-fewer--though perhaps they have been more carefully preserved.
-
-[Illustration: MOULDED CADDY SUGAR-BASIN, AND JACOBEAN HAND-LAMP WITH
-BALUSTER STEM. NOTE THE CLOUDY TINGE]
-
-Drinking glasses are the most favoured aim of collectors and at
-present are the old glass objects most frequently offered, but as
-glass-collecting becomes more popular other glass objects are brought
-out of cupboards and places where they have been lying neglected;
-and my counsel is that a collector should acquire any piece of old
-blown-glass ware which he can.
-
-
-
-
-IV. CUT, MOULDED, AND ENGRAVED WARE
-
-
-A collector nervous about frauds should take note that _counterfeits
-of old cut-glass are much more numerous than counterfeits of old blown
-glass_; the latter is forged, in the shape of wine glasses with spiral
-stems, but not at all successfully. In cut-glass there is also the
-confusion with moulded glass to beware of, but the finger feels the
-edges of cut-glass to be slightly rough--rather like woodwork edges
-not sand-papered off--and the eye can detect a difference between
-what was cut and what was moulded. In fine old cut-glass the surface
-feels silky, and the touch slips upon it where the cutting is shallow;
-moulded glass has a wavy, rounded feel. Cut-ware glass seems to be the
-more popular “line” of collecting in glass, so it is well to consider
-the kinds of cutting here; remembering all the while the tests of tint,
-etc., as between the old and the new.
-
-
-THE ORIGIN OF CUT-GLASS
-
-English-and Irish-made glass, being heavier and better quality than
-any other, lent itself to cutting especially well; but probably the
-chief cause of the development of cut-glass here was the excise duty,
-which was levied on the plain manufactured article, so to speak--the
-glassware as the blower or moulder turned it out. The excise on that
-having been paid, all additional value given to the ware afterwards
-was non-taxable; therefore cutting came into vogue, and the glass
-cut in these islands became the best in the world. Of all cut-glass
-“Waterford” was the most beautiful; its specific gravity was the
-greatest, and deep cutting could take place without the ware being
-clumsily heavy to begin with.
-
-
-THE “WATERFORD” STYLE OF CUTTING
-
-Cork, Dublin, and Belfast cut-glass resembles Waterford cut-glass
-in everything but tint and weight, and perhaps it was the Celtic
-strain in the Irish glass-cutters’ blood which gave a more than
-English freedom and fantasy to their art. At any rate, the style of
-their cutting may be described as “curved” and “arabesque”; it was
-also shallow, generally; flowing lines and slight hollows, flattish
-rounded curves, and interlacings are evident; stems and candlesticks
-are “whittled” rather than cut deeply; rims are often surrounded by
-little semicircles, the edge of each semicircle being cut into angles
-with sharp points; sometimes these resemble half-open fans. The less
-the amount of cut ornament, the earlier the piece, as a rule. There
-is English style diamond-shaped cutting in Irish glass, and some
-“hob-nail” cutting--shaped flat ends standing out as hob-nails do
-from boot soles: there is some “strawberry” cutting; but as a rule, a
-fluent, curving, arabesquing style of cutting, with parallel horizontal
-lines, hollow prisms, upright fluting, and parallel vertical lines in
-panels, the latter sometimes resembling basket-plaiting, characterize
-Waterford cut-glass.
-
-
-THE “STOURBRIDGE” CUTTING
-
-The Stourbridge glass-cutters, on the other hand, rather over-did and
-abused the deep, regular, machine-like repetition of the “diamond” and
-the “hob-nail” and the “pomegranate.” Sometimes, however, the cutting
-was flat and flowing, and a festoon-like, hung-tapestry-like form may
-be seen.
-
-[Illustration: (1 AND 2) WATERFORD, AND (3) STOURBRIDGE CUT-GLASS BOWLS]
-
-
-THE “BRISTOL” CUTTING
-
-Bristol glass-cutters went in for depth, but also for fantasy: a
-leaflike arrangement may be seen: the flowing lines in “Bristol”
-cutting are not so fine and curved as they are in Waterford glass.
-
-
-“NEWCASTLE” CUTTING
-
-Perhaps the “thistle” glasses, so popular in Scotland, were
-made and cut at Newcastle, the nearest glass-making centre: but
-“thistle cutting” does not mean cut like a thistle; it means minute
-diamond-shape cuts upon a vessel conventionally resembling a
-thistle-head in shape.
-
-
-THE STAR AT THE BASE
-
-In old cut-glass a star is often found, cut in the base of the vessel,
-_under_ it; usually the old glass-cutters extended this star to the
-very edges of the base. In more modern cutting the rays of the star do
-not extend so far.
-
-[Illustration: EXAMPLE OF “POMEGRANATE” AND “DIAMOND” CUTTING: NOTE THE
-“STAR” ALSO, CUT TO THE EDGE, AND THE SCRATCH ACROSS THE BASE CAUSED BY
-WEAR]
-
-
-MOULDED GLASS
-
-About 1850 moulded imitations of cut-glass begun to oust the more
-expensive originals, and moulded glass of that date and since then is
-not worth a collector’s attention. But _old_ moulded glass, with the
-right tint in it, is worth acquiring; in the shape of candlesticks, for
-instance.
-
-Cutting could be done, and was done, either upon glassware originally
-blown, or upon glass originally moulded--that is, cast in a mould.
-Sometimes the stem or shank and foot were left untouched while the
-upper part of the vessel was cut. Moulded glass uncut shows no
-acuteness of edge nor sharpness in the depressions. Modern moulded
-glass is often very elaborate, however, and the beginner may readily be
-deceived.
-
-
-ENGRAVED GLASS
-
-Some part of the engraving on some glasses was really cutting: in
-roses which form part of the decoration of finely engraved glasses,
-the finger feels plane after plane of depression, where the engraver
-deeply cut away the metal to imitate the petals of the rose. When the
-engraving goes as deep as this, or deeper than usual, the effect is to
-give a dust colour to the engraved work, which helps one to be sure
-that the object before one is not an old plain glass recently “engraved
-up” with a Jacobite or other design to make it sell for more money.
-
-[Illustration: UNDER-SIDE OF BASIN, SHOWING THE STAR CUT TO THE EDGE]
-
-But as a rule engraving is a surface operation, done with a diamond or
-on the wheel, or by sandblast, or by use of acids. Where the engraving
-is flat, not cut in, the original greyish-white effect may long remain;
-a collector need not suppose that the engraving is recent because the
-tint of it is not brownish, a colour due to years and accumulations
-of dust. Indeed, the rougher and coarser the recent engraving the more
-likely dust to settle _in_ it, as well as upon it, and to give it a
-dusty tint. Really fine old engraving can remain almost as fresh in
-appearance and tint as it ever was, even till to-day. _And the natural
-tint of glass engraving resembles the tint of ground glass._ Of course,
-when the polishing-wheel was applied, either to parts or to the whole
-of the engraving, this greyish-white tint was polished away.
-
-The polishing-wheel was also used to remove the pontil-mark (when it
-was a lump or knob) from the feet of wine and other glasses.
-
-Dutch or German engraved old glass shows more _smeary_ in the engraved
-part than English or Irish glassware does.
-
-
-
-
-V. OLD COLOURED GLASS
-
-
-At Bristol, Nailsea, Wrockwardine, and perhaps at Norwich, glassware
-of various colours was made. There are collectors who care for nothing
-else but coloured glass; there are collectors who only care for
-coloured glass paper-weights; there are collectors who will not buy
-coloured glass at all.
-
-
-“BRISTOL”
-
-Bristol coloured glass is the most sought for. There are several
-varieties. The rarest is the opaque, whitish glass which rather
-resembles porcelain or Battersea enamel in general tint, and is painted
-upon as if it were porcelain or enamel: held to a good light this
-ware is seen to be rather opalescent, and might be dubbed opal glass.
-Edkins, a painter of Bristol delft, used delft-like colours and designs
-on this opal glass; wreaths of flowers (the rose and the fuchsia in
-particular) and flourishes in the Louis XV style are characteristic.
-Cups and saucers, teapots, tumblers, bowls and jugs, cruet vessels, and
-candlesticks of this ware exist, though few; the last-named imitated
-Battersea enamel candlesticks in shape and decoration. A characteristic
-of this glass is ridges or waves on the surface, detected by the
-finger. The earliest examples have domed and folded feet.
-
-Less rare, but rare, are the wine glasses with red and white or blue
-and white spirals in the stems which were made at Bristol; if the white
-is not cotton-white but greyish, however, such a glass is probably old
-Dutch.
-
-[Illustration: BRISTOL COLOURED GLASS PEPPER BOX, SHOWING THE ELABORATE
-FLOWERS, SUCH AS ARE SEEN IN PAPER-WEIGHTS]
-
-Fine tableware of transparent blue, blue-green, red, and purple was
-made at Bristol; the blue is a peculiar, unique blue, imitated but
-never well reproduced; where the glass is thick, it, held to the
-light, shows a Royal purple, and where thin it is almost a sea-blue.
-Egg-cups of this ware are handsome. Bristol red glass is of a ruby hue,
-with not so much vermilion in it as in Bohemian glass: there is also
-“cherry-red” glass. Bristol blue and red glass was sometimes touched
-with gilt, in lettering and lines; this did not wear well except when
-embossed.
-
-Bristol produced the finest glass paper-weights--of a size and shape
-to fill the palm of one’s hand if only the wrist and finger-tips
-are touching the paper--and at the base of these you see flowers of
-coloured glass, bright and various in hue, and rendered with wonderful
-skill; of the same kind of mosaic or tessellated glass is a small
-pepper pot in my possession, a very rare example. Other Bristol
-paper-weights, larger, and door-stops, still larger and heavier, were
-tall ovals, two or three or four times the size of a goose’s egg and
-rather resembling one in shape; the colour is a verdant or a sage
-green, and the inner decoration is flower-petals and leaves, pearled
-over as if by dew, and blown with extraordinary skill.
-
-[Illustration: BRISTOL COLOURED PAPER-WEIGHTS (1) GREEN; (2) COLOURED
-SPIRALS]
-
-Collectors should beware of forgeries of parti-coloured paper-weights.
-They may be known by the coarseness of the flowers inside the glass,
-the lack of fine workmanship, and the tawdriness of the colours.
-
-
-“BRISTOL” AND “NAILSEA”
-
-Nailsea is a small place near Bristol, and nobody can now be sure from
-which of the two came any particular bauble--coloured glass-flask,
-pestle, bell, witch-ball, tobacco pipe, trumpet, jug, rolling-pin,
-bellows-shaped article, walking-stick or rapier, or the (excessively
-rare) long glass cylinders containing coloured glass counters for
-games. But it is thought that the Bristol wares of this kind were
-brighter in colour than the Nailsea product, which, because less
-skilful and daring, perhaps, was cooler in tint, less striking in
-mixture of colours, and therefore more refined. Probably Bristol
-produced the glass which is ornamented by alternate broad stripes of
-red and opal-white. Perhaps Nailsea was responsible for glass of a
-“greenery-yallery” hue containing whitish spots or splashes: there are
-many forgeries of jugs and rolling-pins, in this style, about.
-
-
-“WROCKWARDINE”
-
-At Wrockwardine, in Salop, the glass works turned out coloured
-walking-sticks, ewers, scent-bottles, flasks, twin bottles for oil
-and vinegar, and toys; the characteristic being that the glass is
-_striped_, in white and one or more colours.
-
-
-“SUNDERLAND”
-
-The Sunderland glassworks are supposed to have made rolling-pins, and
-almost certainly produced the curious polygonal salt cellars (which
-some people have thought to be insulators for piano-feet), that reflect
-colour and gilding or coloured heads of men or women, from their bases,
-talc keeping the ornament there in place.
-
-
-MISCELLANEA
-
-Witch-balls seem to have been made at Bristol, for I own one of the
-Bristol red and opal-white; at Nailsea (in inferior, watery blue); and
-at Wrockwardine (greenish-blue striped with pale white). These balls,
-it is said, were hung at each door and window, “to keep the witches
-out” (see illustration, page 8).
-
-[Illustration: SUNDERLAND SALT CELLARS]
-
-Glass articles splashed with colour _outside_, on the exterior of
-the article, exist, but in great rarity; the splashed-on colours are
-glass-oxides, but look like oil-paint; the greenish clear glass beneath
-the splashing resembles the Nailsea product.
-
-
-GREEN, PURPLE, AND YELLOW WINE GLASSES
-
-Fine wine glasses, for hock or other white wines, were made in
-olive-green, grass-green, purple, and orange; these are collected by
-some people for use at table, by some for the collector’s cabinet. The
-older ones show the characteristics of dimensions and shape which will
-be described later in this book.
-
-
-
-
-VI. OLD DRINKING GLASSES
-
-
-These are the favourite quarry of the hunter for old glass. I prefer
-the more uncommon and out-of-the-way pieces myself, but the old wine
-glasses, goblets, cordial glasses, rummers, ale glasses, cider glasses,
-and so forth are so interesting, often so beautiful, and sometimes so
-quaint, that I do not wonder at the eager collecting of them.
-
-[Illustration: “THISTLE” GLASS, EARLY BALUSTER STEM]
-
-Seeking as I do right through this book to state general rules and
-tests which the beginner may apply to all glass he comes across, I now
-mention _the general features of old drinking glasses_.
-
-
-THE LUMPY STEM
-
-In days when men did not rise from the dinner-table quite so easily as
-they fell under it, the stem of a drinking glass must be thick, lest it
-snap in the convulsive hand, and was more safely held when it was also
-lumpy or bulbous--“knopped” and “baluster”-like are other terms for it:
-the fingers clung to the knobs.
-
-
-THE STOUT STEM
-
-Even when the bulbous or lumpy stem ceased to be the rule, a _thick_
-stem--three or four times the thickness of modern wine-glass stems--was
-the rule, for the reason just given.
-
-[Illustration: EGG-CUP BOWL, KNOPPED STEM (COTTON-WHITE SPIRAL SWELLING
-OUT)]
-
-[Illustration: TALL GOBLET, AIR-SPIRAL AND DOME-FOOT]
-
-
-THE EXTENSIVE FOOT
-
-Similarly, old drinking glasses were always made with very broad “feet”
-or bases; usually the foot had a larger circumference than the bowl. A
-semi-drunken hand, setting the vessel down on the table, might leave
-it rocking for two or three seconds, but the foot was so broad that it
-could hardly rock over.
-
-
-THE RAISED FOOT
-
-Because of the pontil-mark being often a knob, or protuberance, the
-foot of the glass must not wholly rest upon the table, but touch it
-near the circumference of the foot only, lest the knob at the end of
-the stem should prevent the glass standing level, or should scratch the
-mahogany.
-
-
-THE DOMED FOOT
-
-Some of the oldest glasses, in which the pontil-mark is quite a large
-protuberance, stand upon feet which, flat upon the table at and near
-the edge, rise domelike in the centre. These dome feet are seldom
-symmetrical; made by hand, the flat part is usually wider on one side
-of the dome than on the other.
-
-[Illustration: DOME-FOOT]
-
-[Illustration: HIGH INSTEP FOOT (TWO VARIETIES)]
-
-
-THE HIGH INSTEP FOOT
-
-As the pontil-mark became smaller and not so rough, the dome foot gave
-place to one which is mainly flat at the base but slightly conical,
-rising like a low round hillock, to join the stem: seen in profile,
-these somewhat resemble a leg and a foot with a high instep. No
-seventeenth-or eighteenth-century stemmed drinking glass except a
-“firing” glass has a foot with an uniformly flat section.
-
-
-THE HEMMED OR FOLDED FOOT
-
-Many old wine glasses are chipped at the edge of the foot; this was due
-to carelessness in the scullery sometimes, but often to careless use
-by convivial guests. Therefore glass-makers learned the advantage of
-folding the edge of the foot under, like a hem in needlework; a rounded
-edge, less likely to be chipped, was thus obtained. This “hem” is
-nearly always irregular, being turned in more at one part of the base
-than another. As a rule, the presence of a folded foot indicates that
-the glass was made before 1760.
-
-
-THE “NORWICH” FOOT
-
-Nobody knows what kind of glasses were made at Norwich or Lynn, but
-there is a supposition that horizontal lines, in the bowl or in the
-foot, mean “Norwich-made”: the foot is slightly terraced, so to speak.
-
-[Illustration: “NORWICH” FOOT]
-
-
-THE FIRING GLASS FOOT
-
-There is, I believe, in certain Lodges, a semi-ritual practice of
-hammering on the table with the feet of glasses, rhythmically, after a
-toast, somewhat in the style of applause called “Kentish fire.” This
-seems never to have been done with wine glasses, but old cordial or
-spirit glasses exist in considerable numbers which were expressly made
-for the purpose, and furnished with flat feet an eighth of an inch
-thick or more, so that they should not crack by concussion; in these
-old “firing-glasses,” too, the foot is bigger in circumference than the
-bowl.
-
-
-GENERAL RULES
-
-These considerations apply to stemmed glasses for ale, beer, cider,
-and cordials also; and to rummers and grog glasses upon stems that are
-short but stout. Therefore a _genuine English or Irish drinking glass
-of seventeenth-, eighteenth-, or early nineteenth-century make has,
-in addition to the tint, ring, quality, pontil-mark, workmanship, and
-signs of use, a stout stem and an extensive, raised foot_.
-
-[Illustration: MASONIC FIRING GLASS: NOTE THE THICK FOOT]
-
-About 1830, the six-bottle men being all dead, and even the
-three-bottle men becoming rare, the thickness of the stem and the
-extensiveness of the foot could safely be reduced; the pontil-mark,
-too, was smaller, and the foot of a glass could be made with a lower
-instep, so to speak. Therefore a _thin stem and a foot not bigger, or
-smaller, than the top of the bowl, with no pontil-mark, or hardly any,
-signify that the glass was made during Victoria’s reign or just before
-it began_.
-
-
-“THUMB” GLASSES
-
-“Thumb” glasses are those in which the external surface of the bowl is
-pitted with depressions the size of a finger-end, so that the shaking
-hand of the bibulous might be the less likely to let the glass drop.
-They are usually tall of bowl and short of stem, but rather big of foot.
-
-
-THE SQUARE FOOT
-
-Old glasses with thick square bases appear to belong to the end of
-the eighteenth century, when the “Empire” style was influencing
-manufacture: often the base is of inferior workmanship to the bowl.
-
-
-THE FEET OF TUMBLERS
-
-Even the bases of tumblers were made thick, though they were smaller in
-circumference than the top of the tumbler.
-
-
-
-
-VII. THE VARIOUS TYPES OF STEM
-
-
-Wine glasses and other drinking vessels of glass may best be classified
-according to the shape or decoration of the stem.
-
-
-1. THE BALUSTER STEM
-
-The oldest English drinking glasses are those which have lumpy, knobby,
-bulbous stems, of wavy outlines imitating the stems of Tudor and Stuart
-silver goblets, and rather resembling the shape of balusters in stair
-or terrace balustrades, or the uprights in some old gate-leg tables;
-perhaps among the baluster stems we should class those which rather
-resemble an inverted obelisk, the broad part just under the bowl and
-the point within the foot (see illustration, page 84); this long
-remained the favourite shape (and is almost the characteristic shape)
-for what are called sweetmeat glasses on stems, and for comports or
-glass stands for sweetmeat glasses; it gives a kind of shoulder to the
-stem. Sometimes the lower part of such a stem as this is square in
-section.
-
-
-THE COLLAR IN THE BALUSTER STEM
-
-Often the stem does not directly join the bottom of the bowl, but has a
-“neck,” with an outstanding ring of glass or “collar” around the neck;
-sometimes the collar is double or triple; the neck and collar were
-often used later, in other than baluster stems. Sometimes the collar
-is near the foot; sometimes there are two collars. Around some stems a
-fillet is found; these are very rare.
-
-[Illustration: “WILLIAMITE” GLASS: NOTE THE “COLLAR” ON THE BALUSTER
-STEM]
-
-
-THE OLDER BALUSTERS
-
-_The stouter and lumpier the older the baluster stem_, as a rule; after
-the accession of William and Mary, the baluster stems grew more and
-more refined and less heavy as the years went on. But baluster-stem
-glasses are prized by most collectors according to their bigness and
-lumpiness of outline; the older the better, from this point of view.
-The massive stems are very handsome; where they touch the bowl the
-bowl is very thick, and because the stem and pontil-mark were big, the
-foot is often domed; so that the curves of the bowl, the undulations
-of the stem, and the domelike or high-instep-like curve of the foot
-make a matched and pleasant outline for the whole. _Almost invariably
-baluster-stem glasses have folded feet._
-
-
-COINS IN THE BALUSTER STEMS
-
-Two things may be looked for inside these stems--coins and “tears.”
-Sometimes one of the swelling-out parts of the baluster stem was large
-enough to enclose a small silver coin; a coin glass is exceedingly
-rare and correspondingly valuable, but the date of the coin does not
-necessarily indicate the date of the glass.
-
-
-“TEARS” IN THE STEM
-
-[Illustration: PLAIN DRAWN LARGE ALE GLASS, SHOWING “TEAR” IN STEM]
-
-Many baluster stems enclose a separate blob or bubble of glass, called
-a “tear.” It has been thought that this was an accidental feature,
-due to imperfect mixing of the metal and the presence of air in the
-molten glass. Obviously, that is an unlikely cause, and in the Diary
-of Mr. Pepys I have discovered a passage which seems to show how these
-“tears” in the stem would begin. Writing little more than twenty years
-before 1689, Pepys refers to the “chymical glasses which break all to
-dust by breaking off a little end; which is a great mystery to me.”
-These were called _lacrymæ Batavicæ_, or “Dutch tears,” and were made
-by letting drops of molten glass fall into water; hissing, the glass
-became tearlike in shape, a blob with a long slender tail, and hollow.
-Probably such as these were the “tears” which appear as ornaments
-within the old drinking-glass stems, distinctly visible and separate
-from the rest of the glass in the stem, though of the same tinge and
-quality of material. The name “tear” is to this extent a misnomer,
-that nearly always the “tear” is bigger at the top than the bottom;
-whereas a tear proper swells out more the lower it slips on the cheek.
-But I own a baluster-stem glass in which the lower part of the “tear”
-is the bigger, and in some such glasses the “tear” swells out or in to
-match the shape of the stem. Sometimes three or five or more very small
-“tears” appear in one of the bulbs.
-
-
-2. THE DRAWN-OUT OR PLAIN ROUND STEM
-
-“Drawn glasses” were made at twice--the bowl and the stem in one,
-the foot added later. To understand better this meaning of the word
-“drawn,” imagine a soap-bubble with the extra suds adhering to one
-part of it, and suppose that the extra suds could be drawn out to
-make a stem; that was the method used in glass. The plain, round stem
-resembles a solid cylinder, but it is part of the bowl, in fact it is
-a continuation of the bowl. The end of the cylinder, around which the
-foot was welded, made a pontil-lump, and therefore the plain stem glass
-has either a high instep or a dome foot.
-
-[Illustration: DRAWN BOWL AND PLAIN ROUND STEM]
-
-The plain round stems were made stout because of insobriety, though
-that had begun to lessen when this second type of stem came into vogue.
-“Tears” are often seen in the plain round stems.
-
-
-3. THE CORRUGATED ROUND STEM
-
-Stems which are ornamented by outside spirals, or series of small
-ridges and grooves alternating, are usually old Dutch; but some of them
-are English, though of inferior quality and ring. The quality is so
-poor and the make so unsatisfactory that probably they were a “cheap
-and nasty” contemporary imitation and substitute for glasses adorned
-with the air spiral, the type which succeed the plain round stem. It is
-hardly likely that the corrugated stem preceded the air-spiral stem;
-or, if at all, for more than a few years. With these corrugated stems
-one expects to find, almost without exception, that the bowl of the
-glass is shaped like an inverted, incurving, waisted bell.
-
-[Illustration: (1) CORRUGATED STEM AND (2) HOP AND BARLEY GLASSES, THE
-LATTER SHOWING THE “SILVER SPIRAL”]
-
-
-4. THE AIR-SPIRAL STEM
-
-At any rate, out of the “tears” in the baluster and plain round stems
-was developed the idea of ornamenting stems by internal spirals or
-twists, and whether these should be number four or number three in the
-chronological order is not very important. By twisting while drawing
-out the stem from the surplus metal of the bowl (which contained
-several small “tears”) the graceful and beautiful effect of the air
-spiral _inside the stem_ was produced. Sometimes the spiral starts
-within the bowl; sometimes it winds round the base of the bowl; but
-always the ornamentation becomes a trellis-work or network when it
-fills up the whole stem; when it does not fill up the whole stem, it
-meanders down it medially, in one substantial spiral, like a corkscrew
-or a rope, or in two that interlace: and in the finest examples the
-finger can feel no ridging of the surface at all, though a slight
-ridging is palpable in many glasses. Now all this meant splendid
-workmanship--English aptitude at handicraft, the best of its kind in
-the world.
-
-[Illustration: DRAWN BOWL AND AIR-SPIRAL STEM, BEGINNING BELOW THE BOWL]
-
-Sometimes the spiral is so very brilliant that it seems as if it
-were made of quicksilver, and collectors call it “silver spiral” or
-“brilliant air-twist”; but this is probably an effect of light. In
-all cases the air spiral is glass colour, the tint of the rest of
-the glass; red, cotton-white, and blue spirals belong to the type
-of stem to be mentioned next. Sometimes, it is true, a white thread
-is seen running down the centre of the stem, within the network
-of air spirals; but oftener when this central thread occurs, it is
-“air-colour” itself.
-
-Air spirals are often seen in stems of knobby or baluster form;
-sometimes air-spiral stems have “necks.” This probably means that long
-rods of glass containing air spirals were made, with the baluster
-shape recurring at regular intervals of suitable length, so that the
-rod could be cut up into lengths and each length welded on to the
-bowl and the foot of a glass. These are the air-spiral glasses most
-sought after. Sometimes the stem of a drawn glass was welded to a foot
-of which a bulb was the upper part, this bulb sometimes containing
-beadlike “tears,” but these are very rare: sometimes the upper part of
-the stem is plain, and the lower part, beginning with a knob, is air
-spiral, or _vice versa_. Sometimes old air-spiral glasses with small
-feet are found; this was due to a practice of grinding away the edge,
-when the feet had become chipped by much use, and re-polishing the feet
-of these much-valued glasses; the folded foot for these glasses was not
-the rule.
-
-Tall, slender-bowled air-spiral glasses for champagne are sometimes
-found, in shape resembling the glasses called _flûtes_; I own one of
-this sort not less than 9½ inches high. Rarer still are spiral-stemmed
-glasses for ale; I own one 11 inches high (see illustration, page
-60). The former I gave 7s. 6d. for, the latter 10s., a tithe of their
-West-End prices. But these are very exceptional glasses.
-
-Air-spiral stems are found in cordial and spirit glasses, firing
-glasses, and goblets with short stems.
-
-
-5. THE COTTON-WHITE SPIRAL STEM
-
-[Illustration: TALL CHAMPAGNE GLASSES: (1) TAPE COTTON-WHITE, AND (2)
-AIR-SPIRAL STEMS]
-
-During the latter half of the eighteenth century the air-spiral glasses
-continued to be made, but the opaque or cotton-white spiral stems came
-into fashion and general use. These were not “drawn” stems; they could
-not be, because the white glass was not inherent in the metal. The
-stem was made by lining a long cylindrical mould with wirelike “canes”
-of cotton-white and other glass alternately. Then melted plain glass
-was poured into the cylinder. The canes adhered to the warm metal, and
-when the whole was reheated, it could be twisted into spiral designs.
-Then the parti-coloured rod thus made was cut into stem-lengths. By
-this means a great variety of designs in the spirals could be produced,
-and indeed, the countless differences in English-made cotton-white
-spirals, hardly any two alike, are one of the features of a collection.
-Sometimes the design spreads like the air-twist; sometimes it circles
-around a central, wavy tube; sometimes the cotton-white is tapelike, in
-a “Greek key” pattern; sometimes an outer spiral runs around the inner
-corkscrew; but always the effect is pleasing, and rather striking,
-though perhaps not quite in the reticent good taste of the air-spiral
-stems.
-
-[Illustration: STRAIGHT-SIDED, COTTON-WHITE GREEK KEY PATTERN]
-
-Dome feet or folded feet are hardly ever found under cotton-white
-or other coloured spiral stems; any example of that should at once
-be acquired; but the pontil-mark is always found--_if the glass be
-old_. The white in English-made glasses is generally a pure, vivid,
-cotton-white; in Dutch glasses it is usually a dull greyish hue. (This
-is why I use the term “cotton-white” as descriptive of these English
-stems.)
-
-
-6. COLOURED SPIRAL STEMS
-
-The next step, to coloured or “mixed” spirals, was obvious, but not
-very often taken at English glassworks: most of the red and white
-spiral stems now seen came from Holland or Liège. However, at Bristol
-red and white, and blue and white, spiral stems were made; they are
-known by the ruby red and the peculiar Bristol blue. Yellow and white,
-purple and white, and green and white spirals are known; rare indeed is
-a three-colour spiral. Coloured twist stems were only made in England
-about the end of the eighteenth century. An almost constant feature of
-tri-coloured stems made in Holland or at Liège is a wavy central tube
-of white, with coloured spirals around it, swelling or contracting to
-suit the usually bulbous shape of the stem.
-
-
-7. CUT PLAIN-GLASS STEMS
-
-These seem to have been in fashion during the period 1775-1825.
-Usually the stems are hexagonal, and the cutting had, of course, to be
-continued, in a shallow way, on the lower part of the bowl. “Thistle”
-glasses are those in which the cutting of the stem and bowl to some
-extent suggests the thistle in shape and appearance. The stems were
-often knopped--this is a feature of Waterford glass cut stems--but
-towards the end of the period mentioned above the stems became
-cylindrical except for the cutting, and the cutting did not so much
-produce facets as long grooves.
-
-The dates just given would suggest that the dome foot and the folded
-foot are not to be looked for under cut stems, but they are met with,
-the dome foot having been kept in use for ornament’s sake, probably.
-Nor is the pontil-mark present, if the cutter removed it; except that
-sometimes he left just the faintest trace of it, which the finger can
-detect.
-
-
-
-
-VIII. THE VARIOUS SHAPES OF BOWL
-
-
-Stemmed drinking vessels, whether for wine or ale, for rum or cordials,
-cider or drams, can be classified according to shape of bowl; this is
-important for descriptive purposes, and to some extent for dating. The
-following names of shapes do not apply to tumblers, mugs, or tankards,
-of course.
-
-[Illustration: (1) DRAWN]
-
-[Illustration: (2) BELL]
-
-_There are ten general shapes of bowl_:
-
-1. _Drawn_, found with the plain round stem and the air-spiral stem.
-
-2. _Bell_, found with the baluster stem, the necked and collared stem,
-the air-spiral stem, the cotton-white spiral stem, with coin glasses,
-and with rose glasses.
-
-3. _Waisted bell_, found with the corrugated stem and the plain stem.
-
-4. _Straight-sided_, found with each class of stem.
-
-[Illustration: (3) WAISTED BELL]
-
-[Illustration: (4) STRAIGHT-SIDED]
-
-5. _Rectangular_, a variety of the straight-sided, found with the plain
-round stem and the air-spiral stem.
-
-[Illustration: (5) RECTANGULAR]
-
-[Illustration: (6) EGG-CUP-SHAPED]
-
-6. _Egg-cup-shaped_, or ovoid, found with the cotton-white spiral stem,
-the air-spiral stem, and the cut stem.
-
-7. _Ogee_ (named after a term in architecture, signifying a curve,
-somewhat like the letter S), found mostly with the cotton-white
-spiral stem and the coloured spiral stem. These are believed to be of
-Bristol make as a rule, as many of them have the Bristol characteristic
-of perpendicular or spiral flutings in the lower half of the bowl,
-produced by pressure (a kind of moulding). The ogee bowl is also found
-with the cut stem, the plain round stem, and moulded stems.
-
-[Illustration: (7) OGEE (TWO VARIETIES)]
-
-[Illustration: (8) LIPPED OGEE]
-
-[Illustration: (9) DOUBLE OGEE]
-
-[Illustration: (10) WAISTED]
-
-8. _Lipped ogee_, found with the coloured spiral stem, the cotton-white
-stem, and moulded stems mainly.
-
-9. _Double ogee_, found with the air-spiral stem, and the cotton-white
-stem; some of the oldest have knops and the folded foot.
-
-10. _Waisted_, found with the air-spiral stem and the mixed spiral stem.
-
-
-SMALL LUMP OR BEAD AT BOTTOM OF BOWL
-
-[Illustration: “ROSE” GLASS, BELL BOWL, AIR-SPIRAL BEGINNING IN THE
-BASE OF THE BOWL]
-
-In many of the older wine glasses the finger can feel, inside the bowl,
-just above the top of the stem, a small conical projection, like that
-of half a bead. But this is not invariable, or an essential proof of
-genuineness.
-
-
-
-
-IX. OTHER STEMMED DRINKING GLASSES
-
-
-Wine glasses do not by any means exhaust the list of collectable
-glasses on stems; there are many desirable stemmed glasses once used
-for ale, cider, perry, or spirits, to be acquired.
-
-
-1. ALE AND BEER GLASSES
-
-[Illustration: CANDLESTICK BETWEEN TALL BEER GLASSES]
-
-Many glasses, drawn, bell, or waisted-bell shape in bowl and baluster,
-plain round, air spiral, cotton-white spiral, or cut in stem, exist,
-which appear to have been used for the very strong ale then brewed;
-often these are engraved with representations of hops and barley.
-
-Large vessels, perhaps used for “small beer,” exist, from 9 to 16
-inches tall, and proportionately capacious: the biggest of the kind
-I ever saw was engraved with Jacobite emblems. The smaller examples
-of this class may have been used daily; the larger may have been kept
-for occasional use as loving-cups, or were never used at all, perhaps,
-being merely _tours de force_ of the glass-maker, and kept as ornaments
-to a sideboard. The very large ones are drawn glasses, with plain round
-stems, as a rule; the nine-or ten-inch tall glasses of this kind are
-baluster or plain round in stem. I bought one of these (see page 48)
-for £2 5s. not long ago; its West-End price now might be £10, for it is
-“Waterford.”
-
-
-2. CIDER GLASSES
-
-No doubt some of the glasses mentioned just above were used at times
-for strong cider; perhaps large goblets were used for draught perry
-or cider at times. But special cider glasses exist, engraved with
-representations of apples and apple-tree leaves, or apple-trees, and
-these, from 6 to 7 inches tall, have ogee or rectangular bowls as a
-rule, and usually cotton-white spiral stems.
-
-
-3. CHAMPAGNE OR MUM GLASSES
-
-There are two types of old champagne or mum glasses, each rare: one
-type has a wide-lipped bell or double-ogee bowl, upon a baluster stem,
-and much resembles some of the bigger sweetmeat glasses; the other type
-is 7 to 9 inches high, ogee bowl, and cotton-white stem.
-
-
-4. RUMMERS AND MUGS
-
-There were three shapes of rummers used, one goblet shape, one on a
-tall stem, and one on a stem which is also a base: sometimes the base
-of an old rummer is square. The first of these three shapes has a
-baluster stem, the second a plain round, spiral, or cut stem.
-
-Fine mugs, with handles, imitating contemporary old silverware, are
-found; the mugs show something of a stem (see illustration, page 7).
-Often they are engraved with the initials of their first owner, and
-sometimes are dated also. Fine double-handled mugs, like loving-cups,
-exist.
-
-[Illustration: (1) JOEY, (2) THISTLE FUDDLING, (3) BRISTOL COACHING,
-AND (4) JOEY GLASSES]
-
-
-5. SPIRIT GLASSES AND CORDIAL GLASSES
-
-These are small in bowl and short in stem, the bowl is often
-straight-sided, and the stem is usually drawn, and often cut. But there
-are many with drawn bowls and plain stems. A “thistle” glass of this
-kind is specially valued. Often the bowl is engraved. Cordial glasses
-may have long stems.
-
-
-6. COACHING GLASSES AND FUDDLING GLASSES
-
-These are glasses which have no feet: they were used at one draught of
-the liquor in them. I bought a Bristol opal glass of the kind for 6d.,
-but these are excessively rare. Almost as rare are the plain glasses,
-with cut stems, used in coaching days. When the stage coach paused at
-an inn, a waiter came out with a tray of footless glasses, each resting
-on its bowl; the traveller took one up, inverted it into the proper
-position, held it out to the bottle or decanter in the waiter’s hand,
-drank, and set the glass down upon its bowl again. A fuddling glass was
-a variety of coaching glass used indoors, for a rapid dram; a “thistle”
-glass of this kind was favoured in Scotland.
-
-[Illustration: (1) DRAM, (2) TOASTMASTER, (3) OAKLEAF, AND (4) HOGARTH
-GLASSES]
-
-
-7. TOASTMASTER GLASSES
-
-These are less capacious dram glasses than they seem; the lower part
-of the bowl was deceptively made very thick, so that the toastmaster
-at a banquet need not drink so much as would otherwise have been
-necessary, when announcing and sharing in every one of the score or two
-of the toasts and “sentiments” which were honoured at every convivial
-board. A relic of the “sentiment” habit was preserved by Dickens in the
-language of Mr. Dick Swiveller: “May the wing of friendship never moult
-a feather” was a “sentiment” in its day.
-
-
-8. “HOGARTH” GLASSES
-
-Certain short, short-stemmed, or almost stemless glasses, with
-“Norwich” feet often, and with drawn or waisted-bell bowls wide at the
-mouth, are known as “Hogarth” glasses, because they were often shown in
-Hogarth’s pictures of contemporary social life.
-
-
-9. TAVERN AND KITCHEN GLASSES
-
-Old glasses are often found which in shape and purpose correspond with
-those described in this chapter and chapters vi, vii, and viii, but
-were obviously inferior in finish of make when new. These may be taken
-to be glasses made cheaply for tavern and kitchen use; though not so
-attractive as the better qualities, they should not be neglected by the
-collector.
-
-
-10. YARD OF ALE GLASSES
-
-Evelyn tells in his diary that in 1683 the health of James II was drunk
-at Bromley “in a flint glass of a yard long.” Imitations of these
-are made, but the real old ones are excessively rare. In shape they
-rather resemble a coaching-horn, the mouthpiece being the foot, or the
-mouthpiece being replaced by a bulb. They were used at merry-makings,
-as proof of bibulous skill in emptying a glass a yard long. There are
-also half-yard glasses.
-
-
-11. “THIMBLEFUL” GLASSES
-
-These have a very small straight-sided or ogee bowl, upon a plain
-round, or spiral stem and big foot. They are very rare.
-
-
-
-
-X. JACOBITE, WILLIAMITE, AND HANOVERIAN GLASSES
-
-
-These are the aristocracy among the wine glasses, goblets, and spirit
-glasses. They are rare, difficult to find, and costly to buy, but not
-impossible to come upon by lucky hazard.
-
-
-THE ROSE GLASSES
-
-[Illustration: JACOBITE GLASS SHOWING THE STUART ROSE: ALSO THE
-“CENTRAL TUBE” IN THE STEM]
-
-The dearest aim of every collector of old wine glasses is to come upon
-a Jacobite glass. The more sanguine and less strict kind of collector
-declares himself the owner of a Jacobite example if he possesses a
-glass engraved with a six-petalled heraldic Stuart rose (one petal for
-each King or Queen of Stuart blood who actually reigned in England, he
-says), a large bud (representing the Old Pretender, he explains), a
-smaller bud (for the Young Pretender), and a bird or (see illustration,
-page 20) butterfly (crossing the narrow seas, he explains, to bring the
-Stuarts back).
-
-[Illustration: JACOBITE GLASS, SHOWING PORTRAIT OF THE YOUNG PRETENDER]
-
-[Illustration: JACOBITE GLASS, SHOWING THE THISTLE]
-
-A stricter, less easily satisfied collector points out that those were
-“the ordinary rose glasses,” used at all fashionable dinner-tables
-in the eighteenth century (see illustration, page 59). The reply to
-that is that the six-petalled rose and one of the buds, at least, are
-heraldic, not naturally represented; that the heraldic, six-petalled
-white rose was the Stuart rose; and that, at any rate, the “ordinary
-rose glasses” were sometimes used by Jacobites, particularly in general
-assemblies, because of their covert meaning, when it would have been
-unsafe to use the treasonable Jacobite glasses proper. A slight
-addition to the rose glass makes it truly Jacobite; thus I own a fine
-goblet which is made Jacobite by a monk’s-hood flower being added--a
-reference to General Monk. An “ordinary rose glass”--not so ordinary
-after all, and difficult to procure now, as well as dear to buy--which
-has a Stuart emblem engraved _under_ the foot of it is allowed to pass
-muster by the stricter collector, but what he aims at or boasts of if
-he possesses one is a “Jacobite glass proper.”
-
-
-THE “JACOBITE”
-
-Now a “Jacobite glass proper” is engraved with a portrait of the Old
-Pretender, or of his son “Bonnie Prince Charlie”; or with the rose,
-two buds, a butterfly or a bird, and also a Jacobite motto or emblem,
-or both; or with the cypher of the Old Pretender and the words of a
-loyalist song. Upon a firing glass (the rarest of the Jacobite variety)
-may be seen the touching emblem of a thunder-smitten tree putting forth
-new branches, and the motto _Revirescit_ (It becomes green again).
-Upon a wine glass may be seen the word “Fiat” with a star (perhaps
-standing for _fiat lux_, “Let there be light,” or perhaps for “Let it
-be done”--the second Restoration of the Stuarts). Or the motto may be
-_Redeat_ (let him return), or, very rare, _Redi_; or _Radiat_ (perhaps
-a misspelling of _Redeat_, or possibly meant for “let him shine”). If
-an oak-leaf (as well as the other features) appear on the glass, it was
-probably used in England; if a thistle, probably in Scotland.
-
-[Illustration: JACOBITE “FIRING” GLASS, SHOWING THE OAKLEAF AND THE
-WORD “FIAT”]
-
-There still are a few Jacobite glasses lying unrecognised no doubt;
-two were found in a London broker’s shop a few years ago, and bought
-for 5s.; in 1914 a Bristol schoolmaster learned accidentally that two
-glasses which had stood on a shelf on a sideboard in the family for
-forty years were _Fiat_ glasses, and a valuer going to a house in
-Sussex for other purposes, discovered a Prince Charlie portrait glass
-(worth a hundred guineas now) still passing _incognito_--there had been
-“the pair of it,” but that had been “smashed to bits,” the servants
-said.
-
-[Illustration: JACOBITE “FIRING” GLASS, SHOWING THE STAR AND THE
-ROSEBUD]
-
-The rarest form of Jacobite glasses is the short toasting or firing
-glass, for strong waters, of “Hogarth” shape. I possess one of these;
-it has a “Norwich” foot; the thickness of the base of the bowl, and
-the “tear” in that and the short bulbous stem, seem to date it at
-about 1725, so that it will be an “Old Pretender” glass. It is very
-beautifully engraved with the six-petalled rose, the two buds, the word
-“Fiat,” the rising star and the (Boscobel) oak-leaf. It had been kept
-in an armoury, belonging to a collector who did not collect old glass.
-
-[Illustration: JACOBITE FIRING-GLASS: NOTE THE TERRACED OR “NORWICH”
-FOOT AND THE “TEAR” IN THE BALUSTER STEM: ALSO THE CENTRE OF THE ROSE,
-BRIGHT AMIDST THE GROUND-GLASS PETALS]
-
-No wonder people hunt for Jacobite glasses. They were the romantic,
-loyal, treasonable vessels which were emptied to the toast of “his
-Majesty over the water,” in clandestine and dangerous gatherings of
-fair women and conspiring men. Then the great punch-bowl was filled
-with water, to represent the narrow seas, and the red wine sparkled in
-the glasses held out above it; as often at loyal Georgian assemblies a
-Jacobite would be seen to hold his wine glass above a tumbler of water,
-if called on to drink to “the King”:
-
-    _Then all leapt up and joined their hands
-      With hearty clasp and greeting,
-    The brimming cups, outstretched by all,
-      Over the wide bowl meeting:
-    “A health!” they cried, “to witching eyes
-      Of sweetheart, wife, or daughter,
-    But never forget the white, white rose,
-      That blooms for us over the water!”_
-
-Flip these old glasses with the finger-nail, and they ring like a
-tuning-fork; draw thumb and finger upwards to the edge of the bowl, and
-you hear a clear faint resonance, sad as the wailings after Culloden,
-when final defeat had come.
-
-
-THE “WILLIAMITE”
-
-I bought two fine, perfect, baluster-stemmed Williamite glasses for
-a guinea once; they show William of Orange on horseback, and are
-inscribed with “The Glorious Memory of King William, No Surrender,
-Boyne, 1st. Iuly 1690”; and the initials “T.C” and “S.C”; on some such
-glasses two of the initials are “S.T.” (see illustration, page 47).
-The glass is a yellowish-white where it is thick, and if not made at
-Belfast, may have been made in Cork; but the engraving would be done
-in Ulster. Some such glasses are rather recent; no doubt the making of
-Williamite glasses continued longer than the making of Jacobite glasses
-did, because of the continued existence of Orange Lodges. Some of these
-glasses are inscribed “The Immortal Memory” only, or “To the glorious
-memory of King William” only. Williamite firing glasses, of “Hogarth”
-shape, are also found.
-
-
-THE “HANOVERIAN”
-
-When the House of Hanover came to the throne of the United Kingdom,
-loyal drinking glasses were made accordingly. “God save King George”
-and “Liberty” are the usual inscriptions on them; sometimes the
-heraldic white horse of Hanover was engraved on the bowl, or the three
-crosses of the Union Jack inside a garter and the rays of the sun.
-Hanoverian glasses are rarer than Jacobite or Williamite, but Jacobite
-glasses are the most valued and costly.
-
-
-
-
-XI. TUMBLERS, TANKARDS, “JOEYS,” AND “BOOT” GLASSES
-
-
-I class these together because they are stemless. Pewter and silver
-tankards were imitated in glass, and these differ from mugs in being
-straight-sided and quite stemless; often they were engraved with
-initials and dates.
-
-Old tumblers are not found so numerously as old wine glasses are;
-they are usually large, are often cut, and are sometimes engraved.
-Some tumblers are barrel-shaped, like some rummers, but most tumblers
-are “straight-sided” or “rectangular.” Some tumblers are engraved
-with portraits (as of Admiral Keppel) or with inscriptions (as of
-“Wellington for ever”). I own two which celebrate the “Independence of
-Durham and Richd. Wharton its defender,” probably made at Sunderland in
-1802, to commemorate a Parliamentary Election in which the freedom of
-the citizens of Durham from rule by the bishop’s bailiff was involved.
-Masonic tumblers are rare; so are Bristol opal-glass tumblers, yet I
-own one which cost me 1s.
-
-“Joeys” are dram glasses, shaped like tumblers, or like fuddling
-glasses with no foot or stem (see illustration, page 62). Mr. Joseph
-Hume, M.P., had caused fourpenny bits to be coined; fourpenny bits
-were accordingly called “joeys”; even to-day people call for a “joey”
-of brandy. When a tax was put on gin, less of the liquor could then
-be sold for fourpence; so that the glass was made thicker, and the
-contents accordingly less. For a similar reason to-day there are in
-public-houses glasses called “Lloyd Georges,” I am told. The two
-“joeys” I own are of grass-green hue; one is inscribed with “4d.”
-
-[Illustration: SMALL BOOT GLASSES]
-
-“Boot” glasses are small blown vessels in the shape of riding-boots,
-probably used for spirits in the parting dram, otherwise called the
-stirrup-cup. There seems little foundation for the suggestion that
-these were emblems of Lord Bute, in the days of George III; for as Mr.
-Hartshorne, the founder of glass-collecting, discovered, a jack-boot
-glass is preserved in the museum of Liège and another in a Dutch
-museum, and these are older and more elaborate than the English “boot”
-glasses. I own two of those which Mr. Hartshorne collected, and on
-which he based the “Bute” suggestion, but small “boot” glasses are
-exceedingly rare. A big one, cut, and 12 inches high, was once offered
-me; I think it came from Liège. Large boot glasses striped with white
-are seen sometimes; “boot” glasses can hardly have been peculiar to
-Great Britain. Perhaps they were used by hunting men as an emblem of
-their sport.
-
-
-
-
-XII. BOTTLES, DECANTERS, AND JUGS
-
-
-BOTTLES
-
-The Trapnell collection contained an early seventeenth-century bottle,
-with a seal of a king’s head; another dated Henry Galshell, 1700;
-another inscribed T. Bellamy, 1773. I own one bearing “C. Yoxall, 1778”
-in raised letters on a raised lozenge. These are all of dark, thick
-glass, and are short-necked and tun-bellied. A little later, in 1786,
-for instance, the shape became like that of a beer bottle to-day, but
-larger.
-
-The rectangular, shouldered spirit bottles, with separately made short
-necks, and engraved or gilded, are usually Dutch, and were perhaps
-enclosed in cases, something like “tantalus” bottles. There are tall,
-embossed spirit bottles, often of coloured glass, with cut-glass
-stoppers. There are cut-glass English bottles, decanter-shaped but
-stopperless, a cork being used. Holster bottles were a kind of flask
-carried in the saddle holster. Bottles for oil and vinegar and spices
-resembled cruet bottles as a rule. Scent bottles, large, in plain
-glass, are found; small scent bottles, cut or coloured, or mounted with
-silver or pinchbeck stoppers, exist in great numbers; I own a Bristol
-scent bottle which is cut like a shell cameo, through two layers of
-coloured glass, one pink, one opal, down to the basal layer of plain
-glass; it cost me 6s. 6d.
-
-
-DECANTERS
-
-During most of the eighteenth century wine came to table in bottles;
-“decanting” began to be the fashion about 1780, perhaps. The decanters
-of that date have sloping shoulders as a rule; some in shape resemble
-a drawn glass with short stem reversed; a little later decanters
-became more globular and high-shouldered, with shorter necks. Engraved
-festoons on a decanter, as indeed upon a wine glass, usually indicate
-the “Empire” period by their decoration--the end of the eighteenth
-century, if not the beginning of the next. It must be said, however,
-that some “Jacobite” decanters exist with long necks and globular
-bodies; so difficult is it to find a rule without an exception in old
-glass. These Jacobite decanters have pointed stoppers, too; whereas
-oval rounded stoppers seem generally to have been the early form.
-
-
-JUGS
-
-Ale jugs, wine jugs, and water jugs in plain, coloured, or cut glass
-are plentiful. The most desirable are Waterford made, known by
-the tint, the weight, and the cutting. Cork-made jugs, resembling
-Waterford-made in cutting, but yellowish in tint, are found. Bristol
-coloured jugs, Wrockwardine striped and Nailsea splashed glass jugs
-exist; these, like many other old plain glass jugs, are blown and not
-cut. Jugs with very large necks and lips, either blown or cut, are
-fairly early examples. Sometimes a plain glass jug will have a raised
-festoon of plain or coloured glass about its neck.
-
-Milk and cream jugs in Bristol blue, opal, or ruby glass are well
-known; cut milk-jugs exist in fair number.
-
-
-
-
-XIII. BOWLS, LIFTERS, SUGAR-CRUSHERS, SPOONS, ETC.
-
-
-Large cut-glass bowls, and plain bowls, exist, perhaps too small for
-punch (except the Bristol painted opal-glass ones), but big enough for
-fruit or salads. Often these stand on feet and stems. Finger bowls
-of plain blown and of cut glass are found. Coloured glass bowls, of
-Bristol blue, green, violet, or red, are desirable acquisitions. The
-earliest form of finger bowl was not a finger glass so much as a wine
-cooler or glass rinser; these have two projecting lips or ears opposite
-each other, to support the glass as it lay in the water rinsing or
-cooling.
-
-[Illustration: COLLARLESS, CUT, AND COLLARED “LIFTERS”: THE MIDDLE
-COLLAR REPRESENTS A “FILLET”]
-
-The _toddy lifter_, _punch lifter_, or _grog lifter_ is an interesting
-glass article; I own seven, though examples are quite rare. There are
-several shapes. When the lower part is a high-shouldered decanter shape
-it is said to be a punch lifter, and English; when the lower part is
-round and shoulderless, like a club, it is Scottish and a toddy lifter.
-In most cases there is a fillet or collar of glass round the neck, and
-these are called ring-necked; the absence of the ring is rare. The
-bowl is of the size required for an ordinary glassful, for the lifters
-were used to transfer punch, toddy, or grog from the punch-bowl to the
-glass. The earlier way of doing this was by a silver or wooden ladle,
-but about the year 1800 the glass lifter (which is really a pipette or
-siphon) came into use. When the base of the lifter sank into the punch,
-the punch rose into the bowl of it by a hole in the bottom of it; the
-thumb then closed the hole at the top of the neck, thus creating a
-vacuum. Then the lifter could be carried over the table to the glass,
-and when the thumb was taken away the punch ran down into the glass.
-
-Glass sugar crushers, plain, cut, or ridged with spirals, are found,
-with a pestle-like end to them. Glass spoons are rare. Glass knives
-are found, but most of them are doubtful. Pestles of Nailsea glass are
-seen, perhaps once used by ladies in their still-rooms; maybe glass
-mortars to match them may turn up.
-
-Knife rests for the table are found, some plain moulded, some cut, some
-even with spirals inside them.
-
-
-
-
-XIV. CANDLESTICKS, LUSTRES, AND LAMPS
-
-
-Lustres and girandoles are often collected; glass standard lamps
-seldom, at present; glass candlesticks are much hunted for.
-
-
-1. CANDLESTICKS
-
-The most beautiful of glass candlesticks are those made and cut at
-Waterford, which stand about 12 inches high; £10 is a low price for
-a pair. Bristol cut-glass candlesticks are nearly as fine; Bristol
-opal-glass candlesticks, plain or painted in the Battersea enamel
-style, are exceedingly rare. Candlesticks with air-spiral and
-cotton-white stems are occasionally met with. Ordinary moulded-glass
-candlesticks, of the early nineteenth century, are pretty numerous:
-fine moulded candlesticks are of earlier date.
-
-[Illustration: FINE MOULDED CANDLESTICKS; SEE ALSO ILLUSTRATION, PAGE
-60]
-
-Glass candlesticks of Georgian date follow much the same order as
-the contemporary wine glasses, in the feet, pontil-marks, and stems.
-The earliest have baluster stems about 9 inches high, and round feet
-between 6 and 7 inches in diameter; the feet are domed or high instep,
-and the pontil-mark is a lump. The dome foot occurs with the air-spiral
-stems, later, and even with the cut stems, later still; in these last,
-as in the moulded and in the cut and engraved examples, the pontil-mark
-does not show. Fine candlesticks ornamented by purfling were made (see
-illustration, page 60). Glass taper stands are found.
-
-
-2. LUSTRES
-
-The degenerate form of lustre that was found on every parlour
-mantelpiece about the year 1860 is the best-known form, and many of
-these coloured glass objects, belling out at the top and bottom, with
-hanging prisms fantastically cut, are still extant; but as yet they are
-little collected. The name “lustres,” however, may be used to include
-the standing girandoles and the hanging chandeliers adorned with
-festoons of diamond-like cut prisms, and these are much sought after;
-many collectors acquire loose prisms, long or diamond-shaped, whenever
-they can, and have them re-strung, to be added to new glass chandeliers.
-
-The earliest form of the girandole, or standing lustre, had a glass
-standard and glass arms; the top of the standard was a candlestick
-nozzle; the glass standard and arms and the dependent prisms reflected
-the candlelight brilliantly. Two of these were in use at Mount Vernon
-when George Washington was President of the United States; in the
-_Boston News Letter_ for 1719, “Fine Glass Lamps and Lanthorns” were
-advertised. Later, French influence brought in the ormolu and brass
-standards, some two feet high with ormolu arms and glass hangers.
-A complete set of girandoles, for a mantelpiece or console-stand,
-consisted of three, with ormolu bases (sometimes representing a human
-figure), standards, and arms; the central one triply or quintuply a
-candlestick, the side ones singly so.
-
-In the fine tall lustres made in pairs at Cork about 1820 all was
-glass, except the metal clips inserted in the nozzles to hold the
-candles better. Until lustres lost their meaning and became mere mantel
-ornaments the candlestick part of them was a usual feature.
-
-
-3. LAMPS
-
-Glass standard lamps, some with round bases, some with square bases,
-the stems cut or balustered, may be found; in some cases the standard
-is short and supports a blown-glass lampshade; in other cases a
-blown-glass bulb is part of the tall standard.
-
-A rare and interesting form of lamp, one of the oldest, has a bulb
-with an opening in the top, the edges of the opening rounded off, and
-a corrugated stand; these are small, and were used for nightlights. I
-own three, one of them with a handle, and a dish beneath it, evidently
-used for carrying the light from room to room (see illustration, page
-27); such as these would, perhaps, be the old “mortars,” or night-light
-holders, for a cake of wax and a wick.
-
-
-
-
-XV. COMPORTS, SWEETMEAT, JELLY AND CUSTARD GLASSES
-
-
-COMPORTS
-
-[Illustration: COMPORT, WITH CAPTAIN GLASS AND SWEETMEAT GLASS; ALL
-THREE SHOWING THE “INVERTED OBELISK” STEM]
-
-A comport is a large glass stand upon which (as the name signifies)
-other things may be carried together. A comport consists of a large
-or largish glass disc, flat, with a rim to it, upheld upon a thick
-stem--most often a shouldered stem, in shape resembling an inverted
-obelisk, rising from a domed and folded foot. An old comport is a rare
-possession; a modern glass cake-stand, such as confectioners use, is
-a near approach to it in shape. The use of a comport appears to have
-been to stand on a dining-table, bearing a number of glasses filled
-with jelly or sweetmeats.
-
-
-SWEETMEAT GLASSES
-
-Old sweetmeat glasses were used at table much as bon-bon dishes are
-now, to pass round at the dessert course; or to hand to ladies at other
-than mealtimes, during a call. Sweetmeat glasses proper resemble wine
-glasses, but have wide bowls, thick-lipped, unsuitable for drinking
-from: the shape of the stem resembled that of the stem of the comport.
-Often these glasses were engraved.
-
-[Illustration: SWEETMEAT GLASSES: (1) MOULDED; (2) ENGRAVED (3)
-WATERFORD CUT]
-
-
-“CAPTAIN” OR “MASTER” GLASSES
-
-In the centre of the comport, surrounded by sweetmeat glasses, a
-bigger, taller “captain” or “master” glass stood; its shape resembled
-that of the smaller glasses, and it probably held a store from which
-these could be replenished. “Captain” glasses are much sought for; the
-most valuable are Waterford cut, the West-End price for one being now
-£8.
-
-[Illustration: JELLY GLASSES. NOTE THE MOULDED ORNAMENT]
-
-The bowls are usually varieties of the double ogee; the moulded stem is
-usually high-shouldered, inverted obelisk in shape, but air-spiral and
-cotton-white spiral stems are found (see illustration, page 1). A cut
-stem is usually knopped, but may be plain round, except for the cutting.
-
-
-JELLY GLASSES
-
-Jelly glasses are small, low, moulded or pressed, almost stemless,
-on domed or high instep feet; sometimes the bowls are plain blown or
-moulded, sometimes cut, sometimes hexagonal.
-
-
-CUSTARD GLASSES
-
-The most desirable custard glasses have handles. Some of them have
-square bases. Some of them resemble smallish wine glasses with
-corrugated stems. Most of them are decorated by pressed or incised
-lines.
-
-[Illustration: (1) HANDLED, AND (2) SQUARED-BASED CUSTARD GLASSES]
-
-
-
-
-XVI. SALT CELLARS, PEPPER BOXES, SUGAR BASINS, ETC.
-
-
-The “Sunderland” salt cellars have already been mentioned (see page
-39); moulded or cut-glass salt cellars are much less rare. The oldest
-of these seem to be those with oval bowls, in the Queen Anne silver
-style, with diamond-shape bases on short stems, everywhere cut. Some
-salt cellars have turned-over tops, much broader than the rest of the
-vessel; there are Bristol striped salt cellars of this shape. In some
-cut salt cellars the lines run horizontally. Victorian salt cellars
-were very heavy and rather plain.
-
-Pepper boxes of glass are round, or octagonal, plain or cut, with or
-without a foot; holes are pierced in the top, there is a glass stopper
-at the bottom; sometimes the base is square and the pierced top is of
-silver. In some cases the vessel was used for castor-sugar.
-
-Sugar-basins exist in numbers, and in plain, cut, opal, and coloured
-glass, notably in the Bristol blue. There are covered sugar basins;
-when these are large and cut they are known as sugar bowls. A special
-type is the _caddy sugar-basin_ (see page 27); this was usually of
-straight-sided form, blown, moulded, or cut, or both moulded and cut;
-it stood in the central receptacle of a tea-caddy, within the round
-hole between the two rectangular boxes which held green tea and black
-tea respectively. These basins are much more seldom met with than the
-caddies are. Often they are very heavy, and nearly always they are very
-ornamental. Bristol opal-glass sugar and slop basins are met with; in
-this glass complete tea-sets were made, including tea poys or glass
-tea-caddies. In the Willett collection was “a Bristol glass teapot and
-cover, with flowers in colours.” A glass teapot is rarely found.
-
-
-
-
-XVII. MIRRORS, GLASS PICTURES, GLASS KNOBS
-
-
-Mirrors more properly come within the category of furniture, but they
-largely consist of glass, of course, so that some notice of them is
-needed here.
-
-In 1688 the art of casting large plates of glass began to be carried
-on in France. In 1663 the art had been patented in England, but for
-smaller sizes. One French mirror, now in the Louvre at Paris, was
-valued at £6000 in 1791. Glass used to be a costly product; the chief
-reason why old prints are usually found trimmed of their margins was
-that glass to frame with them was so dear.
-
-Old _mirrors_ with bevelled edges have the bevel flattish, nearly in
-the plane of the glass; the bevel follows the shape of the frame,
-but is irregular at its inner outlines, because the grinding of the
-bevel was done by hand. Modern bevels, done by machinery, are almost
-mathematically exact, and make an acuter angle with the frame than the
-old bevels do. Also the silvering at the back of old mirrors differs
-from the method of silvering now used; the difference is much more
-easy to recognize by the eye than to describe, but there is a kind of
-granulation in the older backing.
-
-_Glass pictures_ are of two kinds; one in which the painting, in
-oil-colours, was done upon the glass itself, usually at the back of
-it; and another in which the paint was laid on coarsely behind a print
-which, rubbed very thin at the back of the paper, had been affixed to
-the back of the glass. This second kind is the more numerously met
-with; also it is the most counterfeited. Age may be known, however,
-by the curving, bubbly surface of the glass. A third kind, consisting
-of a mosaic of bits of glass, so laid together in cement as to form a
-picture is rare, even in modern examples.
-
-Glass _knobs_ to handsome sideboards were used in the first quarter of
-the nineteenth century, and have continually been used in Yorkshire,
-for dressers, since then; old glass knobs are usually moulded, but some
-are cut, though the round, uncut shape was the most convenient for
-handling. Glass door-knobs are found.
-
-
-
-
-XVIII. OLD PASTE, GLASS BEADS, AND TAWS
-
-
-PASTE
-
-All artificial “stones” used in jewellery are glass--glass variously
-shaped, cut, and coloured--but “_old paste_” is glass not coloured;
-though it may be backed with coloured foil, which shows a tint through
-the glass. Old-paste collecting is, therefore, a branch of old-glass
-collecting, and cannot be ignored in this book.
-
-White paste is usually a substitute for diamonds; the carefully made
-and cut old paste or strass (the French name for it, adopted under
-Louis V, when the best paste was made) came very near the look of
-diamonds. Paste or strass is glass of a very hard, bright kind, cut in
-the way in which diamonds are cut, and mounted in the metals and styles
-which usually go with diamond jewellery.
-
-Behind these brilliant bits of cut-glass, silver or tinfoil was put, so
-that light falling through the glass should be refracted and reflected
-back, as it is in natural crystals such as diamonds. Time affects the
-colour of this foil and thus gives a softer beauty to the effect. Old
-paste is more beautiful than new paste for another reason, too--being
-old glass it has the tints of old glass so often referred to in this
-book. Some paste seems to have been made at Bristol, for “Bristows” or
-“Bristol diamonds” some of it is called.
-
-The older paste ornaments have the bits of glass set separately,
-each setting for each bit separate though touching each other, and
-therefore there is much metal shown in the settings; this applies to
-the seventeenth-century paste. Later, near the end of the eighteenth
-century and afterwards, as now, the bits of glass were sunk within a
-continuous grooved or hollow setting, each bit held in place by a small
-claw or raised clip of metal soldered on to the general groove. The
-setting for white paste was usually silver: coloured pastes were often
-set in gold, silver gilt, pinchbeck, bronze, and sometimes in pewter.
-
-Paste consisting of very small pieces is preferable to the larger
-varieties. “Diamond” paste is oftener found than “emerald,” “ruby,” or
-“sapphire” paste. A certain form of paste (not truly paste) is found in
-jewellery set with glass cut and silvered at the back, as if it were a
-bit of looking-glass.
-
-A test for the age of paste is the presence of scratches on its
-surface, and of dimness brought about by chemical action of the air.
-The scratches are oftenest found at the edges and flats of the facets.
-
-
-GLASS BEADS AND TAWS
-
-Glass _beads_ have been made ever since the making of glass was known,
-in Egypt, Europe, and here. The general tests of age given in this book
-may be applied to them. Glass _taws_ or marbles made for boys’ games,
-or for a game called “solitaire” which used to be fashionable--a kind
-of “patience” game with glass taws--used to show the characteristics of
-air-spiral or cotton-white or coloured spiral stems.
-
-
-
-
-XIX. GENERAL HINTS AND WARNINGS
-
-
-INSCRIBED GLASSES
-
-A collector should not miss an opportunity of buying an inscribed glass
-cheaply: for instance, a naval rummer, engraved with a cutlass, a dove
-with the olive-branch, and “Our brave Allies” for 4s. But fine engraved
-and inscribed modern glasses, imitating though not reproducing exactly
-the old ones, are on sale in curio-shops.
-
-
-ROSES, OAK-LEAVES, BIRDS, AND BUTTERFLIES ON GLASS
-
-Eventually any glass with roses, rosebuds, and a bird or butterfly
-on it will rank as “Jacobite”; glasses with oak-leaves will also be
-thought symbolical of Boscobel. Other such emblems will be discovered,
-or are alleged; for instance, the aconite or monk’s-hood flower,
-considered as an aspiration for another General Monk, who might restore
-the Stuart line.
-
-
-OLD GLASSES “ENGRAVED UP”
-
-Jacobite, Williamite, and Hanover or Trafalgar glasses being in great
-demand, _ingenious persons take a real old wine glass, goblet, or
-rummer, that is plain and innocent at the time, and engrave it_ with
-Jacobite emblems or “Bonny Prince Charlie’s” head, or William of
-Orange on horseback, or “Trafalgar,” or “Nile.” As a rule the evident
-newness, roughness, and lack of “wear” of such added engraving condemn
-it, to the eye and to the finger; but very ingenious persons use
-chemicals, or mud, or attrition, in order to disguise the whitish-grey
-tint of newly engraved glass; if part of the engraving be “buffed”
-up--that is, polished till it is bright, transparent, and not the tint
-of ground glass (see centre of rose, page 70), detection becomes more
-difficult.
-
-
-THE COLLECTOR’S INSTINCT
-
-But after a while the “instinct” of a collector comes into play to
-protect him against these and other frauds. He cannot exactly reason
-out and state why an offered piece is “wrong,” but he feels that it
-is not right; which means that the “altogether” of the glass suggests
-to his subconscious mind something which, though not expressed, is a
-good reason for not buying the glass. But this “instinct” only comes
-after much practice in collecting, and repeated turning of pages for
-reference, in a book such as this; a collector’s books should not be
-read once and then laid aside; they should be referred to on every
-occasion, even after the “instinct” has begun to stir.
-
-
-LIKELIHOOD AND IMPROBABILITY
-
-Extraordinary chances come to the “picking-up” collector, I know, but
-he does well to keep in mind the probability or the unlikelihood of
-his “find” being real. It is unlikely that he should more than once
-happen upon a Jacobite glass, for example; and again, if he sees a
-fine “Trafalgar” glass exhibited in a small jeweller’s shop, with no
-other glass at all or any other “curios,” the probability is that some
-fraudulent person has planted that false glass there, in what is a
-likely place to attract and deceive a collector who “picks up.”
-
-
-THE ABSOLUTE FRAUDS
-
-Old English and Irish glass has _a soft and mellow tone, both of look
-and sound; it has a calm, respectable, honest appearance, as of quality
-and honesty combined. Fitness for its purpose, good workmanship, some
-quaintness perhaps, but not much fantasy, are visible in it_; if it
-is decorated, _the decoration has been done well, but without lavish
-artistic imagination_.
-
-Now about the forgeries of it there is _something hard and fast, an
-appearance too shiny and shining, and a rigidity of copying_. Seldom
-are even two old glasses belonging to a set quite alike, but the
-forgeries are exact replicas by the hundred. See one, you see them
-all; but see one real old glass, you notice differences in it from all
-others. _Forged glass, recently made, is “buffed” or polished on the
-wheel all over its surface; old glass was never buffed, and its polish
-rather resembles that of old furniture due to “elbow grease”_--the
-polish comes of long washing, wiping, and drying.
-
-I have already described the differences of tint. Forged glasses are
-clumsy imitations in this, for the forgers do not try to give the old
-dark tints--they use lead that is not so impure as the old lead was,
-and therefore produces less visible oxide.
-
-The _cutting of old glass, done by hand, produced and displays
-irregularities_; so does modern cutting. But _the old irregularities
-were due to a lack of machine-like precision, and were natural,
-accidental irregularities: the modern irregularities are (so to speak)
-mechanical, and obviously due to haste and cheapness of production_.
-Labour and time were no great matters with the old workmen; the
-counterfeit work is obviously done with the minimum of labour and time.
-
-Modern English-made glass has often a good ring when flicked;
-foreign-made frauds on the old have not, or have it seldom.
-
-
-THE “MODERN ANTIQUE”
-
-Much of the glass sold in the smaller curio-shops as “antique” was not
-made to deceive: it is the offering of it in such places which intends
-fraud. Most English-made reproductions of old glass in shape and
-cutting were not intended by the manufacturer to delude a collector,
-but to attract the ordinary buyer for table use or decorative use; one
-who is not a collector but “likes something that looks old-fashioned,”
-as he says.
-
-Pawnbrokers’ and jewellers’ shops are stocked with what is called in
-the trade “the modern antique”; other examples of this are the cheap,
-hasty, and obvious copies of miniatures of famous beauties set in new
-paste frames and sold for a few shillings. In pawnshops and ordinary
-glass-shop windows a collector sees spiral-stem wine glasses made for
-modern use and not intended to deceive; they are a kind of tawdrily
-ornamental hock glass, embodying some modern designer’s idea of what
-is beautiful; they correspond with no antique shape of bowl, the stems
-are very thin and fragile, the feet are as small as or smaller than
-the rim of the bowl, and the spirals are parti-coloured and “tight.”
-No collector need be taken in by such as these--they were not made to
-take him in, they are ordinary articles of modern manufacture and daily
-commerce.
-
-So are the white glass bowls, tazzas, centre-pieces, vases, “specimen
-glasses,” etc., elaborately cut, perhaps engraved also, and meant for
-modern tables and mantelpieces. These are copies of the fine old ware
-simply because the old ware affords good models, and the information
-given in chapter ii of this book will enable a collector to recognize
-the modernity of these honest imitations, even when they are found (as
-they often are) in a shop supposed to purvey antiques.
-
-
-OUT-OF-THE-WAY PIECES
-
-I do not say that very unusual and out-of-the-way pieces of old glass
-should be avoided; as the collecting of glass increases, many rare old
-things will be brought out of cupboards and sold in shops. But I do
-say that, as a rule, a collector should feel suspicious of any piece
-not resembling those which are pictured in books like this, or those
-seen in museum collections. Thus a tall, bulky goblet engraved with a
-portrait of William Pitt or Wellington, and inscribed accordingly, if
-it is offered for 30s., say, is highly suspicious, to say the least of
-it; and the safer course is to refuse apparent bargains of the kind.
-
-
-FAKED JACOBITE GLASSES, ETC.
-
-This applies even more to the pseudo-Jacobite, Williamite, Nelson,
-and other famous glasses which are offered. They may be old glasses
-“engraved up,” in which case the only mode of detection is the quality,
-finish and tint of the engraving. They may be English-made modern
-glass, of the right ring and the old way of manufacture; in which case
-the test of tint in the glass itself may be added to the test of the
-engraving. In either case the engraving may too closely reproduce an
-original glass; it is seldom that two old glasses of this type exactly
-resemble each other in the position of the various emblems, portraits,
-and so on: for example, the word _Fiat_ is hardly ever found in exactly
-the same place on two real old glasses. If the pseudo-Jacobite or other
-engraved glass fails to respond to the characteristics of high instep
-or domed foot, tint, ring, etc., or any of these, it should be rejected.
-
-
-FAKED SPIRAL GLASSES
-
-Fraudulent air-spiral or cotton-spiral-stemmed glasses, not engraved or
-inscribed, are the fraud most often offered to a collector: in addition
-to the other tests mentioned, _the test of the skill and quality of
-the spiral itself can be used_ in this case. The _counterfeits show
-spirals which are meagre, irregular, tight, or the wrong colour; they
-do not fill up the stem, or exactly swell out to fill up the knops;
-in the cotton-white there are defects resembling dropped threads in a
-piece of linen, or missed stitches in a piece of lace_. I possess one
-excellently twisted air-spiral forgery, a simple cable, which might
-deceive if the plain glass around it forming the rest of the stem
-were not so thick and so distinct as to suggest that the spiral was
-made first and the plain glass placed around it afterwards; _the old
-spirals, air, cotton-white or coloured, were twisted at the time of and
-in the actual making of the whole stem_. Modern spiral stems are often
-writhen or ridged on the surface, too; which means that the twisting
-of the stem has been done with less than the old amount of skill. In
-short, the making of spiral stems is a lost art, not recovered even by
-the assiduous forgers, up to the present.
-
-_If a spiral revolves upwards from right to left_--the right to the
-left of the person looking at it--_reject it_; this defect was a
-feature of the earlier forgeries, but the proper direction of the
-upward twist (from left to right) is now used in these fakes.
-
-The old cut stems are more easily imitated: _with these a test is the
-absence of all trace of a pontil-mark_. In many old cut glasses the
-finger feels a distinct depression, usually circular, which shows where
-the old pontil-mark was cut away. In some forgeries, made by moulding,
-not by blowing, the pontil-mark is imitated, but so grossly that it
-ought not to deceive.
-
-
-SHAM WINE COOLERS AND FINGER BOWLS
-
-Counterfeit eared wine coolers and beautifully cut counterfeit finger
-bowls are on the curio market; the usual tests should detect these.
-Imitation Bristol blue, and violet glass is offered, but it is not the
-right blue, which passes from a purple in the thick, to a sea-blue in
-the thin, parts when held to the light; or not the right violet, in
-which the same varying of colour is evident. Dozens of fraudulent white
-and violet finger bowls, elaborately cut, are on the market; but it is
-the rarest thing to find more than five or six left of any set of old
-finger bowls.
-
-
-OLD DUTCH GLASS
-
-Glassware of the seventeenth and eighteenth century made in the
-Lowlands, whether at Liège or Amsterdam, is known over here as “old
-Dutch.” Collectors will do wisely to study this ware, whether for the
-purpose of rejecting or acquiring it. Most collectors of English and
-Irish glass reject it at once; they rightly say that _when thin it is
-too light-weight, bubbly, flashy, flat and short of ring, and when
-thick too smeary of tint and too clumsy to be first class; and often
-the engraving is poor and ugly_. Indeed, there is _something unfinished
-and unworkmanlike about it_, compared with the craftsmanship put
-into English and Irish old glass; just as there is about Dutch-made
-furniture of William and Mary and Queen Anne date, compared with
-English-made furniture of the Chippendale period and style. _There is
-something unsatisfactory in the look, shape, and proportions; it seems
-to lack completeness and fitness._
-
-In the stemmed glasses, however, _the Dutch air spirals are excellently
-done--except where they join the foot of the glass, sometimes; and the
-cotton-white spirals are hardly inferior to the English except in the
-greyness of the colour_. For this reason, and also because the number
-of collectors of old glass increases, Dutch wine glasses on spiral
-stems go up in price at London auctions nowadays, and a rose glass or
-other pretty, well-engraved piece of Flemish or Dutch origin may be
-worth acquiring: there are collectors here of the Holland ware already,
-and there will be more as English and Irish ware of the kind becomes
-more difficult to find and expensive to buy. A spirit bottle, decanter,
-goblet, or other piece of Dutch glass that is engraved with armorials
-or dates, or names or legends, is not to be disdained, therefore; nor
-is any unusual piece that is quaintly quirked, fluted, purfled, and
-bossed.
-
-
-CHIPPED OR BROKEN PIECES
-
-It is sometimes worth while cheaply to acquire a chipped or even
-a broken piece of old glass, if it is very rare in kind, form, or
-purpose. Chipped feet of wine glasses can be ground again, but it
-is hardly worth while; when the foot is almost all gone, a metal
-substitute can be made for it, but that is hardly worth while. I know
-of a Jacobite glass with a big piece out of the engraved portion
-cemented in again; the price of the glass is £40 all the same; but as a
-rule it is not worth while to acquire chipped or broken articles of old
-glass.
-
-
-“TOUT PASSE, TOUT CASSE, TOUT LASSE”
-
-The French proverb tells us that everything passes, everything breaks,
-everything wearies, at last. But the collector knows better than that;
-he prevents old works of art and craft from passing altogether; he
-keeps them safe from breaking, and he never wearies of adding to them
-or studying them; as I hope this book may enable many a collector to
-do.
-
-
-
-
-INDEX
-
-
-
-
-INDEX
-
-
-  ABSOLUTE frauds, 97
-
-  Air spiral, 41, 50
-
-  Air-spiral stems, 50, 51
-
-
-  BALUSTER stems, 40, 46, 47
-
-  Beads, 93
-
-  Beer glasses, 60
-
-  Belfast-made glass, 18
-
-  Bell bowl, 56
-
-  Blown ware, 26
-
-  Bohemian glass, 13
-
-  “Boot” glasses, 74
-
-  Bottles, 76
-
-  Bowl shapes, 56, 59
-
-  Bowls, 79
-
-  Bristol cut-glass, 31
-    coloured glass, 35, 36
-    opal glass, 35
-
-  Butterfly, engraved, 20
-
-
-  CADDY sugar-basin, 27, 88
-
-  Candlesticks, 60, 81
-
-  “Captain” glasses, 85
-
-  “Central tube” stem, 53, 55, 66
-
-  Champagne glasses, 53, 61
-
-  Chipped or broken pieces, 103
-
-  Cider glasses, 61
-
-  Coaching glasses, 62, 63
-
-  Coins in stems, 7, 47
-
-  Collar in stem, 46
-
-  Collectable articles, 6
-
-  Collector’s instinct, 96
-    range, 11
-
-  Coloured glass, 35
-    spirals, 54
-
-  Communion vessel, 10
-
-  Comports, 84
-
-  Cork-made glass, 17
-
-  Cotton-white spirals, 53
-
-  Corrugated stems, 50
-
-  Custard glasses, 87
-
-  Cut-glass, 29
-    stems, 55
-
-
-  DECANTERS, 77
-
-  Defects of quality, 20, 21
-
-  “Diamond” cutting, 30
-
-  Dome-foot, 41, 42
-
-  Double ogee bowl, 58
-
-  Drawn bowl, 49, 56
-
-  “Drawn” stems, 49
-
-  Drinking glasses, 40
-
-  Dutch glass, 19, 21, 102
-
-
-  EGG-CUP bowl, 41, 57
-
-  Engraved glass, 33
-
-  “Engraved up,” 95
-
-  Extensive feet, 41
-
-
-  “FAKED” glasses, 100
-
-  Feel of glass, 21
-
-  Feet of tumblers, 45
-
-  “Fiat” glasses, 68, 69
-
-  Firing glasses, 44
-
-  Firing-glass foot, 43
-
-  Folded foot, 43
-
-  Fuddling glasses, 62, 63
-
-
-  GENERAL guides and tests, 14
-    hints, 95
-    warnings, 95
-
-  Girandoles, 82
-
-  Glass knobs, 91
-    pictures, 90
-
-  Goblets, 12, 15, 41
-
-  “Greek key” spirals, 54
-
-
-  “HANOVERIAN” glasses, 71
-
-  Hemmed foot, 43
-
-  High instep foot, 42
-
-  “Hobnail” cutting, 30
-
-  Hogarth glasses, 64
-
-  Hop and barley glasses, 50, 60
-
-
-  IRISH-MADE glass, 17
-
-
-  JACOBEAN lamp, 27
-
-  Jacobite glasses, 66, 68
-    mottoes, 68
-
-  Jelly glasses, 86
-
-  “Joey” glasses, 62, 73
-
-  Jugs, 77
-
-
-  KITCHEN glasses, 64
-
-  Knife-rests, 80
-
-  Knives, 80
-
-  Knopped stems, 40
-
-
-  LAMPS, 27, 83
-
-  Likelihood and improbability, 96
-
-  Lipped ogee bowl, 58
-
-  Lumpy stems, 40
-
-  Lustres, 82
-
-
-  “MASTER” glasses, 85
-
-  Mirrors, 90
-
-  “Modern antiques,” 98
-
-  Mugs, 7, 62
-
-  Mum glasses, 61
-
-
-  NAILSEA glass, 37
-
-  Norwich foot, 43
-
-
-  OAKLEAF on glass, 63, 68
-
-  Ogee bowl, 58
-
-  “Old Pretender” glasses, 69
-
-  Out-of-the-way pieces, 99
-
-
-  PAPER-WEIGHTS, 37
-
-  Paste, 92
-
-  Pepper boxes, 88
-
-  Pestles, 80
-
-  Plain round stems, 49
-
-  “Pomegranate” cutting, 31, 32
-
-  Pontil-marks, 23, 24
-
-  Punch-lifters, 79
-
-
-  QUALITY of metal, 19
-
-
-  RECTANGULAR bowl, 57
-
-  Rose glasses, 18, 59, 66
-
-  Rummers, 16, 61
-
-
-  SALT cellars, 39, 88
-
-  Scratches, 22
-
-  Shams, 101
-
-  Signs of use and wear, 22
-
-  “Silver” spirals, 50, 51
-
-  Sounds, 18
-
-  Spirit glasses, 62
-
-  Spoons, 80
-
-  Square foot, 45
-
-  Star-cutting, 32
-
-  Stems, 46-55
-
-  Stourbridge glass, 31
-
-  Stout stems, 41
-
-  Straight-sided bowl, 57
-
-  Stuart emblems, 66, 67
-
-  Styles of cutting, 30, 31
-
-  Sugar-basins, 27, 88
-    crushers, 80
-
-  Sunderland glass, 38, 39
-
-  Sweetmeat glasses, 1, 85
-
-
-  TANKARDS, 73
-
-  Tavern glasses, 64
-
-  Taws, 94
-
-  “Tears” in stems, 48
-
-  “Thimbleful” glasses, 65
-
-  Thistle engraved, 67
-
-  “Thistle” glass, 40
-
-  Thumb glasses, 45
-
-  Tints, 14, 20
-
-  Toastmaster glasses, 63
-
-  Toddy-lifters, 79
-
-  “Trafalgar” glasses, 16, 97
-
-  Tumblers, 73
-
-
-  VENICE glass, 12
-
-
-  WAISTED bowl, 58
-    bell bowl, 57
-
-  Waterford glass, 3, 17, 21, 30
-
-  Weight, 21
-
-  “Williamite” glasses, 71
-
-  Window glass, 8
-
-  Witch-balls, 8, 38
-
-  Workmanship, 25
-
-  Wrockwardine glass, 38
-
-
-  “YARD of ale” glasses, 64
-
-
-
-
-                    Printed in Great Britain by
-                  Richard Clay & Sons, Limited,
-                           BUNGAY, SUFFOLK.
-
-
-
-
-Transcriber's notes:
-
-
-In the text version, italics are represented by _underscores_, and bold
-and black letter text by =equals= symbols. Superscripts are represented
-by ^{} and subscripts by _{}.
-
-Missing or incorrect punctuation has been repaired. Inconsistent
-spelling and hyphenation have been left as printed.
-
-The following mistakes have been noted:
-
-  p.15. Tin Changed to Tint.
-  p.16. The older the Georgian the glass, extra the removed
-
-
-
-
-
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-<pre>
-
-The Project Gutenberg EBook of Collecting Old Glass, by J. H. Yoxall
-
-This eBook is for the use of anyone anywhere in the United States and most
-other parts of the world 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.  If you are not located in the United States, you'll have
-to check the laws of the country where you are located before using this ebook.
-
-Title: Collecting Old Glass
-       English and Irish
-
-Author: J. H. Yoxall
-
-Release Date: March 18, 2017 [EBook #54381]
-
-Language: English
-
-Character set encoding: UTF-8
-
-*** START OF THIS PROJECT GUTENBERG EBOOK COLLECTING OLD GLASS ***
-
-
-
-
-Produced by Chris Curnow, Chris Jordan 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>
-
-
-<h1 class="faux">  COLLECTING OLD GLASS ENGLISH AND IRISH</h1>
-
-
-
-<p class="ph1 mt4">                     THE COLLECTORS’ POCKET SERIES<br />
-                   EDITED BY SIR JAMES YOXALL, M.P.</p>
-
-
-<p class="ph1">                              COLLECTING<br />
-                               OLD GLASS
-</p>
-
-<hr class="chap" />
-
-<ul class="nostyle f120">
-<li class="f120"><b>THE COLLECTORS’ POCKET SERIES<br />
-EDITED BY SIR JAMES YOXALL, M.P.<br />
-Each Volume Illustrated. Price 3s 6d net<br />
-</b></li>
-
-<li><div class="figleft" style="width: 205px;">
-<img src="images/decoration.jpg" width="205" height="40" alt="decoration" />
-</div></li>
-
-<li class="ifrst pclear"><span class="smcap">Collecting Old Glass</span></li>
-<li class="isub3">By <span class="smcap">J. H. Yoxall</span></li>
-
-<li class="ifrst"><span class="smcap">Collecting Old Miniatures</span></li>
-<li class="isub3">By <span class="smcap">J. H. Yoxall</span></li>
-
-<li class="ifrst"><span class="smcap">Collecting Old Lustre Ware</span></li>
-<li class="isub3">By <span class="smcap">W. Bosanko</span></li>
-
-<li class="ifrst"><span class="smcap">Collecting Old Pewter</span></li>
-<li class="isub3">By <span class="smcap">H. J. L. J. Massé</span></li>
-
-<li class="ifrst"><span class="smcap">Collecting Old Prints</span></li>
-<li class="isub3">By <span class="smcap">E. Gray</span></li>
-
-<li class="ifrst"><span class="smcap">Collecting Old Water-Colours</span></li>
-<li class="isub3">By <span class="smcap">R. W. Howes</span></li>
-
-<li class="ifrst">(Other Volumes in Preparation)</li>
-
-<li><div class="figleft" style="width: 205px;">
-<img src="images/decoration.jpg" width="205" height="40" alt="decoration" />
-</div></li>
-
-<li class="smcap f120 pclear">London: William Heinemann, Ltd</li>
-</ul>
-
-<hr class="chap" />
-
-
-
-<p class="ph1">                              COLLECTING<br />
-                               OLD GLASS<br />
-  <span class="f90"> ENGLISH AND IRISH</span></p>
-
-<p class="center f150 mt4">                            BY J. H. YOXALL</p>
-
-<p class="center">                Author of “The Wander Years” “The A B C<br />
-               about Collecting” “More about Collecting”</p>
-
-
-<p class="center mt4">                    <i>The glass of fashion and the
-             mould of form</i>: Hamlet, iii. 1
-</p>
-
-<div class="figcenter" style="width: 150px;">
-<img src="images/logo.jpg" width="150" height="136" alt="Heinemann Logo" />
-</div>
-
-<p class="center">                                LONDON<br />
-                        WILLIAM HEINEMANN, LTD
-</p>
-
-<hr class="chap" />
-
-
-
-
-
-<p class="center f120 mt2">                  <i>First published January 1916</i><br />
-                   <i>New Impression March 1925</i></p>
-
-
-<p class="center mt4">                 <b>   <i>Printed in Great Britain</i></b>
-</p>
-
-<hr class="chap" />
-
-<p><span class="pagenum"><a name="Page_v" id="Page_v">[v]</a></span></p>
-
-
-
-
-<h2><a name="PREFACE" id="PREFACE"></a>PREFACE</h2>
-
-
-<p class="cap"><span class="smcap">I hope</span> the reader may find that this book, though
-smaller than others on the same subject, is more
-helpful and even more comprehensive than they
-are; that it deals with the glass articles which they
-mention and with others which they omit; that it
-simplifies and classifies the study and practice of glass-collecting
-more than has been done in print heretofore;
-and that it can do these things because it is written
-out of personal knowledge, gained from much experience,
-and not from hearsay or from other books.</p>
-
-<p>Diffuseness has been avoided, but this, I hope, has
-enabled me to make the book the more lucid, as well as
-the more succinct. At any rate, it affords hints,
-general rules, and warnings more numerous and
-more practical than any published until now; I have
-also tried to give to it a quality which reviewers have
-found present in my other books on Collecting&mdash;that
-is, a simplicity and clearness of explanation, done
-at the most difficult and necessary points, and in an
-interesting way. Moreover, this book has had the great
-advantage of revision (before printing) by Mr. G. F.
-Collins, of 53 the Lanes, Brighton, a pupil of Mr.<span class="pagenum"><a name="Page_vi" id="Page_vi">[vi]</a></span>
-Hartshorne’s, and well known to all principal collectors
-of old glass. Most of the illustrations represent typical
-pieces in my own collection, but for some of the finest
-I have to thank the kindness of Mrs. Devitt, of Herontye,
-East Grinstead, a collector indeed. The illustrations
-do not represent relative sizes to the same scale.</p>
-
-<p>
-<span class="in2right">J. H. YOXALL</span>
-</p>
-
-<hr class="chap" />
-
-<p><span class="pagenum"><a name="Page_vii" id="Page_vii">[vii]</a></span></p>
-
-
-
-
-<h2><a name="CONTENTS" id="CONTENTS"></a>CONTENTS</h2>
-
-<div class="center">
-<table border="0" cellpadding="2" cellspacing="0" summary="TOC">
-<tr><td class="tdc f75">CHAPTER</td><td>&nbsp;</td><td class="f75 tocpg">PAGE</td></tr>
-
-<tr><td class="tocchp">I. </td><td class="tocdesc">OLD ENGLISH GLASSWARE </td>
-<td class="tocpg"> <a href="#Page_1">1</a></td></tr>
-<tr><td class="tocchp">II.</td><td class="tocdesc">SEVEN GENERAL GUIDES AND TESTS </td>
-<td class="tocpg"> <a href="#Page_14">14</a></td></tr>
-<tr><td class="tocchp">III.</td><td class="tocdesc">BLOWN WARE  </td>
-<td class="tocpg"><a href="#Page_26">26</a></td></tr>
-<tr><td class="tocchp">IV. </td><td class="tocdesc">CUT, MOULDED, AND ENGRAVED WARE</td>
-<td class="tocpg"><a href="#Page_29">29</a></td></tr>
-<tr><td class="tocchp">V. </td><td class="tocdesc">OLD COLOURED GLASS </td>
-<td class="tocpg"><a href="#Page_35">35</a></td></tr>
-<tr><td class="tocchp">VI. </td><td class="tocdesc">OLD DRINKING GLASSES </td>
-<td class="tocpg"> <a href="#Page_40">40</a></td></tr>
-<tr><td class="tocchp">VII.</td><td class="tocdesc">THE VARIOUS TYPES OF STEM</td>
-<td class="tocpg"> <a href="#Page_46">46</a></td></tr>
-<tr><td class="tocchp">VIII.</td><td class="tocdesc">THE VARIOUS SHAPES OF BOWL</td>
-<td class="tocpg"><a href="#Page_56">56</a></td></tr>
-<tr><td class="tocchp">IX. </td><td class="tocdesc">OTHER STEMMED DRINKING GLASSES </td>
-<td class="tocpg"><a href="#Page_60">60</a></td></tr>
-<tr><td class="tocchp">X.  </td><td class="tocdesc">JACOBITE, WILLIAMITE, AND HANOVERIAN GLASSES</td>
-<td class="tocpg"><a href="#Page_66">66</a></td></tr>
-<tr><td class="tocchp">XI.</td><td class="tocdesc"> TUMBLERS, TANKARDS, “JOEYS,” AND “BOOT” GLASSES</td>
-<td class="tocpg"><a href="#Page_73">73</a></td></tr>
-<tr><td class="tocchp">XII.</td><td class="tocdesc"> BOTTLES, DECANTERS, AND JUGS</td>
-<td class="tocpg"><a href="#Page_76">76</a></td></tr>
-<tr><td class="tocchp">XIII.</td><td class="tocdesc">BOWLS, LIFTERS, SUGAR-CRUSHERS, SPOONS, ETC.</td>
-<td class="tocpg"><a href="#Page_79">79</a></td></tr>
-<tr><td class="tocchp">XIV.</td><td class="tocdesc"> CANDLESTICKS, LUSTRES, AND LAMPS</td>
-<td class="tocpg"><a href="#Page_81">81</a></td></tr>
-<tr><td class="tocchp">XV. </td><td class="tocdesc">COMPORTS, SWEETMEAT, JELLY AND CUSTARD GLASSES</td>
-<td class="tocpg"><a href="#Page_84">84</a></td></tr>
-<tr><td class="tocchp">XVI. </td><td class="tocdesc"> SALT CELLARS, PEPPER BOXES, SUGAR BASINS, ETC.</td>
-<td class="tocpg"><a href="#Page_88">88</a></td></tr>
-<tr><td class="tocchp">XVII.</td><td class="tocdesc"> MIRRORS, GLASS PICTURES, GLASS KNOBS</td>
-<td class="tocpg"><a href="#Page_90">90</a></td></tr>
-<tr><td class="tocchp">XVIII.</td><td class="tocdesc">OLD PASTE, GLASS BEADS, AND TAWS  </td>
-<td class="tocpg"> <a href="#Page_92">92</a></td></tr>
-<tr><td class="tocchp">XIX. </td><td class="tocdesc">GENERAL HINTS AND WARNINGS </td>
-<td class="tocpg"> <a href="#Page_95">95</a></td></tr>
-<tr><td class="tocchp">&nbsp;</td><td class="tocdesc">INDEX </td>
-<td class="tocpg">   <a href="#Page_107">107</a></td></tr>
-</table>
-</div>
-
-
-<hr class="chap" />
-<div class="chapter">
-
-<p><span class="pagenum"><a name="Page_1" id="Page_1">[1]</a></span></p>
-
-
-
-
-<h2><a name="I_OLD_ENGLISH_GLASSWARE" id="I_OLD_ENGLISH_GLASSWARE"></a>I. OLD ENGLISH GLASSWARE</h2>
-
-
-<p class="cap"><span class="smcap">The</span> glassware made in England and Ireland
-during the eighteenth and part of the nineteenth
-century was the best of the kind ever
-made. In quality, tint, feel, and ring the plain blown
-glass was a beautiful product, and when it was cut or
-engraved the decoration was done by fine craftsmen
-and often with excellent taste. Old glass has its own
-peculiar charm; the dark beauty of the crystal metal,
-the variety of form, the bell-like ring when flipped, the
-satiny feeling of the surface, the sparkle of the cut
-facets, and the combination of gracefulness and usefulness
-attract a collector: in cabinets it shines, gleams,
-glows, and sparkles in a reticent, well-bred way.</p>
-
-<div class="figcenter" style="width: 600px;">
-<a name="captain" id="captain"></a><img src="images/i_001.jpg" width="600" height="296" alt="" />
-<div class="caption">(1) MOULDED; (2) COTTON-WHITE; (3) CUT KNOPPED; AND
-(4) CUT AND MOULDED CAPTAIN GLASSES</div>
-</div>
-
-<p><span class="pagenum"><a name="Page_2" id="Page_2">[2]</a></span></p>
-
-<p>Then there is attraction in the historical and social
-traditions which have gathered around the ware;
-romance lingers on in the Jacobite glasses, the Williamite
-glasses, the Georgian glasses, the rummers and groggers
-engraved and drunk from to celebrate the victories of
-Nelson or famous elections; and humour resides in
-many of the relics of the punch-bowl and six-bottle days.
-To honour particular occasions one’s fine old glasses
-may come out of the cabinet and be used at table
-again; I know a collector of “captain glasses” who
-brings them out for champagne. For decoration or in
-use old glass has a refined, artistic, aristocratic air.</p>
-
-
-<h3>NEITHER TOO RARE NOR TOO PLENTIFUL</h3>
-
-<p>The sound of the past seems to throb in the ring of
-this frail and dainty ware; at your touch the cry of
-the bygone seems heard again. Because of fragility,
-enough of eighteenth-century glass has not lasted on to
-make it common, and yet so much of it is still extant
-that a collector’s hunt for it is by no means a hopeless
-quest. It may still be acquired at reasonable prices
-from dealers in antiques, and a hunter for it in odd
-corners, who buys in shillings, not in pounds, may
-reasonably hope to pick up many fine specimens for
-next to nothing even yet. Four years ago I bought a
-fine drawn cordial glass for 2d. Within the past three
-years I have myself bought a perfect captain glass for
-3s. 6d.; within the last year I have bought six punch-lifters
-for 17s. 6d. in all, uncommon as these bibulous
-old siphons are. A large Bristol coloured-glass paper-weight
-may cost you £3 in a dealer’s shop, because<span class="pagenum"><a name="Page_3" id="Page_3">[3]</a></span>
-three years ago they began to be a “rage,” but within the
-past two years I have bought a Bristol glass article, equally
-beautiful in colour and glass-flowers, and much rarer, for
-2s. Footless coaching glasses and thistle-shaped fuddling
-glasses are seldom seen, even on a dealer’s shelves, but
-I have found one of each, in odd corners, for 6d.</p>
-
-
-<h3>THE TIME TO COLLECT IS NOW</h3>
-
-<div class="figcenter" style="width: 417px;">
-<img src="images/i_003.jpg" width="417" height="600" alt="" />
-<div class="caption">WATERFORD GLASS ENGRAVED AND CUT:
-NOTE THE FANLIKE EDGING AND THE
-“STAR” CUT TO EDGE OF BASE; ALSO THE
-DEEP CUTTING OF THE FLORAL ORNAMENT</div>
-</div>
-
-<p>Now, if ever, is the time to collect old glass rather
-cheaply, for already the prices of it are mounting in
-a remarkable way.
-Thirty years ago
-old wine glasses engraved
-with roses,
-rosebuds, and butterflies&mdash;rose
-glasses,
-as they are called&mdash;could
-be bought for
-half-a-crown apiece
-or less&mdash;dozens of
-them; this price has
-multiplied nearly
-twentyfold. Waterford
-cut-glass grows
-more and more dear
-to buy, from dealers
-who know it when
-they possess it&mdash;they
-will soon be selling
-it as if it were antique silver, at so much per ounce&mdash;but
-only last year I bought in a provincial town a captain<span class="pagenum"><a name="Page_4" id="Page_4">[4]</a></span>
-glass of this ware for 15s., though £8 was the price
-asked for one just like it in the West End. Now,
-if ever, is the time for a beginner to take up this
-line of collecting; old English and Irish glass will
-never again be so easy to find at reasonable prices as
-it is now.</p>
-
-
-<h3>SUCH CONNOISSEURSHIP NOT DIFFICULT</h3>
-
-<p>Collecting is a form of education, but it is not difficult
-to become a knowledgeable collector of old glass.
-Counterfeits are sent out by the thousand, forgeries lie
-in wait, totally new glassware, imitative of the old, is on
-sale in hundreds of curio dealers’ shops, some of them
-otherwise honest and respectable; but only ignorance
-or carelessness need be taken in. A little study, a
-little observation, a little care, and the beginner will
-soon be able to avoid mistakes. Connoisseurship
-in old glass is less difficult than it is in old china,
-for example; porcelain or earthenware collecting is
-more various, more detailed, has reference to longer
-periods of manufacture, and involves much more specific
-knowledge than glass-collecting does. Yet I have known
-two or three collectors of porcelain who declined to
-begin collecting old glass because, they said, they would
-“never dare”&mdash;as if an almost miraculous skill were
-needed to become a connoisseur in old glass! In point
-of fact, this is the easiest hobby to study and know;
-glass-collecting requires an eye for the different shades
-and tints of the metal, a finger-tip for the feel of it, an
-ear for the ring of it, and not much money as yet, and
-practically that is all. There are no trade-marks to<span class="pagenum"><a name="Page_5" id="Page_5">[5]</a></span>
-puzzle or deceive you; there is no such distinction,
-difficult to understand and master, as between “soft”
-china and “hard.” At present old glass is easy to
-know, and not difficult to find.</p>
-
-<p>I propose in this book to <em>give general hints, “tips,”
-and instructions applicable to every variety of old glass;
-to explain the seven principal tests of genuine age and
-antique make; to prepare the beginner to go out collecting
-glass with the infallible rules and principles for it fixed in
-his mind</em>. Equipped with these, anyone may examine,
-test, and if satisfactory buy any vessel of glass which
-he or she may find in any odd corner. I am not
-writing the book for the rich, but for people with
-more taste and cultivation than money, and though I
-deprecate “collecting” for the sake of selling again
-at a profit, I may well point out that old English and
-Irish glass, bought cheaply now, may become an
-investment <i lang="fr" xml:lang="fr">de père de famille</i>; the collector may have
-the joy of finding it, the continual pleasure of owning
-it, and yet know that it will turn out to be “good
-business” for his heirs, when the sale comes, at the
-end.</p>
-
-
-<h3>ADVANTAGES ASSOCIATED WITH GLASS</h3>
-
-<p>The collecting of old glass is not yet systematized;
-there are no dealers’ catalogues of it or prices current.
-For the next few years this advantage will continue in
-connexion with old glass. Every dealer knows the
-high price which square-marked Worcester china can
-command; every second-hand bookseller knows the
-price current of first editions, or copies of rare books;<span class="pagenum"><a name="Page_6" id="Page_6">[6]</a></span>
-but such is not the case with old glass as yet. Systematization
-has hardly begun; there has been little research
-into the history of makes and the names of makers.
-Here is another advantage for a collector: he may
-discover things of that kind at present unknown, and
-thus attach his name to the history of old glass which
-will some day be written. A local collector may at no
-great cost make a donation of his treasures to the local
-museum. There is no public collection of Newcastle-made
-glass at Newcastle, for instance, or of Sunderland-made
-glass at Sunderland, and no local antiquary has
-studied the history of the fine glass products made on
-the Tyne and the Wear. Nobody knows which kinds
-of glass were made at Norwich or Lynn. A history of
-Stourbridge glass-making and glassware has yet to be
-written. So that research, that additional delight of
-collecting, is more open in connexion with glass than
-with any other well-known “line.”</p>
-
-
-<h3>COLLECTABLE GLASS ARTICLES</h3>
-
-<div class="figright" style="width: 400px;">
-<a name="largemug" id="largemug"></a><img src="images/i_007.jpg" width="400" height="373" alt="" />
-<div class="caption">LARGE MUG AND COIN MUG, IMITATING OLD
-SILVER SHAPES</div>
-</div>
-
-
-<p>The number and diversity of old glass articles may
-be indicated by the following incomplete list: wine
-glasses, beer glasses, cider glasses, rummers, cordial
-glasses, liqueur glasses, tumblers, firing glasses, coaching
-glasses, fuddling glasses, beakers, mugs, tankards,
-champagne glasses, grog glasses, Masonic glasses,
-goblets, Joey glasses, “boot” glasses, “yards of ale,”
-toy glasses; flasks, decanters, trays and waiters; punch
-or salad bowls, trifle bowls; wine bottles, spirit bottles;
-jugs, punch-lifters, decanter stands; jelly glasses,
-custard glasses, flip glasses, syllabub glasses; fruit<span class="pagenum"><a name="Page_7" id="Page_7">[7]</a></span>
-baskets, centre-pieces, sweetmeat glasses, captain
-glasses, comports or sweetmeat glass stands, epergnes,
-tazzas; salt cellars, sugar castors, pepper boxes;
-caddy sugar bowls; lamps, lanterns, chandeliers,
-candlesticks, nightlight glasses, taper holders; finger
-bowls, wine
-coolers; oil
-bottles, vinegar
-bottles,
-mustard bottles;
-jars,
-pickle jars;
-tea trays, preserve
-pots;
-vases, covered
-vases;
-rolling-pins,
-knife rests,
-knife and
-fork handles,
-spoons, sugar crushers; butter pots, celery glasses;
-weather glasses, chemical glasses, eye baths, witch-balls,
-porringers, posset vessels, holy-water vessels;
-door-stops, paper-weights; mirrors, knobs, glass
-pictures, bellows-shaped flasks, lustres, paste jewels,
-beads, taws, toy birds, animals, tobacco pipes, bellows
-on stands, walking-sticks, rapiers, and other
-elaborate baubles and oddities made for ornament
-or as <i lang="fr" xml:lang="fr">tours de force</i>. There seems to have been
-a Glass-makers’ Festival held at Newcastle some
-hundred years ago, and it was for exhibition then<span class="pagenum"><a name="Page_8" id="Page_8">[8]</a></span>
-that most of the freak glass toys and ornaments were
-made.</p>
-
-<p>Much old English and Irish glass was contemporaneously
-sent to the American market, and the following
-articles were advertised as on sale at New York in
-the year 1773: “Very Rich Cut Glass Candlesticks,
-Cut Glass Sugar
-Boxes and
-Cream Potts,
-Wine, Wine-and-Water
-Glasses, and
-Beer Glasses,
-with Cut
-Shanks, Jelly
-and Syllabub
-Glasses, Glass Salvers, also Cyder Glasses, Orange
-and Top Glasses, Glass Cans, Glass Cream Buckets
-and Crewets, Royal Arch Mason Glasses, Globe
-and Barrel Lamps, etc.” The “etc.” would be
-capacious; it would include most of the articles
-mentioned in the paragraph just preceding this,
-and such things as crystal globes to be filled with
-water through which a candle might throw and condense
-its rays, for sewing or lace-making purposes,
-at night.</p>
-
-<div class="figleft" style="width: 400px;">
-<a id="witchballs" name="witchballs"></a><img src="images/i_008.jpg" width="400" height="238" alt="" />
-<div class="caption">(1) BRISTOL; AND (2) NAILSEA COLOURED GLASS
-WITCH-BALLS</div>
-</div>
-
-<p>A collector ignores window-glass, unless he can come
-upon stained glass, purchasing, for £5 perhaps, a leaded
-square or oval of sixteenth-century Swiss or German
-painted glass, to hang in one of his windows. A collector
-ignores plate-glass, except in the form of mirrors,<span class="pagenum"><a name="Page_9" id="Page_9">[9]</a></span>
-perhaps. A collector ignores carboys, and also ordinary
-bottles, but he acquires when he can one of the thick,
-stumpy, almost black glass bottles in which Georgian
-people bottled their own claret or port, imported in
-the cask. It adds interest to an antique bookcase,
-corner cupboard, or cabinet if the panes, or some of
-them, show the slight curvature characteristic before
-perfectly flat sheet-glass could be cast; and there are
-some old panes in which the oxides have turned to a
-violet colour&mdash;a silversmith’s shop nearly opposite the
-top end of the Haymarket still displays some&mdash;which are
-of interest to-day. There used to be glass objects which,
-I suppose, we shall never come upon now: the “mortar”
-or nightlight-glass, of the kind which stood beside the
-last sleep of Charles I, and the “singing-glasses” which
-Pepys heard in 1668, when he “had one or two singing-glasses
-made, which make an echo to the voice, the
-first I ever saw; but so thin, that the very breath
-broke one or two of them.” These, and many other
-beautiful pieces of old glass, are for ever gone out of
-reach.</p>
-
-<p>But the hunter may come upon pieces which came into
-existence before Queen Anne died: Jacobean glass, of
-the reign of Charles II at latest, is occasionally found.
-For a guinea I obtained a fine sacramental vessel in
-purfled and wreathed glass bearing the symbol of
-the Trinity (see <a href="#comm_vessel">next page</a>); for 5s. a pistol-shaped
-scent bottle; and for 12s. 6d. a hand lamp, all three of
-Jacobean date.</p>
-
-<p><span class="pagenum"><a name="Page_10" id="Page_10">[10]</a></span></p>
-
-
-<h3>THE HUNT FOR IT</h3>
-
-<p>In fact, the limits in glass-collecting are not yet fixable;
-you never know what quaint or rare thing you may not
-come upon in old glass.
-Other lines of collecting
-are already systematized,
-and part of the systematization
-is a limiting of
-what you may expect to
-find and a raising of what
-you may have to pay.
-With glass there are no
-such boundaries, at present;
-anything out of the
-ordinary in shape, purpose,
-or date, may be
-acquired, and should be&mdash;the
-uncommon pieces
-are the best&mdash;though
-often because a piece is
-quite unusual, it will be
-offered you at a very
-low price. The smaller
-dealers know that from
-half a guinea to a couple
-of guineas is what they may charge for an old wine glass,
-according to the knobs or the spiral in its stem, but they
-do not know any fixed price for less common specimens,
-and they will sell at a hundred per cent. profit on the
-very small charges they themselves have paid.</p>
-
-<div class="figleft" style="width: 317px;">
-<a id="comm_vessel" name="comm_vessel"></a><img src="images/i_010.jpg" width="317" height="600" alt="" />
-<div class="caption">COMMUNION VESSEL, SHOWING PURFLING
-ON THE HANDLE, AND
-“WRITHEN” ORNAMENT ON THE
-BOWL (DATE CHARLES II)</div>
-</div>
-
-<p><span class="pagenum"><a name="Page_11" id="Page_11">[11]</a></span></p>
-
-<p>Armed with knowledge of the general tests which I
-give in the next chapter, a collector may enter a dealer’s
-shop near Bond Street or a marine stores in the Old Kent
-Road, a broker’s at Hackney or a cabinet-maker’s warehouse
-in a country town, a second-hand furniture shop at
-Hammersmith or the Caledonian market on a Friday; he
-may look into a butler’s pantry, peer into a cupboard in a
-kitchen corner, search amidst the dust of a lumber-room,
-or reach to the deep interior of a farmhouse dresser or
-sideboard; and almost always he will come upon a
-collectable bit of old glass. He may hope to come upon
-an old crystal gazing-ball, used by fashionable fortune-tellers
-a century ago; or even one of the old glass eggs
-which eighteenth-century ladies held in their hands to
-keep their palms cool for a lover’s kiss.</p>
-
-
-<h3>THE COLLECTOR’S RANGE</h3>
-
-<div class="figleft" style="width: 346px;">
-<img src="images/i_012.jpg" width="346" height="600" alt="" />
-<div class="caption">MASONIC ENGRAVED GOBLET, WITH
-CUT STEM; THE GROOVES OF THE
-CUTTING ENCROACHING ON THE
-BOWL</div>
-</div>
-
-<p>The beginner should recognize from the first that the
-range of the collector of old glass is not yet defined;
-that the practical hints and rules given in this book may
-be applied to <em>any</em> piece of glass, and should be, no matter
-how unusual its form or inexplicable now its use in
-its time. During the next few years things which now
-seem oddities, because they are so unusual, may become
-particularly sought after, and valued because they are
-rare. I therefore advise the beginner to be a general
-and diffusing collector, leaving no genuine old piece
-unsnapped-up which comes within his reach and means.
-At present cut Waterford glass and spiral-stemmed
-blown wine glasses are the things most sought after by
-glass collectors, but they may not be so a few years<span class="pagenum"><a name="Page_12" id="Page_12">[12]</a></span>
-hence. I do not mean that they will ever drop in selling
-value now, but I anticipate that the selling value of other
-glass articles, rather neglected now, may appreciate;
-that is why I recommend the practice of general and
-diffusive collecting and
-a wide range. But if
-a collector prefers to
-specialize, he may set
-out to collect wine
-glasses only, or inscribed
-glasses only, or what-not
-in that way; he may go
-in for cut-glass only,
-or blown glass only, or
-coloured glass only, or
-toys and eccentricities
-only; he may choose
-geographically, collecting
-Irish glass only, or
-English glass only, or
-Bristol glass only, and
-so forth. In any case
-his range will be limited
-by certain dates; he will
-very seldom come upon a piece so old as the reign of
-Charles II, and he will not care to collect glassware made
-so late as the year in which Victoria came to the throne.
-With Venice-made glass this book has nothing to do.
-Much old Dutch-made glass exists in England, but the
-student of this book will be enabled to detect it, and not
-unintentionally to acquire it believing it to be English<span class="pagenum"><a name="Page_13" id="Page_13">[13]</a></span>
-made. Bohemian-made glass, cut and coloured, is seldom
-taken up by collectors here. The range in these islands is
-for English and Irish glass, for it is the ware most readily
-collectable, most likely to increase in value, and to be
-most readily sold when a collection comes to be dispersed;
-I mention this latter consideration because any
-collector not wealthy must, in justice to his heirs and
-dependents, in this matter<span class="pagenum"><a name="Page_14" id="Page_14">[14]</a></span> “look to the end.”</p>
-</div>
-
-
-<hr class="chap" />
-<div class="chapter">
-
-<h2><a name="II_SEVEN_GENERAL_GUIDES" id="II_SEVEN_GENERAL_GUIDES"></a>II. SEVEN GENERAL GUIDES
-AND TESTS</h2>
-
-
-<p class="cap"><span class="smcap">Setting</span> forth to collect old glassware, therefore,
-what general guides may the beginner use,
-and what reliable tests can he apply?</p>
-
-<p>There are seven: (1) the <em>tint</em> of the glass; (2) the
-<em>sound</em> of the glass; (3) the <em>quality</em> of the glass metal
-(or material); (4) the <em>weight</em>; (5) the <em>signs of use and
-wear</em>; (6) the <em>pontil-mark</em>; and (7) the <em>workmanship</em>.</p>
-
-<p>These seven suffice to equip the beginner. But as he
-collects and gains experience, many details and developments
-of them will come to his knowledge, which I shall
-refer to in their place.</p>
-
-<p>It should be remembered that there are no maker’s
-marks to go by in glass, as there are in porcelain, earthenware,
-Sheffield plate, or pewter; and no signatures, as
-there are in paintings, drawings, and etchings.</p>
-
-
-<h3>1. THE TINTS OF OLD GLASS</h3>
-
-<p>Old glass is <em>darkly</em> brilliant. It is not <em>whitely</em> crystal
-as modern glass is; the eye can only see what it looks
-for, ever, and to uninstructed eyes all glass is merely
-glass-colour, but the experienced collector sees that there
-are many different tints and tinges in the crystal of glass.
-These tints and tinges are the chief guide, test, and
-principle by which one judges whether a piece of glass<span class="pagenum"><a name="Page_15" id="Page_15">[15]</a></span>
-is one of the nineteenth century, eighteenth century,
-or seventeenth century, as the case may be.</p>
-
-<p>To judge the tint, place the piece of glass upon a white
-tablecloth, near to a tumbler or decanter known to be
-modern because of recent
-purchase from an ordinary
-vendor of household
-glass. The eye, looking
-for it, will then notice in
-the two pieces of glass
-a striking difference of
-tint, if one of them is
-old, that is; the old
-piece is not only darker
-than the white of the
-tablecloth, but darker
-than the piece of modern
-glass. And <em>the darker (or
-sootier) its tint the older
-the glass</em>, as a rule. Tint
-or tinge is a constant feature
-in old glass, and an
-obvious feature directly the eye knows what to look
-for. Varieties of dark tint may be detected, and by
-these varieties the bit of glass may be dated, its period
-determined, and its age assigned.</p>
-
-<div class="figright" style="width: 356px;">
-<img src="images/i_015.jpg" width="356" height="600" alt="" />
-<div class="caption">HUNTING GOBLET, DOME FOOT</div>
-</div>
-
-<p>If you place near each other, upon a white damask
-cloth, a glass of Charles II date, a William and Mary glass,
-a George III glass, and a Victorian glass, you will notice
-a darkening and then a whitening in tint (though not a
-brightening) as your eye travels from the oldest glass to<span class="pagenum"><a name="Page_16" id="Page_16">[16]</a></span>
-the most modern. By “tint” or “tinge” I do not mean
-“colour,” in the sense of red or green or blue; I will
-deal with coloured glass later on. By “tint” or “tinge”
-I mean the shade of leaden, darkish hue in the metal
-from which the glass
-article was blown or
-moulded. This tint or
-tinge was inherent in
-the molten glass, before
-shaping and cooling began.
-The metal or raw
-material was mixed according
-to recipe&mdash;each
-glassworks had its own
-recipe&mdash;and one of the
-materials was lead. The
-older the Georgian
-glass, the more impure
-the metal&mdash;that is, the
-fuller of lead oxides&mdash;and
-therefore the darker;
-what are called improvements
-in glass-mixing
-have gradually eliminated
-the oxides, and therefore the leaden tint or tinge
-also; it is astonishing how many different shades and
-tinges of darkness (in that sense) a cabinet of old glass
-can show. In a few glasses the bowl is pale sapphire
-or aquamarine colour, the stem being the tint of plain
-glass.</p>
-
-<div class="figleft" style="width: 346px;">
-<img src="images/i_016.jpg" width="346" height="600" alt="" />
-<div class="caption">“TRAFALGAR” GLASS: RUMMER ON
-BALUSTER STEM AND RAISED
-FOOT; EXAMPLE OF ELABORATE
-ENGRAVING</div>
-</div>
-
-<p>The glass collector exercises his sight and applies the<span class="pagenum"><a name="Page_17" id="Page_17">[17]</a></span>
-test; it enables him to detect a counterfeit, though in
-shape and general appearance it imitates the genuine
-antique; it is too whitely crystal, too tintless to be old.
-Curio-shop windows at Brighton, for instance, are full of
-frauds in glass, chiefly cut-glass, or glass moulded to resemble
-cut-glass; but the chalky-white tint betrays and
-condemns them, and the instructed collector will not be
-taken in. Also he will recognize genuine Waterford
-glass by its own tinge of colour, and genuine Cork glass
-in a similar way; he will see that old Dutch-made glass,
-when thick, has a smeary, milk-and-watery tint, and when
-thin has a flashy, meretricious absence of deep tinting:
-he will learn that old Stourbridge glass was whiter than
-antique Bristol or Newcastle glass, and sometimes was
-milky-white; in course of time and practice he will come
-to be able to “date” and “place” a piece of old glass
-at sight, as well as instantly to reject a fraud.</p>
-
-<p><em>The tints of Irish-made glass.</em> Glass made at Waterford,
-late in the eighteenth century and early in the
-nineteenth, was a fine product, often exquisitely cut:
-it is distinguishable in more than one way, but has a
-characteristic tinge which, once seen, is unmistakable.
-I cannot find exact words for it, it is not a blue nor a
-green nor a blackish tint, but is something of all three,
-and was due to excessive presence of oxide of lead.
-Nobody has done any research as to Irish-made glass,
-and people suppose that Cork-made glass resembled the
-Waterford glass, but that is very unlikely, because each
-factory mixed according to its own recipe, and also used
-a different variety of each of the raw materials common
-to all glass. In point of fact, Cork glass is<span class="pagenum"><a name="Page_18" id="Page_18">[18]</a></span> “duller”
-than Waterford, and it has quite a different, a pale,
-almost dun or yellowish, tinge, particularly visible in
-the thicker parts; a good many lustre-ornaments seem
-to have been made at Cork. Belfast glass was yellowish,
-too, if we may judge by the tint of Williamite glasses.</p>
-
-
-<h3>2. THE SOUND OF OLD GLASS</h3>
-
-<div class="figleft" style="width: 292px;">
-<img src="images/i_018.jpg" width="292" height="600" alt="" />
-<div class="caption">EXAMPLE OF FINE QUALITY
-ROSE GLASS. COTTON-WHITE
-SPIRAL. NOTE THE
-ROSE LEAVES AND STEMS</div>
-</div>
-
-<p>Perhaps because more lead was used in the “metal” or
-raw material, but at any rate for some distinctive reason,
-<em>old English and Irish-made glass
-has a more musical sound than any
-made abroad</em>. Flick or flip with
-your finger-nail, or pinch near
-your ear, a piece of this old
-ware, and <em>a vibrant, resonant, and
-lingering ring is audible</em>. The
-thinner the part of the glass you
-flick the more the sound, of
-course; but something of a ring
-should come from almost any
-part of the article. Another way
-of producing this characteristic
-sound is to keep on rubbing a
-wetted finger around the edge
-of the bowl of a wine glass or
-finger bowl, till rhythmic vibration
-is set up, and the sound
-steals forth. And it is a <em>bell-like, musical note</em>, almost
-the F sharp or G sharp, or A or B of the 4th octave
-in a pianoforte keyboard: darkish glass with this
-resonance is almost sure to be old English or Irish<span class="pagenum"><a name="Page_19" id="Page_19">[19]</a></span>
-made. Much eighteenth-century Dutch glass is still
-extant here, and is often mistaken for English; but it
-need not be: thin or thick, <em>Dutch glass sends out no
-lingering resonance</em>, long, clear, musical, and true. <em>Dutch
-glass tinkles</em> when you flip it, but the sound is dead a
-few seconds after being born. The sound test for old
-English or Irish glass is, Does it ring with a musical note
-that throbs, sings, and lingers in a way to delight the
-ear? <em>The sound of old Dutch, French, Italian, or German
-glass is cracked, so to speak</em>, though the vessel itself is
-not; but</p>
-
-<div class="poem"><div class="stanza">
-<span class="i0"><i>O hark, O hear! how thin and clear,</i><br /></span>
-<span class="i0"><i>And thinner, clearer, farther going!</i><br /></span>
-</div></div>
-
-<p>are lines which Tennyson might have written to describe
-the music of old English and Irish glass; too much stress
-cannot be laid upon this test&mdash;the <em>lasting</em> note is the
-criterion.</p>
-
-<p>So that now, with both tint and sound to guide us,
-we need not be taken in by modern copies or old Dutch
-glass.</p>
-
-
-<h3>3. THE QUALITY OF OLD GLASS METAL</h3>
-
-<div class="figleft" style="width: 308px;">
-<a name="quality" id="quality"></a><img src="images/i_020.jpg" width="308" height="600" alt="" />
-<div class="caption">EXAMPLE OF FINE QUALITY;
-SHOWING THE BUTTERFLY
-AND THE COTTON-WHITE
-WREATHING AROUND THE
-CENTRAL TUBE</div>
-</div>
-
-<p>Italians and Frenchmen came to England in the
-sixteenth century to teach the art and mystery of glass-making
-to our islanders; yet neither old Italian nor
-French glass metal has the <em>quality</em> of old English and
-Irish glass metal. The glassware made here between
-the reigns of Queen Anne and Queen Victoria had the
-best <em>quality</em> of any glass ever made in the world. But
-what is <em>quality</em> in this connexion? It means material,<span class="pagenum"><a name="Page_20" id="Page_20">[20]</a></span>
-but it also means the manipulation of material and the
-effect produced. The glass made during the reigns of
-the four Georges was called “flint glass” and “lead
-glass”&mdash;misnomers, perhaps, but I need not take up
-space here in discussing that;
-the important point is that the
-<em>quality</em> of the metal and the skill
-of the manipulation resulted in
-thinness, rigidity, shapeliness,
-a velvety surface, dark sheen,
-brilliancy, radiancy of facets
-when cut, and the vibrant,
-musical ring of the eighteenth-century
-glass. Glass made
-under Charles II was not so
-dark, and Victorian glass was
-whiter; Victorian and modern
-English glass is of excellent
-quality, but is uniform to almost
-a painful degree. It lacks character
-and diversity; the Georgian
-glass was individual and
-original, so to speak. There
-were faults in it&mdash;little air-blobs, or vesicles, that feel like
-pimples on the surface, or show as bubbles within it;
-striations, like lines of fibre, also; and deviations from
-the strict mathematic line or curve, which were due to
-hand-work. But if you examine contemporary Dutch-made,
-French-made, or Italian-made glass, you notice
-that the same defects exist, and more numerously,
-while there is a flimsiness, or a lumpiness, or a smeary<span class="pagenum"><a name="Page_21" id="Page_21">[21]</a></span>
-look and harsh feel which are absent from old English
-and Irish glass.</p>
-
-<p>A specked, pimply surface, and a dull thickness and
-clumsy lumpiness or flashy thin lightness, are found in
-old Dutch-made glass; and this, taken in conjunction
-with the absence of true ring, enables a collector to
-reject the old ware sent over from Holland. <em>The quality
-of the English and Irish glass metal comes out in the surface</em>,
-too, a little; the fingers feel the surface of an old blown
-wine glass to be <em>cool</em>, <em>smooth</em>, <em>hard</em>, <em>and yet velvety</em>;
-while the surface of Waterford cut-glass has a <em>silky feel</em>.</p>
-
-
-<h3>4. THE WEIGHT OF OLD GLASS</h3>
-
-<p>In his privately circulated book on “English Baluster
-Stemmed Glasses of the Seventeenth and Eighteenth Centuries”
-Mr. Francis Buckley aptly says that “English-made
-glasses of the first period were all light in weight and
-cloudy in appearance. Some time between the Restoration
-and the end of the seventeenth century, but when
-precisely it is difficult to say, the English glass-makers
-began to try experiments with a view to removing from
-their glasses this dull and cloudy appearance. Their
-object was to produce a substance like crystal; and this
-object they eventually achieved by introducing into their
-metal a large quantity of lead.” This gave the characteristic
-weight.</p>
-
-<p>The old Dutch glass seems light in weight, even when
-it is thick; <em>old English and Irish glass seems relatively heavy</em>
-even when it is thin. <em>Waterford glass is especially heavy.</em>
-These differences in weight are probably due to differences
-in the materials used for mixing the metal; but<span class="pagenum"><a name="Page_22" id="Page_22">[22]</a></span>
-whatever the cause, they aid the collector to know the
-real from the counterfeit, and the old English from the
-Dutch. Even the thick, clumsy glasses made here in
-the reign of William and Mary seem more weighty than
-those otherwise exactly similar which were then brought
-over from Holland.</p>
-
-
-<h3>5. THE SIGNS OF USE AND WEAR</h3>
-
-<p>Many fantastic pieces of old glass were made as
-curiosities or ornaments, but most old glass was made
-for use. Glass is easily scratched; as the wine glasses
-and decanters were set down upon the hard, polished
-mahogany of dinner-tables, after the cloth was drawn, and
-were moved, the feet of the wine glasses and the bases of
-the decanters become scratched thereby. Lustre-ornaments,
-glass candlesticks, or glass vases which stood upon
-marble or hard wood mantelpieces, being moved when
-maidservants were dusting, became scratched at the base.
-The collector will therefore carefully examine those
-parts of a piece of glass which, if it is old, may be expected
-to show the signs of use and wear caused by
-contact and movement upon hard surfaces; it is well to
-do this by the aid of a pocket-lens&mdash;which ought to be a
-glass collector’s constant companion.</p>
-
-<p><em>In a genuine old piece the scratches are numerous, do not
-all run the same way, and are dust-coloured, more or less.</em>
-Most counterfeits show no scratches at all, but <em>the more
-elaborate forgeries show artificial scratches; these usually
-run all one way, however, or seem all to have been made
-together at the same time, and sometimes these artificial
-scratchings appear in parts of the glass which would not be</em><span class="pagenum"><a name="Page_23" id="Page_23">[23]</a></span>
-<em>exposed to marking of the kind when in use</em>, as, for instance,
-inside the bowls.</p>
-
-<p>Yet it is not wise to condemn and refuse as a fraud
-a piece of glass which shows the other four or five
-general evidences of genuineness simply because only
-slight scratching is evident; for the glass may have been
-standing in a cupboard unused for many years, its nose
-put out of joint by some change of fashion in table-ware
-soon after it had been bought, and have passed into a
-collector’s cabinet before coming into your hands for
-examination. Nor is it safe to suppose that the more
-the scratches the older the piece; it may have had more
-than the common amount of usage. If the glass has
-a “folded foot” or a “ring-base” to stand on, the
-scratches will be at the very edge of the foot, or on the
-ring, just where it touched the table or mantelpiece,
-and there only.</p>
-
-
-<h3>6. THE PONTIL-MARK</h3>
-
-<p>I mention this last because it does not apply to all old
-glass; it does not apply to glass that was cast or moulded,
-but it applies to all old blown glass, and is a very important
-test and guide indeed.</p>
-
-<div class="figleft" style="width: 300px;">
-<img src="images/i_024.jpg" width="300" height="312" alt="" />
-<div class="caption">UNDER-SIDE OF WINE GLASS FOOT, SHOWING
-THE PONTIL-MARK AND THE
-HEMMED OR “FOLDED FOOT” EDGE</div>
-</div>
-
-<p>The pontil-mark is either a depression in the glass,
-shallow, about the size of the third finger-end, or a lump
-about that size, standing up from the level of the glass
-around it. The pontil-mark indicates <em>first</em> that the piece
-of glass was originally blown, and <em>second</em> that before
-removing the blow-pipe the workman, as usual, attached
-the blown glass to a pontil. The pontil or punt is an
-iron rod, joined to the vessel by a little melted glass while<span class="pagenum"><a name="Page_24" id="Page_24">[24]</a></span>
-the vessel is still hot. When the time comes for taking
-away the pontil, it is done by contact with cold water,
-which causes the glass to contract around the pontil-end
-and the pontil to become detached. Glass vessels which
-were blown, only,
-show the depression
-or the lump accordingly:
-blown-glass
-vessels which were
-afterwards “cut”
-show it in part only,
-or not at all, if the
-glass-cutter removed
-it: vessels neither
-blown nor cut, but
-cast in a mould, do
-not show it because
-they never had it.
-In the eighteenth
-century and the first quarter of the nineteenth, glass
-moulding seldom took place; <em>so that the presence of the
-pontil-mark, whether it be a hollow or a lump, usually
-indicates age in the vessel which shows it</em>.</p>
-
-<p>In the oldest glass the pontil-hole is flaked with something
-which rather resembles mica. In the oldest wine
-glasses the pontil-lump stands out knobbily. In every
-case there are signs of the local fracture. As a rule,
-the older the glass the bigger and rougher the pontil-mark.</p>
-
-<p><span class="pagenum"><a name="Page_25" id="Page_25">[25]</a></span></p>
-
-
-<h3>7. THE WORKMANSHIP</h3>
-
-<p>The sensible, practical adaptation to purpose and the
-workmanlike make of English and Irish old glass afford
-another test; compared with our native product, French
-glass of the same period seems meagre, and Dutch
-flimsy or clumsy; Italian is fantastic and tawdry. The
-French and the Italian ware was often gilded, the Dutch
-painted: these are features seldom seen on English and
-Irish glass. In place of gilding or other added external
-decoration the island ware presented a substance neither
-too thin nor too thick, bowls perfectly rounded, stems
-strong and stout but not bulky, too tall, or too short;
-feet that hold on to the table well, and are not warped
-and uneven. In the freak and toy pieces, too, the
-excellence of the workmanship is obvious.</p>
-
-</div>
-
-
-<hr class="chap" />
-<div class="chapter">
-
-<p><span class="pagenum"><a name="Page_26" id="Page_26">[26]</a></span></p>
-
-
-
-
-<h2><a name="III_BLOWN_WARE" id="III_BLOWN_WARE"></a>III. BLOWN WARE</h2>
-
-
-<p class="cap"><span class="smcap">The</span> blow-pipe is not so old an implement as
-the potter’s wheel, but it seems to have been
-used 5000 years ago, in Egypt. Pliny first
-gave the fanciful account of Ph&#339;nician mariners accidentally
-fusing carbonate of soda with sea-sand; Dr.
-Johnson commented on that as follows: “Who, when he
-saw the first sand or ashes by a casual intenseness of heat
-melted into a metallic form, rugged with excrescences,
-and clouded with impurities, would have imagined that
-in this shapeless lump lay concealed so many conveniences
-of life as would in time constitute a great part of
-the happiness of the world? Yet by some such fortuitous
-liquefaction was mankind taught to procure a body
-at once in a high degree solid and transparent; which
-might admit the light of the sun and exclude the violence
-of the wind; which might extend the view of the philosopher
-to new ranges of existence, supply the decays
-of nature, and succour old age with subsidiary
-sight.”</p>
-
-<p>Perhaps the first glassware was cast, or moulded,
-and there is no record of when or where the blow-pipe
-was first used. Ancient glass beads were probably
-made by moulding: probably the first glass ever made
-in England (the windows at Wearmouth Church, in
-<span class="smcap">A.D.</span> 675) was cast. Not until the sixteenth century,<span class="pagenum"><a name="Page_27" id="Page_27">[27]</a></span>
-apparently, was any blown glass made in England, and
-none of it remains both extant and intact; collectors are
-fortunate who come upon a piece of date so early as the
-first half of the seventeenth century, even; but from the
-last few years of the seventeenth century to the first few
-years of the nineteenth century inclusive, English and
-Irish blown glass was the best in the world. Therefore
-it is the <em>blown</em> pieces which are the most characteristic,
-whether blown only or blown and afterwards engraved
-or cut. And the blown pieces, being intended for use,
-are the more numerous, and the more readily collected;
-the cut and engraved pieces, being for ornament, were
-more costly, and therefore fewer&mdash;though perhaps they
-have been more carefully preserved.</p>
-
-<div class="figcenter" style="width: 600px;">
-<a name="caddy" id="caddy"></a><img src="images/i_027.jpg" width="600" height="463" alt="" />
-<div class="caption">MOULDED CADDY SUGAR-BASIN, AND JACOBEAN HAND-LAMP
-WITH BALUSTER STEM. NOTE THE CLOUDY TINGE</div>
-</div>
-
-<p>Drinking glasses are the most favoured aim of collectors
-and at present are the old glass objects most<span class="pagenum"><a name="Page_28" id="Page_28">[28]</a></span>
-frequently offered, but as glass-collecting becomes more
-popular other glass objects are brought out of cupboards
-and places where they have been lying neglected; and
-my counsel is that a collector should acquire any piece
-of old blown-glass ware which he can.</p>
-</div>
-
-
-<hr class="chap" />
-<div class="chapter">
-
-<p><span class="pagenum"><a name="Page_29" id="Page_29">[29]</a></span></p>
-
-
-
-
-<h2><a name="IV_CUT_MOULDED_AND" id="IV_CUT_MOULDED_AND"></a>IV. CUT, MOULDED, AND
-ENGRAVED WARE</h2>
-
-
-<p class="cap"><span class="smcap">A collector</span> nervous about frauds should take
-note that <em>counterfeits of old cut-glass are much
-more numerous than counterfeits of old blown
-glass</em>; the latter is forged, in the shape of wine glasses
-with spiral stems, but not at all successfully. In cut-glass
-there is also the confusion with moulded glass to beware
-of, but the finger feels the edges of cut-glass to be slightly
-rough&mdash;rather like woodwork edges not sand-papered off&mdash;and
-the eye can detect a difference between what was
-cut and what was moulded. In fine old cut-glass the
-surface feels silky, and the touch slips upon it where the
-cutting is shallow; moulded glass has a wavy, rounded
-feel. Cut-ware glass seems to be the more popular
-“line” of collecting in glass, so it is well to consider
-the kinds of cutting here; remembering all the while
-the tests of tint, etc., as between the old and the new.</p>
-
-
-<h3>THE ORIGIN OF CUT-GLASS</h3>
-
-<p>English-and Irish-made glass, being heavier and better
-quality than any other, lent itself to cutting especially
-well; but probably the chief cause of the development
-of cut-glass here was the excise duty, which was levied
-on the plain manufactured article, so to speak&mdash;the
-glassware as the blower or moulder turned it out. The<span class="pagenum"><a name="Page_30" id="Page_30">[30]</a></span>
-excise on that having been paid, all additional value given
-to the ware afterwards was non-taxable; therefore cutting
-came into vogue, and the glass cut in these islands became
-the best in the world. Of all cut-glass “Waterford”
-was the most beautiful; its specific gravity was the
-greatest, and deep cutting could take place without the
-ware being clumsily heavy to begin with.</p>
-
-
-<h3>THE “WATERFORD” STYLE OF CUTTING</h3>
-
-<p>Cork, Dublin, and Belfast cut-glass resembles Waterford
-cut-glass in everything but tint and weight, and
-perhaps it was the Celtic strain in the Irish glass-cutters’
-blood which gave a more than English freedom and
-fantasy to their art. At any rate, the style of their cutting
-may be described as “curved” and “arabesque”;
-it was also shallow, generally; flowing lines and slight
-hollows, flattish rounded curves, and interlacings
-are evident; stems and candlesticks are “whittled”
-rather than cut deeply; rims are often surrounded by
-little semicircles, the edge of each semicircle being cut
-into angles with sharp points; sometimes these resemble
-half-open fans. The less the amount of cut ornament,
-the earlier the piece, as a rule. There is English style
-diamond-shaped cutting in Irish glass, and some “hob-nail”
-cutting&mdash;shaped flat ends standing out as hob-nails
-do from boot soles: there is some “strawberry”
-cutting; but as a rule, a fluent, curving, arabesquing
-style of cutting, with parallel horizontal lines, hollow
-prisms, upright fluting, and parallel vertical lines in
-panels, the latter sometimes resembling basket-plaiting,
-characterize Waterford cut-glass.</p>
-
-<p><span class="pagenum"><a name="Page_31" id="Page_31">[31]</a></span></p>
-
-
-<h3>THE “STOURBRIDGE” CUTTING</h3>
-
-<p>The Stourbridge glass-cutters, on the other hand,
-rather over-did and abused the deep, regular, machine-like
-repetition of the “diamond” and the “hob-nail”
-and the “pomegranate.” Sometimes, however, the
-cutting was flat and flowing, and a festoon-like, hung-tapestry-like
-form may be seen.</p>
-
-<div class="figcenter" style="width: 600px;">
-<img src="images/i_031.jpg" width="600" height="276" alt="" />
-<div class="caption">(1 AND 2) WATERFORD, AND (3) STOURBRIDGE CUT-GLASS BOWLS</div>
-</div>
-
-
-<h3>THE “BRISTOL” CUTTING</h3>
-
-<p>Bristol glass-cutters went in for depth, but also for
-fantasy: a leaflike arrangement may be seen: the flowing
-lines in “Bristol” cutting are not so fine and curved as
-they are in Waterford glass.</p>
-
-
-<h3>“NEWCASTLE” CUTTING</h3>
-
-<p>Perhaps the “thistle” glasses, so popular in Scotland,
-were made and cut at Newcastle, the nearest glass-making
-centre: but “thistle cutting” does not mean
-cut like a thistle; it means minute diamond-shape cuts<span class="pagenum"><a name="Page_32" id="Page_32">[32]</a></span>
-upon a vessel conventionally resembling a thistle-head
-in shape.</p>
-
-
-<h3>THE STAR AT THE BASE</h3>
-
-<div class="figleft" style="width: 300px;">
-<img src="images/i_032.jpg" width="300" height="301" alt="" />
-<div class="caption">EXAMPLE OF “POMEGRANATE” AND “DIAMOND”
-CUTTING: NOTE THE “STAR” ALSO, CUT TO
-THE EDGE, AND THE SCRATCH ACROSS THE
-BASE CAUSED BY WEAR</div>
-</div>
-
-<p>In old cut-glass a star is often found, cut in the base
-of the vessel, <em>under</em> it; usually the old glass-cutters
-extended this
-star to the very
-edges of the
-base. In more
-modern cutting
-the rays of the
-star do not extend
-so far.</p>
-
-
-<h3>MOULDED
-GLASS</h3>
-
-<p>About 1850
-moulded imitations
-of cut-glass
-begun to
-oust the more
-expensive originals,
-and moulded glass of that date and since then
-is not worth a collector’s attention. But <em>old</em> moulded
-glass, with the right tint in it, is worth acquiring; in
-the shape of candlesticks, for instance.</p>
-
-<p>Cutting could be done, and was done, either upon
-glassware originally blown, or upon glass originally
-moulded&mdash;that is, cast in a mould. Sometimes the
-stem or shank and foot were left untouched while the<span class="pagenum"><a name="Page_33" id="Page_33">[33]</a></span>
-upper part of the vessel was cut. Moulded glass uncut
-shows no acuteness of edge nor sharpness in the depressions.
-Modern moulded glass is often very elaborate,
-however, and the beginner may readily be deceived.</p>
-
-
-<h3>ENGRAVED GLASS</h3>
-
-<p>Some part of the engraving on some glasses was really
-cutting: in roses which form part of the decoration
-of finely engraved
-glasses, the finger
-feels plane after
-plane of depression,
-where the engraver
-deeply cut away the
-metal to imitate the
-petals of the rose.
-When the engraving
-goes as deep as this,
-or deeper than usual,
-the effect is to give
-a dust colour to the
-engraved work, which helps one to be sure that the
-object before one is not an old plain glass recently
-“engraved up” with a Jacobite or other design to make
-it sell for more money.</p>
-
-<div class="figright" style="width: 300px;">
-<img src="images/i_033.jpg" width="300" height="279" alt="" />
-<div class="caption">UNDER-SIDE OF BASIN, SHOWING THE
-STAR CUT TO THE EDGE</div>
-</div>
-
-<p>But as a rule engraving is a surface operation, done
-with a diamond or on the wheel, or by sandblast, or
-by use of acids. Where the engraving is flat, not cut
-in, the original greyish-white effect may long remain;
-a collector need not suppose that the engraving is recent
-because the tint of it is not brownish, a colour due to<span class="pagenum"><a name="Page_34" id="Page_34">[34]</a></span>
-years and accumulations of dust. Indeed, the rougher
-and coarser the recent engraving the more likely dust to
-settle <em>in</em> it, as well as upon it, and to give it a dusty tint.
-Really fine old engraving can remain almost as fresh in
-appearance and tint as it ever was, even till to-day.
-<em>And the natural tint of glass engraving resembles the tint of
-ground glass.</em> Of course, when the polishing-wheel was
-applied, either to parts or to the whole of the engraving,
-this greyish-white tint was polished away.</p>
-
-<p>The polishing-wheel was also used to remove the
-pontil-mark (when it was a lump or knob) from the feet
-of wine and other glasses.</p>
-
-<p>Dutch or German engraved old glass shows more
-<em>smeary</em> in the engraved part than English or Irish glassware
-does.</p>
-
-</div>
-
-
-<hr class="chap" />
-<div class="chapter">
-
-<p><span class="pagenum"><a name="Page_35" id="Page_35">[35]</a></span></p>
-
-
-
-
-<h2><a name="V_OLD_COLOURED_GLASS" id="V_OLD_COLOURED_GLASS"></a>V. OLD COLOURED GLASS</h2>
-
-
-<p class="cap"><span class="smcap">At</span> Bristol, Nailsea, Wrockwardine, and perhaps
-at Norwich, glassware of various colours
-was made. There are collectors who care for
-nothing else but coloured glass; there are collectors who
-only care for coloured glass paper-weights; there are
-collectors who will not buy coloured glass at all.</p>
-
-
-<h3>“BRISTOL”</h3>
-
-<p>Bristol coloured glass is the most sought for. There
-are several varieties. The rarest is the opaque, whitish
-glass which rather resembles porcelain or Battersea
-enamel in general tint, and is painted upon as if it were
-porcelain or enamel: held to a good light this ware is
-seen to be rather opalescent, and might be dubbed opal
-glass. Edkins, a painter of Bristol delft, used delft-like
-colours and designs on this opal glass; wreaths of
-flowers (the rose and the fuchsia in particular) and
-flourishes in the Louis XV style are characteristic.
-Cups and saucers, teapots, tumblers, bowls and jugs,
-cruet vessels, and candlesticks of this ware exist, though
-few; the last-named imitated Battersea enamel candlesticks
-in shape and decoration. A characteristic of this
-glass is ridges or waves on the surface, detected by the
-finger. The earliest examples have domed and folded
-feet.</p>
-
-<p><span class="pagenum"><a name="Page_36" id="Page_36">[36]</a></span></p>
-
-<p>Less rare, but rare, are the wine glasses with red and
-white or blue and white spirals in the stems which were
-made at Bristol; if the white is not cotton-white but
-greyish, however, such a glass is probably old Dutch.</p>
-
-<div class="figleft" style="width: 300px;">
-<img src="images/i_036.jpg" width="300" height="480" alt="" />
-<div class="caption">BRISTOL COLOURED GLASS PEPPER
-BOX, SHOWING THE ELABORATE
-FLOWERS, SUCH AS ARE SEEN IN
-PAPER-WEIGHTS</div>
-</div>
-
-<p>Fine tableware of transparent
-blue, blue-green,
-red, and purple was made
-at Bristol; the blue is
-a peculiar, unique blue,
-imitated but never well
-reproduced; where the
-glass is thick, it, held to
-the light, shows a Royal
-purple, and where thin
-it is almost a sea-blue.
-Egg-cups of this ware are
-handsome. Bristol red
-glass is of a ruby hue,
-with not so much vermilion
-in it as in Bohemian
-glass: there is
-also “cherry-red” glass.
-Bristol blue and red glass
-was sometimes touched with gilt, in lettering and lines;
-this did not wear well except when embossed.</p>
-
-<p>Bristol produced the finest glass paper-weights&mdash;of
-a size and shape to fill the palm of one’s hand if only the
-wrist and finger-tips are touching the paper&mdash;and at the
-base of these you see flowers of coloured glass, bright and
-various in hue, and rendered with wonderful skill; of
-the same kind of mosaic or tessellated glass is a small<span class="pagenum"><a name="Page_37" id="Page_37">[37]</a></span>
-pepper pot in my possession, a very rare example.
-Other Bristol paper-weights, larger, and door-stops,
-still larger and heavier, were tall ovals, two or three or
-four times the size of a goose’s egg and rather resembling
-one in shape; the colour is a verdant or a sage green, and
-the inner decoration is flower-petals and leaves, pearled
-over as if by dew, and blown with extraordinary skill.</p>
-
-<div class="figcenter" style="width: 600px;">
-<img src="images/i_037.jpg" width="600" height="444" alt="" />
-<div class="caption">BRISTOL COLOURED PAPER-WEIGHTS
-(1) GREEN; (2) COLOURED SPIRALS</div>
-</div>
-
-<p>Collectors should beware of forgeries of parti-coloured
-paper-weights. They may be known by the coarseness
-of the flowers inside the glass, the lack of fine workmanship,
-and the tawdriness of the colours.</p>
-
-
-<h3>“BRISTOL” AND “NAILSEA”</h3>
-
-<p>Nailsea is a small place near Bristol, and nobody can
-now be sure from which of the two came any particular
-bauble&mdash;coloured glass-flask, pestle, bell, witch-ball,
-tobacco pipe, trumpet, jug, rolling-pin, bellows-shaped<span class="pagenum"><a name="Page_38" id="Page_38">[38]</a></span>
-article, walking-stick or rapier, or the (excessively rare)
-long glass cylinders containing coloured glass counters
-for games. But it is thought that the Bristol wares of
-this kind were brighter in colour than the Nailsea product,
-which, because less skilful and daring, perhaps,
-was cooler in tint, less striking in mixture of colours,
-and therefore more refined. Probably Bristol produced
-the glass which is ornamented by alternate broad stripes
-of red and opal-white. Perhaps Nailsea was responsible
-for glass of a “greenery-yallery” hue containing whitish
-spots or splashes: there are many forgeries of jugs and
-rolling-pins, in this style, about.</p>
-
-
-<h3>“WROCKWARDINE”</h3>
-
-<p>At Wrockwardine, in Salop, the glass works turned out
-coloured walking-sticks, ewers, scent-bottles, flasks,
-twin bottles for oil and vinegar, and toys; the characteristic
-being that the glass is <em>striped</em>, in white and one or
-more colours.</p>
-
-
-<h3>“SUNDERLAND”</h3>
-
-<p>The Sunderland glassworks are supposed to have
-made rolling-pins, and almost certainly produced the
-curious polygonal salt cellars (which some people have
-thought to be insulators for piano-feet), that reflect
-colour and gilding or coloured heads of men or women,
-from their bases, talc keeping the ornament there in
-place.</p>
-
-
-<h3>MISCELLANEA</h3>
-
-<p>Witch-balls seem to have been made at Bristol, for
-I own one of the Bristol red and opal-white; at Nailsea<span class="pagenum"><a name="Page_39" id="Page_39">[39]</a></span>
-(in inferior, watery blue); and at Wrockwardine
-(greenish-blue striped with pale white). These balls,
-it is said, were hung at each door and window, “to keep
-the witches out” (see <a href="#witchballs">illustration</a>, page 8).</p>
-
-<div class="figcenter" style="width: 600px;">
-<img src="images/i_039.jpg" width="600" height="287" alt="" />
-<div class="caption">SUNDERLAND SALT CELLARS</div>
-</div>
-
-<p>Glass articles splashed with colour <em>outside</em>, on the
-exterior of the article, exist, but in great rarity; the
-splashed-on colours are glass-oxides, but look like oil-paint;
-the greenish clear glass beneath the splashing
-resembles the Nailsea product.</p>
-
-
-<h3>GREEN, PURPLE, AND YELLOW WINE GLASSES</h3>
-
-<p>Fine wine glasses, for hock or other white wines, were
-made in olive-green, grass-green, purple, and orange;
-these are collected by some people for use at table, by
-some for the collector’s cabinet. The older ones show
-the characteristics of dimensions and shape which will
-be described later in this book.</p>
-
-</div>
-
-
-<hr class="chap" />
-<div class="chapter">
-
-<p><span class="pagenum"><a name="Page_40" id="Page_40">[40]</a></span></p>
-
-
-
-
-<h2><a name="VI_OLD_DRINKING_GLASSES" id="VI_OLD_DRINKING_GLASSES"></a>VI. OLD DRINKING GLASSES</h2>
-
-
-<p class="cap"><span class="smcap">These</span> are the favourite quarry of the hunter
-for old glass. I prefer the more uncommon and
-out-of-the-way pieces myself, but the old wine
-glasses, goblets, cordial glasses, rummers, ale glasses,
-cider glasses, and so forth are so interesting, often so
-beautiful, and sometimes so
-quaint, that I do not wonder
-at the eager collecting of
-them.</p>
-
-<div class="figleft" style="width: 300px;">
-<img src="images/i_040.jpg" width="300" height="529" alt="" />
-<div class="caption">“THISTLE” GLASS, EARLY
-BALUSTER STEM</div>
-</div>
-
-<p>Seeking as I do right through
-this book to state general rules
-and tests which the beginner
-may apply to all glass he comes
-across, I now mention <em>the
-general features of old drinking
-glasses</em>.</p>
-
-
-<h3>THE LUMPY STEM</h3>
-
-<p>In days when men did not
-rise from the dinner-table quite
-so easily as they fell under it, the stem of a drinking
-glass must be thick, lest it snap in the convulsive hand,
-and was more safely held when it was also lumpy or
-bulbous&mdash;“knopped” and “baluster”-like are other
-terms for it: the fingers clung to the knobs.</p>
-
-<p><span class="pagenum"><a name="Page_41" id="Page_41">[41]</a></span></p>
-
-
-<h3>THE STOUT STEM</h3>
-
-<p>Even when the bulbous or lumpy stem ceased to be the
-rule, a <em>thick</em> stem&mdash;three or four times the thickness of
-modern wine-glass stems&mdash;was the rule, for the reason
-just given.</p>
-
-<div class="figleft" style="width: 223px;">
-<img src="images/i_041.jpg" width="223" height="440" alt="" />
-<div class="caption">EGG-CUP BOWL, KNOPPED
-STEM (COTTON-WHITE
-SPIRAL SWELLING OUT)</div>
-</div>
-
-<div class="figright" style="width: 280px;">
-<img src="images/i_041a.jpg" width="280" height="493" alt="" />
-<div class="caption">TALL GOBLET, AIR-SPIRAL AND
-DOME-FOOT</div>
-</div>
-
-
-<h3>THE EXTENSIVE FOOT</h3>
-
-<p>Similarly, old drinking glasses were always made with
-very broad “feet” or bases; usually the foot had a
-larger circumference than the bowl. A semi-drunken
-hand, setting the vessel down on the table, might leave
-it rocking for two or three seconds, but the foot was so
-broad that it could hardly rock over.</p>
-
-<p><span class="pagenum"><a name="Page_42" id="Page_42">[42]</a></span></p>
-
-
-<h3>THE RAISED FOOT</h3>
-
-<p>Because of the pontil-mark being often a knob, or
-protuberance, the foot of the glass must not wholly rest
-upon the table, but touch it near the circumference
-of the foot only, lest the knob at the end of the stem
-should prevent the glass standing level, or should scratch
-the mahogany.</p>
-
-
-<h3>THE DOMED FOOT</h3>
-
-<p>Some of the oldest glasses, in which the pontil-mark
-is quite a large protuberance, stand upon feet which,
-flat upon the table at and near the edge, rise domelike
-in the centre. These dome feet are seldom symmetrical;
-made by hand, the flat part is usually wider on one side
-of the dome than on the other.</p>
-
-<div class="figleft" style="width: 262px;">
-<img src="images/i_042.jpg" width="262" height="171" alt="" />
-<div class="caption">DOME-FOOT</div>
-</div>
-
-<div class="figright" style="width: 262px;">
-<img src="images/i_042a.jpg" width="262" height="171" alt="" />
-<div class="caption">HIGH INSTEP FOOT (TWO VARIETIES)</div>
-</div>
-
-
-<h3>THE HIGH INSTEP FOOT</h3>
-
-<p>As the pontil-mark became smaller and not so rough,
-the dome foot gave place to one which is mainly flat at
-the base but slightly conical, rising like a low round
-hillock, to join the stem: seen in profile, these somewhat
-resemble a leg and a foot with a high instep. No
-seventeenth-or eighteenth-century stemmed drinking<span class="pagenum"><a name="Page_43" id="Page_43">[43]</a></span>
-glass except a “firing” glass has a foot with an uniformly
-flat section.</p>
-
-
-<h3>THE HEMMED OR FOLDED FOOT</h3>
-
-<p>Many old wine glasses are chipped at the edge of the
-foot; this was due to carelessness in the scullery sometimes,
-but often to careless use by convivial guests.
-Therefore glass-makers learned the advantage of folding
-the edge of the foot under, like a hem in needlework;
-a rounded edge, less likely to be chipped, was thus
-obtained. This “hem” is nearly always irregular,
-being turned in more at one part of the base than
-another. As a rule, the presence of a folded foot
-indicates that the glass was made
-before 1760.</p>
-
-
-<h3>THE “NORWICH” FOOT</h3>
-
-<p>Nobody knows what kind of
-glasses were made at Norwich
-or Lynn, but there is a supposition that horizontal lines,
-in the bowl or in the foot, mean “Norwich-made”: the
-foot is slightly terraced, so to speak.</p>
-
-<div class="figright" style="width: 300px;">
-<img src="images/i_043.jpg" width="300" height="169" alt="" />
-<div class="caption">“NORWICH” FOOT</div>
-</div>
-
-
-<h3>THE FIRING GLASS FOOT</h3>
-
-<p>There is, I believe, in certain Lodges, a semi-ritual
-practice of hammering on the table with the feet of
-glasses, rhythmically, after a toast, somewhat in the style
-of applause called “Kentish fire.” This seems never
-to have been done with wine glasses, but old cordial or
-spirit glasses exist in considerable numbers which were
-expressly made for the purpose, and furnished with flat<span class="pagenum"><a name="Page_44" id="Page_44">[44]</a></span>
-feet an eighth of an inch thick or more, so that they
-should not crack by concussion; in these old “firing-glasses,”
-too, the foot is
-bigger in circumference
-than the bowl.</p>
-
-
-<h3>GENERAL RULES</h3>
-
-<p>These considerations
-apply to stemmed glasses
-for ale, beer, cider, and
-cordials also; and to
-rummers and grog glasses
-upon stems that are short
-but stout. Therefore a
-<em>genuine English or Irish
-drinking glass of seventeenth-,
-eighteenth-, or
-early nineteenth-century
-make has, in addition to the tint, ring, quality, pontil-mark,
-workmanship, and signs of use, a stout stem and
-an extensive, raised foot</em>.</p>
-
-<div class="figleft" style="width: 300px;">
-<img src="images/i_044.jpg" width="300" height="409" alt="" />
-<div class="caption">MASONIC FIRING GLASS: NOTE THE
-THICK FOOT</div>
-</div>
-
-<p>About 1830, the six-bottle men being all dead, and
-even the three-bottle men becoming rare, the thickness
-of the stem and the extensiveness of the foot could
-safely be reduced; the pontil-mark, too, was smaller,
-and the foot of a glass could be made with a lower instep,
-so to speak. Therefore a <em>thin stem and a foot not
-bigger, or smaller, than the top of the bowl, with no pontil-mark,
-or hardly any, signify that the glass was made during
-Victoria’s reign or just before it began</em>.</p>
-
-<p><span class="pagenum"><a name="Page_45" id="Page_45">[45]</a></span></p>
-
-
-<h3>“THUMB” GLASSES</h3>
-
-<p>“Thumb” glasses are those in which the external
-surface of the bowl is pitted with depressions the size
-of a finger-end, so that the shaking hand of the bibulous
-might be the less likely to let the glass drop. They are
-usually tall of bowl and short of stem, but rather big of
-foot.</p>
-
-
-<h3>THE SQUARE FOOT</h3>
-
-<p>Old glasses with thick square bases appear to belong
-to the end of the eighteenth century, when the “Empire”
-style was influencing manufacture: often the
-base is of inferior workmanship to the bowl.</p>
-
-
-<h3>THE FEET OF TUMBLERS</h3>
-
-<p>Even the bases of tumblers were made thick, though
-they were smaller in circumference than the top of the
-tumbler.</p>
-
-</div>
-
-
-<hr class="chap" />
-<div class="chapter">
-
-<p><span class="pagenum"><a name="Page_46" id="Page_46">[46]</a></span></p>
-
-
-
-
-<h2><a name="VII_THE_VARIOUS_TYPES_OF" id="VII_THE_VARIOUS_TYPES_OF"></a>VII. THE VARIOUS TYPES OF
-STEM</h2>
-
-
-<p class="cap"><span class="smcap">Wine</span> glasses and other drinking vessels of
-glass may best be classified according to
-the shape or decoration of the stem.</p>
-
-
-<h3>1. THE BALUSTER STEM</h3>
-
-<p>The oldest English drinking glasses are those which
-have lumpy, knobby, bulbous stems, of wavy outlines
-imitating the stems of Tudor and Stuart silver goblets,
-and rather resembling the shape of balusters in stair or
-terrace balustrades, or the uprights in some old gate-leg
-tables; perhaps among the baluster stems we should class
-those which rather resemble an inverted obelisk, the
-broad part just under the bowl and the point within
-the foot (see <a href="#comport">illustration</a>, page 84); this long remained
-the favourite shape (and is almost the characteristic
-shape) for what are called sweetmeat glasses on stems,
-and for comports or glass stands for sweetmeat glasses;
-it gives a kind of shoulder to the stem. Sometimes the
-lower part of such a stem as this is square in section.</p>
-
-
-<h3>THE COLLAR IN THE BALUSTER STEM</h3>
-
-<div class="figright" style="width: 200px;">
-<a name="williamite" id="williamite"></a><img src="images/i_047.jpg" width="200" height="424" alt="" />
-<div class="caption">“WILLIAMITE” GLASS:
-NOTE THE “COLLAR”
-ON THE BALUSTER
-STEM</div>
-</div>
-
-<p>Often the stem does not directly join the bottom of the
-bowl, but has a “neck,” with an outstanding ring of
-glass or “collar” around the neck; sometimes the<span class="pagenum"><a name="Page_47" id="Page_47">[47]</a></span>
-collar is double or triple; the neck and collar were often
-used later, in other than baluster stems. Sometimes
-the collar is near the foot; sometimes there are two
-collars. Around some stems a
-fillet is found; these are very
-rare.</p>
-
-
-<h3>THE OLDER BALUSTERS</h3>
-
-<p><em>The stouter and lumpier the older
-the baluster stem</em>, as a rule; after
-the accession of William and
-Mary, the baluster stems grew
-more and more refined and less
-heavy as the years went on. But
-baluster-stem glasses are prized by
-most collectors according to their
-bigness and lumpiness of outline;
-the older the better, from this point
-of view. The massive stems are
-very handsome; where they touch
-the bowl the bowl is very thick, and because the stem
-and pontil-mark were big, the foot is often domed;
-so that the curves of the bowl, the undulations of the
-stem, and the domelike or high-instep-like curve of the
-foot make a matched and pleasant outline for the whole.
-<em>Almost invariably baluster-stem glasses have folded feet.</em></p>
-
-
-<h3>COINS IN THE BALUSTER STEMS</h3>
-
-<p>Two things may be looked for inside these stems&mdash;coins
-and “tears.” Sometimes one of the swelling-out
-parts of the baluster stem was large enough to enclose<span class="pagenum"><a name="Page_48" id="Page_48">[48]</a></span>
-a small silver coin; a coin glass is exceedingly rare and
-correspondingly valuable, but the date of the coin does
-not necessarily indicate the date of the glass.</p>
-
-
-<h3>“TEARS” IN THE STEM</h3>
-
-<div class="figright" style="width: 238px;">
-<a name="largeale" id="largeale"></a><img src="images/i_048.jpg" width="238" height="400" alt="" />
-<div class="caption">PLAIN DRAWN LARGE ALE
-GLASS, SHOWING “TEAR”
-IN STEM</div>
-</div>
-
-<p>Many baluster stems enclose a separate blob or
-bubble of glass, called a “tear.” It has been thought
-that this was an accidental feature,
-due to imperfect mixing
-of the metal and the presence
-of air in the molten glass.
-Obviously, that is an unlikely
-cause, and in the Diary of
-Mr. Pepys I have discovered
-a passage which seems to
-show how these “tears” in
-the stem would begin. Writing
-little more than twenty
-years before 1689, Pepys refers
-to the “chymical glasses
-which break all to dust by
-breaking off a little end;
-which is a great mystery to
-me.” These were called <i lang="la" xml:lang="la">lacrymæ Batavicæ</i>, or
-“Dutch tears,” and were made by letting drops of
-molten glass fall into water; hissing, the glass became
-tearlike in shape, a blob with a long slender tail, and
-hollow. Probably such as these were the “tears” which
-appear as ornaments within the old drinking-glass stems,
-distinctly visible and separate from the rest of the glass in
-the stem, though of the same tinge and quality of material.<span class="pagenum"><a name="Page_49" id="Page_49">[49]</a></span>
-The name “tear” is to this extent a misnomer, that
-nearly always the “tear” is bigger at the top than the
-bottom; whereas a tear proper swells out more the
-lower it slips on the cheek. But I own a baluster-stem
-glass in which the lower part of the “tear” is the bigger,
-and in some such glasses the “tear” swells out or in
-to match the shape of the stem. Sometimes three or
-five or more very small “tears”
-appear in one of the bulbs.</p>
-
-
-<h3>2. THE DRAWN-OUT OR PLAIN
-ROUND STEM</h3>
-
-<div class="figright" style="width: 199px;">
-<img src="images/i_049.jpg" width="199" height="400" alt="" />
-<div class="caption">DRAWN BOWL AND PLAIN
-ROUND STEM</div>
-</div>
-
-<p>“Drawn glasses” were made
-at twice&mdash;the bowl and the stem
-in one, the foot added later. To
-understand better this meaning
-of the word “drawn,” imagine
-a soap-bubble with the extra suds
-adhering to one part of it, and
-suppose that the extra suds could
-be drawn out to make a stem; that
-was the method used in glass. The
-plain, round stem resembles a solid cylinder, but it is
-part of the bowl, in fact it is a continuation of the bowl.
-The end of the cylinder, around which the foot was
-welded, made a pontil-lump, and therefore the plain
-stem glass has either a high instep or a dome foot.</p>
-
-<p>The plain round stems were made stout because of
-insobriety, though that had begun to lessen when this
-second type of stem came into vogue. “Tears” are
-often seen in the plain round stems.</p>
-
-<p><span class="pagenum"><a name="Page_50" id="Page_50">[50]</a></span></p>
-
-
-<h3>3. THE CORRUGATED ROUND STEM</h3>
-
-<div class="figleft" style="width: 371px;">
-<img src="images/i_050.jpg" width="371" height="400" alt="" />
-<div class="caption">(1) CORRUGATED STEM AND (2) HOP AND
-BARLEY GLASSES, THE LATTER SHOWING
-THE “SILVER SPIRAL”</div>
-</div>
-
-<p>Stems which are ornamented by outside spirals, or
-series of small ridges and grooves alternating, are usually
-old Dutch; but some of them are English, though of
-inferior quality and ring. The quality is so poor and
-the make so unsatisfactory
-that
-probably they were
-a “cheap and
-nasty” contemporary
-imitation
-and substitute for
-glasses adorned
-with the air spiral,
-the type which
-succeed the plain
-round stem. It is
-hardly likely that
-the corrugated
-stem preceded the
-air-spiral stem;
-or, if at all, for more than a few years. With these
-corrugated stems one expects to find, almost without
-exception, that the bowl of the glass is shaped like an
-inverted, incurving, waisted bell.</p>
-
-
-<h3>4. THE AIR-SPIRAL STEM</h3>
-
-<p>At any rate, out of the “tears” in the baluster and
-plain round stems was developed the idea of ornamenting
-stems by internal spirals or twists, and whether these<span class="pagenum"><a name="Page_51" id="Page_51">[51]</a></span>
-should be number four or number three in the chronological
-order is not very important. By twisting while
-drawing out the stem from the surplus metal of the
-bowl (which contained several small “tears”) the
-graceful and beautiful effect of the air spiral <em>inside the
-stem</em> was produced. Sometimes the spiral starts within
-the bowl; sometimes it winds
-round the base of the bowl; but
-always the ornamentation becomes
-a trellis-work or network
-when it fills up the whole stem;
-when it does not fill up the whole
-stem, it meanders down it medially,
-in one substantial spiral, like
-a corkscrew or a rope, or in two
-that interlace: and in the finest
-examples the finger can feel no
-ridging of the surface at all,
-though a slight ridging is palpable
-in many glasses. Now all this
-meant splendid workmanship&mdash;English
-aptitude at handicraft, the
-best of its kind in the world.</p>
-
-<div class="figright" style="width: 190px;">
-<img src="images/i_051.jpg" width="190" height="400" alt="" />
-<div class="caption">DRAWN BOWL AND AIR-SPIRAL
-STEM, BEGINNING
-BELOW THE
-BOWL</div>
-</div>
-
-<p>Sometimes the spiral is so very brilliant that it seems
-as if it were made of quicksilver, and collectors call it
-“silver spiral” or “brilliant air-twist”; but this is probably
-an effect of light. In all cases the air spiral is glass
-colour, the tint of the rest of the glass; red, cotton-white,
-and blue spirals belong to the type of stem to be
-mentioned next. Sometimes, it is true, a white thread
-is seen running down the centre of the stem, within the<span class="pagenum"><a name="Page_52" id="Page_52">[52]</a></span>
-network of air spirals; but oftener when this central
-thread occurs, it is “air-colour” itself.</p>
-
-<p>Air spirals are often seen in stems of knobby or
-baluster form; sometimes air-spiral stems have “necks.”
-This probably means that long rods of glass containing
-air spirals were made, with the baluster shape recurring
-at regular intervals of suitable length, so that the rod
-could be cut up into lengths and each length welded on
-to the bowl and the foot of a glass. These are the air-spiral
-glasses most sought after. Sometimes the stem
-of a drawn glass was welded to a foot of which a bulb
-was the upper part, this bulb sometimes containing
-beadlike “tears,” but these are very rare: sometimes
-the upper part of the stem is plain, and the lower part,
-beginning with a knob, is air spiral, or <i lang="la" xml:lang="la">vice versa</i>. Sometimes
-old air-spiral glasses with small feet are found;
-this was due to a practice of grinding away the edge,
-when the feet had become chipped by much use, and
-re-polishing the feet of these much-valued glasses;
-the folded foot for these glasses was not the rule.</p>
-
-<p>Tall, slender-bowled air-spiral glasses for champagne
-are sometimes found, in shape resembling the glasses
-called <i lang="fr" xml:lang="fr">flûtes</i>; I own one of this sort not less than 9½
-inches high. Rarer still are spiral-stemmed glasses for
-ale; I own one 11 inches high (see <a href="#candlestick">illustration</a>, page 60).
-The former I gave 7s. 6d. for, the latter 10s., a tithe of
-their West-End prices. But these are very exceptional
-glasses.</p>
-
-<p>Air-spiral stems are found in cordial and spirit glasses,
-firing glasses, and goblets with short stems.</p>
-
-<p><span class="pagenum"><a name="Page_53" id="Page_53">[53]</a></span></p>
-
-
-<h3>5. THE COTTON-WHITE SPIRAL STEM</h3>
-
-<div class="figright" style="width: 400px;">
-<img src="images/i_053.jpg" width="400" height="491" alt="" />
-<div class="caption">TALL CHAMPAGNE GLASSES: (1) TAPE
-COTTON-WHITE, AND (2) AIR-SPIRAL
-STEMS</div>
-</div>
-
-<p>During the latter half of the eighteenth century the
-air-spiral glasses continued to be made, but the opaque
-or cotton-white spiral stems came into fashion and
-general use. These
-were not “drawn”
-stems; they could
-not be, because the
-white glass was not
-inherent in the metal.
-The stem was made
-by lining a long cylindrical
-mould with
-wirelike “canes” of
-cotton-white and
-other glass alternately.
-Then melted
-plain glass was
-poured into the cylinder.
-The canes
-adhered to the warm metal, and when the whole was
-reheated, it could be twisted into spiral designs. Then
-the parti-coloured rod thus made was cut into stem-lengths.
-By this means a great variety of designs in
-the spirals could be produced, and indeed, the countless
-differences in English-made cotton-white spirals, hardly
-any two alike, are one of the features of a collection.
-Sometimes the design spreads like the air-twist; sometimes
-it circles around a central, wavy tube; sometimes
-the cotton-white is tapelike, in a “Greek key” pattern;<span class="pagenum"><a name="Page_54" id="Page_54">[54]</a></span>
-sometimes an outer spiral runs around the inner corkscrew;
-but always the effect is pleasing, and rather
-striking, though perhaps not quite in the reticent good
-taste of the air-spiral stems.</p>
-
-<div class="figleft" style="width: 280px;">
-<img src="images/i_054.jpg" width="280" height="600" alt="" />
-<div class="caption">STRAIGHT-SIDED, COTTON-WHITE
-GREEK
-KEY PATTERN</div>
-</div>
-
-<p>Dome feet or folded feet are hardly ever found under
-cotton-white or other coloured spiral stems; any
-example of that should at once be
-acquired; but the pontil-mark is
-always found&mdash;<em>if the glass be old</em>.
-The white in English-made glasses
-is generally a pure, vivid, cotton-white;
-in Dutch glasses it is
-usually a dull greyish hue. (This
-is why I use the term “cotton-white”
-as descriptive of these
-English stems.)</p>
-
-
-<h3>6. COLOURED SPIRAL STEMS</h3>
-
-<p>The next step, to coloured or
-“mixed” spirals, was obvious,
-but not very often taken at English
-glassworks: most of the
-red and white spiral stems now seen came from
-Holland or Liège. However, at Bristol red and
-white, and blue and white, spiral stems were made;
-they are known by the ruby red and the peculiar Bristol
-blue. Yellow and white, purple and white, and green
-and white spirals are known; rare indeed is a three-colour
-spiral. Coloured twist stems were only made in
-England about the end of the eighteenth century. An
-almost constant feature of tri-coloured stems made in<span class="pagenum"><a name="Page_55" id="Page_55">[55]</a></span>
-Holland or at Liège is a wavy central tube of white,
-with coloured spirals around it, swelling or contracting
-to suit the usually bulbous shape of the stem.</p>
-
-
-<h3>7. CUT PLAIN-GLASS STEMS</h3>
-
-<p>These seem to have been in fashion during the period
-1775&ndash;1825. Usually the stems are hexagonal, and the
-cutting had, of course, to be continued, in a shallow way,
-on the lower part of the bowl. “Thistle” glasses are
-those in which the cutting of the stem and bowl to some
-extent suggests the thistle in shape and appearance.
-The stems were often knopped&mdash;this is a feature of
-Waterford glass cut stems&mdash;but towards the end of the
-period mentioned above the stems became cylindrical
-except for the cutting, and the cutting did not so much
-produce facets as long grooves.</p>
-
-<p>The dates just given would suggest that the dome
-foot and the folded foot are not to be looked for under
-cut stems, but they are met with, the dome foot having
-been kept in use for ornament’s sake, probably. Nor is
-the pontil-mark present, if the cutter removed it; except
-that sometimes he left just the faintest trace of it, which
-the finger can detect.</p>
-</div>
-
-
-<hr class="chap" />
-<div class="chapter">
-
-<p><span class="pagenum"><a name="Page_56" id="Page_56">[56]</a></span></p>
-
-
-
-
-<h2><a name="VIII_THE_VARIOUS_SHAPES_OF" id="VIII_THE_VARIOUS_SHAPES_OF"></a>VIII. THE VARIOUS SHAPES OF
-BOWL</h2>
-
-
-<p class="cap"><span class="smcap">Stemmed</span> drinking vessels, whether for wine or
-ale, for rum or cordials, cider or drams, can be
-classified according to shape of bowl; this is
-important for descriptive purposes, and to some extent
-for dating. The following names of shapes do not apply
-to tumblers, mugs, or tankards, of course.</p>
-
-<div class="figleft" style="width: 251px;">
-<img src="images/i_056.jpg" width="251" height="276" alt="" />
-<div class="caption">(1) DRAWN</div>
-</div>
-
-<div class="figright" style="width: 251px;">
-<img src="images/i_056a.jpg" width="251" height="276" alt="" />
-<div class="caption">(2) BELL</div>
-</div>
-
-<p class="pclear"><em>There are ten general shapes of bowl</em>:</p>
-
-<p>1. <em>Drawn</em>, found with the plain round stem and the
-air-spiral stem.</p>
-
-<p>2. <em>Bell</em>, found with the baluster stem, the necked
-and collared stem, the air-spiral stem, the cotton-white
-spiral stem, with coin glasses, and with rose
-glasses.</p>
-
-<p><span class="pagenum"><a name="Page_57" id="Page_57">[57]</a></span></p>
-
-<p>3. <em>Waisted bell</em>, found with the corrugated stem and
-the plain stem.</p>
-
-<p>4. <em>Straight-sided</em>, found with each class of stem.</p>
-
-<div class="figleft" style="width: 231px;">
-<img src="images/i_057.jpg" width="231" height="272" alt="" />
-<div class="caption">(3) WAISTED BELL</div>
-</div>
-
-<div class="figright" style="width: 231px;">
-<img src="images/i_057a.jpg" width="231" height="272" alt="" />
-<div class="caption">(4) STRAIGHT-SIDED</div>
-</div>
-
-<p class="pclear">5. <em>Rectangular</em>, a variety of the straight-sided, found
-with the plain round stem and the air-spiral stem.</p>
-
-<div class="figleft" style="width: 231px;">
-<img src="images/i_057b.jpg" width="231" height="272" alt="" />
-<div class="caption">(5) RECTANGULAR</div>
-</div>
-
-<div class="figright" style="width: 231px;">
-<img src="images/i_057c.jpg" width="231" height="272" alt="" />
-<div class="caption">(6) EGG-CUP-SHAPED</div>
-</div>
-
-<p class="pclear">6. <em>Egg-cup-shaped</em>, or ovoid, found with the cotton-white
-spiral stem, the air-spiral stem, and the cut
-stem.</p>
-
-<p>7. <em>Ogee</em> (named after a term in architecture, signifying
-a curve, somewhat like the letter S), found mostly with<span class="pagenum"><a name="Page_58" id="Page_58">[58]</a></span>
-the cotton-white spiral stem and the coloured spiral stem.
-These are believed to be of Bristol make as a rule, as
-many of them have the Bristol characteristic of perpendicular
-or spiral flutings in the lower half of the bowl,
-produced by pressure (a kind of moulding). The ogee
-bowl is also found with the cut stem, the plain round
-stem, and moulded stems.</p>
-
-<div class="figleft" style="width: 237px;">
-<img src="images/i_058.jpg" width="237" height="277" alt="" />
-<div class="caption">(7) OGEE (TWO VARIETIES)</div>
-</div>
-
-<div class="figright" style="width: 238px;">
-<img src="images/i_058a.jpg" width="238" height="278" alt="" />
-<div class="caption">(8) LIPPED OGEE</div>
-</div>
-
-<div class="figleft" style="width: 231px;">
-<img src="images/i_058b.jpg" width="231" height="266" alt="" />
-<div class="caption">(9) DOUBLE OGEE</div>
-</div>
-
-<div class="figright" style="width: 231px;">
-<img src="images/i_058c.jpg" width="231" height="266" alt="" />
-<div class="caption">(10) WAISTED</div>
-</div>
-
-<p class="pclear">8. <em>Lipped ogee</em>, found with the coloured spiral
-stem, the cotton-white stem, and moulded stems
-mainly.</p>
-
-<p><span class="pagenum"><a name="Page_59" id="Page_59">[59]</a></span></p>
-
-<p>9. <em>Double ogee</em>, found with the air-spiral stem, and
-the cotton-white stem; some of
-the oldest have knops and the
-folded foot.</p>
-
-<p>10. <em>Waisted</em>, found with the air-spiral
-stem and the mixed spiral
-stem.</p>
-
-
-<h3>SMALL LUMP OR BEAD AT
-BOTTOM OF BOWL</h3>
-
-<div class="figright" style="width: 290px;">
-<a name="rose" id="rose"></a><img src="images/i_059.jpg" width="290" height="600" alt="" />
-<div class="caption">“ROSE” GLASS, BELL
-BOWL, AIR-SPIRAL
-BEGINNING IN THE
-BASE OF THE BOWL</div>
-</div>
-
-<p>In many of the older wine
-glasses the finger can feel, inside
-the bowl, just above the top of
-the stem, a small conical projection,
-like that of half a bead. But
-this is not invariable, or an essential
-proof of genuineness.</p>
-
-</div>
-
-
-<hr class="chap" />
-<div class="chapter">
-
-<p><span class="pagenum"><a name="Page_60" id="Page_60">[60]</a></span></p>
-
-
-
-
-<h2><a name="IX_OTHER_STEMMED_DRINKING" id="IX_OTHER_STEMMED_DRINKING"></a>IX. OTHER STEMMED DRINKING
-GLASSES</h2>
-
-
-<p class="cap"><span class="smcap">Wine</span> glasses do not by any means exhaust the
-list of collectable glasses on stems; there
-are many desirable stemmed glasses once
-used for ale,
-cider, perry, or
-spirits, to be
-acquired.</p>
-
-
-<h3>1. ALE AND
-BEER GLASSES</h3>
-
-<div class="figleft" style="width: 400px;">
-<a name="candlestick" id="candlestick"></a><img src="images/i_060.jpg" width="400" height="404" alt="" />
-<div class="caption">CANDLESTICK BETWEEN TALL BEER GLASSES</div>
-</div>
-
-<p>Many glasses,
-drawn, bell,
-or waisted-bell
-shape in bowl
-and baluster,
-plain round, air
-spiral, cotton-white
-spiral, or
-cut in stem, exist, which appear to have been used
-for the very strong ale then brewed; often these are
-engraved with representations of hops and barley.</p>
-
-<p>Large vessels, perhaps used for “small beer,” exist,
-from 9 to 16 inches tall, and proportionately capacious:
-the biggest of the kind I ever saw was engraved with<span class="pagenum"><a name="Page_61" id="Page_61">[61]</a></span>
-Jacobite emblems. The smaller examples of this class
-may have been used daily; the larger may have been
-kept for occasional use as loving-cups, or were never
-used at all, perhaps, being merely <i lang="fr" xml:lang="fr">tours de force</i> of the
-glass-maker, and kept as ornaments to a sideboard.
-The very large ones are drawn glasses, with plain round
-stems, as a rule; the nine-or ten-inch tall glasses of this
-kind are baluster or plain round in stem. I bought one
-of these (see <a href="#largeale">page 48</a>) for £2 5s. not long ago; its West-End
-price now might be £10, for it is “Waterford.”</p>
-
-
-<h3>2. CIDER GLASSES</h3>
-
-<p>No doubt some of the glasses mentioned just above
-were used at times for strong cider; perhaps large
-goblets were used for draught perry or cider at times.
-But special cider glasses exist, engraved with representations
-of apples and apple-tree leaves, or apple-trees,
-and these, from 6 to 7 inches tall, have ogee or rectangular
-bowls as a rule, and usually cotton-white spiral
-stems.</p>
-
-
-<h3>3. CHAMPAGNE OR MUM GLASSES</h3>
-
-<p>There are two types of old champagne or mum glasses,
-each rare: one type has a wide-lipped bell or double-ogee
-bowl, upon a baluster stem, and much resembles
-some of the bigger sweetmeat glasses; the other type is
-7 to 9 inches high, ogee bowl, and cotton-white stem.</p>
-
-
-<h3>4. RUMMERS AND MUGS</h3>
-
-<p>There were three shapes of rummers used, one goblet
-shape, one on a tall stem, and one on a stem which is also<span class="pagenum"><a name="Page_62" id="Page_62">[62]</a></span>
-a base: sometimes the base of an old rummer is square.
-The first of these three shapes has a baluster stem, the
-second a plain round, spiral, or cut stem.</p>
-
-<p>Fine mugs, with handles, imitating contemporary old
-silverware, are found; the mugs show something of a
-stem (see <a href="#largemug">illustration</a>, page 7). Often they are engraved
-with the initials of their first owner, and sometimes are
-dated also. Fine double-handled mugs, like loving-cups,
-exist.</p>
-
-<div class="figcenter" style="width: 600px;">
-<a name="joeys" id="joeys"></a><img src="images/i_062.jpg" width="600" height="300" alt="" />
-<div class="caption">(1) JOEY, (2) THISTLE FUDDLING, (3) BRISTOL COACHING, AND
-(4) JOEY GLASSES</div>
-</div>
-
-
-<h3>5. SPIRIT GLASSES AND CORDIAL GLASSES</h3>
-
-<p>These are small in bowl and short in stem, the bowl
-is often straight-sided, and the stem is usually drawn,
-and often cut. But there are many with drawn bowls
-and plain stems. A “thistle” glass of this kind is
-specially valued. Often the bowl is engraved. Cordial
-glasses may have long stems.</p>
-
-<p><span class="pagenum"><a name="Page_63" id="Page_63">[63]</a></span></p>
-
-
-<h3>6. COACHING GLASSES AND FUDDLING GLASSES</h3>
-
-<p>These are glasses which have no feet: they were used
-at one draught of the liquor in them. I bought a Bristol
-opal glass of the kind for 6d., but these are excessively
-rare. Almost as rare are the plain glasses, with cut
-stems, used in coaching days. When the stage coach
-paused at an inn, a waiter came out with a tray of footless
-glasses, each resting on its bowl; the traveller took one
-up, inverted it into the proper position, held it out to the
-bottle or decanter in the waiter’s hand, drank, and set the
-glass down upon its bowl again. A fuddling glass was a
-variety of coaching glass used indoors, for a rapid dram;
-a “thistle” glass of this kind was favoured in Scotland.</p>
-
-<div class="figcenter" style="width: 600px;">
-<img src="images/i_063.jpg" width="600" height="281" alt="" />
-<div class="caption">(1) DRAM, (2) TOASTMASTER, (3) OAKLEAF, AND
-(4) HOGARTH GLASSES</div>
-</div>
-
-
-<h3>7. TOASTMASTER GLASSES</h3>
-
-<p>These are less capacious dram glasses than they seem;
-the lower part of the bowl was deceptively made very
-thick, so that the toastmaster at a banquet need not<span class="pagenum"><a name="Page_64" id="Page_64">[64]</a></span>
-drink so much as would otherwise have been necessary,
-when announcing and sharing in every one of the score
-or two of the toasts and “sentiments” which were
-honoured at every convivial board. A relic of the
-“sentiment” habit was preserved by Dickens in the
-language of Mr. Dick Swiveller: “May the wing of
-friendship never moult a feather” was a “sentiment”
-in its day.</p>
-
-
-<h3>8. “HOGARTH” GLASSES</h3>
-
-<p>Certain short, short-stemmed, or almost stemless
-glasses, with “Norwich” feet often, and with drawn or
-waisted-bell bowls wide at the mouth, are known as
-“Hogarth” glasses, because they were often shown in
-Hogarth’s pictures of contemporary social life.</p>
-
-
-<h3>9. TAVERN AND KITCHEN GLASSES</h3>
-
-<p>Old glasses are often found which in shape and purpose
-correspond with those described in this chapter and
-chapters vi, vii, and viii, but were obviously inferior in
-finish of make when new. These may be taken to be
-glasses made cheaply for tavern and kitchen use;
-though not so attractive as the better qualities, they
-should not be neglected by the collector.</p>
-
-
-<h3>10. YARD OF ALE GLASSES</h3>
-
-<p>Evelyn tells in his diary that in 1683 the health of
-James II was drunk at Bromley “in a flint glass of a yard
-long.” Imitations of these are made, but the real old
-ones are excessively rare. In shape they rather resemble
-a coaching-horn, the mouthpiece being the foot, or the<span class="pagenum"><a name="Page_65" id="Page_65">[65]</a></span>
-mouthpiece being replaced by a bulb. They were used
-at merry-makings, as proof of bibulous skill in emptying
-a glass a yard long. There are also half-yard glasses.</p>
-
-
-<h3>11. “THIMBLEFUL” GLASSES</h3>
-
-<p>These have a very small straight-sided or ogee bowl,
-upon a plain round, or spiral stem and big foot. They
-are very rare.</p>
-
-</div>
-
-
-<hr class="chap" />
-<div class="chapter">
-
-<p><span class="pagenum"><a name="Page_66" id="Page_66">[66]</a></span></p>
-
-
-
-
-<h2><a name="X_JACOBITE_WILLIAMITE_AND" id="X_JACOBITE_WILLIAMITE_AND"></a>X. JACOBITE, WILLIAMITE, AND
-HANOVERIAN GLASSES</h2>
-
-
-<p class="cap"><span class="smcap">These</span> are the aristocracy among the wine glasses,
-goblets, and spirit glasses. They are rare, difficult
-to find, and costly to buy, but not impossible
-to come upon by lucky hazard.</p>
-
-
-<h3>THE ROSE GLASSES</h3>
-
-<div class="figleft" style="width: 300px;">
-<img src="images/i_066.jpg" width="300" height="532" alt="" />
-<div class="caption">JACOBITE GLASS SHOWING
-THE STUART ROSE: ALSO
-THE “CENTRAL TUBE”
-IN THE STEM</div>
-</div>
-
-<p>The dearest aim of every
-collector of old wine glasses is
-to come upon a Jacobite glass.
-The more sanguine and less
-strict kind of collector declares
-himself the owner of a Jacobite
-example if he possesses a glass
-engraved with a six-petalled
-heraldic Stuart rose (one petal
-for each King or Queen of
-Stuart blood who actually
-reigned in England, he says),
-a large bud (representing the
-Old Pretender, he explains), a
-smaller bud (for the Young
-Pretender), and a bird or (see <a href="#quality">illustration</a>, page 20)
-butterfly (crossing the narrow seas, he explains, to bring
-the Stuarts back).</p>
-
-<div class="figleft" style="width: 218px;">
-<img src="images/i_067.jpg" width="218" height="397" alt="" />
-<div class="caption">JACOBITE GLASS, SHOWING PORTRAIT
-OF THE YOUNG PRETENDER</div>
-</div>
-
-<div class="figright" style="width: 218px;">
-<img src="images/i_067a.jpg" width="218" height="397" alt="" />
-<div class="caption">JACOBITE GLASS, SHOWING
-THE THISTLE</div>
-</div>
-
-<p class="pclear">A stricter, less easily satisfied collector points out that<span class="pagenum"><a name="Page_67" id="Page_67">[67]</a></span>
-those were “the ordinary rose glasses,” used at all
-fashionable dinner-tables in the eighteenth century (see
-<a href="#rose">illustration</a>, page 59). The reply to that is that the six-petalled
-rose and one of the buds, at least, are heraldic,
-not naturally represented; that the heraldic, six-petalled
-white rose was the Stuart rose; and that, at any rate, the
-“ordinary rose glasses” were sometimes used by Jacobites,
-particularly in general assemblies, because of their covert
-meaning, when it would have been unsafe to use the
-treasonable Jacobite glasses proper. A slight addition to
-the rose glass makes it truly Jacobite; thus I own a fine
-goblet which is made Jacobite by a monk’s-hood flower
-being added&mdash;a reference to General Monk. An “ordinary
-rose glass”&mdash;not so ordinary after all, and difficult to
-procure now, as well as dear to buy&mdash;which has a Stuart
-emblem engraved <em>under</em> the foot of it is allowed to pass<span class="pagenum"><a name="Page_68" id="Page_68">[68]</a></span>
-muster by the stricter collector, but what he aims at or
-boasts of if he possesses one is a “Jacobite glass proper.”</p>
-
-
-<h3>THE “JACOBITE”</h3>
-
-<div class="figleft" style="width: 300px;">
-<img src="images/i_068.jpg" width="300" height="492" alt="" />
-<div class="caption">JACOBITE “FIRING” GLASS,
-SHOWING THE OAKLEAF AND
-THE WORD “FIAT”</div>
-</div>
-
-<p>Now a “Jacobite glass proper” is engraved with a
-portrait of the Old Pretender, or of his son “Bonnie
-Prince Charlie”; or with
-the rose, two buds, a butterfly
-or a bird, and also a
-Jacobite motto or emblem,
-or both; or with the cypher
-of the Old Pretender and
-the words of a loyalist
-song. Upon a firing glass
-(the rarest of the Jacobite
-variety) may be seen the
-touching emblem of a
-thunder-smitten tree putting
-forth new branches,
-and the motto <i lang="la" xml:lang="la">Revirescit</i>
-(It becomes green again).
-Upon a wine glass may be
-seen the word “Fiat” with
-a star (perhaps standing for <i lang="la" xml:lang="la">fiat lux</i>, “Let there be light,”
-or perhaps for “Let it be done”&mdash;the second Restoration
-of the Stuarts). Or the motto may be <i lang="la" xml:lang="la">Redeat</i> (let him
-return), or, very rare, <i lang="la" xml:lang="la">Redi</i>; or <i lang="la" xml:lang="la">Radiat</i> (perhaps a misspelling
-of <i lang="la" xml:lang="la">Redeat</i>, or possibly meant for “let him
-shine”). If an oak-leaf (as well as the other features)
-appear on the glass, it was probably used in England;
-if a thistle, probably in Scotland.</p>
-
-<p><span class="pagenum"><a name="Page_69" id="Page_69">[69]</a></span></p>
-
-<p>There still are a few Jacobite glasses lying unrecognised
-no doubt; two were found in a London broker’s shop
-a few years ago, and bought for 5s.; in 1914 a Bristol
-schoolmaster learned accidentally that two glasses which
-had stood on a shelf on a sideboard in the family for forty
-years were <i lang="la" xml:lang="la">Fiat</i> glasses, and a valuer going to a house
-in Sussex for other purposes,
-discovered a
-Prince Charlie portrait
-glass (worth a hundred
-guineas now) still passing
-<i lang="la" xml:lang="la">incognito</i>&mdash;there had
-been “the pair of it,”
-but that had been
-“smashed to bits,” the
-servants said.</p>
-
-<div class="figright" style="width: 300px;">
-<img src="images/i_069.jpg" width="300" height="480" alt="" />
-<div class="caption">JACOBITE “FIRING” GLASS, SHOWING
-THE STAR AND THE ROSEBUD</div>
-</div>
-
-<p>The rarest form of
-Jacobite glasses is the
-short toasting or firing
-glass, for strong waters,
-of “Hogarth” shape. I
-possess one of these; it
-has a “Norwich” foot;
-the thickness of the base
-of the bowl, and the “tear” in that and the short
-bulbous stem, seem to date it at about 1725, so that it
-will be an “Old Pretender” glass. It is very beautifully
-engraved with the six-petalled rose, the two
-buds, the word “Fiat,” the rising star and the (Boscobel)
-oak-leaf. It had been kept in an armoury,
-belonging to a collector who did not collect old glass.</p>
-
-<p><span class="pagenum"><a name="Page_70" id="Page_70">[70]</a></span></p>
-
-<div class="figleft" style="width: 300px;">
-<a name="jacobite" id="jacobite"></a><img src="images/i_070.jpg" width="300" height="478" alt="" />
-<div class="caption">JACOBITE FIRING-GLASS: NOTE THE
-TERRACED OR “NORWICH” FOOT
-AND THE “TEAR” IN THE BALUSTER
-STEM: ALSO THE CENTRE OF
-THE ROSE, BRIGHT AMIDST THE
-GROUND-GLASS PETALS </div>
-</div>
-
-<p>No wonder people hunt for Jacobite glasses. They
-were the romantic, loyal, treasonable vessels which
-were emptied to the
-toast of “his Majesty
-over the water,” in
-clandestine and dangerous
-gatherings of fair
-women and conspiring
-men. Then the great
-punch-bowl was filled
-with water, to represent
-the narrow seas,
-and the red wine
-sparkled in the glasses
-held out above it; as
-often at loyal Georgian
-assemblies a
-Jacobite would be seen
-to hold his wine glass
-above a tumbler of
-water, if called on to
-drink to “the King”:</p>
-
-<div class="poem pclear"><div class="stanza">
-<span class="i0"><i>Then all leapt up and joined their hands<br /></i></span>
-<span class="i2"><i>With hearty clasp and greeting,<br /></i></span>
-<span class="i0"><i>The brimming cups, outstretched by all,<br /></i></span>
-<span class="i2"><i>Over the wide bowl meeting:<br /></i></span>
-<span class="i0"><i>“A health!” they cried, “to witching eyes<br /></i></span>
-<span class="i2"><i>Of sweetheart, wife, or daughter,<br /></i></span>
-<span class="i0"><i>But never forget the white, white rose,<br /></i></span>
-<span class="i2"><i>That blooms for us over the water!”<br /></i></span>
-</div></div>
-<p><span class="pagenum"><a name="Page_71" id="Page_71">[71]</a></span></p>
-<p>Flip these old glasses with the finger-nail, and they
-ring like a tuning-fork; draw thumb and finger upwards
-to the edge of the bowl, and you hear a clear faint
-resonance, sad as the wailings after Culloden, when final
-defeat had come.</p>
-
-
-<h3>THE “WILLIAMITE”</h3>
-
-<p>I bought two fine, perfect, baluster-stemmed Williamite
-glasses for a guinea once; they show William of Orange
-on horseback, and are inscribed with “The Glorious
-Memory of King William, No Surrender, Boyne, 1st.
-Iuly 1690”; and the initials “T.C” and “S.C”; on
-some such glasses two of the initials are “S.T.” (see
-<a href="#williamite">illustration</a>, page 47). The glass is a yellowish-white
-where it is thick, and if not made at Belfast, may have
-been made in Cork; but the engraving would be done
-in Ulster. Some such glasses are rather recent; no
-doubt the making of Williamite glasses continued longer
-than the making of Jacobite glasses did, because of the
-continued existence of Orange Lodges. Some of these
-glasses are inscribed “The Immortal Memory” only,
-or “To the glorious memory of King William” only.
-Williamite firing glasses, of “Hogarth” shape, are
-also found.</p>
-
-
-<h3>THE “HANOVERIAN”</h3>
-
-<p>When the House of Hanover came to the throne
-of the United Kingdom, loyal drinking glasses were
-made accordingly. “God save King George” and
-“Liberty” are the usual inscriptions on them; sometimes<span class="pagenum"><a name="Page_72" id="Page_72">[72]</a></span>
-the heraldic white horse of Hanover was engraved
-on the bowl, or the three crosses of the Union Jack
-inside a garter and the rays of the sun. Hanoverian
-glasses are rarer than Jacobite or Williamite, but Jacobite
-glasses are the most valued and costly.</p>
-</div>
-
-
-<hr class="chap" />
-<div class="chapter">
-
-<p><span class="pagenum"><a name="Page_73" id="Page_73">[73]</a></span></p>
-
-
-
-
-<h2><a name="XI_TUMBLERS_TANKARDS" id="XI_TUMBLERS_TANKARDS"></a>XI. TUMBLERS, TANKARDS,
-“JOEYS,” AND “BOOT”
-GLASSES</h2>
-
-
-<p class="cap"><span class="smcap">I class</span> these together because they are stemless.
-Pewter and silver tankards were imitated in glass,
-and these differ from mugs in being straight-sided
-and quite stemless; often they were engraved with
-initials and dates.</p>
-
-<p>Old tumblers are not found so numerously as old wine
-glasses are; they are usually large, are often cut, and
-are sometimes engraved. Some tumblers are barrel-shaped,
-like some rummers, but most tumblers are
-“straight-sided” or “rectangular.” Some tumblers are
-engraved with portraits (as of Admiral Keppel) or with
-inscriptions (as of “Wellington for ever”). I own two
-which celebrate the “Independence of Durham and
-Richd. Wharton its defender,” probably made at
-Sunderland in 1802, to commemorate a Parliamentary
-Election in which the freedom of the citizens of Durham
-from rule by the bishop’s bailiff was involved. Masonic
-tumblers are rare; so are Bristol opal-glass tumblers, yet
-I own one which cost me 1s.</p>
-
-<p>“Joeys” are dram glasses, shaped like tumblers, or
-like fuddling glasses with no foot or stem (see <a href="#joeys">illustration</a>,
-page 62). Mr. Joseph Hume, M.P., had caused<span class="pagenum"><a name="Page_74" id="Page_74">[74]</a></span>
-fourpenny bits to be coined; fourpenny bits were
-accordingly called “joeys”; even to-day people call for
-a “joey” of brandy. When a tax was put on gin, less
-of the liquor could then be sold for fourpence; so that
-the glass was made thicker, and the contents accordingly
-less. For a similar reason to-day there are in public-houses
-glasses called “Lloyd Georges,” I am told. The
-two “joeys” I
-own are of grass-green
-hue; one
-is inscribed with
-“4d.”</p>
-
-<div class="figleft" style="width: 400px;">
-<img src="images/i_074.jpg" width="400" height="362" alt="" />
-<div class="caption">SMALL BOOT GLASSES</div>
-</div>
-
-<p>“Boot” glasses
-are small
-blown vessels in
-the shape of
-riding-boots,
-probably used
-for spirits in
-the parting
-dram, otherwise called the stirrup-cup. There seems
-little foundation for the suggestion that these were
-emblems of Lord Bute, in the days of George III; for
-as Mr. Hartshorne, the founder of glass-collecting,
-discovered, a jack-boot glass is preserved in the museum
-of Liège and another in a Dutch museum, and these
-are older and more elaborate than the English “boot”
-glasses. I own two of those which Mr. Hartshorne
-collected, and on which he based the “Bute” suggestion,
-but small “boot” glasses are exceedingly rare. A big
-one, cut, and 12 inches high, was once offered me; I<span class="pagenum"><a name="Page_75" id="Page_75">[75]</a></span>
-think it came from Liège. Large boot glasses striped
-with white are seen sometimes; “boot” glasses can
-hardly have been peculiar to Great Britain. Perhaps
-they were used by hunting men as an emblem of their
-sport.</p>
-</div>
-
-
-<hr class="chap" />
-<div class="chapter">
-
-<p><span class="pagenum"><a name="Page_76" id="Page_76">[76]</a></span></p>
-
-
-
-
-<h2><a name="XII_BOTTLES_DECANTERS" id="XII_BOTTLES_DECANTERS"></a>XII. BOTTLES, DECANTERS,
-AND JUGS</h2>
-
-
-<h3>BOTTLES</h3>
-
-<p class="cap"><span class="smcap">The</span> Trapnell collection contained an early
-seventeenth-century bottle, with a seal of a king’s
-head; another dated Henry Galshell, 1700;
-another inscribed T. Bellamy, 1773. I own one bearing
-“C. Yoxall, 1778” in raised letters on a raised lozenge.
-These are all of dark, thick glass, and are short-necked
-and tun-bellied. A little later, in 1786, for instance,
-the shape became like that of a beer bottle to-day, but
-larger.</p>
-
-<p>The rectangular, shouldered spirit bottles, with
-separately made short necks, and engraved or gilded,
-are usually Dutch, and were perhaps enclosed in cases,
-something like “tantalus” bottles. There are tall,
-embossed spirit bottles, often of coloured glass, with
-cut-glass stoppers. There are cut-glass English bottles,
-decanter-shaped but stopperless, a cork being used.
-Holster bottles were a kind of flask carried in the saddle
-holster. Bottles for oil and vinegar and spices resembled
-cruet bottles as a rule. Scent bottles, large, in plain
-glass, are found; small scent bottles, cut or coloured,
-or mounted with silver or pinchbeck stoppers, exist in
-great numbers; I own a Bristol scent bottle which is cut
-like a shell cameo, through two layers of coloured glass,<span class="pagenum"><a name="Page_77" id="Page_77">[77]</a></span>
-one pink, one opal, down to the basal layer of plain glass;
-it cost me 6s. 6d.</p>
-
-
-<h3>DECANTERS</h3>
-
-<p>During most of the eighteenth century wine came to
-table in bottles; “decanting” began to be the fashion
-about 1780, perhaps. The decanters of that date have
-sloping shoulders as a rule; some in shape resemble
-a drawn glass with short stem reversed; a little later
-decanters became more globular and high-shouldered,
-with shorter necks. Engraved festoons on a decanter, as
-indeed upon a wine glass, usually indicate the “Empire”
-period by their decoration&mdash;the end of the eighteenth
-century, if not the beginning of the next. It must be
-said, however, that some “Jacobite” decanters exist with
-long necks and globular bodies; so difficult is it to find
-a rule without an exception in old glass. These Jacobite
-decanters have pointed stoppers, too; whereas oval
-rounded stoppers seem generally to have been the early
-form.</p>
-
-
-<h3>JUGS</h3>
-
-<p>Ale jugs, wine jugs, and water jugs in plain, coloured,
-or cut glass are plentiful. The most desirable are
-Waterford made, known by the tint, the weight, and the
-cutting. Cork-made jugs, resembling Waterford-made
-in cutting, but yellowish in tint, are found. Bristol
-coloured jugs, Wrockwardine striped and Nailsea
-splashed glass jugs exist; these, like many other old plain
-glass jugs, are blown and not cut. Jugs with very large
-necks and lips, either blown or cut, are fairly early<span class="pagenum"><a name="Page_78" id="Page_78">[78]</a></span>
-examples. Sometimes a plain glass jug will have a
-raised festoon of plain or coloured glass about its
-neck.</p>
-
-<p>Milk and cream jugs in Bristol blue, opal, or ruby
-glass are well known; cut milk-jugs exist in fair
-number.</p>
-</div>
-
-
-<hr class="chap" />
-<div class="chapter">
-
-<p><span class="pagenum"><a name="Page_79" id="Page_79">[79]</a></span></p>
-
-
-
-
-<h2><a name="XIII_BOWLS_LIFTERS_SUGAR-CRUSHERS" id="XIII_BOWLS_LIFTERS_SUGAR-CRUSHERS"></a>XIII. BOWLS, LIFTERS, SUGAR-CRUSHERS,
-SPOONS, ETC.</h2>
-
-
-<p class="cap"><span class="smcap">Large</span> cut-glass bowls, and plain bowls, exist,
-perhaps too small for punch (except the Bristol
-painted opal-glass ones), but big enough for fruit
-or salads. Often these stand on feet and stems. Finger
-bowls of plain
-blown and
-of cut glass
-are found.
-Coloured glass
-bowls, of
-Bristol blue,
-green, violet,
-or red, are desirable
-acquisitions.
-The
-earliest form
-of finger bowl
-was not a finger
-glass so
-much as a
-wine cooler or glass rinser; these have two projecting lips
-or ears opposite each other, to support the glass as it lay
-in the water rinsing or cooling.</p>
-
-<div class="figright" style="width: 400px;">
-<img src="images/i_079.jpg" width="400" height="382" alt="" />
-<div class="caption">COLLARLESS, CUT, AND COLLARED “LIFTERS”:
-THE MIDDLE COLLAR REPRESENTS A “FILLET”</div>
-</div>
-
-<p>The <em>toddy lifter</em>, <em>punch lifter</em>, or <em>grog lifter</em> is an<span class="pagenum"><a name="Page_80" id="Page_80">[80]</a></span>
-interesting glass article; I own seven, though examples
-are quite rare. There are several shapes. When the lower
-part is a high-shouldered decanter shape it is said to be a
-punch lifter, and English; when the lower part is round
-and shoulderless, like a club, it is Scottish and a toddy
-lifter. In most cases there is a fillet or collar of glass
-round the neck, and these are called ring-necked;
-the absence of the ring is rare. The bowl is of the size
-required for an ordinary glassful, for the lifters were
-used to transfer punch, toddy, or grog from the punch-bowl
-to the glass. The earlier way of doing this was
-by a silver or wooden ladle, but about the year 1800 the
-glass lifter (which is really a pipette or siphon) came into
-use. When the base of the lifter sank into the punch,
-the punch rose into the bowl of it by a hole in the bottom
-of it; the thumb then closed the hole at the top of the
-neck, thus creating a vacuum. Then the lifter could be
-carried over the table to the glass, and when the thumb
-was taken away the punch ran down into the glass.</p>
-
-<p>Glass sugar crushers, plain, cut, or ridged with spirals,
-are found, with a pestle-like end to them. Glass spoons
-are rare. Glass knives are found, but most of them are
-doubtful. Pestles of Nailsea glass are seen, perhaps
-once used by ladies in their still-rooms; maybe glass
-mortars to match them may turn up.</p>
-
-<p>Knife rests for the table are found, some plain moulded,
-some cut, some even with spirals inside them.</p>
-
-</div>
-
-
-<hr class="chap" />
-<div class="chapter">
-
-<p><span class="pagenum"><a name="Page_81" id="Page_81">[81]</a></span></p>
-
-
-
-
-<h2><a name="XIV_CANDLESTICKS_LUSTRES" id="XIV_CANDLESTICKS_LUSTRES"></a>XIV. CANDLESTICKS, LUSTRES,
-AND LAMPS</h2>
-
-
-<p class="cap"><span class="smcap">Lustres</span> and girandoles are often collected;
-glass standard lamps seldom, at present; glass
-candlesticks are much hunted for.</p>
-
-
-<h3>1. CANDLESTICKS</h3>
-
-<p>The most beautiful of glass candlesticks are those
-made and cut at Waterford, which stand about 12 inches
-high; £10 is a low
-price for a pair.
-Bristol cut-glass
-candlesticks are
-nearly as fine; Bristol
-opal-glass candlesticks,
-plain or
-painted in the Battersea
-enamel style,
-are exceedingly rare.
-Candlesticks with
-air-spiral and cotton-white
-stems are
-occasionally met
-with. Ordinary
-moulded-glass candlesticks, of the early nineteenth
-century, are pretty numerous: fine moulded candlesticks
-are of earlier date.</p>
-
-<div class="figright" style="width: 400px;">
-<img src="images/i_081.jpg" width="400" height="456" alt="" />
-<div class="caption">FINE MOULDED CANDLESTICKS; SEE ALSO
-<a href="#candlestick">ILLUSTRATION</a>, PAGE 60</div>
-</div>
-
-<p><span class="pagenum"><a name="Page_82" id="Page_82">[82]</a></span></p>
-
-<p>Glass candlesticks of Georgian date follow much the
-same order as the contemporary wine glasses, in the
-feet, pontil-marks, and stems. The earliest have
-baluster stems about 9 inches high, and round feet
-between 6 and 7 inches in diameter; the feet are
-domed or high instep, and the pontil-mark is a lump.
-The dome foot occurs with the air-spiral stems, later,
-and even with the cut stems, later still; in these last,
-as in the moulded and in the cut and engraved examples,
-the pontil-mark does not show. Fine candlesticks
-ornamented by purfling were made (see <a href="#candlestick">illustration</a>,
-page 60). Glass taper stands are found.</p>
-
-
-<h3>2. LUSTRES</h3>
-
-<p>The degenerate form of lustre that was found on every
-parlour mantelpiece about the year 1860 is the best-known
-form, and many of these coloured glass objects,
-belling out at the top and bottom, with hanging prisms
-fantastically cut, are still extant; but as yet they are
-little collected. The name “lustres,” however, may be
-used to include the standing girandoles and the hanging
-chandeliers adorned with festoons of diamond-like cut
-prisms, and these are much sought after; many collectors
-acquire loose prisms, long or diamond-shaped,
-whenever they can, and have them re-strung, to be added
-to new glass chandeliers.</p>
-
-<p>The earliest form of the girandole, or standing lustre,
-had a glass standard and glass arms; the top of the
-standard was a candlestick nozzle; the glass standard and
-arms and the dependent prisms reflected the candlelight
-brilliantly. Two of these were in use at Mount<span class="pagenum"><a name="Page_83" id="Page_83">[83]</a></span>
-Vernon when George Washington was President of the
-United States; in the <cite>Boston News Letter</cite> for 1719,
-“Fine Glass Lamps and Lanthorns” were advertised.
-Later, French influence brought in the ormolu and brass
-standards, some two feet high with ormolu arms and
-glass hangers. A complete set of girandoles, for a
-mantelpiece or console-stand, consisted of three, with
-ormolu bases (sometimes representing a human figure),
-standards, and arms; the central one triply or quintuply
-a candlestick, the side ones singly so.</p>
-
-<p>In the fine tall lustres made in pairs at Cork about
-1820 all was glass, except the metal clips inserted in
-the nozzles to hold the candles better. Until lustres
-lost their meaning and became mere mantel ornaments
-the candlestick part of them was a usual feature.</p>
-
-
-<h3>3. LAMPS</h3>
-
-<p>Glass standard lamps, some with round bases, some
-with square bases, the stems cut or balustered, may be
-found; in some cases the standard is short and supports
-a blown-glass lampshade; in other cases a blown-glass
-bulb is part of the tall standard.</p>
-
-<p>A rare and interesting form of lamp, one of the oldest,
-has a bulb with an opening in the top, the edges of the
-opening rounded off, and a corrugated stand; these are
-small, and were used for nightlights. I own three, one
-of them with a handle, and a dish beneath it, evidently
-used for carrying the light from room to room (see
-<a href="#caddy">illustration</a>, page 27); such as these would, perhaps, be
-the old “mortars,” or night-light holders, for a cake of
-wax and a wick.</p>
-</div>
-
-
-<hr class="chap" />
-<div class="chapter">
-
-<p><span class="pagenum"><a name="Page_84" id="Page_84">[84]</a></span></p>
-
-
-
-
-<h2><a name="XV_COMPORTS_SWEETMEAT" id="XV_COMPORTS_SWEETMEAT"></a>XV. COMPORTS, SWEETMEAT,
-JELLY AND CUSTARD
-GLASSES</h2>
-
-
-<h3>COMPORTS</h3>
-
-<div class="figleft" style="width: 300px;">
-<a name="comport" id="comport"></a><img src="images/i_084.jpg" width="300" height="357" alt="" />
-<div class="caption">COMPORT, WITH CAPTAIN GLASS AND SWEETMEAT
-GLASS; ALL THREE SHOWING THE
-“INVERTED OBELISK” STEM</div>
-</div>
-
-<p class="cap"><span class="smcap">A comport</span> is a large glass stand upon which
-(as the name signifies) other things may be
-carried together. A comport consists of a large
-or largish glass
-disc, flat, with a
-rim to it, upheld
-upon a thick
-stem&mdash;most
-often a shouldered
-stem, in
-shape resembling
-an inverted
-obelisk, rising
-from a domed
-and folded foot.
-An old comport
-is a rare possession;
-a modern
-glass cake-stand,
-such as confectioners
-use, is
-a near approach to it in shape. The use of a<span class="pagenum"><a name="Page_85" id="Page_85">[85]</a></span>
-comport appears to have been to stand on a dining-table,
-bearing a number of glasses filled with jelly or
-sweetmeats.</p>
-
-
-<h3>SWEETMEAT GLASSES</h3>
-
-<p>Old sweetmeat glasses were used at table much as
-bon-bon dishes are now, to pass round at the dessert
-course; or to hand to ladies at other than mealtimes,
-during a call. Sweetmeat glasses proper resemble
-wine glasses, but have wide bowls, thick-lipped, unsuitable
-for drinking from: the shape of the stem resembled
-that of the stem of the comport. Often these glasses
-were engraved.</p>
-
-<div class="figcenter" style="width: 600px;">
-<img src="images/i_085.jpg" width="600" height="429" alt="" />
-<div class="caption">SWEETMEAT GLASSES: (1) MOULDED; (2) ENGRAVED
-(3) WATERFORD CUT</div>
-</div>
-
-
-<h3>“CAPTAIN” OR “MASTER” GLASSES</h3>
-
-<p>In the centre of the comport, surrounded by sweetmeat
-glasses, a bigger, taller “captain” or<span class="pagenum"><a name="Page_86" id="Page_86">[86]</a></span> “master”
-glass stood; its shape resembled that of the smaller
-glasses, and it probably held a store from which these
-could be replenished. “Captain” glasses are much
-sought for; the most valuable are Waterford cut, the
-West-End price for one being now £8.</p>
-
-<div class="figcenter" style="width: 600px;">
-<img src="images/i_086.jpg" width="600" height="311" alt="" />
-<div class="caption">JELLY GLASSES. NOTE THE MOULDED ORNAMENT</div>
-</div>
-
-<p>The bowls are usually varieties of the double ogee;
-the moulded stem is usually high-shouldered, inverted
-obelisk in shape, but air-spiral and cotton-white spiral
-stems are found (see <a href="#captain">illustration</a>, page 1). A cut stem
-is usually knopped, but may be plain round, except for
-the cutting.</p>
-
-
-<h3>JELLY GLASSES</h3>
-
-<p>Jelly glasses are small, low, moulded or pressed,
-almost stemless, on domed or high instep feet; sometimes
-the bowls are plain blown or moulded, sometimes
-cut, sometimes hexagonal.</p>
-
-<p><span class="pagenum"><a name="Page_87" id="Page_87">[87]</a></span></p>
-
-
-<h3>CUSTARD GLASSES</h3>
-
-<p>The most desirable custard glasses have handles.
-Some of them have square bases. Some of them
-resemble smallish wine glasses with corrugated
-stems. Most of them are decorated by pressed or
-incised lines.</p>
-
-<div class="figcenter" style="width: 600px;">
-<img src="images/i_087.jpg" width="600" height="444" alt="" />
-<div class="caption">(1) HANDLED, AND (2) SQUARED-BASED CUSTARD GLASSES</div>
-</div>
-
-</div>
-
-
-<hr class="chap" />
-<div class="chapter">
-
-<p><span class="pagenum"><a name="Page_88" id="Page_88">[88]</a></span></p>
-
-
-
-
-<h2><a name="XVI_SALT_CELLARS_PEPPER_BOXES" id="XVI_SALT_CELLARS_PEPPER_BOXES"></a>XVI. SALT CELLARS, PEPPER BOXES,
-SUGAR BASINS, ETC.</h2>
-
-
-<p class="cap"><span class="smcap">The</span> “Sunderland” salt cellars have already been
-mentioned (see <a href="#Page_39">page 39</a>); moulded or cut-glass
-salt cellars are much less rare. The oldest of
-these seem to be those with oval bowls, in the Queen
-Anne silver style, with diamond-shape bases on short
-stems, everywhere cut. Some salt cellars have turned-over
-tops, much broader than the rest of the vessel;
-there are Bristol striped salt cellars of this shape. In
-some cut salt cellars the lines run horizontally. Victorian
-salt cellars were very heavy and rather plain.</p>
-
-<p>Pepper boxes of glass are round, or octagonal, plain
-or cut, with or without a foot; holes are pierced in the
-top, there is a glass stopper at the bottom; sometimes
-the base is square and the pierced top is of silver. In
-some cases the vessel was used for castor-sugar.</p>
-
-<p>Sugar-basins exist in numbers, and in plain, cut, opal,
-and coloured glass, notably in the Bristol blue. There
-are covered sugar basins; when these are large and cut
-they are known as sugar bowls. A special type is the
-<em>caddy sugar-basin</em> (see <a href="#Page_27">page 27</a>); this was usually of
-straight-sided form, blown, moulded, or cut, or both
-moulded and cut; it stood in the central receptacle of
-a tea-caddy, within the round hole between the two
-rectangular boxes which held green tea and black tea<span class="pagenum"><a name="Page_89" id="Page_89">[89]</a></span>
-respectively. These basins are much more seldom met
-with than the caddies are. Often they are very heavy,
-and nearly always they are very ornamental. Bristol
-opal-glass sugar and slop basins are met with; in this
-glass complete tea-sets were made, including tea poys
-or glass tea-caddies. In the Willett collection was
-“a Bristol glass teapot and cover, with flowers in
-colours.” A glass teapot is rarely found.</p>
-</div>
-
-
-<hr class="chap" />
-<div class="chapter">
-
-<p><span class="pagenum"><a name="Page_90" id="Page_90">[90]</a></span></p>
-
-
-
-
-<h2><a name="XVII_MIRRORS_GLASS_PICTURES" id="XVII_MIRRORS_GLASS_PICTURES"></a>XVII. MIRRORS, GLASS PICTURES,
-GLASS KNOBS</h2>
-
-
-<p class="cap"><span class="smcap">Mirrors</span> more properly come within the
-category of furniture, but they largely consist
-of glass, of course, so that some notice of them
-is needed here.</p>
-
-<p>In 1688 the art of casting large plates of glass began
-to be carried on in France. In 1663 the art had been
-patented in England, but for smaller sizes. One French
-mirror, now in the Louvre at Paris, was valued at
-£6000 in 1791. Glass used to be a costly product;
-the chief reason why old prints are usually found
-trimmed of their margins was that glass to frame with
-them was so dear.</p>
-
-<p>Old <em>mirrors</em> with bevelled edges have the bevel flattish,
-nearly in the plane of the glass; the bevel follows the
-shape of the frame, but is irregular at its inner outlines,
-because the grinding of the bevel was done by hand.
-Modern bevels, done by machinery, are almost mathematically
-exact, and make an acuter angle with the frame
-than the old bevels do. Also the silvering at the back
-of old mirrors differs from the method of silvering now
-used; the difference is much more easy to recognize
-by the eye than to describe, but there is a kind of granulation
-in the older backing.</p>
-
-<p><em>Glass pictures</em> are of two kinds; one in which the<span class="pagenum"><a name="Page_91" id="Page_91">[91]</a></span>
-painting, in oil-colours, was done upon the glass itself,
-usually at the back of it; and another in which the paint
-was laid on coarsely behind a print which, rubbed very
-thin at the back of the paper, had been affixed to the
-back of the glass. This second kind is the more numerously
-met with; also it is the most counterfeited. Age
-may be known, however, by the curving, bubbly surface
-of the glass. A third kind, consisting of a mosaic of
-bits of glass, so laid together in cement as to form a
-picture is rare, even in modern examples.</p>
-
-<p>Glass <em>knobs</em> to handsome sideboards were used in the
-first quarter of the nineteenth century, and have continually
-been used in Yorkshire, for dressers, since then;
-old glass knobs are usually moulded, but some are cut,
-though the round, uncut shape was the most convenient
-for handling. Glass door-knobs are found.</p>
-
-</div>
-
-
-<hr class="chap" />
-<div class="chapter">
-
-<p><span class="pagenum"><a name="Page_92" id="Page_92">[92]</a></span></p>
-
-
-
-
-<h2><a name="XVIII_OLD_PASTE_GLASS_BEADS" id="XVIII_OLD_PASTE_GLASS_BEADS"></a>XVIII. OLD PASTE, GLASS BEADS,
-AND TAWS</h2>
-
-
-<h3>PASTE</h3>
-
-<p class="cap"><span class="smcap">All</span> artificial “stones” used in jewellery are
-glass&mdash;glass variously shaped, cut, and coloured&mdash;but
-“<em>old paste</em>” is glass not coloured;
-though it may be backed with coloured foil, which shows
-a tint through the glass. Old-paste collecting is, therefore,
-a branch of old-glass collecting, and cannot be
-ignored in this book.</p>
-
-<p>White paste is usually a substitute for diamonds;
-the carefully made and cut old paste or strass (the French
-name for it, adopted under Louis V, when the best paste
-was made) came very near the look of diamonds.
-Paste or strass is glass of a very hard, bright kind, cut
-in the way in which diamonds are cut, and mounted in
-the metals and styles which usually go with diamond
-jewellery.</p>
-
-<p>Behind these brilliant bits of cut-glass, silver or tinfoil
-was put, so that light falling through the glass should
-be refracted and reflected back, as it is in natural crystals
-such as diamonds. Time affects the colour of this foil
-and thus gives a softer beauty to the effect. Old paste
-is more beautiful than new paste for another reason, too&mdash;being
-old glass it has the tints of old glass so often<span class="pagenum"><a name="Page_93" id="Page_93">[93]</a></span>
-referred to in this book. Some paste seems to have
-been made at Bristol, for “Bristows” or “Bristol
-diamonds” some of it is called.</p>
-
-<p>The older paste ornaments have the bits of glass set
-separately, each setting for each bit separate though
-touching each other, and therefore there is much metal
-shown in the settings; this applies to the seventeenth-century
-paste. Later, near the end of the eighteenth
-century and afterwards, as now, the bits of glass were
-sunk within a continuous grooved or hollow setting,
-each bit held in place by a small claw or raised clip of
-metal soldered on to the general groove. The setting
-for white paste was usually silver: coloured pastes were
-often set in gold, silver gilt, pinchbeck, bronze, and
-sometimes in pewter.</p>
-
-<p>Paste consisting of very small pieces is preferable to
-the larger varieties. “Diamond” paste is oftener
-found than “emerald,” “ruby,” or “sapphire” paste.
-A certain form of paste (not truly paste) is found in
-jewellery set with glass cut and silvered at the back, as
-if it were a bit of looking-glass.</p>
-
-<p>A test for the age of paste is the presence of
-scratches on its surface, and of dimness brought
-about by chemical action of the air. The scratches
-are oftenest found at the edges and flats of the
-facets.</p>
-
-
-<h3>GLASS BEADS AND TAWS</h3>
-
-<p>Glass <em>beads</em> have been made ever since the making of
-glass was known, in Egypt, Europe, and here. The
-general tests of age given in this book may be applied<span class="pagenum"><a name="Page_94" id="Page_94">[94]</a></span>
-to them. Glass <em>taws</em> or marbles made for boys’ games,
-or for a game called “solitaire” which used to be fashionable&mdash;a
-kind of “patience” game with glass taws&mdash;used
-to show the characteristics of air-spiral or cotton-white
-or coloured spiral stems.</p>
-
-</div>
-
-
-<hr class="chap" />
-<div class="chapter">
-
-<p><span class="pagenum"><a name="Page_95" id="Page_95">[95]</a></span></p>
-
-
-
-
-<h2><a name="XIX_GENERAL_HINTS_AND" id="XIX_GENERAL_HINTS_AND"></a>XIX. GENERAL HINTS AND
-WARNINGS</h2>
-
-
-<h3>INSCRIBED GLASSES</h3>
-
-<p class="cap"><span class="smcap">A collector</span> should not miss an opportunity
-of buying an inscribed glass cheaply: for
-instance, a naval rummer, engraved with a
-cutlass, a dove with the olive-branch, and “Our brave
-Allies” for 4s. But fine engraved and inscribed modern
-glasses, imitating though not reproducing exactly the old
-ones, are on sale in curio-shops.</p>
-
-
-<h3>ROSES, OAK-LEAVES, BIRDS, AND BUTTERFLIES
-ON GLASS</h3>
-
-<p>Eventually any glass with roses, rosebuds, and a bird
-or butterfly on it will rank as “Jacobite”; glasses with
-oak-leaves will also be thought symbolical of Boscobel.
-Other such emblems will be discovered, or are alleged;
-for instance, the aconite or monk’s-hood flower, considered
-as an aspiration for another General Monk, who
-might restore the Stuart line.</p>
-
-
-<h3>OLD GLASSES “ENGRAVED UP”</h3>
-
-<p>Jacobite, Williamite, and Hanover or Trafalgar
-glasses being in great demand, <em>ingenious persons take a
-real old wine glass, goblet, or rummer, that is plain and
-innocent at the time, and engrave it</em> with Jacobite emblems<span class="pagenum"><a name="Page_96" id="Page_96">[96]</a></span>
-or “Bonny Prince Charlie’s” head, or William of Orange
-on horseback, or “Trafalgar,” or “Nile.” As a rule
-the evident newness, roughness, and lack of “wear” of
-such added engraving condemn it, to the eye and to the
-finger; but very ingenious persons use chemicals, or
-mud, or attrition, in order to disguise the whitish-grey
-tint of newly engraved glass; if part of the engraving
-be “buffed” up&mdash;that is, polished till it is bright,
-transparent, and not the tint of ground glass (see <a href="#jacobite">centre
-of rose</a>, page 70), detection becomes more difficult.</p>
-
-
-<h3>THE COLLECTOR’S INSTINCT</h3>
-
-<p>But after a while the “instinct” of a collector comes
-into play to protect him against these and other frauds.
-He cannot exactly reason out and state why an offered
-piece is “wrong,” but he feels that it is not right;
-which means that the “altogether” of the glass suggests
-to his subconscious mind something which, though not
-expressed, is a good reason for not buying the glass.
-But this “instinct” only comes after much practice in
-collecting, and repeated turning of pages for reference,
-in a book such as this; a collector’s books should not
-be read once and then laid aside; they should be referred
-to on every occasion, even after the “instinct”
-has begun to stir.</p>
-
-
-<h3>LIKELIHOOD AND IMPROBABILITY</h3>
-
-<p>Extraordinary chances come to the “picking-up”
-collector, I know, but he does well to keep in mind the
-probability or the unlikelihood of his “find” being real.
-It is unlikely that he should more than once happen<span class="pagenum"><a name="Page_97" id="Page_97">[97]</a></span>
-upon a Jacobite glass, for example; and again, if he
-sees a fine “Trafalgar” glass exhibited in a small
-jeweller’s shop, with no other glass at all or any other
-“curios,” the probability is that some fraudulent person
-has planted that false glass there, in what is a likely place
-to attract and deceive a collector who “picks up.”</p>
-
-
-<h3>THE ABSOLUTE FRAUDS</h3>
-
-<p>Old English and Irish glass has <em>a soft and mellow tone,
-both of look and sound; it has a calm, respectable, honest
-appearance, as of quality and honesty combined. Fitness
-for its purpose, good workmanship, some quaintness perhaps,
-but not much fantasy, are visible in it</em>; if it is decorated,
-<em>the decoration has been done well, but without lavish
-artistic imagination</em>.</p>
-
-<p>Now about the forgeries of it there is <em>something hard
-and fast, an appearance too shiny and shining, and a rigidity
-of copying</em>. Seldom are even two old glasses belonging
-to a set quite alike, but the forgeries are exact replicas by
-the hundred. See one, you see them all; but see one
-real old glass, you notice differences in it from all others.
-<em>Forged glass, recently made, is “buffed” or polished on the
-wheel all over its surface; old glass was never buffed, and
-its polish rather resembles that of old furniture due to
-“elbow grease”</em>&mdash;the polish comes of long washing,
-wiping, and drying.</p>
-
-<p>I have already described the differences of tint.
-Forged glasses are clumsy imitations in this, for the
-forgers do not try to give the old dark tints&mdash;they use
-lead that is not so impure as the old lead was, and therefore
-produces less visible oxide.</p>
-
-<p><span class="pagenum"><a name="Page_98" id="Page_98">[98]</a></span></p>
-
-<p>The <em>cutting of old glass, done by hand, produced and
-displays irregularities</em>; so does modern cutting. But <em>the
-old irregularities were due to a lack of machine-like precision,
-and were natural, accidental irregularities: the modern
-irregularities are (so to speak) mechanical, and obviously
-due to haste and cheapness of production</em>. Labour and
-time were no great matters with the old workmen;
-the counterfeit work is obviously done with the minimum
-of labour and time.</p>
-
-<p>Modern English-made glass has often a good ring
-when flicked; foreign-made frauds on the old have not,
-or have it seldom.</p>
-
-
-<h3>THE “MODERN ANTIQUE”</h3>
-
-<p>Much of the glass sold in the smaller curio-shops as
-“antique” was not made to deceive: it is the offering
-of it in such places which intends fraud. Most English-made
-reproductions of old glass in shape and cutting
-were not intended by the manufacturer to delude a
-collector, but to attract the ordinary buyer for table use
-or decorative use; one who is not a collector but “likes
-something that looks old-fashioned,” as he says.</p>
-
-<p>Pawnbrokers’ and jewellers’ shops are stocked with
-what is called in the trade “the modern antique”;
-other examples of this are the cheap, hasty, and obvious
-copies of miniatures of famous beauties set in new paste
-frames and sold for a few shillings. In pawnshops and
-ordinary glass-shop windows a collector sees spiral-stem
-wine glasses made for modern use and not intended to
-deceive; they are a kind of tawdrily ornamental hock
-glass, embodying some modern designer’s idea of what<span class="pagenum"><a name="Page_99" id="Page_99">[99]</a></span>
-is beautiful; they correspond with no antique shape of
-bowl, the stems are very thin and fragile, the feet are as
-small as or smaller than the rim of the bowl, and the
-spirals are parti-coloured and “tight.” No collector
-need be taken in by such as these&mdash;they were not made
-to take him in, they are ordinary articles of modern
-manufacture and daily commerce.</p>
-
-<p>So are the white glass bowls, tazzas, centre-pieces,
-vases, “specimen glasses,” etc., elaborately cut, perhaps
-engraved also, and meant for modern tables and mantelpieces.
-These are copies of the fine old ware simply
-because the old ware affords good models, and the information
-given in chapter ii of this book will enable
-a collector to recognize the modernity of these honest
-imitations, even when they are found (as they often are)
-in a shop supposed to purvey antiques.</p>
-
-
-<h3>OUT-OF-THE-WAY PIECES</h3>
-
-<p>I do not say that very unusual and out-of-the-way
-pieces of old glass should be avoided; as the collecting
-of glass increases, many rare old things will be brought
-out of cupboards and sold in shops. But I do say
-that, as a rule, a collector should feel suspicious of any
-piece not resembling those which are pictured in books
-like this, or those seen in museum collections. Thus a
-tall, bulky goblet engraved with a portrait of William
-Pitt or Wellington, and inscribed accordingly, if it is
-offered for 30s., say, is highly suspicious, to say the least
-of it; and the safer course is to refuse apparent bargains
-of the kind.</p>
-
-<p><span class="pagenum"><a name="Page_100" id="Page_100">[100]</a></span></p>
-
-
-<h3>FAKED JACOBITE GLASSES, ETC.</h3>
-
-<p>This applies even more to the pseudo-Jacobite,
-Williamite, Nelson, and other famous glasses which are
-offered. They may be old glasses “engraved up,” in
-which case the only mode of detection is the quality,
-finish and tint of the engraving. They may be English-made
-modern glass, of the right ring and the old way of
-manufacture; in which case the test of tint in the glass
-itself may be added to the test of the engraving. In
-either case the engraving may too closely reproduce an
-original glass; it is seldom that two old glasses of this
-type exactly resemble each other in the position of the
-various emblems, portraits, and so on: for example,
-the word <i lang="la" xml:lang="la">Fiat</i> is hardly ever found in exactly the same
-place on two real old glasses. If the pseudo-Jacobite
-or other engraved glass fails to respond to the characteristics
-of high instep or domed foot, tint, ring, etc., or
-any of these, it should be rejected.</p>
-
-
-<h3>FAKED SPIRAL GLASSES</h3>
-
-<p>Fraudulent air-spiral or cotton-spiral-stemmed
-glasses, not engraved or inscribed, are the fraud most
-often offered to a collector: in addition to the other tests
-mentioned, <em>the test of the skill and quality of the spiral
-itself can be used</em> in this case. The <em>counterfeits show
-spirals which are meagre, irregular, tight, or the wrong
-colour; they do not fill up the stem, or exactly swell out
-to fill up the knops; in the cotton-white there are defects
-resembling dropped threads in a piece of linen, or missed
-stitches in a piece of lace</em>. I possess one excellently<span class="pagenum"><a name="Page_101" id="Page_101">[101]</a></span>
-twisted air-spiral forgery, a simple cable, which might
-deceive if the plain glass around it forming the rest of
-the stem were not so thick and so distinct as to suggest
-that the spiral was made first and the plain glass placed
-around it afterwards; <em>the old spirals, air, cotton-white
-or coloured, were twisted at the time of and in the actual
-making of the whole stem</em>. Modern spiral stems are often
-writhen or ridged on the surface, too; which means that
-the twisting of the stem has been done with less than the
-old amount of skill. In short, the making of spiral
-stems is a lost art, not recovered even by the assiduous
-forgers, up to the present.</p>
-
-<p><em>If a spiral revolves upwards from right to left</em>&mdash;the
-right to the left of the person looking at it&mdash;<em>reject it</em>;
-this defect was a feature of the earlier forgeries, but the
-proper direction of the upward twist (from left to right)
-is now used in these fakes.</p>
-
-<p>The old cut stems are more easily imitated: <em>with
-these a test is the absence of all trace of a pontil-mark</em>.
-In many old cut glasses the finger feels a distinct
-depression, usually circular, which shows where the
-old pontil-mark was cut away. In some forgeries,
-made by moulding, not by blowing, the pontil-mark
-is imitated, but so grossly that it ought not to
-deceive.</p>
-
-
-<h3>SHAM WINE COOLERS AND FINGER BOWLS</h3>
-
-<p>Counterfeit eared wine coolers and beautifully cut
-counterfeit finger bowls are on the curio market; the
-usual tests should detect these. Imitation Bristol blue,
-and violet glass is offered, but it is not the right blue,<span class="pagenum"><a name="Page_102" id="Page_102">[102]</a></span>
-which passes from a purple in the thick, to a sea-blue
-in the thin, parts when held to the light; or not the right
-violet, in which the same varying of colour is evident.
-Dozens of fraudulent white and violet finger bowls,
-elaborately cut, are on the market; but it is the rarest
-thing to find more than five or six left of any set of old
-finger bowls.</p>
-
-
-<h3>OLD DUTCH GLASS</h3>
-
-<p>Glassware of the seventeenth and eighteenth century
-made in the Lowlands, whether at Liège or Amsterdam,
-is known over here as “old Dutch.” Collectors will
-do wisely to study this ware, whether for the purpose
-of rejecting or acquiring it. Most collectors of English
-and Irish glass reject it at once; they rightly say that
-<em>when thin it is too light-weight, bubbly, flashy, flat and
-short of ring, and when thick too smeary of tint and too
-clumsy to be first class; and often the engraving is poor
-and ugly</em>. Indeed, there is <em>something unfinished and unworkmanlike
-about it</em>, compared with the craftsmanship
-put into English and Irish old glass; just as there is
-about Dutch-made furniture of William and Mary
-and Queen Anne date, compared with English-made
-furniture of the Chippendale period and style.
-<em>There is something unsatisfactory in the look, shape,
-and proportions; it seems to lack completeness and
-fitness.</em></p>
-
-<p>In the stemmed glasses, however, <em>the Dutch air spirals
-are excellently done&mdash;except where they join the foot of
-the glass, sometimes; and the cotton-white spirals are
-hardly inferior to the English except in the greyness of the</em><span class="pagenum"><a name="Page_103" id="Page_103">[103]</a></span>
-<em>colour</em>. For this reason, and also because the number
-of collectors of old glass increases, Dutch wine glasses
-on spiral stems go up in price at London auctions nowadays,
-and a rose glass or other pretty, well-engraved
-piece of Flemish or Dutch origin may be worth acquiring:
-there are collectors here of the Holland ware
-already, and there will be more as English and Irish
-ware of the kind becomes more difficult to find and
-expensive to buy. A spirit bottle, decanter, goblet, or
-other piece of Dutch glass that is engraved with armorials
-or dates, or names or legends, is not to be disdained,
-therefore; nor is any unusual piece that is quaintly
-quirked, fluted, purfled, and bossed.</p>
-
-
-<h3>CHIPPED OR BROKEN PIECES</h3>
-
-<p>It is sometimes worth while cheaply to acquire a
-chipped or even a broken piece of old glass, if it is very
-rare in kind, form, or purpose. Chipped feet of wine
-glasses can be ground again, but it is hardly worth
-while; when the foot is almost all gone, a metal substitute
-can be made for it, but that is hardly worth while.
-I know of a Jacobite glass with a big piece out of the
-engraved portion cemented in again; the price of
-the glass is £40 all the same; but as a rule it is
-not worth while to acquire chipped or broken articles
-of old glass.</p>
-
-
-<h3>“TOUT PASSE, TOUT CASSE, TOUT LASSE”</h3>
-
-<p>The French proverb tells us that everything passes,
-everything breaks, everything wearies, at last. But the<span class="pagenum"><a name="Page_104" id="Page_104">[104]</a></span>
-collector knows better than that; he prevents old works
-of art and craft from passing altogether; he keeps them
-safe from breaking, and he never wearies of adding to
-them or studying them; as I hope this book may enable
-many a collector to do.</p>
-
-</div>
-
-
-<hr class="chap" />
-<div class="chapter">
-
-<p><span class="pagenum"><a name="Page_105" id="Page_105">[105]</a></span></p>
-
-
-<p><span class="pagenum"><a name="Page_106" id="Page_106">[106]</a></span></p>
-<h2><a name="INDEX" id="INDEX"></a>INDEX</h2>
-
-<p><span class="pagenum"><a name="Page_107" id="Page_107">[107]</a></span></p>
-
-
-
-<p class="ph2 mt4">INDEX</p>
-
-
-
-<ul class="index">
-
-<li class="ifrst">Absolute frauds, <a href="#Page_97">97</a></li>
-
-<li class="indx">Air spiral, <a href="#Page_41">41</a>, <a href="#Page_50">50</a></li>
-
-<li class="indx">Air-spiral stems, <a href="#Page_50">50</a>, <a href="#Page_51">51</a></li>
-
-
-<li class="ifrst">Baluster stems, <a href="#Page_40">40</a>, <a href="#Page_46">46</a>, <a href="#Page_47">47</a></li>
-
-<li class="indx">Beads, <a href="#Page_93">93</a></li>
-
-<li class="indx">Beer glasses, <a href="#Page_60">60</a></li>
-
-<li class="indx">Belfast-made glass, <a href="#Page_18">18</a></li>
-
-<li class="indx">Bell bowl, <a href="#Page_56">56</a></li>
-
-<li class="indx">Blown ware, <a href="#Page_26">26</a></li>
-
-<li class="indx">Bohemian glass, <a href="#Page_13">13</a></li>
-
-<li class="indx">“Boot” glasses, <a href="#Page_74">74</a></li>
-
-<li class="indx">Bottles, <a href="#Page_76">76</a></li>
-
-<li class="indx">Bowl shapes, <a href="#Page_56">56</a>, <a href="#Page_59">59</a></li>
-
-<li class="indx">Bowls, <a href="#Page_79">79</a></li>
-
-<li class="indx">Bristol cut-glass, <a href="#Page_31">31</a></li>
-<li class="isub1">coloured glass, <a href="#Page_35">35</a>, <a href="#Page_36">36</a></li>
-<li class="isub1">opal glass, <a href="#Page_35">35</a></li>
-
-<li class="indx">Butterfly, engraved, <a href="#Page_20">20</a></li>
-
-
-<li class="ifrst">Caddy sugar-basin, <a href="#Page_27">27</a>, <a href="#Page_88">88</a></li>
-
-<li class="indx">Candlesticks, <a href="#Page_60">60</a>, <a href="#Page_81">81</a></li>
-
-<li class="indx">“Captain” glasses, <a href="#Page_85">85</a></li>
-
-<li class="indx">“Central tube” stem, <a href="#Page_53">53</a>, <a href="#Page_55">55</a>, <a href="#Page_66">66</a></li>
-
-<li class="indx">Champagne glasses, <a href="#Page_53">53</a>, <a href="#Page_61">61</a></li>
-
-<li class="indx">Chipped or broken pieces, <a href="#Page_103">103</a></li>
-
-<li class="indx">Cider glasses, <a href="#Page_61">61</a></li>
-
-<li class="indx">Coaching glasses, <a href="#Page_62">62</a>, <a href="#Page_63">63</a></li>
-
-<li class="indx">Coins in stems, <a href="#Page_7">7</a>, <a href="#Page_47">47</a></li>
-
-<li class="indx">Collar in stem, <a href="#Page_46">46</a></li>
-
-<li class="indx">Collectable articles, <a href="#Page_6">6</a></li>
-
-<li class="indx">Collector’s instinct, <a href="#Page_96">96</a></li>
-<li class="isub1">range, <a href="#Page_11">11</a></li>
-
-<li class="indx">Coloured glass, <a href="#Page_35">35</a></li>
-<li class="isub1">spirals, <a href="#Page_54">54</a></li>
-
-<li class="indx">Communion vessel, <a href="#Page_10">10</a></li>
-
-<li class="indx">Comports, <a href="#Page_84">84</a></li>
-
-<li class="indx">Cork-made glass, <a href="#Page_17">17</a></li>
-
-<li class="indx">Cotton-white spirals, <a href="#Page_53">53</a></li>
-
-<li class="indx">Corrugated stems, <a href="#Page_50">50</a></li>
-
-<li class="indx">Custard glasses, <a href="#Page_87">87</a></li>
-
-<li class="indx">Cut-glass, <a href="#Page_29">29</a></li>
-<li class="isub1">stems, <a href="#Page_55">55</a></li>
-
-
-<li class="ifrst">Decanters, <a href="#Page_77">77</a></li>
-
-<li class="indx">Defects of quality, <a href="#Page_20">20</a>, <a href="#Page_21">21</a></li>
-
-<li class="indx">“Diamond” cutting, <a href="#Page_30">30</a></li>
-
-<li class="indx">Dome-foot, <a href="#Page_41">41</a>, <a href="#Page_42">42</a></li>
-
-<li class="indx">Double ogee bowl, <a href="#Page_58">58</a></li>
-
-<li class="indx">Drawn bowl, <a href="#Page_49">49</a>, <a href="#Page_56">56</a></li>
-
-<li class="indx">“Drawn” stems, <a href="#Page_49">49</a></li>
-
-<li class="indx">Drinking glasses, <a href="#Page_40">40</a></li>
-
-<li class="indx">Dutch glass, <a href="#Page_19">19</a>, <a href="#Page_21">21</a>, <a href="#Page_102">102</a></li>
-
-
-<li class="ifrst">Egg-cup bowl, <a href="#Page_41">41</a>, <a href="#Page_57">57</a></li>
-
-<li class="indx">Engraved glass, <a href="#Page_33">33</a></li>
-
-<li class="indx">“Engraved up,” <a href="#Page_95">95</a></li>
-
-<li class="indx">Extensive feet, <a href="#Page_41">41</a></li>
-
-
-<li class="ifrst">“Faked” glasses, <a href="#Page_100">100</a></li>
-
-<li class="indx">Feel of glass, <a href="#Page_21">21</a></li>
-
-<li class="indx">Feet of tumblers, <a href="#Page_45">45</a><span class="pagenum"><a name="Page_108" id="Page_108">[108]</a></span></li>
-
-<li class="indx">“Fiat” glasses, <a href="#Page_68">68</a>, <a href="#Page_69">69</a></li>
-
-<li class="indx">Firing glasses, <a href="#Page_44">44</a></li>
-
-<li class="indx">Firing-glass foot, <a href="#Page_43">43</a></li>
-
-<li class="indx">Folded foot, <a href="#Page_43">43</a></li>
-
-<li class="indx">Fuddling glasses, <a href="#Page_62">62</a>, <a href="#Page_63">63</a></li>
-
-
-<li class="ifrst">General guides and tests, <a href="#Page_14">14</a></li>
-<li class="isub1">hints, <a href="#Page_95">95</a></li>
-<li class="isub1">warnings, <a href="#Page_95">95</a></li>
-
-<li class="indx">Girandoles, <a href="#Page_82">82</a></li>
-
-<li class="indx">Glass knobs, <a href="#Page_91">91</a></li>
-<li class="isub1">pictures, <a href="#Page_90">90</a></li>
-
-<li class="indx">Goblets, <a href="#Page_12">12</a>, <a href="#Page_15">15</a>, <a href="#Page_41">41</a></li>
-
-<li class="indx">“Greek key” spirals, <a href="#Page_54">54</a></li>
-
-
-<li class="ifrst">“Hanoverian” glasses, <a href="#Page_71">71</a></li>
-
-<li class="indx">Hemmed foot, <a href="#Page_43">43</a></li>
-
-<li class="indx">High instep foot, <a href="#Page_42">42</a></li>
-
-<li class="indx">“Hobnail” cutting, <a href="#Page_30">30</a></li>
-
-<li class="indx">Hogarth glasses, <a href="#Page_64">64</a></li>
-
-<li class="indx">Hop and barley glasses, <a href="#Page_50">50</a>, <a href="#Page_60">60</a></li>
-
-
-<li class="ifrst">Irish-made glass, <a href="#Page_17">17</a></li>
-
-
-<li class="ifrst">Jacobean lamp, <a href="#Page_27">27</a></li>
-
-<li class="indx">Jacobite glasses, <a href="#Page_66">66</a>, <a href="#Page_68">68</a></li>
-<li class="isub1">mottoes, <a href="#Page_68">68</a></li>
-
-<li class="indx">Jelly glasses, <a href="#Page_86">86</a></li>
-
-<li class="indx">“Joey” glasses, <a href="#Page_62">62</a>, <a href="#Page_73">73</a></li>
-
-<li class="indx">Jugs, <a href="#Page_77">77</a></li>
-
-
-<li class="ifrst">Kitchen glasses, <a href="#Page_64">64</a></li>
-
-<li class="indx">Knife-rests, <a href="#Page_80">80</a></li>
-
-<li class="indx">Knives, <a href="#Page_80">80</a></li>
-
-<li class="indx">Knopped stems, <a href="#Page_40">40</a></li>
-
-
-<li class="ifrst">Lamps, <a href="#Page_27">27</a>, <a href="#Page_83">83</a></li>
-
-<li class="indx">Likelihood and improbability, <a href="#Page_96">96</a></li>
-
-<li class="indx">Lipped ogee bowl, <a href="#Page_58">58</a></li>
-
-<li class="indx">Lumpy stems, <a href="#Page_40">40</a></li>
-
-<li class="indx">Lustres, <a href="#Page_82">82</a></li>
-
-
-<li class="ifrst">“Master” glasses, <a href="#Page_85">85</a></li>
-
-<li class="indx">Mirrors, <a href="#Page_90">90</a></li>
-
-<li class="indx">“Modern antiques,” <a href="#Page_98">98</a></li>
-
-<li class="indx">Mugs, <a href="#Page_7">7</a>, <a href="#Page_62">62</a></li>
-
-<li class="indx">Mum glasses, <a href="#Page_61">61</a></li>
-
-
-<li class="ifrst">Nailsea glass, <a href="#Page_37">37</a></li>
-
-<li class="indx">Norwich foot, <a href="#Page_43">43</a></li>
-
-
-<li class="ifrst">Oakleaf on glass, <a href="#Page_63">63</a>, <a href="#Page_68">68</a></li>
-
-<li class="indx">Ogee bowl, <a href="#Page_58">58</a></li>
-
-<li class="indx">“Old Pretender” glasses, <a href="#Page_69">69</a></li>
-
-<li class="indx">Out-of-the-way pieces, <a href="#Page_99">99</a></li>
-
-
-<li class="ifrst">Paper-weights, <a href="#Page_37">37</a></li>
-
-<li class="indx">Paste, <a href="#Page_92">92</a></li>
-
-<li class="indx">Pepper boxes, <a href="#Page_88">88</a></li>
-
-<li class="indx">Pestles, <a href="#Page_80">80</a></li>
-
-<li class="indx">Plain round stems, <a href="#Page_49">49</a></li>
-
-<li class="indx">“Pomegranate” cutting, <a href="#Page_31">31</a>, <a href="#Page_32">32</a></li>
-
-<li class="indx">Pontil-marks, <a href="#Page_23">23</a>, <a href="#Page_24">24</a></li>
-
-<li class="indx">Punch-lifters, <a href="#Page_79">79</a></li>
-
-
-<li class="ifrst">Quality of metal, <a href="#Page_19">19</a></li>
-
-
-<li class="ifrst">Rectangular bowl, <a href="#Page_57">57</a></li>
-
-<li class="indx">Rose glasses, <a href="#Page_18">18</a>, <a href="#Page_59">59</a>, <a href="#Page_66">66</a></li>
-
-<li class="indx">Rummers, <a href="#Page_16">16</a>, <a href="#Page_61">61</a></li>
-
-
-<li class="ifrst">Salt cellars, <a href="#Page_39">39</a>, <a href="#Page_88">88</a></li>
-
-<li class="indx">Scratches, <a href="#Page_22">22</a></li>
-
-<li class="indx">Shams, <a href="#Page_101">101</a></li>
-
-<li class="indx">Signs of use and wear, <a href="#Page_22">22</a></li>
-
-<li class="indx">“Silver” spirals, <a href="#Page_50">50</a>, <a href="#Page_51">51</a></li>
-
-<li class="indx">Sounds, <a href="#Page_18">18</a></li>
-
-<li class="indx">Spirit glasses, <a href="#Page_62">62</a><span class="pagenum"><a name="Page_109" id="Page_109">[109]</a></span></li>
-
-<li class="indx">Spoons, <a href="#Page_80">80</a></li>
-
-<li class="indx">Square foot, <a href="#Page_45">45</a></li>
-
-<li class="indx">Star-cutting, <a href="#Page_32">32</a></li>
-
-<li class="indx">Stems, <a href="#Page_46">46&ndash;55</a></li>
-
-<li class="indx">Stourbridge glass, <a href="#Page_31">31</a></li>
-
-<li class="indx">Stout stems, <a href="#Page_41">41</a></li>
-
-<li class="indx">Straight-sided bowl, <a href="#Page_57">57</a></li>
-
-<li class="indx">Stuart emblems, <a href="#Page_66">66</a>, <a href="#Page_67">67</a></li>
-
-<li class="indx">Styles of cutting, <a href="#Page_30">30</a>, <a href="#Page_31">31</a></li>
-
-<li class="indx">Sugar-basins, <a href="#Page_27">27</a>, <a href="#Page_88">88</a></li>
-<li class="isub1">crushers, <a href="#Page_80">80</a></li>
-
-<li class="indx">Sunderland glass, <a href="#Page_38">38</a>, <a href="#Page_39">39</a></li>
-
-<li class="indx">Sweetmeat glasses, <a href="#Page_1">1</a>, <a href="#Page_85">85</a></li>
-
-
-<li class="ifrst">Tankards, <a href="#Page_73">73</a></li>
-
-<li class="indx">Tavern glasses, <a href="#Page_64">64</a></li>
-
-<li class="indx">Taws, <a href="#Page_94">94</a></li>
-
-<li class="indx">“Tears” in stems, <a href="#Page_48">48</a></li>
-
-<li class="indx">“Thimbleful” glasses, <a href="#Page_65">65</a></li>
-
-<li class="indx">Thistle engraved, <a href="#Page_67">67</a></li>
-
-<li class="indx">“Thistle” glass, <a href="#Page_40">40</a></li>
-
-<li class="indx">Thumb glasses, <a href="#Page_45">45</a></li>
-
-<li class="indx">Tints, <a href="#Page_14">14</a>, <a href="#Page_20">20</a></li>
-
-<li class="indx">Toastmaster glasses, <a href="#Page_63">63</a></li>
-
-<li class="indx">Toddy-lifters, <a href="#Page_79">79</a></li>
-
-<li class="indx">“Trafalgar” glasses, <a href="#Page_16">16</a>, <a href="#Page_97">97</a></li>
-
-<li class="indx">Tumblers, <a href="#Page_73">73</a></li>
-
-
-<li class="ifrst">Venice glass, <a href="#Page_12">12</a></li>
-
-
-<li class="ifrst">Waisted bowl, <a href="#Page_58">58</a></li>
-<li class="isub1">bell bowl, <a href="#Page_57">57</a></li>
-
-<li class="indx">Waterford glass, <a href="#Page_3">3</a>, <a href="#Page_17">17</a>, <a href="#Page_21">21</a>, <a href="#Page_30">30</a></li>
-
-<li class="indx">Weight, <a href="#Page_21">21</a></li>
-
-<li class="indx">“Williamite” glasses, <a href="#Page_71">71</a></li>
-
-<li class="indx">Window glass, <a href="#Page_8">8</a></li>
-
-<li class="indx">Witch-balls, <a href="#Page_8">8</a>, <a href="#Page_38">38</a></li>
-
-<li class="indx">Workmanship, <a href="#Page_25">25</a></li>
-
-<li class="indx">Wrockwardine glass, <a href="#Page_38">38</a></li>
-
-
-<li class="ifrst">“Yard of ale” glasses, <a href="#Page_64">64</a></li>
-
-</ul>
-
-</div>
-
-
-<hr class="chap" />
-
-
-<p class="center">                    <span class="smcap">Printed in Great Britain by
-                  Richard Clay &amp; Sons, Limited</span>,
-                           BUNGAY, SUFFOLK.
-</p>
-
-
-<div class="chapter">
-<div class="transnote">
-<p class="ph2">Transcriber's notes:</p>
-
-<p>In the text version, italics are represented by _underscores_, and
-bold and black letter text by =equals= symbols. Superscripts are represented
-by ^{} and subscripts by _{}.</p>
-
-<p>Missing or incorrect punctuation has been repaired.<br />
-Inconsistent spelling and hyphenation have been left as printed.</p>
-
-<p>The following mistakes have been noted:</p>
-<ul class="index">
-<li>p.15. Tin Changed to Tint.</li>
-<li>p.16. The older the Georgian the glass, extra the removed</li>
-</ul>
-</div>
-</div>
-
-
-
-
-
-
-
-
-<pre>
-
-
-
-
-
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