·Translator's Foreword T he aim of this book is two-fold; to tell the story of glassmaking from its origins down to the present day (see the extended picture captions), and to examine glasses which are typical specimens of each period in an effort to explain to the reader wherein lies their originality and charm (see the explanatory text). The excellent quality of the photographs allows the reader to grasp very easily the point the author is trying to make, and enables him to come to his own conclusions about the aesthetic value of each piece. A work of this kind cannot, of course, include illustrations and descriptions of every worthwhile piece of glass, and it is to be hoped that readers already familiar with the subject will not be disappointed if they find their favourite piece has been omitted. Indeed it is one of the merits of this book that space has been found for many less well-known, but beautiful, works; and the author must be congratulated in particular on his coverage of some important fields of continental glass all too little known in the U.K.and U.S.A. The result is therefore not only an original and important survey of the whole history of glass, but a work that complements rather than repeats the coverage of other publications. The translator and publishers would like to thank Mr. R. J. Charleston, Keeper of Ceramics at the Victoria and Albert Museum, London, who so kindly offered suggestions for improvement and correction of the translated text. E. Launert

·Contents
9
Introduction
17 Text and Illustrations
265 Catalogue
294 List of Museums
295 Glossary

·Introduction Acestea history of glass will naturally concern itself chiefly with the artistic forms into which the material is fashioned, and will disregard the purely functional glass made in the service of science and technology. In an attempt to reveal the factors which determined these artistic forms, a general survey of the technology of glass itself is essential, and only through an understanding of the material can we arrive at a complete appreciation of the individual decorative piece. From the briefest study of the various forms which objects in glass have taken, and of the scientificand technological progress made in glass-making throughout the centuries, it is immediately obvious that these two aspects of our subject are interdependent; the end product is always a direct result of some technological innovation, of the discovery of a way of improving and exploring the qualities of the material. In some periods of history, glass was worked in imitation of some already familiar material; in other words, objects in glass tended to resemble those being made in metal, porcelain or precious stone. The peculiar qualities and potentialities of glass slowly became apparent, and modern glass, which shows a complete sympathy with the unique nature of the material, serves as an indication of the great advances which have been made. In the earliest times articles in precious stone served as a model for work done in glass. The Greeks referred to glass as litbos chyte which means 'cast stone', and its success depended on how far a jewel-like quality had been obtained. The most ancient glass objects we know, dating from the third millennium B.C. and discovered in Egypt and Babylon, are tiny, coloured opaque or faintly translucent pieces used for inlay work. The clearest idea of the jewel-like appearance of Egyptian glass may be had by looking at the burial treasure of Tutankhamen, housed in the Cairo Museum. The gold surface of the sarcophagi is inlaid with small pieces of lapis-lazuli blue, turquoise and jasper-red glass, Parts of the throne are of glass. Precious stones and glass were used side by side by the Egyptians, and glass was by no means considered an inferior material. The appearance of precious stone is maintained in the earliest glass vessels known to us. The 9 ·enchantingly beautiful cup which belonged to Thotmes III, and is the oldest example in existence, is made of turquoise glass ornamented with blue, white and yellow threads. In later times, Egyptian glass lost its original sacred function, but not its position as a luxury nor its resemblance to precious stone. In the last century B.C., glass vessels in imitation of jasper, agate and onyx were still being made. The Murrhine bowls which were famous in the ancient world, and of which Cleopatra is said to have possessed a costly collection of three thousand, belong to this tradition. Glass has undergone the same type of treatment from all races in their carly attempts to make use of it. The Celts never progressed beyond the first stage, fashioning only rings, beads and bangles from it. The Germanic peoples, who imported glass from the Mediterrancan lands, in their turn related it to a precious stone, calling it glesum, their word for amber. At this time glass vessels were made in the following manner: a core of sand held by a metal rod was repeatedly dipped into molten glass, rolled and smoothed, so that a thick layer of glass adhered to the core in the manner of a glaze. The core was removed after the glass had cooled. Just beforethe first century A.D. the discovery of a new technique in glassmaking, which followed on improved furnaces opened the door to new and exciting possibilities. It was discovered that when the glass was redhot and soft enough it could be blown into a bubble. From that moment, the glass blower's pipe has been the most important instrument involved in the production of glass. In this period arose the legend of the unbreakable glass. Several Roman authors tell the story of the glass-maker who is said to have proudly offered the Emperor Nero an unbreakable glass. “But Emperor Nero," wrote Johan Mathesius in 1954 in his Bergpostilla, “the monster, was not desirous to see the value of gold and silver thus diminished, as would have happened had beautiful glasses lost their fragility; so, it is said, he had the craftsman exiled and his workshop destroyed." The legend is interesting in several respects. It was certainly occasioned by the invention of blown glass, with its unusual, metal-like appearance. The Sidonian glasses of the first century, particularly, which were made by blowing into a mould, and which were exported to Rome in large quantities, give the impression of being made in metal, especially as they have the shape of metal vessels, or a surface treatment resembling that used for metal. There is also the possibility that the legend, which incidentaly attributes the evil deed to various Roman emperors, has some connection with the IO ·carly glass trade. The market price of Egyptian and Syrian glass was extraordinarily high at the time of the early Roman emperors. Glass objects forming part of the booty of the Persian and Egyptian wars were considered valuable enough to be carried in triumphal processions. Incredible prices were paid for glass at state auctions, and at the lavish banquets of the time glass vessels outdid golden goblets in popularity. There were already glass collectors of note in Rome at this time. Pliny tells us that when Petronius, Nero's master of ceremonies, was languishing on his death-bed he dashed a glass bowl of great beauty to pieces rather than let it fall into his master's hands. Inevitably glass production was streamlined, and the commodity became cheaper and adapted to daily use. The glass became the normal drinking vessel. Luxury glass was, of course, still made, but along with this household glass was produced, as it still is; in other words, we see the manufacture of ordinary glass, whose basic forms are determined by function, hardly changed up to the present day. Practical shapes casily obtained by the glass-maker have proved their worth to succeeding generations. Among the vessels produced at this early time of glass-making, we note basic, vigorous shapes resulting from the processes involved and not outmoded or improved upon by the modern counterpart of the early glass-maker. But to return to the luxury glass which represents the highest achievement of craftsmen and artists. This did not undergo all the stages of its manufacture at the hands of the glass-blower, but was enriched by techniques originally adopted for other fields of art; thus glass became the vehicle for the inspiration of the painter and the engraver, was gilded, cut and facetted as other objets d'art had been. Sometimes the application of such forms of decoration has been a case of "gilding the lily" and the actual metal has lost, rather than gained, and is hardly recognisable as glass. This was particularly the case during the latter part of the nineteenth century, and the later rejection of many of the decorative techniques mentioned, and the stress on the nature of the metal and the simplicity of its form were a reaction against the over-lavishness of earlier decorators. Glass was from the first made in imitation of precious stones, and, logically enough, the art of the gem-cutter was practised on it. The most famous example of this work is the Portland Vase in the British Museum. Just as gem-stones with two or more strata of contrasting colour were cut to reveal this contrast, here the white glass overlay has been cut to reveal the blue glass beneath, but so skilfully that many nuances of blue and II ·white have been achieved. In comparison with the Portland Vase, earlier Cologne Zirkusschale attempts at glass-engraving necessarily appear primitive and ill-conceived, although in the latter case the cutter was working on thin blown glass which did not lend itself easily to the technique. The difficulties involved are revealed by the unevenly executed decoration of scratched lines (see plate 39). One and a half thousand years were to pass before a glass of suitable thickness was produced, enabling engraving of a high quality and degree of accuracy to be executed. On the other hand, decorative techniques which were a natural consequence of the discovery of glass-blowing were soon mastered. By these are implied firstly blo ing into a mould, and secondly the application of molten glass to form threads, drops, decorative handles etc. These techniques have persisted, gaining or losing in popularity, throughout the centuries, and are perhaps derived from the craft of the metal-worker. In the first and second centuries, Syrian glass shows a preference for mould-blown decoration, later for applied ornament. The same development is evident in Rome and in the Rhineland of Roman times. The mould-blown bottles in the form of the human head, grape clusters and so on are already examples of mass-produced objects. It is no more complicated a matter to produce them, once the mould has been prepared, than it is to produce their plain, undecorated sisters. This cannot, however, be said of the Rhenish snake-trailed glasses, often masterpieces of skill and patience, although vessels with simpler trailed patterns have been produced in great quantities from the time of the main period of Rheno-Roman glass-making, through the Middle Ages, (in the Waldglashütte or small forest glass-houses), down to the eighteenth and nineteenth centuries when they again occur in Spanish and Persian work. The highest achievement of this metal-inspired glass may be seen in the German Waldglas. Contemporary artistic taste, along with the technical possibilities and limitations of the craftsmen in these small forest establishments, determined its quality and appearance. It must be remembered that the collapse of the Roman Empire meant an end to Roman trade. The soda which had been imported from Egypt for the use of the Rheno- Roman glass-makers was no longer obtainable. As a result, in the seventh century, potash was adopted as Aux by northern glass-makers. This was obtained from beechwood, which was readily available in unlimited quantities, and produced a glass which was sturdier and heavier than the ancient soda-glass. Another ingredient, the local sand, gave it a characteristic green colour, since it had a high iron content. This "impurity" (2 ·of colour in Waldglas is one of its attractions. Its charm also lies in the form of the vessels into which it is made: spiny Nuppengläser, prunted Römers, ribbed Maigeleins, all reflecting the spirit of the late-Gothic period. A very different kind of glass was made in Venice. Here the ingredients which had been used by the glass-makers of classical times were still available, in particular Egyptian soda, thanks to the city's continued trading connections. These ingredients, the artistic taste of the time and local conditions proved a most fortunate combination of factors. For probably the first time in glass history, our material emerges as something individual, something valuable in its own right. It has been ennobled by the refined simplicity of form given to it by the Venetians. The clean, harmonious lines of Early Renaissance architecture are transferred to the plain thin-walled glasses, produced for a discriminating society which could appreciate and enjoy subtleties of proportion and design. The cristallo glass, Venice's most important export commodity, was the main concern of the very highly esteemed Muranėše glass-makers, many of * whom were adopted into the nobility and were headed by a Burgomaster who had the authority of a doge. The delicate, almost weightless Venetian glasses cannot be compared with any other creation, unless it be that other exquisite product of Venetian skill: lace. The effect of Tace was, as we know, reproduced in glassware; the vetro di trina of the sixteenth and seventeenth centuries has always been eagerly purchased by connoisscurs and collectors, as the Rosenborg Castle collection near Copenhagen shows. German Waldglas and Venetian soda glass of the classical period nevertheless have one thing in common: both were produced in their finished state by craftsman in the glasshouse, who rejected adventitious decorative additions which were not part and parcel of the actual process of glassmaking. The glass-makers of both kinds developed their skill to its utmost heights. New ideas on the subject of glass were, however, beginning to make themselves felt in Germany during the sixteenth century. While Venice was intent on the transition from Renaissance to Baroque forms, creating increasingly elaborate and ingenious pieces, Germany was turning its attention to the decoration of glass by painting. Enamel painting had reached a very high standard in the East, particularly in Syria and Persia, in the thirteenth and fourteenth centuries. It was richly applied, and enhanced the glass itself, even if it disguised its basic texture. Enamel painting was executed in Venice in the early fifteenth century, and found 13 ·its way thence to Germany in the sixteenth century, where it developed into a popular and unpretentious art. The word "art" is, in fact, hardly applicable here. The shiny walls of the Humpen and Passgläser became the canvas of the primitive artist. There was no artistic correlation between the glass-maker and glass-decorator. In Holland, where diamond-point engraving was also used during the same period for the execution of a somewhat primitive art, the same tendency to cover the glass with pictorial decoration is evident. Meanwhile a new discovery was to revolutionize glass-making yet again. In Prague, the gem-cutter Caspar Lehmann, seeing the possibilities afforded by the improved potash glass, applied the cutting and engraving techniques of rock-crystal to that medium. One of his pupils, Georg Schwanhardt, transferred the imperial privilege for this type of engraving to Nuremberg, which thus became the main centre of glass-engraving in the seventeenth century. Intaglio engraving here attained its supreme expression. The discovery of Bohemian potash-lime glass in the late seventeenth century made it possible to produce a metal of sufficient thickness for engraving in higher relief (Hochschnitt). The magnificent covered goblets of this period, cut and facetted to afford the maximum dispersal of light, are an essential manifestation of the spirit of the Baroque. Now it was the turn of Bohemia to become the most important centre of glass manufacture. The final development in the enhancement of glass by cutting took place in England during the eighteenth century with the production of English lead crystal. Glass-makers were driven on by the desire to extract the maximum effect from the play of light, with the constant comparison of the glitter of the kingly diamond before them. Once more glass was worked in imitation of a precious stone, not this time in the opaque colours of the turquoise, lapis-lazuli or jasper, but colourless like the diamond. Only one other stone has an equal appeal: the ruby, which had driven generations of alchemists, goldsmiths and glass-makers to continual experiment in an effort to produce it artificially, until Johann Kunckel achieved a satisfactory imitation, The name of Johann Kunckel is bound up with another stage of development. Now the emphasis is placed on the technology of glass-making. His Ars Vitraria is a survey of all the known methods of glass-making of his time. Hitherto, all efforts had been directed towards producing a metal of a quality suited to the purposes of the artist-engraver, but now that such a metal had been obtained in English lead-glass, we see a new approach; to create new kinds of glass by experimenting with various 14 ·techniques held more attraction for the glass-maker than to produce continually the same metal for traditionally engraved vessels. The great names in nineteenth century glass-making are those of men who, like Friedrich Egermann, were first and foremost glass technologists. We cannot, however, deny that glass in certain ways gained from this attitude. Sometimes it took on an exciting new appearance. New kinds of glass were created, such as Hyalith which resembled black Wedgwood ware, or Lithyalin, closely imitating red or grey marble, and new colours, perhaps in the form of stains or thin flashings. Old colours and techniques were revived, too, in accordance with the prevalent taste for historical rediscovery. At this stage, pressed glass and transfer decorations came into being. The well-proven techniques of preceding centuries were, of course, still employed. At the beginning of the century Samuel and Gottlob Mohn and Anton Kothgasser followed in the steps of the enamelpainter Johann Schaper, and Dominik Bimann continued in the Bohemian tradition of glass-cutting and engraving. The Art Nouveau of Jugendstil movement has a remarkable place in the history of glass. One of its sources of inspiration is illustrated by the fact that the French artist Emile Gallé, working in Nancy, and the American, L.C. Tiffany, both took as a model Far Eastern glass which bears a closer resemblance to porcelain than to glass in its usual form. Chinese snuffbottles, for example, made of opaque white glass with a carved casing of blue or red, are very like the fine semi-translucent porcelain produced by that country. Some of Galle's opaque glass has the quality of Chinese jade when held against the light, and when light falls on its surface it has the appearance of porcelain. Tiffany's pieces have nothing of the accepted character of glass, but with their metallic surfaces rather remind one of the coppery glazing of modern faïence. This transformation of the natural character of glass marks both Gallé and Tiffany as artists of the nineteenth century, but they nevertheless paved the way for the interpretation given to the material in the twentieth. Certain precepts of theirs are still valid: their vases were not to be mere vehicles for a picture - on Gallé's the decorative element consists of exotic plant forms, on Tifany's of an overall rainbow-like shimmer. In both cases the ornament has been suggested by the nature of the vessel itself; it is an intrinsic part of the vessel, and not foreign to it. It is, perhaps, a new understanding of this point which has brought about a revision of opinion on the subject of Art Nouvean glass. In the years immediately succeeding this period, it seemed as if a return to cut glass was imminent. In 1925 Emil Pazaurek, the leading glass IS ·expert of the day, observed: "The so-called Jugendstil period has quickly flown past, but what I consider to be the supreme expression of glass, namely cut crystal-glass, has experienced a remarkable rise to popularity now that it has cast off the fetters of traditional patterns'. He concluded from this that the twentieth century would be the great century of glassmaking. Pazaurek's prophecy has proved true, but in an entirely different way from what he envisaged. Glass-making developed along other lines. The unforeseen uses to which glass could be put, and the discovery of new and valuable qualities in the material have caused us to consider it afresh. We have discovered that it can be as hard as iron, that it can be elastic and unbreakable, we have learned how to spin it into threads and produce glass fabrics, and we have seen that it can conduct electricity. It has become a valuable part of our lives, and without it scientific experiment and industrial achievement would not be possible. About the year 1930 came universal appreciation for the new style in glass, which delighted in a thick undecorated metal. In order to give the actual material its best expression, austere, massive forms with a certain tension of line were favoured. Function, a factor which dominates twentieth-century design and which was propounded by the Bauhaus group, also determined the forms of glass creations. The most natural forms adopted by glass are those of the sphere and the tear. The glass now relied for its beauty on its own appearance of purity unsullied by distracting decoration, and on the ever-changing intensity of light and colour in its undulating lines. The fifties saw the supreme expression of these principles, but as with all such principles, desire for change or for revision began to appear. The eye bas tired of the simple, basic presentation of the material and now seeks pleasure from nuances of colour, contrasts of surface effects, even the demonstration of complicated technique. Cased glass, mosaic techniques, and air-bubble decoration have regained favour in new and adventurous forms. The idea of function and emphasis on the nature of the raw material is gradually being replaced by that of beauty created by technological means. To sum up, it would seem that with all these means at its disposal, the art of glass-making has returned to its beginnings and is eager to experiment with new meaning in the never ending search to express the beauty of glass.

·Illustrated Section ·i Beaker of Thothmes III The oldest glass vessels which have come down to us were fr Egyptian Pharaohs This famous beaker of Thothmes III represe beautiful example The glass, which has the shape of a lotus bud, was moulded on a cla the lotus flower appears time and time again, often stylısed on pc architecture The petals of the lotus flower were also often used as decoration of stone, metal and earthenware In this beaker the technique which is only applicable to glass threads of glass were and colled into the surface of the hot and therefore soft, material dragged vertically into zig zag shaped bands by a pointed metal ment is much in evidence on Egyptian glass The cartouche gives the names Ra Men Kneper of Thothmes and t on the buckle of his statue in the Cairo Museum Thothmes III was one of the most important pharaohs of the 18th C the boundaries of Egypt were at their widest, stretching from the Eu the domination of Egypt by the foreign Hyksos dynasty ceased, ry new peak during the Amarna period, and as a result crafts and a hig' glass making flourished 1 y ·了

·2 Head showing the face
of Amenhotep III
The head belongs most probably to a
Ushabti-figure modelled
He was the father and predecessor of Akhenaten who founded
which means representatives are images of servants, which were
in their tombs in order to represent them when their masters'
tasks in the after-life

·هه له هه مومسهمیه جامعه نمود ·- Head showing the face of Amenhotep III The head belongs most probably wal'habt tiputerixxellel afict the faccos Amenhurerii Ile was the father and prcdcccssue of Alhenaton w love forundaal 13 Amians The l'alubu. which means representaines, arcaniages of acts anis, which were to accompany the deceased in their tombs in order to represent them shen their massers usuallcad upon to perforen tasks in the after-life ·考

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اجتماع طا هو
به عهده خععقد قدم له مخه دمقصد لمصممهععهه

·of op sie 4 Eyege of a Nubian Queen In his scarch for antiquities, the Italian Ferlını who was employed by the Egyptians started, in 1834 to dismantle one of the small steep sided pyramids of Meroe, once the capital of the Nubian Kingdom This venture, which nowadays would be beyond our comprehension was crowned by success he found the treasure of a Nubian Queen unidentified to this day who reigned in Meroe in the first century BC To her treasure belonged the necklace which is illustrated here, though not in its original state The parts consisting of natural shells, golden links in the form of eye-amulets, cornelian, faience and glass beads, connected simply by traces of string, were reassembled to make two necklaces later The glass beads appear in a variety of shapes, some are fluted gilt or layered, others are opaque-white or red and tear shaped The Egyptian technique of melting glass threads into glass surfaces, as employed to make the eye beads, continued over one and a half millennium ·Large amphora The art of glass making received no impetus in ancient Grecce There was no deniand for household glass because the art of pottery was highly developed Thc few glasses which have come down to us were most probably imported from Egypt and Syria This also applies to the illustrated amphora The vessel about 60 cm in height, is one of the most exquisite pieces ever produced in glass It was not blown but manufactured in two parts which were probably moulded on a clay core and polished The joined edges are concealed by a gilt metal ribbon The shape of the amphora is true to the style of the period and is of the type of panathenaic amphoras Though it is the only known example of its kind, it demonstrates how the translation of shapes of Greek ccramics into glass forms, even if not wholly appropriate to the material, has resulted in a vessel of outstanding beauty Olbia where the amphora was found, was the most important trading place in the Pontus, a cross road for the exchange with Kiev and the Baltic countries The amber trade was also conducted via Olbia

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·Millefiori bowl The bowl belongs to a category of glass vessels termed in the ancient tradition i asa murrbina In his 37th book of natural history Pleny reports that after his victory over the Persian King Mithridates Pompey brought 2000 Murchine bowls to Rome which he dedicated to Jupiter The legendary Murchine collection of the Egyptian Empress Cleopatra was disposed of by auction in Rome by Augustus At that time Murrhine vessels were highly valued Ancient literature reports prices of 70 000 sesterces which is about 1000 in our currency The term vasa murrbina was a subject of scientific controversy for a long time Anton Kısa was the first to point out that they were made of glass and not of semi precious stones The production of millefion glass demanded great skill A number of coloured glass canes were placed together to form a certain pattern such as a flower and melted together The resulting rod was cut into slices and these in turn were placed side by side and melted together In this way fiat bowls with a continuous pattern were produced which finally had to be ground or polished ·AAN L- ·Ribbed bowl These ribbed bowls were made especially in Rome Gaul and on the Rhine during the first two centuries The earliest examples were mould blown and ground afterwards Later the method was simplified by applying glass threads to the surface of the blown bowl Tall ribbed bowl ·*m ·same time bottles with handies appear which consist of thickish glass threads melted on to This method of glass blowing has remained unchanged until to day No wonder that the purposes they have an elegance of shape which shows a true understanding of the material $ formed either by its own weight or by a swinging movement into a club or tear shaped blow p pe The earl est blown bottles were left as they came off the pipe In later examples the mouth after reheating was enlarged into a funnel like shape pinched into a spout body 10/11/12 Syrian domestic glass vessels With the invention of glass blowing the shape of glass vessels changed The basic shape o all blown glass is a sphere suspended on a hollow iron rod The hot pliable sphere is trans In order to make the vessel stand upright the bottom was flattened or even presseded (kicked) and later from about the second century onwards a ring shaped foot was fixed underneath the bottle to improve its stability after cooling the neck was broken of die a the vessel ·- .ܝ 3 ·13 Bottle with relief decoration

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·The invention of glass blowing was soon exploited for artistic purposes The glass w3 blown into a mould which usually consisted of two identical sections The ornaments we cut n relief into the interior surface of the mould In some not so carefully executed pec were several glasshouses and their products were traded far and wide The names of the glass makers appear moulded on their vessels the best known of these are Ennion Meges Or ginally the imprinted mot fs were confined to parts of the surface but later they covered the ent te vessel The most common shapes used were shells and grape clusters In Rome 15 Shell shaped flask 16 Flask in the form of a bunch of grapes a vertical I ne on the glass indicates the join ng of the mould The earliest mould blown glasses were made in Sidon (Phoenicia) in the first century There Artas and Ariston bottles in the form of a head were much in fashion ·* ·ด้าน 18 Vessel in the form of a girl shead Cretan culture but were adapted for profane usc dur ng the Hellenic per od hina ly lo the ser ous character in Nero s Rome and turned into a vehicle for car cature Most of he head shaped glass vessels real st cally dep ct m sshapen faces for sheer amusement The features of Nero s court fool a shoemaker can be found hence the (German) name Sb gla er (shoemaker glasses) wh ch is somet mes attributed to th s category of glasses The 19 Negro head bottle 2 ] 17 Flask in the form of a Janus head Head shaped vessels wh ch played an mportant part in rel g ousites early Greek and Emperor Commodus s sa d to have made such vessels h mself

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·classes acrived in Colognc from Egypt Syria and Italy Towards the end of the first centur the first glass houses were founded in the Cologne arca Following the Gallo Roman metho of glass making they produced a simple glass for everyday use in blue green shades From about the middle of the second century uncoloured glass was developed no doubt prec pitated by the discovery of a sand which was idenl for the purpose This furnished the bas third century a light green coloured type of glass was made The illustrated pear shaped The delicate outline of the slender ewer reveals its relationship to metal vessels nevertheless the use of glass gives a new vigour to a traditional form The blown sphere was drawn ou into a tear shaped body and the neck widened into a mouth Fused to the beim with a knot shaped twist the handle displays a delightful clegance The attractive shimmer of the glass for the speedy development of glass producing around Cologne In the second half of the is caused by the fact that the vessel was buried for a considerable time in the earth * 20 Ridged beaker 21 Pear shaped ewer At the beginning of the first century the first imports of glass destined for the Roman up ewer stems from this period

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22 Free blown ewer
23 Cinerary urn

·我 ·24 Vessel with trailed decoration 25 Small, five-handled ainprora

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·The variety of forms is extraordinary, though there are certain basic types such as the different kinds of the so called Lek; thoi In cach case one gets the impression that the The way in which the glass threads were applied in the Lckythos with the double pinged neck is remarkable First they were latd vertically upon the small hot sphere, which was then . MWA 26 Stamnium 27 Pear shaped ewer 28 Conical ewer, or Prochus Thanks to the late Roman custom ofburying with the deceased gifts of food and drink a large number of works of glass were handed down to posterity During recent years many preserved glass vessels of Roman origin have come to light during excavation especially in the Roman burial grounds around Cologne The immense trcasure kept in the Romisch Germanisches Museum in Cologne nearly all stems from this arca This fact enables us to appreciate the standard and achievement of the Cologne glass andustry, and to reconstruct its development in the course of history shape achieved cannot be surpassed enlarged and twisted at the same time resulting surface in the clear spital relief on the vessels

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·29 Small amphora with applied decoration 3 ·eaker Wib.

·Vessels showing snake trailing generally indicate Cologne manufacture of the sccond thir and beginning of the fourth century although they have occasionally been found 1 h the frontiers of ancient Gaul The decoration is applied in a somewhat haphazard war seldom with realistic intentions These vessels are small masterpieces produced by un doubtedly skilled glass makers Thc jug and bottle rey cal their Syrin origin in the as flowing lines whereas the classical form of the carchesium shows Graeco Roman insprat on 32 Pitcher with trefoil mouth and trailed snake ornamentation 33 Pear shaped bottle with trailed snake decoration mple

·34 Bell-shaped beaker with stem (Carchesium)
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·the bottle is richly ornamented with trailing with a gold spiral in the centre leaf motifs with blue midribs and gold edges radiating from it and garlands in blue, white and gold thread name of das Meisterstick by which it has since been known The decoration does indeed Fritz Fremcrsdorf the greatest authority on Rheno Roman glass gave to this bottle the vessel beneath the hot molten yet rapidly hardening glass threads and produce such 2 nhis is the most outstanding of the Rheno Roman snake trailed vessels The flat surface of 35 Pilgrim's bottle with trailed snake decoration, known as the Meisterstuck Thick pinched trailing has been applied to the handles and sides show masterly skill Extraordinary virtuosity was obviously called for to manipulate the flowing design ·بادی بیمه نامه متعمدة. په نهمهم وره ·Ad Ace As ;

·k with gold painting The Roman craftsmen were familiar with most of the techniques in glass decoration practised wo handled bottle today including cutting and engraving Late Roman glass cutting differs basically from the earlier camco like work of which the most celebrated example is the Portland Vase In the bal bowl latter we have the adaptation of gem cutting to the medium of glass usually opaque and often two layered In real glass cutting the craftsman was working with an entirely different material thin transparent glass As a result the cutting could only consist of shallow usually matt depressions or round and oval polished facets Thc decorative element is derived from the rcfraction of light through the concave surfaces treho **** ·which gave the host, usually the Emperor himself, the opportunity to flaunt his wealth Introduced into the provinces, the games had a particular role to play, participation being power and favours Shallow bowl ith chariot-racing motif This Rheno Roman dish, most interesting from both an artistic and historical point of view, was discovered in 1910 in a sarcophagus on the site of a Roman estate in Cologne Brauns. feld It lay on the breast of the dead woman, an indication of its superior worth among the burial objects The profile of an emperor with crown and whip is surrounded by a view of a chariot face Four horses, each with a palm leaf plume, pull each chariot The chariot drivers lean for ward, urging on thcie teams with the whip and grasping the taut reins Two of them are glancing backwards The site of the race, the Carcus Maximus, may be gathered from the objects depicted between the teams the two turning points, indicated by two groups of three turreted buildings, which terminate the wall around which seven circuits had to be made, and in addition the obelisk which was situated in the middle of this wall The seven indicators, showing how many laps remained to be completed, are also visible In Rome, chariot racing and gladiatorial combats, two forms of sports introduced from Greece degenerated, especially in the time of the cruel Emperor Tiberius, into a bloody spectacle granted to subject peoples as a high honour

·12
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·consists of a cage of vertical trailing standing away from the body both of twisted and shell Goblet with shell decoration Cologne capital of the Roman Empire in the West had developed its own style in glass maling Even when Eastern fashions atsived they were adapted by native talent as this intrinsically beautiful glass illustrates The glass shows a combination of technical skill and artistic sensitivity Its main ornamen shaped pinched trails The height of the cage is equal to half that of the vessel tself Originally colourless the glass has become opaque white as a result of being buried for a long time, This mastery of the art of trailing indicates that a Cologne glass house was the origin of this vessel

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·Il bowl in colourless glass ailed coloured ornamentation t button shaped blobs aker with coloured prunts, as Humpen At the end of the fourth century the last Roman troops were recalled from the Rhine and Cologne the Roman Colonia Claudia Ara Agrippinensis became a Frankish town Long before this event however as early as 260 AD, shortly after the collapse of the Limes strong Germanic influence began to be revealed in Rheno Roman glass making This was partly a consequence of the southernward drive of German tribes on the east of the Rhine An illustration of a vessel showing Germanic influence is provided by the Humpen (nos 44 and 45) with their blob decoration and zig zag frieze In form they resemble the Germanic kommen the earliest carthenware serving and drinking bowls Both the button shaped blobs and the frieze are of religious origin bcing employed to ward off evil spirits The application of coloured stones to the vessel surface is also typical of Germanic art and 15 also a feature of objects worked in gold ta 1

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·46 Two Frankısh beakers selbecher Recent research has allotted to the Russelbecher, or Claw beaker a more certain place in the history of glass making and the trunk or claw like appendages are now seen as a development of the earlier dolphın motif The glasses still however pose certain problems The symbolic meaning of the dolphin was undoubtedly lost by this time and it is possible that the appendages now represented trunks or more probably horns since in Germanic culture especially in the North, the horn was of religious significance A curious fact which may be mentioned is that glass drinking horns have been found exclusively in the graves of women Russelbecber have been discovered in the Rhineland, Western Germany and England F Fremersdorf assumes that they were produced in Northern France where a part of the Cologne glass industry had become established during the migration of tribes

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·anking horn ·ker The great period of Rheno Roman glass making comes to an end in the fourth and fifth centuries The centuries of turbulence during the migration of the tribes as well as a dımı nution of material assets lessencd the demands and manifestations of civilisation and glass making of necessity suffered In addition the Church forbade the use of glass vessels for the sacrament The custom of richly furnish ng the grave with all kinds of objects died out also under the influence of the Church Thus the art with all its traditions and technical achieve ments languished The glass of the Merovingian and Frankish periods and of the following centuries of the early Middle Ages is dull imperfect and showing impurity of colour Merovingian glasses show that the art of making a foot for a vessel had been lost and these footless vessels were the obvious solution to the problem in Western Europe with the building of the Romanesque churches and cathedrals the glass maher s efforts are hence forth directed towards producing window glass to be decorated by glass painters and it is left to the Orient to carry on in the old tradition and raise it to ne heights in the Islamic lands

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·pinged horse wing In the year 224 A D the Persian dynasty of the Sassanıds succeeded in overthro their foreign rulers the Parthians who had dominated the land for five hundred years since the destruction of the Ancient Persian Empue by Alexander the Great The capital of the sultanate was htesiphon on the Tigris The renaissance of the old Persian Empire lasted four centuries until it was engulfed by the advancing power of Islam The art of the Sassarian period an aristocratic art dependent on the ancient Persian religion Zoroastrianism is strict in form ornamental and rich in symbolism In comparison with work in precious metal and in bronze glass is only of minor importance Nevertheless although it is hardly formal this beakec may be regarded as far as its ornamentation is concerned as a typical specimen of the period The haphazardly applied medallions depict winged horses which have been obtained by pressing a stamp in the soft metal The glass is said to have been bought from Aleppo dealers and was presented by Wilhelm von Bode to the former Kaiser Friedrich Muscum in Berlin ·xagonal flask ·54 Small ewer with disc decoration MILL- ܝܝܪ { ·59 Bcaker with gold and enamel painting -- 1 all bottle austre painting The Caliphs of the Intimid dynasty ruled from 810 to 1172 oser Synn, Egypt and North Africi from their newly-founded capital city of Cairo This bottle with gold lustre decoration dates back to that period of rule in Egypt Gold lustre was the discovery of Sumerian porters as a substitute for articles of solid gold, which obcdient Moslems were not allowed to possess The application of this decoration to glass vessels is particularly effective, since here the glitter of the lustre is linked with that of the glass itself The vasc-shaped glass is decorated at the neck sth a calligraphic motif, and the body with a spiral tendrl like motif Whereas thc Cufic-Arabic inscriptions alu ays have an orna mcatal function, here the ornament has 7 calligraphic appearance

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·63 Bottle with trailed decoration rfume sprinkler n as an Omom The Omom is a Syrian vessel which was used for sprinkling acomatic essences The decorat on of this piece somewhat obscured by corrosive action shous the mingling of Islamic and Ch nese motifs The area between the Caspian Sea and the Persian Gulf u as for many cen turies the link between the Ncar and Far East Chinese influence began to mah itself strongly felt particularly after the Mongol invasion of Mesopotamia and the taking of Baghdad in 1258 Along with the bands of formal foliate pattern we see Chinese flower and animal motifs the peony the dragon and the phoenix

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·Mosque lamp Somc 230 mosquc lamps have survived the centuries Almost all of them orginate from mosques in Cairo, although they were not made in Egypt but in Syria Their cxport to Cairo ceased in 1402–in thc year in which Timur, a descendent of Ghengis Khan, whose pou erful Mongolian Empire extended from the Great Wall of China as far as Moscou and Egypt, overcame Syria, took Damascus and deported 150,000 people, including of course all the glass makers, to Samarkand, now the capital of Usbekistan The mosque lamps are masterpieces of the glass painter's art Rich gold painting is charac teristic of Islamic workmanship, since the use of solid pure gold was forbidden on religious grounds The text from the Koran inscribed round the neck compares the lamp with a glittering star and with Allah, the light of the heavens The inscription on the body is in praise of Sultan al Nasır Muhammed, who ruled from 1293 to 1341 The upper inscription is in blue on gold, the lower in gold on blue The blue consists of ground lapis lazuls The foot is ornamented with coloured friezes showing trefoils and Chinese lotus flowers The lamps were suspended from the ceiling on chains The actual oil lamp was placed inside them Mosque lamps have long been prized collectors' pieces At the end of the nineteenth century many reproductions of them were made, and there are no doubt still many fakes in circulation The glass illustrated here was presented in 1911 to the Kaiser Friedrich Museum, Berlin, by the German Ambassador at St Petersburg

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·iker with tracery ot decoration The art of making glass as it had des cloped in ancient civilisations was inherited partly by way of Rome and Byzantium partls sathe Near Last by Venice which became the centre for the entire Curopean production of new glass In spite of the extraord nary importance of the Venetian glass industry wcharcscry little information about its early beginnings Any attempt to study the derisation of the Venetian style must start with a hnowicdge of those dates which indicate the city slinks with the Orient The destruction of Constantinople in the year 120$ during the fourth crusade brought rich spoils to Venice which had placed its flcct at the disposal of the Crusaders Part of the booty consisted not only of Byzantine and Islamic glassu arc but also of numerous glassu orkers In the year 1107 Venice establıshed a permanent trading centre in Sidon the ancient Phoeni cian trading and glass making town and in 1124 another such centre followed in Tyre The Statuts maritim of the Doge Remero Zeno dating from 1235 to 1255 and the treats betu cen Doge Jacopo Contarını and Bohcmund VII ruler of Antioch brought control over the import from the Orient of cullet without which the industry could not function The other necessary ingredients sand and sods were also imported from the East This closc association between Venice and the Near East means that it is often impossible to state with certainty the origin of some fifteenth century glasses To this category belongs the glass illustrated Four such picces are in existence in the Corning Muscum New York the Metropolitan Museum New York the Wolf Collection Bucnos Aires and in the Islamic Section of the former Staatliche Museen Berlin All four were found in Syria The rhombic pattern first occurs in the late Roman period on Mediterranean and Rhenish glasses The enamel painted lily of the valley motif which is seen along with the rhombic pattern on late fifteenth century glasses of unquestionably Venetian origin seems to indicate that this vessel was manufactured in Venice for the Syrian market

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·The ewer is partly indescent as it was buried for a long time, and this effect strengthens the impression that this must be a Syrian piece of c 500 AD The spiral ribbing and the use of blue glass for the spout and handles could confirm this impression Thcover all shape of the vessel is nevertheless Venetian and the clear distinction betwecn body and foot is a European characteristic of the Renaissance period None the less, this eu cr clearly shows the strong dependence of Venetian glass on its Syrian ancestor Certain features and techniques have been adopted, but the vessel shows a new inspiration The fact that these early unpainted glasses have survived in such small numbers is easily explained by the fact that they were not like their claborately ornamented fellow s, considered objects of worth and therefore treated with care A fairly large number of ewers similar to this one have survived, but they too are usually enamel painted

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·68 Bowl with typical Venctian scale-pattern criage goblet Contact with the Ncar East was the factor which gauc to carly Venctian glass its beauty ducing the carly period The technique of using cnamel decoration was highly developed in Islamic glass mahing by the thirteenth and fourteenth centuries and was cmployed by the Venetians, although in a manner reflecting their own contemporary painting, between 1460 and 1530 The Prague Marriage Bowl is an excellent specimen of this period, not so much for the glass as such although the metal and form arcattractive, but for the crecution of the cnamel painting on it The boul has a wide foot with a raised rib ornament which has a certain Gothic characte about it The bowl is also wide and seems to form the calyx of a flower resting on seven small, feaf like appendages The metal is opaquc white in colour The gilt scale decoration is studded with gem like dots of red and blue enamel, and covers the whole surface of the bowl, except where it is interrupted by two medallions The ribs and leaves were once gilt Theornament is formed by the two medallions showing the bridal par On the side visible in the illustration we see a portrait of a youth playing a lute Hc u cars his hair long, and his clothes are of the latest fashion of the day We are reminded of the self-portrait, executed in a similar delicate manner, of the tu enty nine year old Durer, who had visited Venice a year earlier, in 1492 Another marriage bowl is to be seen in the Corning Museum, New York, evidently the work of the same artist The style of the portraits resembles that of the painter Vittore Carpaccio, a pupil of Gentile Bellini ·- HR ·aker with grotesque painting Representational painting on glass vessels was no longer the fashion by the beginning of the sixteenth century Taste inclined more towards clear plain mecal Glass was appreciated for its own sale and there was a striving to improve quality and place the emphasis on beauty of shape A transitional phase is represented by those glasses shich although painted merely have formal patterns not scenes or portraits Such glasses are mainly covered with grotesque ornamentation fantastic lively patterns built up from arabesque lhe flowers and leaves animal and human like forms such as those which may be seen in the catacombs of Ancient Rome and which were adapted by Raphael in his decoration of the Vatican Loggias This kind of ornament greatly used by Italian French and German engravers was also employed up to the eighteenth century by cabinet makers carpet weavers gold and silversmiths and glass and porcelain makers The Prague beaker is decorated with winged dragons ridden by puttı who hold a gigantic crab Unattached wavy bands fill in the remaining arcas and give unity to the design ·od enamel Oriental influence in Venctian glass was limited to the usc of enamci painting. As carly as the fifteenth century, Venice had des cloped its ou n European sty ic Inspiration was derived in part from the metalworker's art The silver goblet in particular was imitated in glass The vertical lines of the Gothic style, and the hard silhouette of metal sessels caused by the nature of the material uscd, determined the shape which glass picccs took Here we see a stiff, ribbed foot and an austerely shaped cup, which in other examples is also ribbed Only the slight cursing of the howl indicates the later elegance of silhouette u hich was to desclop Colour still plays an indispensable role The foot os of blue glass The houl which has a border in enamel colour, is of clear metal, but is as yet by no means foccofimpuritics, as was the latcr famous cristallo ܫܪ ·72 Four wine glasses ILLY e glass The wine glass provides an excellent example of the clear elegant lines of the Italian High Renaissance We note a plain, slightly raised foot, a shapely baluster stem and a simple call or shallow bowl Annular knops mark off the foot, stem and bowl, emphasising the proportions of the glass The metal is still imperfect and bubbled, but its very character, particu larly its slight greenish tinge, is an excellent foil for the gold and enamel painting The border consists of a frieze of gold circles and enamel dots

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·7 he threat of ses crc punishment to the families of Vencuan glass makers u ho left the city did not prevent a certain amount ofcmigration a problem with which theindustry was continually grappling Working in glasshouscs in many foreign countries the Venetians assured the rapid spread of the techniques and forms familiar to them. The term fusor de Venise is used to describe this glass produced outside Venice The glass in the illustration sniokc coloured and in thickish metal with clean strong ribbing was probably made in Germany in the six teenth century ·on with lattiaino decoration Venetian glass of the classical period of the sixteenth century shows no decoration foreign to the material, no painting, cutting or engraving, its bcauty lies in its actual form, in the application of glass ornament at the furnace and, a remarkable innovation, in the patterns within the glass the tetro de Irina and retro a reticell Both hands of glass, which demand a high degree of skill on the part of the glassmaker, have been marvelled at right to the present day Vetro di trına or latticinio a ritorn as it is sometimes known, is produced by a complicated process A clay cylinder mould us taken and white glass rods with a colourless casing are arranged with colourless rods in the desired pattern round the inner wall The remaining space in the mould is filled with molten colourless glass The glass is then removed from the mould and drawn out and twisted into a long rod Thus, according to the arrangement of the rods within the mould, a pattern of threads in the new glass rod has been produced Rods of this kind are then used in their tuin in a similar process for the decoration of a vessel they are placed on the inner wall of a clay mould into which a glass bubble is then blown The rods adhere and fuse onto the sphere The ends of the rods are then nipped together with a special instrument The bubble is then cased with colourless glass and further blowing and manipulation produce the desired shape The sphere is separated from the pipe the mouth of the vessel widened, handles and foot (prepared in similar manner) applied and the vessel is complete This does, of course, involve extremely quick and skilful manipulation and constant reheating, the glass must always be red hot during manipulation The rods, which were round have become broad and ribbon like in the course of the blowing

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·77 Flute glass with criss cross lathaino work 78 Ewer, lathaino glass ww 355 MATT 1! Venctian lace glass or ietro a reticell represents one of the most subtic and intricate dove lopments in the art of glass making Its best period was the end of the sixteenth century when Venice was the leading exponent of another craft lacc making Venetian reticella lace was much sought after throughout the fashionable world of Europe The lace pattern book compiled by Cesare Vecelli u ho was related to the painter Titian was printed in sixty cditions within the spic of thirty five ycars Delicite tasteful clegance is common at this time to bosh midin both lace and glass The technique of producing retro a reticell or ren ella glass was not so complicated as that unvolved in the making of latticino glass with bands and spiruls but it called for a higher degree of skill and accuracy White glass rods placed side by side werc melted on to the glass bubble the ends of the rods were then pinched together at the top and at the bottom and the bubble turned so that a spiral band pattern was obtained By sucking air out of the bubble the craftsman collapses one half of it into the other thus producing a double walled vessel with the rods or threads as they now are lying criss cross Another method of making reticella glass was to fuse together two glass bubbles one inside the other, each with their spirals applied in an opposite direction Reticella glass continued to be produced in Venice during the seventeenth and eighteenth centuries but glass of this period shows a reduced degree of accuracy

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·-) mentet Y ake-glass in the le Venise inged glass in the le Venise inged glass in the le Vemse In the course of thc sixteenth century there were considerable variations on the earlier glass shapes The basic wine glass form consisting of foot stem and bowl underwent consider able elaboration After the mid 1soos a form of decoration appeared which is principally responsible for the popular conception of the Venetian glass This decoration concerns the stem which is ornamented with handle or wing like appendages often resembling the seahorse in shape These wings are usually in blue glass upon which a further zig zao trailing of colourless glass is applied In the seventeenth century the wings took over the function of the stem and evoived into complicated twists of glass snake like in appearance a serpent or in the double headed eagle pattern Such glasses are most frequently of Flemish façon de Venise origin ·resemble agate The terminology for a vessel in this type of glass is somewhat confused hunckel the German translator of Antonio Neri s treatise on glass making uses the word Calcedonier for the original Italian term We gather from Kunckel in his 1744 translation that the glass should be on the outside sky blue sea green red yellow and other streaky colours and like an oriental Cricedonio should have the appearance of jasper and agate and when held against the light should glow red like fire in view of the usual appearance of its mottling the glass is normally referred to today as agate glass Glasses in this metal were produced in Venice from the beginning of the sixteenth century onwards The colourful streaking and shiny surface of the Munich specimen indicate that this is a nineteenth century glass The production of Calcedonio glass was extensively dealt with in treatises on glass in the Renaissance and Baroque periods This sort of glass is the triumphint product of alchemical experiments A century after Neri hunckel criticised the impracticability of the old rec pes 4 ·aker with Neptune motif The metal of this vessel has the appearance of an opal glowing bluish white yellowish and even violet according to the light The high relief of the design was produced by mould blowing Neptune is shown rising from the waves in a chariot accompanied by three tritons Eight pieces of this kind are in existence all produced from the same mould The Dresden specimen in the Grunes Gewolbe Museum shows eighteenth century additions namely a foot and cover in silver gilt The glass from the collection of the Elector Augustus the Strong is described in the inventory of the ducal treasury as a large ancient glass beaker with foot on the glass are various raised figures such as sea horses and sirens All these beaker glasses were originally supplied with ball feet after the manner of Nuremberg beakers of the mid 1600s The production of opaque white opal glass is extensively dealt with in treatiscs on glass of the Renatssance and of the Baroque period obviously as a result of the importation of Chinese porcelain Anton Neri recommends that if a peach blossom colour is required Piedmontese manganese should be added to the ingredients of the glass Johann Kunckel in his commentary (Ch 7 Vol III) on the first volume of Antonio Nena s treatise gives ths sccipe for a fine porcelain glass 60 pounds of sand 40 pounds of potash and 10 pounds of calcined bone or antler ash This glass has the peculiarity of emerging from the furnace clear and light but when heated and worked becomes like opal oc bone white or milk white according to how often it is heated and to how much bone or antler ash has been included ·سسة ) ·uted ewer, façon de Venise A ewer of this type but with a notched foot ring and of certain Venetian origin is shown on Grunewald s Isenheimer Altar , executed in ISIS This specimen from thc Moritzburg museum in Halle was as the high conical kick and thickness of the glass indicate probably produced in Germany The bcauty of its line which derives from its function must be attributed to the swift skill of the craftsman who with full understanding of the molten metal has deftly twisted the ewer into shape The wide conical neck shows the Syrian influence which played a large part in the early history of Venetian glass 85 Millefiori tankard

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·Vine glass with ribbed and zed pincered decoration Towards the end of the classical period of Venetian glass making in the latter part of the sixteenth century pieces of the highest refinement were produced Now the glass is ex tremely tall and slender appearing almost weightless The properties of the material used have been exploited with great technical skill The glass seems to have been suspended between the ribs of the bowl Gothic characteristics are also once more in evidence We feel that the craftsman is striving to discover new possibilities for his material no longer in using simplicity of line but Baroquecxaggeration and achieving an appearanccofunreality by the play of light This piece is one of the most interesting variations on an inexhaustible theme the Venetian wine glass The glass has been transformed into a delicatc flouce a late classical develop ment that is far removed from both the severe clegance of the High Renaissance and the lively naturalistic forms of the seventeenth and eighteenth centuries how

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·BE blet with cover outed ewer in the aan style The glass house of Hall in the Tyrol was founded in 1534 by Wolfgang Vetl of Augsburg i nder the protection of Archduke Ferdinand of the Tyrol in whose residence the castle of Ambras many pieces originating from this glass house were kept until they became part of the well known Ambras Collection in the Kunsthistorische Museum in Vienna Venetian glass makers worked at Hall in the Tyrol making vessels in façon de Venise but heavier in appearance in line with the German interpretation of the Renaissance Typical features are the ornate goblets and tall ewers the diamond engraved Stangenglaser and broad bowls The qualities lacking in the imperfect unclear metal are compensated for by the delightful decoration The rich use of diamond engraved Moresque patterns is combined with gold red and blue colours not fired but cold painted which unfortunately means that they have not reststed the forces of decay

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·Porrón Drinking vessel Spanish glass, which from the sixteenth century was subject to Moorish-Islamıc influence in the South and to Venetian in the North, can boast of one or two vessels unique to it but which combine both Oriental and European features First and foremost is the porron, a drinking vessel derived from the wineskin, and from which the flow of wine is directed into the mouth, the vessel itself not coming into contact with it Secondly there is the cantaro a glass bubble with foot, filler, spout and ring shaped handle, again descended from skin vessels Finally we have the almorratxa, an extravagantly shaped sprinkler and the numerous bcakers and bowls with their imaginative decoration The ornament consists mainly of inlaid threads and trailed appendages www. 200 Water ·是一 一一 ·92 Jarnta 93 Cantaro

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·angenglas The Keulenglaser, which are a club shaped variant of the Stangenglaser (4 v), were originally common vessels belonging to the ordinary glassware of the late Middle Ages The ring trails have not yet acquired the function of dividing the glass into sections as in the later Passglaser, but are merely a simple form of decoration Their varying sizes show that these glasses were not made for passing round a company of drinkers Keulenglaser are often depicted in medieval painting and graphic art A drawing of Albrecht Durer's showing Aesculapius, the Greek god of medicine, reveals to us that it was con sidered polite to hold them by the edge of the foot Perhaps Durer had observed this custom in Venice, for it was not, as an engraving by Hans Baldung (Der trunkene Silen, about 1610) prove, at all general in Germany ·ical bottle This curiously shaped vessel w is only produced in Germany The sites of the fou speciations found in western parts of Germany and the Rhincland would indicate that they were made in the Spessart arca These bottles w crc current for about a century from 1430101530 There shape su clearly Gothic must has ebecnery popular for wesce them in many oil paintings or on copper or wood engravings of the period A wood engraving executed by an unknown artist c 1.480 shows onc in use as a spirit bottle which is delicately held by the drinker in accordance with elegant custom by the aim of the foot A morc usual actitude at the time would be to hold the bottle by the neck They were made by reheating a longish glass bubble round the middle and by pressing onc half slightly into the other thus producing a fold and a roof like upper hult ·-aker bouted ewer aigelein uppenbecher The origin of the German term Margeleın has not been conclusively explained It is possible that it comes from the word Magel = Madelen (Eng Muden) and was a term used johingly at first The basic shape of the Margelein is hemispherical and the plain vessel has a high kicked basc but there are variations of this such as vessels with vertically or spırally cbbed walls They were produced by blowing the small soft glass bubblc into a ribbed mould By further blowing and simultaneous twisting of the glass then blowing into a sccond mould stiil twisting the blowing iron but in the opposite direction a diagonal ribbed pattern is obtained According to the degree of blowing carried out many variations in strength and direction of ribbing arc possible

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·Ioney comb moulded glass Moulded jug As often as he blows down the pipe - and he must blow often - so often does he press it after quickly removing it from his mouth against his chin so that on drawing breath he does not breathe in the flame He then lifts the pipe high and swings it in a circle round his head to stretch the glass in length or he shapes it by pressing it into an icon mould whence through further heating blowing pressing and stretching it takes on the shape of a beaker a rounded vessel or any other intended form From Georg Agricola s De re metallıca Basle 1657 ·-- நட: +--- Ft 1.alf-++++++++ ·"all Stangenglas The tall Stangenglas in the Prague Municipal Museum is the oldest of its kind in existence This glass, both ancient and precious, was discovered with a second bricked into a niche in the wall of a house called "Zur Steinernen Jungfrau' in the old quarter of Prague This is the first of a series of tall glasses decorated with prunts variously known as Stangenglaser, Specbter and Passglaser in Germany where they were popular from the Gothic period down to the Baroque One of the carliest representations of such glass occurs on a painting dating from 1410, exccuted by a Lubeck artist, and now kept in the Provinzialmuseum Hanover The glass is ornamented with twenty-six rous of small snail like appliques Its slender form reveals its Gothic inspiration as does its somcu hat curious clegance The technique of decorating vessels with large drops of molten glass, or prunts, was cer tainly popularised in Europe by the importation of similarly ornamented vessels from Syria in the fourteenth century, after the tradition in the West had been broken by the decay of the Rheno-Roman glass industry The earliest glasses showing this kind of decoration have tiny, wart like drops which developed - some first taking on the form of sharp vertical prickles – into wide, flat prunts drawn upwards to a point Simultaneously the shape of the glass was changing The earliest still have the basic Syrian shape, with a sharp division into a cylindrical lower part and a funnel shaped upper part in the fifteenth century the funnel became the rounded hp of the glass, influenced by contemporary stone are drinking vessels and during the early Renaissance period it is strictly marked off by a circle of glass and is once more funnel shaped The particular development shown throughout the sixteenth and seventeenth centuries by this part of the vessel in Rhenish glass favoured the rounded shape, culminating in the hemispherical bowl which is typical of the Romer and is one of its most important features This type of glass was not intended for everyday use as the fact that they have come down to us as relic holders indicates Throughout the Middle Ages and for a longer period among the lower classes the usual drinking vessel was the bottle In order to drink, one held the bottle in the palm of the hand or grasped it by the foot ring between finger and thumb

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·103 Krautstrunk Stangenglas The changes undergone by the Stangenglas between the Gothic and Renaissance periods are allustrated by the Hamburg glass It is wider than the Prague specimen the drops are larger and obviously applied in rows After 1500 the drops become larger once more and lie flatter on the surface of the vessel The bell shaped rim also disappears The much quoted phrase from the sermon of the Bohemian parson Mathesius which states that the prunts were applied so that the glasses could be easily grasped by the clumsiest people is obviously contradicted by this specimen Here the prunts are a reflection of the late Gothic taste for an exaggeration of form also evident in the architecture sculpture and humbler arts of the period

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·Nuppenbecher with owner's ption The various hues and the manner in which the light is reflected in the German Nuppengluser gives them an entirely different appearance from that of the glass of the Venetian makers The colour green is seen in all its shades, from its palest, most delicate hue to the darkest in the thicker parts of a vessel Qualities so ardently sought after by the Bohemian glass-cutters are here obtained with the more limited methods of the time To produce a glass which glows like some precious stone appears to have been the aim of German glass mahers The irrego ulacity of the prunted sucface is typical of the 1500 date The gold and silver goblets of the time were no doubt the inspiration for creations in glass, although the latter gradually became valuable in their own right, rivalling articles in precious metal

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·Iecanter derived from ittroll sbbcd bottle with dnech The hutsrolf is often mentioned in medieval literature but we are not given a clear indication as to what this vessel looked like Wolfram von Eschenbach refers in his Willebalm to the Gutterel von Glase, in the Spessart Ordinances of 1406 we are told that a glass makcc may not make per day more than 200 Kuttrolf or their equivalent This cannot however be a reference to the complicated vessel of which there are many variations still to be seen today Onc characteristic is to be found in all these vessels they permit liquid to ſlow only very slowly or even merely to drip from them Indeed the name kultrolf deurving from the Middle High German guttern to drop as well as the other name in use Angster from the Latin angustus meaning narcou indicate this characteristic The Lattrolf ucrc uscd mainly 35 spirit containers they were very popular in the Middle Ages and were often depicted in engravings of that period The complicated form with the triplc cubed twisted nech is typical of late fifteenth century taste -in sculpture of the ume we notc a definite tendency towards twisted forms- but the vessel as a u hole is of Syrian and other ancient ancestry The funnel shaped mouth is especially indicati c of Near Eastern ongin

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·Four tubed Kuttrolf Four sided decanter derived from the Kuttrolf

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·} L Vine jug Weil aber das glas von natur weyss und planck ist wenn zu mahl der sandt und d e asche reyn und mit fleyss aussgesotten und abgefeymet ist hat man in diesen landen geme nigklich zum weyn grune gleser gemacht darinn ein rebe rechtec plancke weyn sehr schon und lieb lich steht und dem weyn ein lustige farbe gibt Since however glass is by nature clear and white especially when the sand and ash (potash) are carefully sifted and purified in these countries green wine glasses have usually been produced so that the wine appears quite clear looks appetising and of good colour Th s quotation from the Bohem an parson Mathesius is evidence of the contemporary love for green wine jugs and glasses The winc jug is similar to the old German Doppelscbes er or Doppelkopf a trad tional bridal gift consisting of two rounded Kopfen (heads) ·? --- 911 The fascination for the curious and the unusual which is so typical of the folk art of the sixteenth century in Germany brings forth a rich harvest in the medium of glass The glass houses which produced the Valdglas (qv) were far from the centres of refined influence and glass making d d not often have its patrons as other acts did with the result that the artist s inventiveness often erred on the side of the grotesque and fantastic Another factor was pride in technical skill which led to a continual search for wittier cleverer creations The Da imenbumpen is an excellent illustration of all these tendencies The insertion of the finger holes is a masterly demonstration of the glassmaker s skill ·Ring-glass * Aber es hat sich die Kunst endtlich mussen nach dem lande richten, daher man allerley knopff, steyn und ringlein an die gleser gesetzet, damit die gleser etwas fester und besten diger, und von vollen und ungeschickten leuten dest leychter kondten inn feusten behalten werden, daher die starcken, knortzigten, oder knopffischten gleser in brauch kommen sein" “But the craft had to adapt itself to the nature of the country, so all kinds of knobs, blobs, stones and rings were set on the glasses so that they were more solid and stable, and could be more easily grasped by clumsy people, and thus the strong, gnarled or knotty glasses came into use From Johann Mathesius, Bergpostille oder Sarepta, Nuremberg, 1587 ·ܕ ܚܚܟ ·i Phallus glass 2 Trick glass in the form a bear The pliability of molten glass has always called forth the ingenuity of the glassmake tempting him to embark on varied and original crcations There is surely no creaturer part of the human body which has not been reproduced in glass Virtuosity on the part the maker was of course required if his works were to sell for this was a craft lacking pe manent patronage As a result there was a flood of the most fantastic novelcy and tria glasses, the most popular being those which rendered drinking difficult for the poot use Obscenity plays a notable part in this group of glasses Phallus glasses which have the origins in some primitive fertility cult were made in the sixteenth and seventeenth centuri as a form of crude joke ·F ·124 The Mainz Dean Chapter Glass On the huge bowl we see a finely draw a view of the city of Mainz as it appeared in the year 1617 In the foreground flows the Rhine with ships and small craft above the roofs and gables of the citizens houses higher still the church spires and doninating all the Cathedral of St Martin On the reverse is the portrait of St Martin and the arms of the Archbishop In two friczes above and below are the arms and initials of the members of the Cathedral Chapter who may be taken to have been the donors of the glass Beneath the rim we read the inscription Celsitudo atque Nobilitas Florentissimac Metropolitanac Ecclesiae et Civitatis Moguntinae ut es Anno 1617 constitu This excellent piece of work is certainly that of a Dutch engraver The techniqucofengraving was practised in Venice but attained its highest expression in Holland in the seventeenth century The white lines of the engraving are particularly effective against the green glass of the bowl METROPO S:MARTI Bir chords Der Don Ststopiani Serpic zit S.S.M.297, S:Quran S:Agnes Pradi sicher Soph Quelle fuit Franaſ: Sfint! S:Ger 6.grabe sham ENVS FLV

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·Armorial Humpen In the second half of the sixtecnth century Germany copied from Venice the fashıon of decorating drinking glasses with enamel colours Up to this time, glasses with acmorial bearings had been commissioned from Venetian glass makers, the German taste for this kind of ornamentation, which advertised the rank of the owner of such vessels, was already well established The coats of arms were gradually replaced by pictures, first of a religious nature, then in many other, usually genre, styles The allegorical representation of Emperor and Empire, the Ages of Man, the Peace of Westphalia, the Apostles, the hunt and views of local interest were most frequent The bright colours employed had no doubt an exceptional decorative effect, but the exc cution of the painting was of no particular quality Nevertheless, we would have regretted cven more bitterly the destruction of so many examples had the glass been a great worh of art for the vessels were made for usc during this period when gross drinken ein Ebr nar (heavy drinking was a point of honor) ind many a pretty enamelled glass met its fate during 7 particularly rowdy session The best period of enamel painting was the seventeenth century, and its main exponents Germany and Austria The rising popularity of cut and engraved glass in the cighteenth century lessened the demand for enamel decorated pieces, and enamel painting was hence forth carried out only in isolated forest glass houses as a peasant art It is difficult to attribute enamel painted glass, with the cxception of Ochsenkopf und Halloren glas, to iny particular source of manufacture, although certain indications are often given by the style of the borders or floral motifs ·ܝܝܙܝܙ ܝ ܐܚܝܢ ܝܝ -D ;TR;- H . ܢ TOHEINRICH PFALTE AVE-REy.RHEIN- ܙ

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127 Humpen with equestrian
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·128 Humpen with ‘Peeping Tom' scene 129 Humpen with allegory of the Treaty of Westphalia **## F freemom பாதாக King Student Dette int Reichsadlerbumpen Although at first sight the Resc sadlerb impen would appear to belittle more than an opportun hty for an heraldic pig saw puzzle they are not without their deeper significance as becomes obvious when we consider the period from which they originate the Thirty Ycars War with its strife and disruption Das Heslige romiscbe Reicb sampe seinen Gliedern (The Holy Roman Empire and its Member States ) is inscribed on the reverse of the glass The main motif is a double headed eagle with fifty coats of arms arranged in groups of four accordmg to the so called Quarcinion system This system of no contemporary significance denives from Schedels eltkronik of 1483

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·Ochsenkopſglas Hallorenglas Another important group of cnimel painted glasses are the Fichtelgebirgsglaser The glass house in Bischofsgrun was their main centre of manufacture The popular Ochsenkopſglaser depict the Ochsenkopf, the second highest mountain in the range, in a symbolic manner as a steep tree covered hill with forest creatures on it and the four rivers which have their sources therc, the Main, the Naab the Saale and the Eger, emerging from its foot It is surrounded by a chain fastened with a padlock to sccure its riches, which are recounted in a lang inscription on the reverse The Hallorenglaser show the procession of the Salters' Guild of Halle on the Saalc with the arms and a vicw of the town Thesc glasses were made for a special occasion the annual Whitsun beer meeting of the Salters sen FHI Sun 3 Z.Za VAAB

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·134 Beaker on three feet The inspiration for the painting on this glass conies fron the engraving ly Jacques Callot (1592-1635) of a gypsy procession Calloc s illustrations of Italian life were cry popular in the sci chtcenth and cighteenth centuries They shou sharp characterisation, oftcn indeed 1 fantastic caricaturc, of the figures scpresented A certain rough humour is present in his works, which are not, hou cser, lacking in grandeur Some of lus characters were the fore runners of many other figures in Luropcan art I hic painking is erecuted in translucent chamel colours and various strengths of Srbo arzlut Johann Schaper, a name of Hamburg bust working in uremberg from 1649-1670 intro duced the Sobnarlol techniquc from Northern (sermany and was one of thc first to cmplos it, copper oxide nuxed with blach enamel pigment is painted onto the surface of the glass and the design then scratched out Srlourilor painting was a Dutch in couon orginally used for the decoration of windous After 1900 st 431 carnation in Bohemia misinly for glasses with Laub und Bindelaark and Chinese motifs 135 Winc glass with pearhnopped stem ·- 1 ·1 Tall bowl, diamond-point aved The bowl is one of the earliest examples of English Icad crystal glass It probably comes from the London glasshouse of George Ravenscroft who in 1674 took out a patent on his newly discovered lead glass There is remarkable harmony between the vessel s almost modern shape and the heaviness of the metal The diamond engraving is however still in the tradition of the past Only with the introduction of cutting was the beauty of this brilliant thick metal seen at its best The fact that cut lead crystal was an eighteenth century development indicates that the decorative techniques of the English Baroquc u crc much more restrained than the Bohemian and German art of the period and lnched its voluptuousness In the case of this bowl it is the absence of extra agant cutting which gives it its modern appearance Glass with diamond engraving The sccond half of the sixteenth century saw thc cstablishment of new glass houses in England Some were run by Venetian glass inakers and produced glass in the Venetian stylc The name of Jacopo Verzelını is one that has come down to us This maker was granted the privilege of making Venetian glass by Queen Elizabeth I in 1575 and this glass probably comes from his establishment In clear metal with minute air bubbles the glass has a hollow fluted bulb between two knops a wide flat foot and tall bowl The diamond engraving heraldıc in character with parallel arabesques animal forms and inscription is a Venetian invention of the same century Thc glass may be regarded as a fine cxample of the Renaissance art of Elizabethan England ·برابر ·Goblet with portrait of a man Goblet showing puttı drinking The delicate line of the diamond point engraving becomes even niore indefinite during the eighteenth century, breaking up into a series of dots, in fact the whole design is picked out in minute dots tapped out with the tip of a diamond Onc requisite for this technique which is known as stipple engraving was good quality glass and this was found in the English lead crystal glass, then known as flint glass, which was exported to Holland Belgium and France The most important artists in stipple engraving are Franz Greenwood (1680 to 1762) and David Wolff who died at the Hague in 1808 In Holland delightful engravings were pro duced delicate showing skilful use of tone, and in their subtle elegance typical of Dutch and French Rococo painting Diamond point engraving had spread from Venice to Germany and Holland during the sixteenth century In the first half of the seventeenth a large number of diamond point engravers were active in Holland and particulae mention must be made of the Roemer sisters of Amsterdam and W J Heemskerk of Leiden The delicate effect of seventeenth century Dutch engraved glass forms a marked contrast with the heavy green Waldglas and its abundant deftly executed engravings 122

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·Bottle with trailed thread decoration ·A problem to which both glassmalers and alchemists of the sci enteenth century devoted much of their research was the formula for ruby glass They were not so much cager to produce a glass of beautiful colour for its own sake, but shared the belief that drinking from such glass would give protection from all manner of ills In his Ars Vitraria of 1679 Johann Kunckel quotes the recipe for ruby glass formulated by Antonio Neri, but adds Ich habc hierinnen uberaus grosse Muhe angewandt und kan auch, Gott Lob, neben dem schönsten Rubin, das feinste Roth machen, weil es mir aber gar viel Zeit, Muh und Arbeit gekostet, und es eine sehr rare Sache ist, als wird mich niemand verdencken, dass ichs vor diesmal nicht gemein mache I have devoted much time to this subject, and can nou, thank Heaven as well as the finest ruby, produce a most excellent red glass, since it has cost mc so much time and trouble, and since it is a very rare product, no one will object to my keeping it sccrct this time Even if he did not succeed in keeping the secret of ruby glass for himself, probably because it had been independently discovered in Southern Germany, he is generally recognised as its inventor The gold used was soon replaced by copper, which richer shade In the nineteenth century many Bohemian glasses were cased with a thin layer of ruby glass Thc method of producing the true gold ruby glass, which obtains its brilliant colour by being rcheated after blowing was rediscovered in the glass house ac Colognc Ehrenfelde at the end of the nineteenth century gave a still SUSITIS ·2 Ruby-glass beaker 3 Large covered goblet ·Covered goblet hollow stem Caspar Lchmann bequeathed his privilege for glass engraving to his pupil Georg Schuan hardt the Elder, who was born in Nuremberg and who worked with him at the Prague Court in 1622 Schwanharde returned to his natac toun where the new techniquc, so important for the future of glass maling, soon became known and spread rapidly The Nuremberg marriage goblet is made of thin glass u hich is someu hat impure in colour The stem and final consist of a scrics of hollow ball knops andonc baluster knop interspersed with discs Bouland coser form a harmonious w hole The decoration -landscape, hunting and genre scenes- is exccuted in shallow intaglio and covers the cntirc bowl and cover A style of representing certain features typical of Nuremberg, such as trees or the human face developed and distinguished this school of engraving from others but rendered the task of identifying the individual Nuremberg artists very difficult The quality of Nuremberg engraving lies in the nuances obtaincd by the discreetuscof polished and unpolished surfaces, and the resulting impression of high relief on a thin ualled glass Towards the end of the 7th century it lost ground to its Bohemiin -Silesian rival cxccuted on thick walled potash limc glass The engraving on the goblet illustrated previously held to be the work of Georg Schwan hardt the Elder, is now attributed to the Thuringian engraver IH ·دمعي

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·B Glass with engraving of Venus France has made only a limited contribution to thc history of European glass making In the Middle Ages she had many flourishing makers of Waldglas but from the sixteenth century onwards preferred to iniport Venetian warc Nesertheless onc glasshouse is worthy of mention that of Nevers founded in 1981, and it must be added that France u as renou ned for the manufacture of excellent mirror and window glass In the eighteenth century English Icad crystal was imported and this was sometimes decorated by French engravers Thc glass illustrated engraved by the Parisian artist Charpentier shows excellent workmanship which reproduces in perfect detail the tiniest Nowers and the delicate curls of the goddess who is drawn in her chariot by a pair of su ans Goblet In 1777 the tax on glass was doubled in England but this did not apply to Ircland which indeed benefited from it Up to this time Ireland had produced glass for thc home machet alone but now she was able to conduct a successful international trade The introduction of the higher tax thercforc marks the beginning of the rise of the Irish industry which pro duced work of excellent quality for three quarters of a century The entry of English glass makers and engravers brought about the establishment of more glassu orhs of which the most important were the Waterford (1783-1851) Belfast (founded 1776) and Waterloo glass works in Cork (1783-1811) Anglo Irish flint glass was at that time as celebrated as Venetian glass had been two centuries earlier In Ireland as in England more interest was shown in producing high quality table ware than in single show preces Typical of Irish manufacture are the decanters with three neck rings and mushroom stoppers -the countless pieces which have come down to us often shout only the slightest variation in design a factor which makes it difficult to attribute them with certainty to any one glasshouse- wine beer and punch glasses sweetmeat bowls and pickle urns Characteristic designs in the cutting are stars and bands diamonds and lines in various combinations The bodies of the decanter are almost invariably mould blown

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·Rosenwasserflasche quantity The There was a renewal of Persian glass making in the eighteenth and nineteenth centuries which had as its centre the town of Shiraz The demand for these exotic typically oriental vessels was so great that it could not be met Eastern manufacture and the market turned to the Bohemian Thuringian and Spessart glasshouses to make up the use of pincered trailing and rich threaded decoration was also typical of German workman ship Evidently the Persian article had its influence on German style and in Dexels Deutscbes Handwerksgerat we see an illustration of a Spessart bottle showing all the signs of Persian influence As a rule the German products show a metal of higher quality than their Persian counterparts It is interesting to note that Persian glass of this period re introduces a form already two thousand years old the single tubed k ottrolf with the bent neck which had been so popular in late Gothic Germany

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·sed glass This glass by the Berlin artist Karl Kopping may be said to epitomise the Jugendstil, the German version of the Art Nouvсau movement The stem of the glass has become the truc stem of a flower, rising gracefully upwards with slender Icaves growing from it The glass has been accused of being completely unfunctional, and not without cause, but considered as a decorative piece, as the embodiment of an artistic ideal, it can refute any criticism Kopping also designed functional glasses which with their tall thin stems and small bowls, have these place in the history of glass forms h inward curving rim

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·[Tall bowl

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·Multi coloured vase Shouldered bottle with matt surface

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·Large bond > Four-coloured vase Since 1934 the chief designer fur die Seguro factory in uran has luon llanol'ele di glisses are simple and cleur - a direct result of the teabensque rif botwiny - and got lu's of Landful harnions and balance in the card slones the lines of the cuschiese an airportia. rclasscnslup to the belliantly contrasting colours, producing a sense chema:etect flere Hass 16 17 ascut like ruumi picers 400934, but is copfonal for *** vun gustarfet pression and with 18 & 10gue and scry modern cul sufin," cerramis : weistos sosal to any matcrial 34

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·1 Flower vase z overlay reticulated pattern Bottle with superimposed layers Modern glass of all countries favours the use of thich laty glass Glass should acconi to many artists have the appearince of frozen liquid The thich crystal clear bases gal impression that the vessels contain water Thick clear glass casings often enclose a colou inner will Thc austere tense lincs cmphasise the character and qualities of the material immaculate purity and glowing transparency The beauty of the glass and the form 18 heen given should not it is thought be spoiled by additional ornamentation Glass is a frame or canvas but the medium itself and 1 fascinating one at that Frec hand & completed at the furnace is therefore the main interest of the modern glass artist ·- ·16 Slender vase

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·2 8 Bottle Two cylindrical vases Finnish glass has also played its put in influencing international style The most importan Finnish designers are Tapio Virkkara Kaj Franck Timo Sarpaneva and Saara Hopea Th: Finnish glass industry aims at producing not individual art pieces but everyday ware o artist c value In its simple lines and appealing decor Finnish glass shows a close resemblanc to other Scandinavian work particularly Swedish In its considerable use of round shapes 11 is closer to the Danish in spirit The most important manufacturers are fittala and Notsjo ·we

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·layer vase ·29/230 Plate vith sand blast engraving The technique of sand blasting enables Ladislaus Oliva tu ghe thich Icad crystal glass a new and exciting appearance His decorative thenics tending towards the monumental which have cvolved from an earlier somewhat rigid tectonic to increasingly free and seregulas shythmic forms always appear to result from the natural lights of the hicavy glass mass V

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·sculpture Rene Roubiček directs his efforts towards creating free hand worked pieces with brilliant cffects We see in his work a continuation of the medieval glass making tradition heightened into an even more cultured art form His hollow blown pieces take on the appearance of modern sculpture, and are imbued with that poetry which results when the craftsmans creations rise above the utilitarian and art conceived with quiet humour or happy fantasy !

·33 Lustre-decorated vase 34 Vase with engraved line pattern ·llow bowl ep facetting Czechoslovakian glass is known for its great tradition in lead crystal cutting This is not only continued at the present time, but is constantly finding neu expression It is still worthwhile to enhance the brilliance of this high quality glass by clever cutting The style of cutting has nevertheless changed considerably Instead of the usual dramondor star motifs, free, irregular patterns have now come to the fore

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·Rhenish c 200 AD References Festz Fremersdorf Zur Gesrbscbte des friskutben Rätselberbers Wallraf Rucbartz Jabrbbab N F., Cologne 1933/34 P 36 Plate + Ignax Schlasse Das all Glas Brunswick 1956 plate 12 17 Flask in the form of a Janus head Pale greenish metal Height 25 3cm Cologne Romisch Germanisches Museum The vessel has a conical foot and a funnel shaped neck with wide opening The body of the vessel blown into a mould consists of two almost identical halves each in the form of a man s face Rhenish 3rd to 4th Century AD Reference Ft tz Fremersdorf Rom bes geformtu Glas in Koln D. Dene mäler des com eben Kols Vol VI Cologne 1965 fig 172 21 Pear shaped cwer Light green to dark green metal strcaked with white Height 31 cm Cologne Romisch Germanisches Museum The slender pear shaped cwer has a stecp conical foot with a folded rim The neck widens at the top into a funnel shape and has an inwardly folded aim The handle which is found in cross section forms a knot where it meets the rim Found at Cologne Cologne end of the 3rd Century AD 18 Vessel in the form of a girl s head Blue glass Height 20 cm Berlin Charlottenburg formerly Staatliche Museen Depart ment of Antiquities The foot is of modest proportions the neck funnel shaped and wide with a sharply bent handle joining the neck hori zontally and attached at the lower end to the main body of the vessel The latter takes the form of the head of a girl with long wavy hair Another piece from the same mould is to be seen in the Corning Museum New York Gaul and Century AD References Adolf Greifenhagen Antike Kusstz erke Berlin 1960 Plate 26 Glass from the Andent World The Smtb Collection Exhibit on Cota Hogwe Corang Museum New York, 1957 P 141 Frederic Neuburg Annkes Glas Darmstadt 1962 fig for 22 Free blown ewer Light green metal with blown spiral decoracion Height 27 cm Berlin Staatliche Museen Department of Antiquities Above the widish foot the kicked bascoftheewer protrudes into the main part of the vessel and is visible through the thin wall The ewer is pear shaped widening rapidly above the foot and narrowing even more abruptly above the shoul ders into a slender neck with a decoration of a double ring The opening is funnel shaped and the ribbon like handle is looped beneath the aim Romano Rhenish 3rd 4th Century AD Reference Department of Ant qurts, Katalog der Staatlichen Museen Berlin, Berln 1957 fig 19 19 Negro head bottle Whitish green glass Height is som Cologne Romisch Germanisches Museum This bottle takes the shape of a negro head The features are somewhat caricatured the mouth with its thick lips is halfopen the nose flattened the forehead hasbulgingbrows and there is a wart on the right cheek The neck of the bottle is short with a wide em and two dolphin handles attached to it The bottle was blown into a two part mould Roman and 3rd Century AD References Anton Kisa Das Glas Altertum Le pz g 1908 P 717 68 205 Pr ez Frernersdorf Roms bes geformtes Glas in Koln D. Denk mäler der roma ben Kola Vol VI, Cologne 1961 fig 169 23 Cinerary urn Green glass with blue handles Height 31 cm Nuremberg Germanisches Nationalmuseum A globular vessel with a somewhat narrow neck which opens out considerably however so that the rim almost touches the M shaped handles A tall conical lıd crowns the whole Rhenish beginning of the 2nd Century AD 20 Ridged beaker Bluish green the glass containing numerous small bubbles Height 20 7 cm Cologne Römisch Germanisches Museum This beaker like vessel gradually widening out towards the tim has five folds or ridges on the body and a primitive trailed spiral decoration around the neck It was found on the Alteburg near Cologne on the site of the home port of the Roman Rhine fleet 268 24 Vessel with trailed decoration Height 8 cm Berlin Charlottenburg formerly Staatliche Museen De partment of Antiquities A small globular body with a neck curving sharply inwards and a wide funnel shaped mouth A zig zag decoration stretches between the rim and the shoulders of the vessel masking the slender neck Syrian or Roman zid-4th Century AD

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·Height 139 cm Cologne Romisch Germanisches Museum This bottle with its elegant line has a thick foot ring and a tall funnel shaped neck The blue and white trailed snake decoration can be seen on the body of the vessel A ring of blue glass around the neck is an additional decoration The bortic was found in the Aachener Strasse in Cologne Rhenish zid Century AD Rderence Fitz Fremersdorf Romische Glaser mit Fadensflags 13 Kola Dr Delndler du rom abos Kols Vol V Cologae 1999 plates 28 and 29 36 Conical flask with gold painting Extremely thin colourless glass Height 10 cm Leipzig, Museum des Kunsthandwerks This conical vessel has a slightly rounded base and a small funnel shaped neck The decoration is confined to a panel running round the sides of the bottle marked off by two fine engraved Itnes The painting represents three trees and figures of praying working and playing youths Rome ist-and Century AD 34 Bell shaped bealer with stem (Carchesium) Sca grcen glass with white and gold trailing Height 12 cm Cologne, Romisch Germanisches Museum The foot is broad and at the point where it joins the stem there is a white ang decoration The knopped stem is rathez short lhe trailed ornament is in the region between the widening mouth and the buiging base of the cup It consists of gold scrolls forming a cross and white haphazard squig gles There is a thick line of trailed glass along the tim The beakct was found in the Weiherstrasse in Cologne Rhenish 3rd Century AD References Anton K.52, Das Glar im Alteram Lepzig 1908 Part 2 Place V : fac ng p 452 P 239 fik 119 Fr tz Fremdersdock Rom sobe Glaser ow Kau Cologne 1999 colour plate no 1 Fr tz Fremersdorf Rāmuscle Gliser ms Fadesauflage is Kolm De Denkmäler des comisebes Kols Vol V Cologne 1919 plata 67 Deutsches Glas 2000 Jahre Glasveredelung, Hess sches Landesmuscum Darmstadt Eshib uon Catalogue H Merten Darmstade 1995 plate 25 no 256 37 Cylindrical two handled bottle (Stamnium) Greenish glass with shallow cutting Height 33 6cm Cologne Romisch Germanisches Museum The surface of the vessel is marked off into four areas by double engraved lines running horizontally The three lower areas are decorated by shallow cutting into simple geo metrical designs (hobnail patterns circles straight lines) and oval facets A plain stamnium is illustrated in place 26 (9 v) Cologne 4th Century AD Reference compare & midar vessels in Fr tz Fremersdorf's Röm cba Gläser out Koln Cologne 1939 plate 41 38 Hemispherical bowl with facetting Clear colourless glass with cut decoration Diameter 13 cm Cologne Romisch Germanisches Museum This hemispherical bowl has three ridges cut into it below the cim and below them a row of eyelet shaped shallow facetting and below that four rows of disc shaped cuts Cologne and half of the 3rd Century AD Reference Fr tz Fremersdorf Romusche Glarer aus Kolo Cologne 1939 plate 36 39 Pilgum's bottle with trailed snake decoration, known as the Messterstück (Masterpiece) Colourless glass with such blue, white and gold trailing Hoght 27 cm Cologne Römisch Germanisches Museum A short stem connects the foot and the body of the vessel which is circular and fat Trailed decoration appears on both sides of the vessel This consists of a central gold spical from which four blue lines lead out forming the midribs of four icaves the silhouettes of which are trailed in gold In the angles formed by the leaves we see four garlands which consist of a ruffic pattern in gilt red and blue trading The neck of the vessel is tall and has a funnel shaped mouth The sides of the body and the handles arc ornamented with pincered ndges The bottle was found in the Luxemburger Sirasse in Cologne in 1893 The given date was confirmed by the presence of the fragments of a similar bottle in a hoard contassing coins of the period Cologne zod Century AD Rderen.com Tritz Fremersdorf Resch Gliset as Kar Cologne 1919 calouted plast II, Into Fresnedorf Rede GILAT mil Pacallau KL, Dve Derder la serbet KVV Cologne 1919. plate> 70 71 270 39 Shallow bowl with chariot racing motif Colourless glass with line and (wheel?) engraving Diameter 27 cm Cologne Römisch Germanisches Museum In a small cound area in the centre of the bowl we see a representation of a Roman emperos and surrounding this four chariot racing teams taking part in a race The dish was found on the site of a Roman estate in Cologne Brauns feld in the year 1910 Coias of the time of the Emperor Constantine found with the dish made it posstble to date it accurately Rhenish < 320 AD References fritz Fiemensdorf Der Römdo Getskoj is der Stolberger Strafe Kalu-Brexisfel! Borner Jabráncber 1930, no 1 P 131 Fr tz Fremes doo Karzer Febrer dereb die Rausche Abfalung des Fallraf Rosbartt. Minden! Kas Cologne 1927 plate 2 Fr tx Fremersdorf Rom sebe Gliser axs Xats Cologos 1919 plate 46 ·40 Goblet with shell decoration Once colourless, now opaque whitish glass Height 21 5 cm Cologne, Romisch Germanisches Museum The goblet has a short knopped stem, and a slightly domed foot The cup is tall, slender and slightly conical, and, forming a kind of cage round it, there is a decoration of trailed glass moulded into shell shapes, which is, however, raised hoard of a sandstone sarcophagus on the site of a Roman cemetery in Cologne Braunsíld, on 1st April 1960 The position of the sites where such diatrcta glasses have been found, and the nature of the vessels, Icad us to conclude that they were manufactured in Cologne Cologne or Rhineland, beginning of the sth Century AD References Otto Doppelfeld Ds seue Kolur Distretglas Germania, Berl, Vol 38 1960 P 403-417, Orto Doppelfeld, Du Kalur Distretglss ssd die anderen Netzdiafrete Gymnas um Fleidelberg Vol 63 Nos 1961 P 410-414. Oto Doppelfeld Das Dia retglas ou dem Graberlege der Fomisebe Gatsboft ss Kolt-Brarufell Kölner fahrbuch fur Yor und Früh geschichte Berlin Vol s1960/61. P 7ff away from it Cologne, beginning of the 4th Century AD Reference Otro Doppelfeld, Der Missbelpokal sor Kols Boater Jabroncker 1999. no 159 P. 153 41. Diatrcton A single piecc of almost colourless glass Height ro scm Munich, Museum of Antiquities (Antikensammlung) The very fine rim of this glass was ground on the wheel Below it we see the raised inscription "Bibc multis annis', and beneath this a network which also extends underneath and supports the vessel The glass was found in 1844 in the Benenisstrasse, Cologne, on the site of the western gate of the Roman Colony It was presented to King Ludwig I of Bavaria in acknowledgment of his donation of timber for the roof of the Cologne Cathedral Another diatreton was found at the same time in a sarcophagus nearby, and was sent to Berlin, where it was destroyed by war action in 1945 Rhıncland (most probably Cologne), beginning of the 4th Century AD Reference Otro Doppelfeld, Das Adlner Dratretglas und die anderer Netz darrere Gymnasium, Heidelberg, Vol 68 1961. P 410-414 fg si 43 Dolphin beaker Greenish glass with blue decoration Height 13 cm Cologne, Romisch Germanisches Museum There are two rows of hollow prunts drau n downwards so as to resemblc clephants' trunks The lower row ccaches the foot ring and the upper row terminates in a fish lilc tail, so that the ornaments of this cow resemblc dolphins This resemblance is cnhanced by applications of blue glass rcpresenting the dolphins' mouths and fins Part of a burial hoard found in the Severinstrasse in Cologne Cologne, 4th Century AD Reference Fritz Fremersdorf Zor Gercbecbr des frårkesber Russeldeeberg Wallraf Rocbarse-Jabrbuch N F. Cologne 1935/54 p 7ff 44 Tall bowl in colourless glass with trailed coloured zig-zag ornamentation and flat button shaped blobs Diamcter I2 cm Cologne, Romisch Germanisches Muscum The rim is curvcd slightly outward with the trailed deco ration (so called dog tooth pattern) bencath Thcblobs have raised edges and a somewhat protruding centre Cologne, beginning of the 4th Century AD Reference compare simulac preces in Fritz Fremyerdorf Rainha Glaser mi Fadensoflage 1. Kole Du Daumier des Sena Kale Vol V. Cologno 1959 places 131 132 133 42 Diatreton Inncc wall in colourless glass, inscription purplish red, collar honey yellow, surrounding network green Hicight 12 cm Cologne, Romisch Germanisches Museum The beaker has an outward curving aim, and beneath this a Grech inscription, consisting of scventeen raised letters, and expressing an exhortation to drink DIE ZHLAJE KA 102 401 Collar decoration in the form of loops Net work consisting of three rons of circles, twelve in cach row, and one row of six oval shapes, surrounding the vessel and extending underneath it, where one lige arcle acts as a base The inner wall of the sessel is 1 s mm thick, the net work c 2 mm thick, and the space between network and inner wall c s mm It would appear from the shape and position of air bubbles in the cup and connecting shanks that the vessel was produced from a single, solidly blown body The coloured layers are on crlaid The rim, the louet edge of the undercut collar, and the furrow between collar and netwoch ucrc cut on a kind of turning lathe Signs of grinding on the shanks and on the network would indicate the usc of a wheel The glass was found as part of the burial 45 Beaker with coloured prunts, known as Humpen Colourless glass with blue and green decoration fuscd on to it Height 14 cm Cologne, Römisch Germanisches Muscum A footless beaker with rounded base and conical in shape There is a thin engraved line below the rim The decorative clements are in tuo layers and consist of coloured ovals and small prunts Rhenish, 4th Cen'ury A D Accrence Ft to Firmworf Dersin CN Pole's role ofre Kes De Deririk ku pihet tas, VW VII Cologne 1961, pszy 271 ·46 Tro Frankish beakers Light moss green glass with blue spots Height 10 cm Berlin Charlottenburg formerly Staatliche Museen De partment of Antiquities Rhenish, 6th Century AD The foot is flattened the stem which supports the broadly conical beaker rather short Syria 5th Century AD Reference compare similat glass in Glas Katalog des Kunstgewerbemuseum der Stadt Köln ed ted by Brig tte Klesse, Cologat 1963 no 28 47 Rüsselbecher (Rüssel =proboscis) also termed trunk or claw beaker Dark green glass with large hollow prunts Height 19 cm Cologne Romisch Germanisches Museum The basic shape of this vessel is conical It has a small foot ting and the pact immediately above it is slender and deco rated with horizontally trailed glass threads Another area ornamented in this way lies below the rim much wider than the foot Between these two areas is the claw decor ation there are two rows of five claws each claw is hollow and has a line of pincered glass trailed on the length of its outer surface Rhenish sth Century Reference Fe tz Fremersdorf Zur Geschichte des frankissben Rüsselberbers Wallraf Rs bariz Jabrbucb NP Cologne 1933/34 P 78 Ludwg F Fuchs, D. Glaskunst im Wandel der Jabrtausende Darmstadt 1936 fig 12 si Mould blown bottle with surface decoration Height 15 cm Berlin Dahlem formerly Staatliche Museen Islamic De partment Bell shaped bottle with tall funnel shaped neck The deco tation is in the form of arcading and almond shaped motifs obtained by blowing into a mould This bottle was acquired in Teheran Egypt roth-12th Century References sce similar work in Carl Johan Lamm, Mittelalterl cbe Glaser und Sie sscbn tfarbe ten aus dem Naber Osten Berlin 1929 plates 12 and 13 Journal of Glass Stud us The Corn ng Mx eum of Glass Corn ng Glass Centre Corsing New York, Vol III 1961 p 138 fig 11 wh ch shows the same motifs although cut, not mould blown on a bottle in the City Art Museum Missour USA Erganzung zu dem Katalog Islam sobe Kunst aus den Berl ner Museen formerly Staatl cbe Mu een Besi , Museum Dablemed ted by Ernst Kuhael Berlin 1954 P 10, No 463 48 Danking horn Gecenish glass with dark brown and green trailing Length 24 sem Cologne Romisch Germanisches Museum The foot cnd is tilted upwards and strengthened with a ring of glass The lower part of the hoon is decorated with fine spiral trailing On the body of the horn the trailing is length Wise in zig zag pattern or straight lines Amore compressed zig zag pattern runs horizontally below the sim between two thin threads Rhenish 4th Century AD Reference Friz Fromersdorf Römiseber & formtes Glas is Koin De Dunk dler du romescher Kule Vol VI Cologne 1961 fig 44 52 Bowl with winged horse decoration Opaque light brown glass Diameter 10 cm Berlin Staatliche Museen Islamisches Museum The sides of the vessel are decorated with seven moulded medallions representing winged horses A glass thread runs horizontally found the bowl some distance below the tim Syria c 700 AD References Carl Johan Lamm M ttelalterliche Glaser und Steins bn Itarbe len Aus dem Noben Osten Berlin 1929 plates 10 and 15 Robert Schmidt Das Glas Berlin 1912 fig 20 49 Footless beaker Light blue glass Height tocm Leipzig Museum des Kunsthandwerks Footless glass resembling a whipping top in shape with waissed body and painted base Frankish 6th to 7th Century AD 53 Hexagonal flask Light brownish glass with geometrical relief decoration Height 16 5 cm Berlin Staatliche Museen Early Christian Byzantine De partment The six sided bottle was blown into a mould It is shoulder ed and the neck narrows upwards to a point slightly above half its length then widens out into a funnel shape A thickish uing decorates the neck below the rim Syria sth Century AD References se s m lar vessels in Freder c Neuburg Ant ku Glas Darm stadt 1962 fig 45 joursel of Glass Stud'us The Corn ng Nfuseam of Glow Cors ng Glass Centre Cornag New York, Vol III 1961 p 137 689 so Footed beaker Brownish cather incrustated iridescent glass Height 8 cm Berlin Staatliche Museen Vorderasiatisches Museum 54 Small ewer with disc decoration Greenish glass greatly corroded and iridescent Height 12 8 cm Berlin Staatliche Museen Vorderasiatisches Museum 272 ·A round body with inverted conical neck, bulbous throat and rim extended to form a lip An upright handle curves over to join the aim The button like blobs, which decorate the body of the vessel in three rows, were obtained by the technique of mould blowing Syria, 9th Century AD Reference #cc 5 milar glass in Glas Katalog des Kvastgewerbemusekms der Stadt Koln edited by Brigitte Klesse Cologne 1963 No 34 Plant pot shaped body, wide shoulders, slender conical neck, wide, flat run On the shoulders there is a frıcze with facet cutting, and on the neck a geometrical pattern There is diamond shaped cutting and circular facetting on the body of the vessel Similar vessels may be seen in the Corning Museum, New York, and in the Museum fur Kunst und Gewerbe, Hamburg Persia, 9th to 10th Century AD References Glass from the Corning Museum of Glass Guide to be colectors Corning New York 1958 big 11, Lise Lotte Moller Flascbe pos smaragd grünem Glas in Snftung zur Forderung der Hamburgiscben Kerstsammlungen Erwerbungen 1962 Hamburg 1962 p 50-52 with colour plates Ergin ang ** dem Katalog Islamuebe Konst oss den Berliner Afasten Staatlebe Miaseen Berlin Museum Dablem ed ted by Ernst Auhnel, Berlin 1954 P 12 no 489 55 Beaker with cut decoration Greenish glass Diameter 9 5 cm Berlin, Staatliche Museen, Islamic Museum The decoration consists of cuts in straight and curved lines forming a geometrical pattern The beaker was excavated on the terrace of the Caliph's Palace in Samarra in 1911 Mesopotamia, 9th Century AD Refercncc Carl Johan Lamm Das Glas 1on Samarra Berlin 1928 plate V 59 Beaker with gold and enamel painting Pale purple coloured glass with blue and white enamel colours and gold painting Height 7 2 cm Berlin, Staatliche Museen, Islamisches Museum The beaher is funnel shaped, has a two tiered foot and painted decoration in the combed pattern Egypt, 12th Century Reference Erast Kahnel Nevero erburgen an islamscher Gerät Berliner Museta Benebu os der praksischer Kunstsammlungeo LXII-LXIV 1942/43 P 31 fig 10 56 Jug with thread decoration Greenish iridescent glass with green and blue trailing Height 22 5 cm Berlin Dahlem, formerly Staatliche Museen, Islamic De partment Jug in the shape of a mosque lamp conical foot, wide, rounded body, tall funnel shaped neck Small handle meets the neck and shoulders, where they are ornamented with thrce and two circuits of blue threads respectively Below the two threads, zig zag trailing, and three groups of three applied rosettes A further trailed line round the lower part of the body Syria, c 1200 Reference Carl Johan Lamm Mortelalterliche Gliser und Steascbaffarbeten aus dem Naber Osten Berlin 1929 plates 27 and 13 60 Small bottle with lustre painting Greenish glass with brownish gold lustre painung Height 95 cm Berlin Dahlem, formerly StaatlicheMuseen, Islamic Section A pear shaped bottle with tyre shaped foot and funnel shaped neck, complete with a bulge forming a ring, cxtending to a widish opening The bottle is lustre painted, the pattern consisting of a row of spirals between two thick horizontal lines The neck decoration, calligraphy like, docs not mean anything Egypt, urth Century Reference Carl Johan Lamm Mittelalterl'che Gliser und Stanschnittarbaten aus dem Naber Osten Berlin 1929-1930 Vol I colour plate B/4, Vol II plate 343 compare a sim lar glass in the Victoria and Albert Muscum London VB Honey Glass London 1946 plate 163 57 Hedwigsglas Light brown glass with cutting in high relief The gilt copper foot is a later addition Total height 29 cm Nuremberg. Germanisches Nationalmuseum The cup is slightly conical Stylised representations of lions and griffons in high relief, with contrasting plain and ribbed surfaces, form the decoration Between the animal repre sentations are patterns arranged in bands Egypt, rith Century Reference Carl Johan Lamm, Muttelalterlobe Gliser und Stauscbn tardatur aus dem Nahen Oster Becko 1919 plate 63 and 64 61 Beaher with inscribed eulogy Pale, slightly yellow glass, with red, bluc, white and light green enamel painting Height 19 cm Berlin Dahlem, formerly Staatliche Musccn, Islamic Section Cylindrical body widening towards the mouth, with fuscd foot ring There is a decorative border in lustre and chamel painting below the sim, and, some distance below this, a swimming fish motif Then comes a frıcze with trcfoil pattern and arabesque foliage in gold and enamel Around the 58 Emerald green bottle with cut ornament Height 29 cm Bcelin Dahlem, formerly Staatliche Muscen Islamic Dc partment 273

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·Venice, first half of the 16th Century Reference Compare Larel Hettes Venezianiscbes Glas Prague 1960 fig ! 68 Bowl with typical Venetian scale-pattern Dark green glass Height 6 cm Munich, Bayerisches Nationalmuseum The squat, rounded vessel stands on a relatively large foot ring A wide band round the body of the bowl shows light gilding, and white enamel spots, round which thin lines have been drawn, producing a scale like pattern A row of blue enamel spots is seen on the shoulders Venice,c 1500 73 Wine glass Green, clouded glass, scale gut and jewelled Height 14 cm Halle, Staatliche Galerie Moritzburg Flat foot, hollow baluster stem and wide conical cup with gult border and enamel spot (gemmed or jewelled) decora tion beneath the rim Venice,c 1500 69 Marciage goblet Opaque white glass with enamel painting Height 127 cm Prague, Národní Museum Foot with raised ribs, bowl cesting on seven leaf like projections Gut scale decoration with red and blue enamel dots, and two medallions, each showing one of a marriage parc Venice end of the 15th Century References Karel Hettes, Venransebes Glas Prague 1960 Eg For the style of painting sce Three Great Centure of Venetian Glass The Corning Museum of Glass Exbibition Catalogue Corning, New York 1958 fig zu 74 Ribbed glass Light smoke coloured glass Height 20 s cm Muaich, Bayerisches Nationalmuseum Hollow pedestal stem with folded rim, ribbed knop between two rings, and a trumpet bowl, ornamented with vertical ribbing on the lower two thirds of its surface Hall in the Tyrol C 1550 References Walther Bernt, Alles Glas Munich 1950 fig 6 Erich Egg. Dit Glasbuffer zu Hall xad Tansbruck sm 16 Jabrbundert Tiroler Wirtscbafts studien, Is Innsbruck 1962 big 16 70 Beaker with grotesque painting Colourless glass with enamel painting in various colours Height II 5 cm Prague, Národní Galerie Hollow spreading foot with folded edge Beaker, conical with blue and white gemmed border and grotesque painting showing putti mounted on dragons and crabs Red and blue enamel streaks on the foot Venice, beginning of the 16th Century Reference Karel Hettes, Venezianisches Glas Prague 1960 fig 10 75 Jug and beaker Light coloured glass with gold and enamel painting Height of qug 28 cm , height of beaker 13 cm Leipzig, Museum des Kunsthandwerks The jug shows a hollow pedestal foot with hollow shaft ring, pear shaped body, funnel shaped nech and curving handle Three lustre painted friezes bordered with enamel dots ornament the neck Four diamond shaped medallions, also lustre painted, may be seen on the body of the vessel The base of the slightly conical beaker is kicked, there is a border of enamel dots below the tim Venice, first half of the 16th Century 71 Goblet with jewelled enamel border decoration Cup, clear glass with enamel painting, foot, blue glass Height 17 crn Nuremberg, Germanisches Nationalmuseum The foot is tail, conical and with a ribbed decoration The base of the bowl is ornamented with a pincered ting, the cup itself bell shaped with a border of enamel spots below the rim (gemmed or jewelled border) Venice, late Isth - carly 16th Century 72 Four wine glasses Colourless glass Prague, Národní Galerie The foot of each glass is flat and disc like, one goblet has a thin stem gradually widening upwards, the remaining three have baluster stems, all stems are hollow The bowls are conical, two waisted, and of various proportions 76 Flagon with lattıcıno decoration Colourless glass with opaque latticino decoration Hesght 12 con Halle, Staatliche Galerie Moritzburg Pear shaped vessel with plain foot ring and bell shaped cover Two decorative handles in the form of sea horses, in white glass with pincered additions linked by a ring of zig zag trailing Latticino decoration in vertical stripes with two alternating interlaced patterns Venice C 1600 Rderence Ono Heinz Wemer Schones Glas in der Monitzburg * Halle, Katalog der Staatlubca Galeria Monitzburg, Halle 1997, fig 13 275 ·Probably Belgium, beginning of the 17th Century. Reference compare glass, shape and colour in Die alten Gläser und Glasgemälde der Sammlung Bremen in Krefeld, Rbernsebes Landesmuseum in Bonn, ExbsEstos catalogue, 1964, No, 209, fig 45, with Bunlar decoration. 77. Flute-glass with criss-cross latticino work (reticella glass) Clear glass with latticino decoration and silver-mount Height 35 cm. Nuremberg, Germanisches Nationalmuseum Flat, disc-shaped foot, hollow baluster stem with silver knop, very tall, slender body. All the glass part exhibits the latticino technique. Venice, early 17th Ceritury. 82. Goblet made to resemble agate (German: Schmelzglas) Glass streaked with blue, green and yellow tones Height 17 cm. Munich, Bayerisches Nationalmuseum Slightly domed foot, mould-blown stem with impressions of lions' heads, bell-shaped bowl. Venice, most probably 19th Century There are much carlier examples of Schmelzglas (compare B Honey, Glars, London, Victoria and Albert Museum 1946, p 8) 78. Ewer, latticino (reticella) glass Colourless glass with opaque white threads Height 24 cm Dresden, Grünes Gewolbe Foot in latticino glass with folded edge, and blue shaft-ring. Egg-shaped body with trefoil opening and high, curving handle. Venice, c. 1600 79. Snake-glass in the façon de Venise Colourless glass, showing air bubbles, with blue, red and white glass in the wings Height 17 5 cm. Leipzig, Museum des Kunsthandwerks Flat, spreading foot, short shaft linked to the trumpetshaped bowl by an elaborate twist of red and white glass with blue pinceted wings. Cassel (in Germany), 37th Century. 83. Beaker with Neptune motif Opaque white glass Height 15 cm. Leipzig, Museum des Kunsthandwerks The straight-sided, mould-blown beaker shows a lively image of Neptune with sea-chariots and tritons in high relief. The colour of the vessel changes according to how the light falls from white, through yellow, to purple tones. Venice, 17th Century. Reference Walter Holzhausca, Sacostebe Glaser des Barock, in Zertschrift für Kunstwissenschaft, Berlin, Vol. VIII. 2954, P 107, Tore Great Centuries of Vendhan Glass, The Corning Museum of Glass, Exbibition catalogue, Corning New York 1938, fig 120. Glass from The Corning Museum of Glass, Fuhrer zu den Sammlungen, Corning, New Yock 1918, Eg 19. 80. Winged glass in the façon de Venise Colourless glass with blue ornament Height 20 5 cm. Hamburg, Museum fur Kunst und Gewerbe Flat desc-like foot, stem consisting of six hollow knops alternately large and small, conical bowl Attached to the stem, wings af blue threads with colourless pincered ornament, giving the appearance of sea-horses Probably Holland or Belgium, 17th Century References A simuar piece is Wustraced in Journal of Glass Studies, The Corning Museum of Glass, Corning Glass Centre, Corning, New York, Vol III, 1961, p 139. fig 20, It belongs to the collection of F. Smith , and 18 identified as "perhaps. Liège, 17th Century, Trenton, New Jersey 84. Spouted ewer, façon de Venise Colourless glass Height 11.5 cm Halle, Staatliche Galerie Moritzburg Conical body with projecting kick in base, funnel throat, and curving spout The tightly curving handle is knotted to a frilled sing, greenish-blue in colour, encircling the neck, and terminates in a spreading leaf-like extension Probably German, 16th Century. 81. Winged glass in the façon de Venise Colourless glass with white and blue thread ornament Height 18 cm. Nuremberg, Germanisches Nationalmuseum Flat, disc-like foot, plain shaft evident above and below the snake-like twist, this ornament having four pencered tabs and terminating upwards in two eagle-head-shaped wings. Slightly rounded bowl on a slender upper stem. 276 85. Millefiori tankard A mixture of coloucless, yellow, white, reddish brown and purple glass Height 15 cm. Halle, Staatliche Galerie Moritzburg The slightly bulging tankard has a thick handle of clear glass and a silver lid with foliage ornament. Venetian, c. 1600. Reference Otto Heinz Wemer Schones Glas in der Moritzburg 3* Hallo, Katalog der Staatlicben Galers Moritzburg, Halle 1997. fig 14 ·86 Wine glass with ribbed and applied pincered decoration Very thin, colourless glass Height 19 cm Hamburg. Muscum fue Kunst und Gewerbe Tlat, disc-like foot, tall, hollow blown stem, nipped towards the top, flowerlike bowl with eight ribs, and pinccred trailing on the lower half Venice, latc 16th-carly 17th Century Reerence Torn Great Centures of Vrachan Gluu, The Corang Museum of Glass Exbobeton ostalogue Coming New York 1998 fig 114 and curved The motifs of the painted decoration are as follows on the foot, straight and wavy lines, on the lower part of the body, floral swags, above the horizontal tib, the arms of Bavaria (on either side of the ewer) surrounded by foltage, on the neck, foliage and line ornament At the basc of the spout, a medallion showing human figures has been applied Hall in thc-Tyrol, 1536 Reference Ench Egs, Du Glasbatten ** Hall and Innsbruck im 16 Jabr tandert, Tiroler Wirtscbaftsstudien 's Innsbruck 1962 fig 7 87. Plate with the arms of Duke Ernst of Bavaria Colourless glass with gilding and unfircd painting Diameter 42 5 cm Munich, Bayerisches Nationalmuscum In the centre of the plate, the arms of Bavaria with the date 1536, surrounded by bands of uscathed foliage On the rim, morc foliage decoration and four medallions showing heads of anaents The plate belongs to the cher shown in allustration No 89 Hall in the Tyrol, 1536 Reference Erich Egg Die Glasburkce Hall and Torsbruck im 16 Jabr bandert Tiroler Wirtschaftstudies is. Innsbruck 196: hg 6 go Porrón Colourless glass with latticino decoration Height 21 cm Berlin, Staatliche Muscen, Kunstgewerbemuseum Conical vessel with slender neck and wide, funnel shaped fim, and straight conical spout jutting out at an angle from the body near the base Latticino stripes and cosettes form the only decoration Spain, 17th Century 91 Drinking vessel Light, yellowish brown, imperfect glass with blue additions Height 19cm Munich, Bayerisches Nationalmuseum The basc exhibits a conical kıck, and foot ring Urn shaped body, narrowing into a truncheon shaped neck with no opening, but terminating in a double knop in blue The handle, curving like a question mark, joins a wavy line of glass which surrounds the neck The spout is straight, almost vertical, and has a lip of blue glass The Venetian influence is marked in this vessel Spain, possibly Barcelona, 16-17th Century 88 Goblct with cover Colourless glass with diamond cngraving, golding and unfired painting Height 34 cm Munich, Bayerisches Nationalmuscum Smallish foot, flattened ball knop, large egg shaped body curving in at the shoulders, concave neck and doubledomcd cover ornamented with raspberry prunts Four mask medallions are set on the shoulders The painted decoration on the body shows Tyrolean cagles and wreaths of fruit framed by diamond engraved arcading Moorish patterns embellish the remaining arcas Innsbruck, Hofglasshutte, 1570-1580 References Henr ch Kohlhausson, Gesebueble des deutscber denstbandesrks Munich 1995 fig 348, Erch Lgs. D. Glasbunten zw Hall and Innsbruck im 16 Jabrbondert Tiroler Wirtscbafundien is, Innsbruck 1962 fig 3! 92 Jarrita Pale green glass with thread decoration Height is cm Berlin, Staatliche Muscen, Kunstgewerbemuseum Solid, ribbed foot ring squat, rounded body extending into a large funnel shaped neck, spiral trailing on neck and body, and wavy trailing near base Fouc handles with pincered trails, and applied drops A Waldglas with Moorish influence Southern Spain, 17th Century 89 Spoutcd ewer in the Venetian style Colourless glass with gilding and unfired painting Height 33 scm Munich Bayerisches Nationalmuseum The foot of this vessel is hollow and conical The lower part of the pear shaped body shows carefully executed ribbing A horizontal rib marks the beginning of the shoulder, which narrows towards the double ring encircling the neck at the point where it is joined by an S shaped handle Above this point the neck widens into a funnel shape and another double ring may be seen below the rim The spout is tall 93 Cantaro Colourless glass with white spirals Height 28 cm Berlin, Staatliche Museen, Kunstgewerbemuseum Hollow conical base with high kick, oval shaped body with filler and sharp spout Large circular loop as handle Striped glass, with the exception of the handle Spain, Catalonia, 17th Century 277 ·94 Stangenglas (in this shape also termed Keulenglas from German Keule =club) Pale yellow-green glass with impurities Height 15 cm Eisenach, Thuringer Museum Wide foot, high projecting kich, slightly conical body with three notched trailed spirals German, c ISOO Reference Franz Rademacher Die deutscben Glaser der Motilalters Berlin 1963 Plate 33 99 Nuppenbecher Green glass Diameter 9 cm Nuremberg, Germanisches Nationalmuseum Crinkled foot ring, squat, rounded body with seven applied drops drawn upwards to a point, heightened drinking him German, 16th Century 100 Honey-comb moulded glass Green glass Height 7 cm Cologne, Romisch Germanisches Museum Beaker shaped with honey comb rıbbing, produced by blowing twice into a mould German, 15th Century 95. Double conical bottle Height 16 cm Nuremberg, Germanisches Nationalmuseum Sturdy foot sing body in the form of two cones meeting at the base, formed by folding one bubble of glass Upper part, roof like, broader than the lower Short, chimney like neck German, c 1500 Referer ces Bottles of this type are illustrated by Robert Schmidt Das Glas Berlin 1912 fig 75 und Franz Rademacher Die deutschen Glaser des Mittelalters Berlin 1963 plate 16 101 Moulded jug Dark green glass Height 10 cm Eisenach, Thuringer Museum Round foot ring pear shaped body flaring towards the mouth, and diagonal cıbbing Applied handle pinched into shape Thuringia, 16th Century 96 Beaker Pale green glass with impurities Height 102 cm Leipzig, Museum des Kunsthandwerks Flaced beaker with flattened foot ring and high kick German, Isth Century Reference Smlar beakers in Franz Rademacher Die deutscher Glaser des Mittelalters Berlin 1963 plates 28 a und b 102 Tall Stangenglass Brownish glass, hardly transparent owing to corrosive action Height 42 6 cm Prague Museum hlav mesta Prahy Pedestal foot narrow cylındrical body ornamented with twenty sıx horizontal rows of tiny, snake like prunts Above and below this decorated part, a ring has been applied German first half of the 15th Century Reference Franz Rademacher Die deutschen Gläser des Mittelalters Berlin 1963 plate 386 97 Spouted ever Pale green glass, ribbed Height 1o 8 cm Hamburg, Museum fue Kunst und Gewerbe Pear shaped body with high kick 'no foot fing, S shaped spout and handle pinched to form a tight loop Ten slightly swirled ribs German, Isth Century Reference Franz Rademachet, De deutschen Glaser des Mittelalters Berlig 1963 place 17a 103 Krautstrunk Dark green glass Height 10 cm Leipzig Museum des Kunsthandwerks Convex besker with twelve large applied drops, drawn upward to a point Crinkled foot ring and spreading lip German, c 1500 98 Maigelein Bluish green glass Diameter 10 cm Nuremberg, Germanisches Nationalmuseum Footless, boat shaped beaker with vertical tıbbing German, Isth Century 278 104 Stangenglass Green glass Height 19 sem Hamburg, Museum für Kunst und Gewerbe Spreading foot, narrow cylindrical body and tall spreadiag ·spirit flask lip, decorated with six vertical rows of applicd drops drawn out horizontally to a point German, c 1500 Rocrence Franz Rademacher Die deutscher Glue dus Afrituelan Terin 1961 plare si 109 Ribbed Clear, palc green glass Height 24 cm Eisenach, Thuringer Museum Mould blown bottle with smooth, vertical ribbing and projecting kick Small opening and pewter screw top German 16th Century Reference Walece Dexel Deutscber Handorrksgut Berla 1939 fg Page 452 ros Nuppenbecher with ou ncr's inscription Bluish green glass with applıcd drops and bluc arcuit Height 19 cm Leipzig, lluscum des Kunsthandwerks Crinkled foot ring and conical kick in basc, body widening slightly upwards and decorated with five rous of large drops Blue thread some distance below the com A du mond scratched inscription of later date rcferring to the then owner of the beaker is visible on the plain arca bencath the rim Hanns Scbastian Neithart von und zu Baustetten anno 1640 den s Martzit German, beginning of the 16th Century Reference Austbustysk snd Plastik aus Deutschland Vaserm des ut hardserks Lapts ed ted by Annel esc Flanisch Leipzig 196t plate 8 110 Oviform bottle Light green glass with impurities showing bubble texture Height 28 cm Eisenach Thuringer Muscum Oviform bottle with lick projecting slightly, smooth out line and Icad mount at the opening German 16th Century 111 Bottic with spiral trail Rough bluish green glass Height 23 cm Lisenach, Thuringer Muscum Body, inverted pear shape with projacting kick Opening with bulbous rim Spıral trail round the neck German 16th-17th Century Rderence Walter Deic Deatsches Handeerkrger Becl n 1959 fig page 434 106 Römer Dark green glass Height 12 cm Eisenach, Thuringer Muscum Core wound foot hollow cylindrical shaft with raspberry prunt, 1 circuir of milied trailing bencath the spherical (cracked) bowl German, beginning of the 17th Century 112 Dccanter derived from the Kuttrolf Purple tinged glass Height 22 cm Eisenach Thuringer Museum Small foot, the lower body is large and spherical and 13 connected to the upper body, which is smaller and also spherical, by five tubes Notched trailing on both parts German, 17th Century 107 Nuppenbecher Pale, bluish green glass Height 22 cm Nuremberg, Germanisches Nationalmuseum Toothed foot ring cylindrical body with four rows of applicd drops drawn upwards to a point tall lip, widening upwards German, beginning of the 16th Century 113 Ribbed bottle with pinched neck Pale bluish glass mould blown Height 24 cm Eisenach Thuringer Museum Deeply ribbed mould blown body with slightly projecting kick Neck pinched to form four tubes Funnel shaped opening with wiry tim German 16th-17th Century Reference Anna Elisabeth Liederwald Touring sebe Gläser des 16 Jabr bunderts in ssensebaſil ebe Ze istinift der Friedrich-Scb ller Unders lur Jena Jena 7 1957/58 P 360 fig 20 108 Mallet shaped (Bocksbeutelform) bottle Dark olive brown glass Height 23 cm Eisenach Thuringer Museum Hemispherical body with high projecting kick and tall chimney like neck Glass circuit beneath the opening The Bocksbeutelform is the traditional shape for the containers of Steinwein (wine from the Main area in Franconia) German 17th Century Reference Walter Dexel, Deutsebe Handwerksgut Berun 1939 fig page 434 114 Four tubed Kuttrolf Pale yellowish green glass Height 17 cm Munich, Bayerisches Nationalmuseum 279 ·Wavy foot ring, mould blown body, rounded and coiled, with two milled trails encircling it, four short, spirally tu isted tubes opening into the lip, which is inclined sideways German, 16th Century Rounded body with slightly projecting kick and long chimney like neck Curving spout with wide base, small curving handle, bulbous where it joins the neck German, 16th Century Reference Anna Elisabeth Liederwald Thüringiscbe Gläser des 36 Jabr borderts in Wissenschaftliche Zatschrift der Friedrich-Schiller-Universid Jena, Jena 1957/18 7 No 2/3 P 397 hg 4 IIS Four sided decanter derived from the Kuttcole Clear glass Height 37 cm Nuremberg, Germanisches Nationalmuseum Square base, with a slight kick Small upper and lower con. tainers connected by one weak central and four corner tubes Cylindrical neck German, 17th Century I 20 Passglas Colourless imperfect glass with circuits Height 26 cm Leipzig, Museum des Kunsthandwerks Cylindrical glass with spreading foot, high conical kick, and six horizontal milled trails, the fourth and fifth applied spirally Rım smoothed out at the glory hole German 16th-7th Century 116 Wine jug Blush green glass with pinched trailing Height 30 cm Eisenach, Thuringer Museum Wide, hollow foot two bulbed body and tall funnel mouth Three diagonal pinched trails, and two zig zag rings orna ment thc jug Flattened handle German, 17th Century 121 Phallus glass Green glass with mould blown pattern Length 25 cm Nuremberg Germanisches Nationalmuseum Hollow vessel with funnel shaped opening German, 16th Century 117 Daumenhumpen (Thumb glass) Dark green glass Height 21 cm Essenach, Thuringer Museum Sturdy foot, oviform body with six depressions into which finger and thumb were inserted Notched trailed ring below the narrowing lip, and above the foot The Daumenhumpen 15 shown in a copper engraving of 1954, "Man with Humpen'. by Hans Lautensack, in the Staatliche Kunst sammlung, Weimar Gcrman, 16th-17th Century Reference Anna Cl sabeth Liederwald Täringube Glaser des 16 Jabr Eredents are sebaftliche Zorscbnft der Friednod-Sebeller-Ualvernlås Jena Jena 1957/44 7. No us p 389 fig" 122 Trick glass in the form of a bear Dull colourless glass, partly blown into a mould Height 17 cm Nuremberg Germanisches Nationalmuseum Hollow, twisted body with hollow legs, arms and head applied Funnel shaped opening emerging from the animals back German, 17th Century 118 Ring glass (German also Ringelglas) Colourless, clouded glass Height 14 cm Nuremberg, Germanisches Nationalmuseum Tall, core wound foot, flutc shaped also with mulcd spiral trail and four rings hangug from angular loops German, 16th Century 123/124 The Mainz Dean and Chapter Glass Light, bluish green glass with rich diamond point angrav ing Height 32 cm Munich, Bayerisches Nationalmuseum Broad stem with applied drops Large bowl completely covered with diamond pointengraving The design consists of a view of Mainz in the year 1617, the arms of Archbishop Johann Schweikart von Kronbecg (1604 to 1626) and the arms and initials of the members of the Cathedral Chapter The inscription below the rim reads 'Celsitudo atque Nobilitas Florentissimae Metropolitanae Ecclesiae et Civs tatis Maguntinae, ut es Anno 1617 constitu The glass bears the signature 'IR fecit, 1617" Netherlandish, 1617 Reference Ludwig F fuchs Du Glaskeks im Wandel der Jabrtassendt Darmstadt 1946 p 25 and 6g 19 119 Small cuer Palc green glass with impurities Height 13 cm Cuscnach, Thüringer Museum 280 ·125 Armorial Humpen Colourless glass with enamel decoration Height 39 cm Munich, Bayerisches Nationalmuseum Cylindrical vessel with only slightly curving walls, pro jecting kick, applied foot ing and four tiered cover ter minating in a knop As decoration, two coats of arms of the Palatinate, with the inscription "Otto Heinrich Pfaltzgrave bey Rhein Dorothea Maria Pfaltzgrevin bey Rhein geborene Herzogin zu Wurrttenberg" Between the arms the date 1996 Below the gemmed border the letters DTRH (Deum time cegen honora) Southern German, 1996 Reference Akce Bethe Kranzner, Emailglas Reallexikon zur deutschen Kuostgeschichte 49 Stuttgart 1959 col 75 fig 4 * Wen der Wolff das Maul Also leckt sich die Jungfrauw im Bett streckt So hatt der Wolff geen ein Lam undt die jungfrauw einen lieben man anno 1694' (The wolf looks on with greedy eye, The maiden on her bed doth lie, The wolf would fain devour the lamb, The maiden hungers for a man") The metal and the scale border indicate Hessian manu. facture Hesse, 1694 Reference Robert Schmidt Das Glas Berlin 1912 P 191 Walther Bernt, Sprutbe auf alten Glasern Freiburg · Bc 1928 p 31 126 Humpen of the Magdeburg Cathedral Chapter Pale green glass with enamel painting Height 29 cm Leipzig, Museum des Kunsthandwerks Slightly curving walls, and hollow applied footring Cover not extant Decorated area divided into two zones by gem med borders Arms of the twelve members of the Cathedral Chapter, and in the upper zone an image of St Mauritius, with the date 1994 Saxony, 1594 References Kunstmuseum der Deutscben Demokranscben Republik Matteilungen und Berichte Vol 1937 fig 63 for a further glass of ehus type (undated) 8cc Robert Schmidt Das Glar Berlin 1912 6g 84 129 Humpen with allegory of the Treaty of Westphalia Colourless glass with enamel painting Height, including cover, 31 5 cm Leipzig, Museum des Kunsthandwerks Projecting kick and applied footring, cylindrical walls, cover with overlapping rim and triple bulbed finial Below the rim, gold border with curving lines of white enamel dots The painting shows the Holy Roman Emperor joining hands with the King of France and the Queen of Sweden, to the left and right kneeling ecclesiastics and citizens Above the figures, God the Father and angels in the clouds Biblical quotations on bands a prayer of thanks on reverse, an "Anno Domini 1654' The border indicates Franconian origin Franconia, 1654 127 Humpen with equestaian figure of Gustavus Adolphus Colourless glass with enamel painting Height 175 cm Leipzig, Museum des Kunsthandwerks Folded foot ring and projecting kick Cylindrical walls decorated with the equestrian figures of Gustavus Adolphus and Johann Georg with the inscriptions' Gustavus Adol phus Konig in Schweden and lohann Georg Churfurst zu Sachsen' and the date 1634 Between the figures, Illy of the valley ornament Borders of plain gold stripes between rows of white enamel dots and scalloped lines Franconia, 1634 130 Reichsadlerhumpen Pale green glass with coloured enamel painting Height 29 cm Leipzig, Museum des Kunsthandwerks Cylindrical vessel with footring and conical kick Twoheaded eagle with imperial orb and crossed sceptres and so coats of arms arranged in groups of four (the Quaternion system) Signed Bohmen (Bohemia), 1654 Bohemia, 1654 128 Humpen with "Peeping Tom" scene Pale green glass with enamel painting Height 32 cm Nuremberg, Germanisches Nationalmuseum Slightly curving bumpen, with three bulbed finial on cover On the walls, a picture of a lover, peeping through the key hole at a naked maden lying on a bed On the reverse side the inscription 131 Ochsenkopfglas (Ox-head glass) Light green glass with coloured enamel painting Height 16 cm Halle, Staatliche Galerie Moritzburg Beaker in thick glass with projecting kick The painting shows a forested mountain, with an ox's head at the summit The rivers Eger, Saale, Main, and Naab issue from the foot of the mountain Forest animals are seen among the trees, and a padlock and chain encircle the top of the mountain Inscription on reverse, and in front the date 1722 Fichtelgebirge, 1722 281 ·132 Hallorenglas Pale green glass with colourful enamel painting Height 28 cm Halle, Staatliche Galerie Moritzburg Club shaped vessel divided into four horizontal zones, showing respectively a panorama of the town of Halle, a triple gabled building the salters pracession and the arms of the guild of saltets between two apprentices Dated .681 Saxony, 1681 Flat foot with foliage engraving, hollow fluted bulb between two sing knops, diamond engraving on the straight sided bowl in the upper portion a stag, a unicornand two hounds, in the central area the inscription "John Jone Dier 1981" and the arms of Queen Elizabeth Leaf motifs in the lower part English, attributed to G Verzelini, 1581 Reference Robert Schmidt, Europdispbes Glu Du Sammlung Wilfried Buckley Berlin 1927 plate 83 133/134 Beaker on three feet Colourless glass with Schwarzlot (black) and translucent enamel painting Height 1o 8 cm Leipzig, Museum des Kunsthandwerks Cylindrical beaker on three hollow ball feet. The painting, after Callot, shows a horse drawing a high two wheeled cart, yokels women and children On a tree trunk the signature S Signed piece by Johann Schaper, Nuremberg c 1665 Reference Kunstbandwerk und Plasak aus Deutscbland sn Museum du kunstbandwerks Lapze, edited by Anneliese Hanesch Le pz g 1961, plate 27 138 Goblet with portrast of man Colourless lead glass Height 25 cm Hamburg, Museum fur Kunst und Gewerbe The bowl of the glass shows a portrait of a man ighting his pipe, stipple engraved by Frans Greenwood, whose signature is clearly visible at the base of the bowl English glass, Newcastle upon Tyne, engraved uu Holland, 1746 135 Wine glass with pear knopped stem Colourless glass Height 32 5 cm Halle, Staatliche Galerie Moritzburg Flat foot, solid stem with two annular knops at the top, and two at the bottom and two hollow pear knops, sepa rated by a single annular knop Conical bowl Holland, 17th Century Reference Scboner Glas Staatl che Galerie Moritzburg Halle Exbsbetros Catalogue Halle 1997 No 117 139 Glass shop ing puttı deunking wine Colourless lead glass Height 17 cm Halle Staatliche Galerie Moritzburg Another example of stiple engraved glass The delicate engraving gives charm to this otherwise rather heavylooking glass Holland, David Wolf,c 1790 136 Tall bowl, diamond point engraved Colourless lead glass Herght 98 cm London Victoria and Albert Museum © Crown Copyright On the bowl the arms of Butler Buggins (16467–1690) of North Cray, Kent and Winifred Burnett his wife, whom he married on the 16th July 1676 among foltage a helmet and above a bird with dragon's wings English probably from the Savoy Glasshouse of George Ravenscroft, c 1676 140 Bottle with trailed thread decoration Purple glass Height 14 cm London, Victoria and Albert Museum © Crown Copyright Depressed, globular body with long vertical ribbed neck, and applied ning Ribs extending from shoulder to form a reticulated pattern on the body England, c 1675, probably from the Savoy glasshouse of George Ravenscroft 137 Glass with diamond point engraving Colourless glass with a slight green tinge Height 21 cm London, Victoria and Albert Museum Crowa Copyught 141 Ruby glass bottle Ruby red with ribbing engraving and ormolu mount Height 35 con Dresden Grunes Gewolbe Teac shaped bottle mounted on a foot and with top, and chain Cut flower decoration on the spaces between the grooves of the ribbing Southern German, 17th Century Refereace Compate sugular bottles in Ignaz Schlosser Das alte Glei, Bruntwick 1956 68 93 282

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·Folded foot, Silesian stem, the shoulder moulded with the words "God save King George", plain bowl with thick base English, c 1715 Flat foot with solid ball and baluster stem, conical bowl, domed cover with pointed finial Foliage frieze engraved on the foot on the bowl, a scene with Venus and Adonis beneath tall trees Venus, seated on a tree stump, lays her hand on Adonis's hip, and he lets his right hand rest on her shoulder Cover engraved with landscape, quins and small figures Thuringia, signed I H (Heinrich Jager or I Hartmann), C 1715-1720 Reference Annegrets Janda Bux Der Touringer Glassebnitt 1m 17 und 18 Jabrbundert Leipzig Thesis 1962 Catalogue No 160 156 Wine glass with gilt decoration Colourless glass Height 17 sem London, Victoria and Albert Museum © Crown Copyright Flat foot, are twist stem double knopped On the wall of the slightly bell shaped bowl in a frame of rocaille ornament is the inscription "Families Friends and favourites" English, c 1750 152 Two engraved glasses Lead crystal glass Height c 13 cm London, Victoria and Albert Museum © Crown Copyright a) Glass with conical bowl, and engraving of Prince Charles Edward, the Young Pretender, and air twist stem with two knops b) Bucket shaped bowl, rose motif engraving and double knopped air twist stem England, 18th Century 153 Candlestick Opaque white glass Height 30 cm London, Victoria and Albert Museum © Crown Copyright Wide domed foot, spirally ribbed shaft, tall nozzle and foot enamel painted England, 1760 157 Glasses with engraved decoration a) Drinking glass with engraved decoration Colourless lead crystal with a slight yellow tinge Height 22 cm Corning, New York, The Corning Museum of Glass Short, hollow, knopped stem with "George Trısler" and the date 1793 on the bowl among foliage ornament North America, John Fredessck Amelung Glassworks, New Bremen, Maryland 1793 b) Covered glass with engraved decoration Colourless lead crystal Height 28 8 cm Corning, New York, The Corning Museum of Glass Rectangular foot, conical bowl, cover with final On the bowl a representation of Tobias and the Angel between rocaille motifs, surrounded by the inscription "Happy is he who is blessed with virtuous children Carolina Lucia Amelung 1788" North America, John Frederick Amelung Glassworks, New Bremen, Maryland, 1788 c) Bottle with engraved decoration Colourless glass tinged slightly greyish green Height 17 2 cm Corning, New York, The Corning Museum of Glass Rounded body with short neck and slightly thickened rim On the wall' F Stenger 1792" among floral motifs North America, John Frederick Amelung Glassworks, New Bremen, Maryland, 1792 154 Covered goblet with representation of Neptune Colourless potash lime glass with rich cutting and engraving Height 41 cm Hamburg, Museum fur Kunst und Gewerbe Scale cutting on foot, baluster stem with scale and dia mond pattern Cylindrical facetting on the lower part of the bowl, above this shallow gelıd facets, and circular facets on the rim This decoration is repeated on the cover On the bowl a representation of Neptune with trident and flowing urn in a woody landscape Potsdam Zechlin, unsigned piece by Elias Rossbach, c 1720 155 Wineglass with Silesian stem Colourless lead crystal Height c 17 cm London, Victoria and Albert Museum © Crown Copyright 284 158 Tankard with painted decoration Opaque white glass Height II gcm London Victoria and Albert Museum © Crown Copyright Cylindrical tankard showing painted landscape with youth carrying stick and basket, dressed in knee breeches and feathered hat England, c 1760 ·159 Cut-glass dish Diameter c 40 cm London, Victoria and Albert Muscum Crown Copyright The cut design consists of a central rosette, the points of which indicate the division of the plate into ninc sections Star motifs form the remaining decoration Raiscd rim England, c 1770 Footless beakce View of Dresden with the Hofkirche, Elbe bridge and small figures of townspeople Below right of the picture the signature "Mohn', and left "CvS 1815" Border of leaves and larkspur flowers below the rim The plan for the decoration was applıcd to the glass as a transfer print Cvs (C v Scheid) was a pupil and collaborator of S Mohn Deesden, signed piece by Samuel Mohn,c 1810 Reference Gustav E Pazurek, Glaser der Empire und Biedermeerzas Leipzig 1923 P 171 and fig. 150. 160 Zwischengoldglas with coloured painting Colourless glass with facetting Height 8 cm Leipzig, Museum des Kunsthandwerks Facetted bcaker with a stag hunting scene in sed, green and brown paint, red and green foliage decoration, and acanthus friezes On the base a gilt riding sccnc Bohemia, c 1730 164 Glass showing St Stephen's Cathedral, Vienna Colourless glass with cutting, gilding and translucent enamcl painting Height 11 som Leipzig, Muscum des Kunsthandwerks rlared beaker with ribbed, gilt ridged foot Gold acanthus design frieze below rim Scene of St Stephen's Cathedral, cxecuted mainly in sepia tones, surrounded by border of corn-ear motif On reverse, the inscription 'Domkirche zu St Stephan in Wien" Star shaped cutting under the foot Vicnna Anton Kothgasser, c 1825 Reference Gustav E Pazaurek, Gliser der Empire- und Biedermarrger Leipzig 1921 p 199 161. Zwischengoldglas with hunting scene Colourless glass with facet cutting Height 8 sem Halle, Staatliche Galerie Moritzburg Facet cut poly-angular beaker There is a hunting scene (rider with lance) round the beaker, bordered by two acanthus frıczes The engraving 15 cxccuted on gold leaf on the interior and silver Icaf on the exterior surface Scaled joint of the two glasses round the tim Bohemia, about 1735 of man 165 Glass showing the ages Colourless glass with slight yellow tinge, cut and engraved Height 11 som Leipzig, Museum des Kunsthandwerks Foot deeply inased all round and forming triangles which are criss cross cut Cylindrical body engraved with the ages of man Beneath the flight of steps, a small scene showing the christening drive and the funeral procession The visible inscriptions read as follows '10 a boy, 20 a youth, 30 a man, 40 a success, so the turning point, 60 onset of old age German, c 1815 162 Glass with gilt monogram Colourless glass with facetting and scaled in double wall Height 11 cm Leipzig, Muscum des Kunsthandwerks Cylindrical glass with almond- and lentil shaped facetting round the base Red gilt medallion with the monogram AW, surrounded by silver and gold floral wscath Reverse of the medallion, silver inscription on red Wer bey Leerung dieses Bechers seine Freunde liebt und ehet, dem wünsche ich, daß sich das Glucke tausendfach bey ihm ver. mehrt ("Whosoever emptics this glass, loving and honouring his friends, I wish that his happiness may increase a thousandfold ) Mildnec fec a Gutenbrunn, 1797. In the bottom of the glass, Zwiscbenglas image of St Agnes with a lamb and the inscription Sanct Agnes V, et M" Base, silver gilt with gilt rosettes Austria, Gutenbrunn, Johann Josef Mildner, 1797 166 Sweetmeat bowl and cover Colourless, slightly greyish cut glass Height 27 5 cm Leipzig, Museum des Kunsthandwerks Massive cound foot star cut in base Lower part of the body and stem facet cut, body with cut relief diamonds Facet and diamond relief cutting in alternating bands on the cover and final Northern German, c 1820 163 Glass with view of Dresden Colourless glass with transparent enamel painting Height 10 5 cm Leipzig, Museum des Kunsthandwerks 167 Pear-shaped ewer showing Cupid and Psyche Cut lead crystal Height 305 cm Leipzig, Museum des Kunsthandwerks 285 ·Double domed with slight spiral fibbing North America, possibly Zanesville Glassworks, Ohio c 1815-1830 Plain foot, pear shaped body, tall ringed neck and trefoil opening with long handle attached On the body of the vessel, an engraving of Cupid, about to release his bolt, and Psyche, bound to a tree Below, a frieze in the laufenden Hund' (running hound) pattern English lead crystal and German engraving c 1850 168 Glass with engraving of Venus Lead crystal glass with engraving polished and unpolished Height 85 cm Hamburg, Museum fur Kunst und Gewerbe Venus is shown seated in a chariot drawn by two swans A dove is perched on each of her wrists A flower frieze ornaments the flared rim Paris, Charpentier, c 1810 References Franz Adrian Dreier Geschnittene Glaser von Cbarpentier Glas terbmsebo Bricbte, 34 Frankfurt/M 1961 p 2826 sig » Gustav E Pa zaurk, Glaser der Empire- and Breder meerzet Leipzig 1923 P 40 fg ai 171 Sugar bowl and jug a) Sugar bowl Green glass Height 95 cm Corning, New York, The Corning Museum of Glass Domed foot, wide rounded bowl with two nipped and knotted handles Domed lid with final North America, Southern New Jersey, possibly Wistarberg or Glasburg, 18th century b) Jug with trailed decoration Colourless glass Height 18 cm Corning, New York, The Corning Museum of Glass Wide foot rounded body with tall wide neck and curving handle Fine trailed threads round the neck On the body garland like trailing The jug belongs to a type known as the McKearin Type 1 North America, attributed to the Lancaster or Lockport Glassworks New York, c 1850 169 Goblet Lead crystal glass Height 36 cm Munich, Bayerisches Nationalmuseum Relatively small foot with radial cutting hexagonal stem and large bell shaped bowl richly decorated with formal tugh rehef and intaglio engraving Cut beading on tim Ireland beginning of the nineteenth century 172 Rosenwasserflasche Cobalt blue glass, blown into a mould Height 39 cm Hamburg, Museum fur Kunst und Gewerbe Foot ring, high kicked base, globular body with long S shaped neck and vertical mouth A fine spiral subbing ornaments throat and body Persia, probably Shicaz, 18th century 173 Ewer 170 Mould blown vessels a) Mould blown bottle, 'pıtkın Type" Transparent green bubbled metal Height 16 cm Corning, New York, The Corning Museum of Glass Rounded body with shott neck, double moulded (After being blown into a finely ribbed mould, the glass bubble was swiftly revolved and then blown into a second, more widely ribbed mould) North America, early 19th century b) Mould blown bottle, known as a 'Grandfather" Light amber coloured glass Height 22 4 cm Coming, New York, The Corning Museum of Glass Rounded body with shart widening neck and double moulded ribbed decoration North America, attributed to Ohio, probably Zanesville Glassworks, first half of the 19th century c) Mould blown sugar bowl Transparent light amber coloured glass Height 16 cm Corning New York, The Corning Museum of Glass Wide foot ing. funnel shaped vertically ribbed bowl natrowing below the dish likcam 286 Dark green glass Height 24 cm Berlin, Staatliche Museen, Islamisches Museum High kicked base with wide applied foot ring tear shaped body, bulge at throat and funnel shaped opening Widely curving handle Tall curying spout with pincered wing like appendages Persia, 17–18th century 174 Vase in Persian style Olive green glass with trading Height 17 sem Eisenach, Thuringer Museum Round foot, low bulging body and tall funnel neck with trailed thread decoration Thick, twisted trailing round the lower part of the neck and extending from thus, four handles drawn down along the body in pinched trails The late ·Baluster shaped yase without decoration Tall vase with tounded shoulders and short vide neck China, 18th Century (Ch'ien lung period) Persian style in which the bottle is made does not exclude the possibility that it was made at a German glass house, probably in Thuringia, for the Persian market There are records of such orders to Bohemian manufacturers A very similar bottle is attributed to Andalusian workshops by A W Frothingham Probably Thuringia, 19th Century References Compate similar piece in Glas Katalog der Kunstgewerbsmuseums der Stadt Köln edited by Bagicte Klesse Cologne 1963, no só. ead Alice Wilson Frothingham Hupanic Glass New York 1941, fig 64 180 Vase of cut overlay glass Colourless, wine red and yellow glass, withdeep and shallow cutting, engraving and acıd etching respectively Height 32 cm Leipzig, Museum des Kunsthandwerks Tall, curved vase with rim folded inwards Decoration pansy leaves and flower in the lower region, in dark colours on a deep wine red background A lightening of the colours towards the middle into yellowish tones on a white back ground Pale wine red background in the upper part Signed Galle France, Émile Gallé, Nancy, c 1900 175 Bowl Opaque white glass with red cut overlay Diameter 24 con Berlin, Staatliche Museen, Ostasiatische Sammlung Red foot ring, wide rimmed bowl Decoration of plum blossom and birds cut from the red overlay China, c 1950 176 Decorated bottle Opaque white glass with red cut overlay Height 19 cm Hamburg, Museum fur Kunst und Gewerbe Mallet shaped vessel On the body, a dragon flying over water On the neck, clouds and bats in flight China 18th Century Reference Martın Feddersen, Chinesiscbea Kunstgewerbe, Berlin 1939 fig 154 181 Vase with clematis-flowers Yellowish green and brownish purple glass Height 13 cm Halle, Staatliche Galerie Moritzburg Heavy rounded foot, slender vase with small opening Clematis flower and leaf decoration France, Émile Galle, Nancy, c 1900 177 Snuff bottle Opaque whitish glass with red cut overlay Height 10 cm Hamburg, Museum fur Kunst und Gewerbe Round, faterally flattened bottle with small foot ting, short neck, and hemispherical stopper The decoration, on a dull white background, consists of the creatures of the zodiac On the neck, simple foliage decoration China, 18th Century Reference Martin Feddersen Comenisches Kunstgewerbe Berlu 1939 fig 195 182 Vase of cut overlay glass Multi coloured overlay glass Height 64 cm Owned by Klaus Beyer, Weimar Wide, hollow foot, truncheon shaped vase, shouldered and with a short neck Decoration lake landsape at dusk with tall trees Foot black, trees dark brown sky yellow to reddish, landscape in shades of green Signed "Daum Nancy' France, Daum freres, Nancy, c 1900 178 Snuff bottle Colourless glass with painting on inner surface Height 95 cm Berlin, Staatliche Museen Ostasiatische Sammlung Shallow foot ring rounded bottle with short neck The front view shows two riders China, 18th Century 183 Vase with inlaid and trailed thread decoration Opaque blue, green and purple icidescent glass, red inner surface showing through Height 9 5 cm Leipzig Museum des Kunsthandwerks Footless, squat bulbous vase with short smallesh neck Thread inlay in spiral patterns Trailing in a twig like design Signed underneath LCT" USA, Louis Comfort Tiffany, New York, c 1900 179 Tail vase Dark purplish glass with gold mounton rim Height 36 cm Berlin, Staatliche Museen, Ostasiatische Sammlung 184 Onion shaped vase Red, yellow and brown glass Height 34 cm Hamburg, Museum für Kunst und Gewerbe 287 ·Small onion shaped body and long neck, widening gradually into a flower shaped opening 190 Glass sculpture-hyaloplastic-(Resting Ox) Lead crystal glass, moulded and cut Length 15 cm Leipzig, Muscum des Kunsthandwerks The ox, its head inclined towards the left, rests on a rectangular base France, Cristalleries de Baccarat, 1927 185 Tulip shaped glass Coloured glass, made at the lamp Height 32 cm Hamburg, Museum fur Kunst und Gewerbe Stem in blue glass with spiral twist in the middle Two lanceolate leaves in copper green glass attached to stem Tulip shaped bowl with metallic surface produced by lustre flashing Signed on the thin foot "C Kopping Germany, Karl Kopping, Berlin, c 1900 Reference Compare similar glasses in Gustav 8 Pazauick, Moderne Gliser Ltipzig without date fig 2 191 Tall bowl Yellow Height 18 cm Leipzig, Museum des Kunsthandwerks Small, thick foot ring and tall curved bowl The apparent impurities in the glass are intentional, the aim being to produce a vessel of antique appearance England, J Powell & Sons Ltd, London, 1927 References Exropdusches Kunstgeverde 1927 Beruzb #ber die Autellang. published by Stadtisches Kunstgewerbemuseum zu Leipzig. Leipzig 1918, fig 96 186 Bowl with inward curving em Purple and green lustre glass with trailed decoration Diameter 20 cm Leipzig, Museum des Kunsthandwerks Rounded bowl with slightly projecting base and wavy cim Bohemia, manufactured by Josef Pallme, Steinschönau, C 1900 192 Vase Sea green Height 25 cm Leipzig, Museum des Kunsthandwerks Slightly concave ground base, tall, curved body, mouldblown to produce a scale like pattern, and wide rim England, ) Powell & Sons Ltd, London, 1927 187 Beaker with Broncit decoration Colourless glass, acid etched Height 10 cm Prague, Národní Galerie Cylındacal beaker divided into 27 equal zones, each containing a medallion with stylısed flowers Vienna, Josef Hoffmann, 1912 References Gustay E Pazaurck, Kunstgläser der Gegenwart Leipzig 1925. P 15 A S Levetus, Art and crafts at the Austrian Museum for Ast and Industry Vienna The Studio, London Vol » bg P 32 193 Beaker-shaped vase Pale green glass Height 12 cm Leipzig, Museum des Kunsthandwerks Solid foot, bowl widening upwards, the wall becoming thinner towards the rim Macked.Orrefors FV 1742" on the base Sweden, Orrefors Glasbruk AB, Orrefors, 1937 188 Bowl with Broncit decoration Clear glass, cut and acid etched Height 8 cm Prague, Narodni Galerie Many sided bowl, basically oval in shape, with straight walls and decorated with a geometrical pattern and medal hons showing various animals Vienna J and L Lobmeyr, designed by Urban Janke, Blottendorf, 1912 194 Wine glass Smoke coloured glass Height 23 5 cm Leipzig, Museum des Kunsthandwerks Wide conical foot drawn upwards into a stem, bell shaped bowl Leaf decoration melted on to the lower part of the bowl, the stalk twisted round the stem Sweden, Orrefors Glasbruk AB, Orrefors, 1930 189 Tumbler Lead crystal glass, facet cut Height 12 cm Leipzig, Museum des Kunsthandwerks Conical tumbler with six facet cut sides, hexagonal base, and round tim France, Cristalleries de Baccatat, c 1900 288 195 Tall bowl with dancing maidens Pale blue glass with unpolished cutting Height 16 cm Leipzig, Museum des Kunsthandwerks ·Foot smaller than base of bowl Bowl slightly bell shaped, engraved with angel performing act of sacrifice and dancing maidens with veil draperles On foot and rim friezes of acanthus like leaves Marked 'Orrefors Simon Gate 310" 1927 H Bayer Sweden, Orrefors Glasbruk AB, Orrefors 1927 196 Bowl with matt surface Colourless glass Height 9 sem Leipzig, Museum des Kunsthandwerks Hemispherical bowl with small cut foot ning The external surface is cut in such a way as to obtain a semi matt appearance, and strewn with fully matt engraved spots Signed "HM" on the foot Germany, Hanns Model, 1937 fact that Adams and Jefferson died exactly half a century after the signing of the Declaration of Independence) North America, Philadelphia Kensington Glassworks, 1826-1833 b) Mould blown decanter Colourless glass Height 25 7 cm Corning, New York, The Corning Museum of Glass The moulding techniques in this decanter are of particular interest The vertical ribbing was achieved by pattern moulding The glass was then blown into a full size mould to achieve the sunburst and diamond diapering Extra vertical ribbing was obtained by a blow three mould" technique Spiral rubbing has been applied around the neck Eastern North America, c 1820-1833 197 Shallow bowl depicting John the Baptist Lead crystal with cutting in deep relief Diameter 28 cm Leipzig, Museum des Kunsthandwerks Bowl of thick glass with very deep cutting executed on the underside, polished and unpolished, representing John the Baptist Signed ' XXVI RS” Germany, Richard Sussmuth, 1926 Reference Exropassches Kunstgewerbe 1927 Berichte aber die Ausstellung, published by Seadusches Kunstgewerbemuscuts Leipzig Lepzig 1928 fig 47 200 Jug Colourless lead glass Height c 25 cm Corning, New York, Steuben Glassworks A martini or water jug designed and manufactured for sale by Steuben The handle is formed of two crystal loops converging at the deeply sheared rim The Steuben number is 8077 USA, Steuben Glassworks Contemporary piece, still in production 198 Shallow bowl with cut motif Lead crystal glass Diameter 31 cm Leipzig, Museum des Kunsthandwerks Thick glass Kneeling woman cut into the underside Stuttgart, Kunstgewerbeschule, Klasse Wilhelm von Eiff executed by Hans Klein 1927 Reference Compare similar piece in Europa sebes Kunstgewerbe 2927 Bericht wber die Ausstellung published by Stadtisches Kunstgewerbemuseum Le P zg Leipz 8 1928 fig 73 201 Flower bowl Steel blue glass with cut decoration Diameter 17 cm Eisenach Thuringer Museum Thick walled bowl standing on narrow polished foot Rounded rim with cut fishbone decoration Germany, Oberlausitzer Glaswerke, Entwurf Wilhelm Wagenfeld, 1951 Reference Oberlausitzer Glasperke Catalogus Weisswasser 1911 p 42 No 44047 199 Bottle and Decanter a) Mould blown "Washington bottle' Green glass with mould blown decoration Pint size Corning New York, The Corning Museum of Glass Flat oval bottle with short neck The mould blown decoration shows the American eagle surrounded by sunrays the motto E Pluribus Unum, and the letters T WD (Timothy W Dyott, a self styled doctor' or patent medicine man who went into glass making to keep himself supplied with medicine bottles) On the reverse a portrait of General Washington with name inscribed above On the narrow side of the bottle the names Adams and Jefferson July 4 A D 1776 (a patriotic reference to the 202 Urn shaped vase Steel blue glass Height 56 cm Leipzig, Museum des Kunsthandwerks Wide shouldered urn shaped vase with flat handles applied Germany, Oberlausitzer Glaswerke, designed by Wilhelm Wagenfeld, 1940 Reference Fritz Hellwag Wilhelm Wagenfeld Werkstarsbericht 4 publ sh ed by Kunst Dicast, Berlin 1940 fig p 13 203 Ewer Pale blue glass Height 25 cm Leipzig, Museum des Kunsthandwerks 289 ·Rounded body applied footring, short slender neck opening into a flattened up Tall curving handles Signed underneath Venint Murano" Italy, design by Paolo Venini, Murano, 1937 209 Large bowl Purplish lead crystal glass Diameter so cm (base elliptic) Munich, Die Neuc Sammlung Italy, Ernesto Seguso, designed by Flavio Poli, Murano, 1958 Reference Similar bowl Glass 1959 The Corning Mesesm of Glass Exhibition Catslogue Corning New York 1959 fig 182 204 Bottle with matt surface Greyish blue glass with ground surface Height 27 cm Munich Die Neue Sammlung The bottle is angular in line with wide shoulders and short neck Ball stopper Italy, design by Paolo Ventai, Mutano, 1958 210 Four-coloured vase Colourless, violet blue and green glass Height 34 cm Munich, Die Neue Sammlung The vase ss elliptical in cross section Italy, Earresto Seguso, Murano Designed by Flavns Poli, 1958 References Gio Fonti Alia fedeltà Gliser von Flavio Poli, in Domus Mal land 1964 410 p 50-51 Hans Heilmaier Konstglaser aus der Manufaksar Ernesto Seguso nard Entwurfen von Flacto Pol Die Kunst und das sebone Ham 34 Munchen 1956 P 300-303 205 Flask in the filigrand technique Amethyst coloured filigrana and colourless glass Height 40 cm Munich, Die Neue Sammlung Tall tear shaped bottle with latticino decoration Base in clear glass Acorn shaped lattscono decorated stopper Italy, design by Paolo Venini, Murano 1959 Reference Glass 1999 The Corning Museum of Glass Exbibition Catalogue Coming. New York 1919 fig 192 211 Squat bottle of speckled glass White, grey and blue glass Height 14 3 cm Munich, Die Neue Sammlung Squat cylindrical bottle with rounded base and shoulders Short, broad neck and thick, ring likerim Holland, NV Koninklijke Nederlandsche Glasfabriek, Leerdam, 1959 206 Fazzoletto bowl in the sanfirico technique Colourless glass with white interlaced latticino work Height 27 cm Munich Die Neue Sammlung Footless bowl with stregular folding Lafticno bands in two patterns Italy, design by Paolo Venini Murano, 1952 Reference Glas der Gegenwart - Baccarat Orrefors Van Glamr der Sammlung, August Warnecke Hamburg Exbabisson Catalogue essay by P W Mei ster Hamburg, without date big p 47 212 Bowl in mosaic-glass Colourless, dark brown, blue and white glass Diameter 12 cm Munich Die Neue Sammlung Italy, design by Paolo Venini, Murano, 1958 207 Multi coloured vase Colourless, light brown and steel blue glass with matt surface Height 14 cm Munich Die Neue Sammlung Italy, design by Paolo Venini, Murano 1958 213 Vase with air-bubble decoration (Ariel glass) Colourless and dark purplish glass Height 16 4 cm Hanover, Kestner Museum Tear shaped vase in purplish glass with colourless overlay thickened at the base Decoration in ariel technique (control of air bubbles to form design), of a man serenading in a gondola with star motifs gil s head and flowers Sweden Orrefors Glasbruk AB, Orrefors designed by Edvin Ohrstrom, 1997 208 Shouldered bottle with matt surface Dark moss green glass with colourless overlay and matt surface Height 42 cm Munich, Die Neue Sammlung Thick glass tall shapely bottle with sloping shoulders and chimney shaped neck Italy, design by Paolo Venini, Murano, 1958 290 214 Flower vase with overlay reticulated pattern Greyish green and colourless glass Height 20 cm Hanover, Kestner Museum ·Tear shaped vase, with inlaid latticino work Thick plain foot Sweden, Orrefors Glasbruck AB, Orrefors designed by Sven Palmquist, Orrefors, 1953 Reference Venuar Murano und Orrefors Scboeden Kestner Museum Hannover, Exbsbetron Catalogue edited by Chastel Mosel, Hannover 1997, Cat No 171 Munich Die Neue Sammlung The upper half mirrors the lower part in each vase, dividing "floor" in colourless glass Finland, Karhula littala Glasbruk, designed by Timo Sarpaneva, 1957 Reference Glas Gebrascbs mod Zierformen aut vner Jabrtausenden, Dw Nowe Sammlung, Momcb Exbibinon Catalogue, 1959 No 93 and 96 with fig 220 Vase 215 Bottle with two superimposed layers Greenish grey and colourless glass Height 24 cm Hanover, Kestner Museum Tear shaped vase with long neck and thick overlay, ex tremely thick round body and base Rım smoothed at the furnace Flat base Sweden, Orrefors Glasbruk A B, Orrefors, designed by Nils Landberg, Orrefors, 1956 Referencer Vern Murano und Orrefors-Schweden, Kurteor Murerm Hensovet, Exbhton Catalogue edited by Christel Mosel Hanover 1957 cat No 132 Dark steel blue glass Height 17 cm Munich, Die Neue Sammlung Double conical shape, thick glass Opening smoothed at the furnace Denmark, Holmegaards Glasværk, Holmegaard and Copenhagen 1959 5 cm 216 Slender yase Colourless vase, acıd etched matt surface Height 31 cm Munich, Die Neue Sammlung Round foot, long stem widening slightly towards the top, bowl of exaggerated tulip shape Sweden, Reijmyre Glasbruk, Reijmyre, 1958 221 Brandy bottle in the style of a Kuttroli Light greenish blue glass with clear glass stopper Height 26 Leipzig, Museum des Kunsthandwerks Footless vessel, its upper and lower parts linked by five pincered tubes Short neck with flat rim Ball stopper Denmark, Kastrup Glasværk, Copenhagen, 1960 217. Water set Colourless and smoke coloured glass Munich, Die Neue Sammlung Jug the shape resembles two cylinders, the smaller one forming the top half and drawn out into a lip Applied handle, round in cross section High projecting kick Glasses again double cylinder shape, the larger one this time forming the upper part Finland, Notspo Glasbruk, Notsjo, 1958, designed by Kaj Franck 222 Two cylindrical vases Dark bluish green, rather transparent green Height 37 cm Munich Die Neue Sammlung Denmark, Holmegaards Glasværk, Holmegaard and Copenhagen, 1998 223 Bowi Lead crystal glass Diameter 27 cm Munich Die Neue Sammlung Wide bell shaped bowl with thick foot England, J Powell & Sons Ltd, London, 1958 218 Bottle Red and manganese coloured glass Height 20 cm Munich, Die Neue Sammlung Bottle of exotic shape with lower patt cylindrical central part bulbous and tall neck with widening aim Large ball stopper Finland, Notsjo Glasbruk, Notsjo, 1959 224 Dish 219 Two cylindrical vases Amethyst coloured, dark blue and colourless glass, doublecased Heights 17 5 and 30 cm Light steel blue glass Diameter 32 cm Munich, Die Neue Sammlung Thick foot, body small in diameter widening gradually Very wide rim with the edge curving inwards Holland, NV Kononbljke Nederlandschc Glasfabriek Leerdam, 1958 291 ·225 Vase Glass with marbled effect Height 17 cm Munich Die Neue Sammlung Footring in coloured glass cylindrical vase of light and dark mottled glass with enclosed air bubbles and irregular stripes Holland NV Kristalunie Maastricht 1958 Plate with slightly raised som Grill like decoration The cuts are about 10 mm deep Czechoslovakia designed and executed by Ladislav Oliva 1959 References Tscbecboslopakssches Glas Museums des Kunstbandeurks Lapus Exbb for Catalogue essay by Alena Adlerová, Le pz g 1964 No 6o Glass 1959 The Cors ng Museum of Glas Exb b 1 on Catalogue Corning New York 1959 fig 34 226 Parts of a drinking service Colourless very thin blown glass Height carafe 29 s ctn wine glass 18 cm Munich Die Neue Sammlung Compressed cylindrical carafe on slender stem and flat foot with tall neck and stopper with thread like final and tiny ball Wine glass on a slightly wide foot very tall thin stem and with flattısh conical bowl Carafe executed after a design by Oswald Haerdti Vienna dating from 1924 Wine glass designed by Stefan Rath Vienna 1954 Austria Glasmanufaktur J & L Lobmeyr Vienna Reference Robert Schm dc, 100 Jab eo errab sebe Glaskunst Vennz 1925 plate 28 Sefan Rath Lobmeyr Venna 1962 231 Vase decorated with sand blast engraving Lead crystal glass Height 34 cm Peague Národní Galerie Tali straight sided vase narrowing sightly towards the top Deep central band of decoration consisting ofirregular ribbon like motifs running vertically Czechoslovakia Ladislav Oliva 1960 Reference René Roubíček Ladislav Ol ve in Tscbechoslovakscbe Glasrevne XIX, Prag 1964 No 9 P 374 77 227 Vase Steel blue glass cut Height 32 cm Prague Narodni Galerie Tall vase with convex silhouette cut in a flat plane in front and behind Extremely thick glass with a very narrow opening and ground top Czechoslovakia Borske sklo glass house Novy Bor de signed by Pavel Hlava 1939 (Prof Pavel Hlava born 1924 trained at the Prague College of Applied Arts now employed by the Institute for Household Design Prague) Exbb hon Catalogue ed ted by Alene Adlerová, Lepz & 1964 No 21 232 Glass sculpture Colourless glass with light brown prunts Height 24 cm Prague Narodni Galene Sperical body with small prunts and eight hollow tentacle like appendages Free hand work Czechoslovakia National Glasswork Bocske sklo Novy Bor design by Rene Roubicek 1960 (Prof Rene Roubicek born 1922 received his artistic training at the Academy of Applied Arts in Prague he is now chief supervising artist at the glassworks Borke sklo) 228 Two layer vase Purple glass with blue overlay Height so cm Prague Narodni Galerie Slender two bulbed yase choslovakia Bocske sklo Glashutte Chrbska designed by Josef Hospodka 1960 (Prof Josef Hospodka boin 1923 trained at the Academy of Appl ed Art Prague is Director of the School for Apprentices at the Chribska Glassworks) Reference Tcbe baslowakisches Glas Museum des Kurtbandverks Lapzig Exbht of Calalogue casay by Alena Adlerová, Le pzig 1964, Na 30 233 Lustre decorated vase Colourless glass with blue and red lustre decoration Height 27 cm Prague Narodní Galerie Lustre painting on the cylindrical body depicting grotesque bied forms Czechoslovakia Franticek Teįml 1960 Refe ence To be bo lopakus bes Glas My exm des Kune bandserer Lapze Exbib or CA aloge essay by Alena Adlerová Le pz g 1964 No 79 229/230 Plate with sand blast engraving Lead crystal glass Diameter 36 2 cm Prague Narodni Galerie 234 Vase with engraved line pattern Colourless glass Height 213 cm Prague Narodni Galerie The network design is composed of thin horizontal vertical and diagonal lines Czechoslovakia Jini Harčuba Prague 1960 292 ·239. Hollow bowl with decp facetting Lead-crystal glass Diameter 45 cm. Prague, Národní Galcric Irregularly shaped bowl with deepirregular facetting. Czechoslovakia, Borské sklo, Nový Bor, design by Miluje Roubičkova, 1958. Reference: XII Trinttale di Milsw 1960. Esparition Craskrs. ExNHtisa Ceralogar, No. 140; Teleberlosvlikus Glas, Martin des Kunstdurdays Lapsis. Exbrition Cuidagur, csuy by Alena Adleroyl, Leipzig 1964. fig. s. 240. Table glasses Colourless glass Height 12 cm. Weimar, Hochschule für Architektur A sct of five glasses of cqual height, each having slim bowl tapering to rounded bottom, slender, stem. Germany, designed by Horst Michel, Weimar, 1964 (Professor Michel is director of the Institute of Interior Decoration in the School of Architecture at Weimar). 236. Jug Smoke-coloured glass Height 13.5 cm. Munich, Dic Neue Sammlung Squat round jug with slightly flared mouth, horizontal rim, small spout and prominent handle. Germany, Glashütte Theresienthal, design by Karl Baumann, 1958. 241. Blue glass vase with colourless insertions Lamp-blown glass Height 29.5 cm. Leipzig, Museum des Kunsthandwerks Tall cylindrical vasc in cight sections, cach scction scpa. rately blown. Decorated with an abstract ribbon-like patteen running horizontally. Germany, Albin Schacdel, Arnstadt 1962. Rderence: Kessthandwerk im Grsuimuseum 1964, Museum des Kunstband. merks Lripzig. Exbibition Catalogue, edited by Fritz Kimpfer, Leipzig 1964 fig. 21. 237. Tall jug Brown glass Height 22.3 cm. Munich, Die Neuc Sammlung Barrel.shaped jug with slanting tim and upward-curving spout, balanced by a sturdy handle. Germany, Gralglashütte, Dürnau-Göppingen, design Heinrich Löfíclhardt, 1914. Reference: Bernhard Slepen. Gralglas - at Luisterbrgnf, in: Die Kost #11 dur scèse Heim, 53, Munich 1917. p. 34-37. 242. Table glasses Colourless and light grey glass Height 7 to 13 cm. Munich, Dic Neuc Sammlung, Heavy colourless foot in cach case and simple curved bowl. Germany, Gralglashütte Ltd., Dürnau-Göppingen, 1959. 238. Vasc in alabaster-like metal Lamp-blown glass Height 15 cm. Leipzig, private collection Flattened basc, tall diabolo-shaped vase. Germany, designed by Ilse Dccho. Leipzig, 1960. 243. Drug jars Green and brown glass Height 22 cm. Munich. Die Neue Sammlung Germany, Vercinigte Farbglaswerke Zwiesel, design by Heinz Löſſelhardt, 1958 239. Vasc with cut decoration Bluish-green glass with colourless casing Height 20,8 cm. Leipzig. Muscum des Kunsthandwerks Cylindrical in shape with wedge-shaped cutting forming window-likc pattern. Germany, Ilse Scharge-Nebel, Halle, 1964. (Ilse Scharge- Nebel, born 1904, trained at the Akademie für Kunstgewerbe, Dresden, working in Halle (Saxe-Anhalt) as artist in glass) References: Kerstbandaverk in Grauimuseum 1965, MUSEUM de Kunstband perks Leipzig, Exbibution Catalogue, publ. by Fritz Kämpfer, Leipzig 1965, Plate 84. Collection of writings on L. Scharge-Nebel: Ilse Sebarge- Nobel, On Sebarge, Gintber Laufer, Museum der Kunsthandwerks Lapzig Exbibition Coraloga, publ. by Fricz Kampfer, Leipzig 1963.

·List of Museums Arnstadt, Schlossmuseum 151 Berlin, Staatliche Museen, Ågypt Museum 3,5 Antikensammlung 22, 26 Islamisches Museum 52, 55, 59, 173 Frühchristlich-Byzantinische Sammlung 53 Kunstgewerbemuseum 90, 92, 93 Ostasiatische Sammlung 175, 178, 179 Vorderasiatisches Museum 50, 54 Berlin Charlottenburg, formerly Staatliche Museen, Antikenabteilung 4, 6, 7, 9, 18, 24, 25, 29, 46 Berlin-Dablem, formerly Staatliche Museen, Islamische Abteilung 31, 56, 58, 60, 61, 63, 64 65, 66, 67 Dresden, Grunes Gewolbe 78, 141, 142 Cologne, Romisch Germanisches Museum 8, 15, 16 17, 19, 20, 21, 27, 28, 30, 31, 33, 34, 35, 37 38, 39, 40, 42, 43, 44, 45, 47, 48, 700 Eisenach, Thuringer Museum 14, 94, 101, 106, 108, 109, 110, 111, 112, 113, 116, 117, 119, 143, 174, 201 Halle, Staatliche Galerie Monitzburg 73, 76, 84, 85, 131, 132, 135, 139, 161, 181 Hamburg, Museum für Kunst und Gewerbe 80, 86, 97, 104, 138, 154, 768, 172, 176, 177, 184, 185 Hanover, Kestner Museum 213, 214, 215 Lauscba, Museum für Glaskunst 144 Leipzig, Museum des Kunsthandwerks 36, 49, 75, 79, 83, 96, 103, YOS, 120, 126, 127, 129, 130, 133, 134, 147, 148, 159, 160, 162, 163, 164, 165, 166, 167, 180, 183, 186, 189, 190, 191, 192, 193, 194, 195, 196, 197, 198, 202, 203, 221, 239 241 London, Victoria and Albert Museum 136, 137, 140, 145. 752, 153, 155, 156, 158, 159 Munich, Ägyptische Staatssammlung 1, 2 Antikensammlung 41 Bayerisches Nationalmuseum 62, 68, 74, 82, 87, 88, 89, 91, 114, 123, 124, 125, 769 Die Neue Sammlung 204, 205, 206, 207, 208, 209, 210, 211, 212, 216, 217, 218, 219, 220, 222, 223, 224, 225, 226, 236, 237, 242, 243 New York, The Corning Museum of Glass 157, 170, 171, 199 Nuremberg, Germacusches Nationalmuseum 23, 32, 57, 71, 77. 81.95.98.99. 107, IIS, 118, 121, 122, 128 Prague, Národns Galerie 70, 72, 146, 149, 187, 188, 227, 228, 229, 230, 231, 232, 233, 234, 235 Národní Museum 69 Museum hlav města Prahy 102 Prralt collections 13, 182, 238 Weimar, Hochschule für Architektur 240 Muscum fur Ur- und Frühgeschichte Thüringens 10, 11, 12 294 ·Glossary ·ACID ETCHING to make the surface of glass matt by treating it with a mixture of potassium fluoride and hydrochloric acid (eg 100 parts of water, 10 parts of potassium fluoride and 1 part hydrochloric acid) The parts not to be affected are covered up with wax paraffin or colophon, a graded etching can also be achieved The invention of this technique has been doubtfully ascribed to Heinrich Schwan hardt (qv) There is a Nuremberg glass panel with an acid etched inscription dated 1686 Since Egermann (qv) the so called colour etching tech nique was used in Bohemian glass a thin layer of coloured glass different from the one of which the vessel was made was applied to the outer surface (flashing or casing), which was then etched so that the subject of the etching appear. ed in clear glass in New Jersey by the German Caspar Wistar in the middle of the eighteenth Century, and in Manheim in Pennsylvania by the German Heinrich Wilhelm Stiegel towards the end of the same century In both places a European influence prevails, although in a simpler and utilitarian way Especially the everyday glasses of the Wistar works determine the American utility style In the first half of the nineteenth century, in about 1827, the celebrated dip moulded glass, best seen in bottles, was succeeded by pressed glass Tiffany s experiments (q v) strongly influenced Europe, especially Germany, Bohemia and Austria Recently a tremendous search for new possibilities in the art of glass making has been evident everywhere, especially in the fields of glass sculpture and the production of mosaic glass [Figs 157, 170, 171, 183, 184] Reference Amerikaniscbes Glas aus dra Jabrbunderten Exhub tion arranged by the Amerikahauser in Germany; catalogue published by the Corning Muscum of Glass, Corning New York, 1955 McClinton, American Glass Cleveland 1950 McKeanin, American Glass New York 1941 AGATE a precious stone, often with curious markings of with colours in layers ar bands Imitated in glass and known as Schmelzglas or sometimes as 'calcedonio glass AGRICOLA (Latinised from of the original Bauer) GEORG born in Glauchau Saxony on March 24th, 1490, and died at Chemnitz on November 21st 1555 In the course of his life he was headmaster in Zwickau physician in the Joachimstal, and Mayor of Chemnitz He is acknowledged as the father of mineralogy his most famous work being Dere Metallica, libri XII a treatise on mining and metallurgy published at Basie in 1556 The twelfth book deals with glass and contains descriptions of different manufacturing tech niques Reference Georgius Agricola Zwolf Bucber rom Berg und Hüttespesen transcribed into modern German by Carl Schiffoer Dusseldorf 1953 AMPHORA Ancient vessel for wine or oil The form was first created in Egypt but later developed to its utmost refinement in Greece It consists of a flat base and a slightly shouldered body, connected by two handles with a wide neck which is crowned by a distinct rim The vessel is widest in the upper thud In its rational structure and grace ful shape the amphora exemplifies the classical vessel (Figs 3 6,29] ALABASTRON ancient Egyptian cylindrical vessel with a rounded base and a broad rim Two small handles were used for a chain or a string Originally made of alabaster, it was used for cosmetic purposes, but was later exclusively used for putting into graves as provision for after life (Fig 4] ANCIENT GLASS From the beginning of glass making to about the fifteenth century AD It comprises glass from Egypt, Mesopotamia Babylon, Syria, Rome and the Rheno Romanic glass up to the onset of Frankish culture in the west and Islamic culture in the east References Anton Kisa, Das Glar im Altertume ; Vols., Le pzig 1908, Federic Neuburg Antikes Glas Darmstadt 1962 Ancient glass technique William E s Turner Die Leistungen der alten Glasmacber and thre Grenzen in Glastecbatsebe Bericbte Frankfurt a M 30 Vol. 7 PP 257-365 (1997) Waldemar Haberey Der Werkstof Glas im Altertum in Glastechnische Benicbte Frankfurt a M30 Vol 12 PP sos 109 (1987) and 31 Vol 5 pp 188 194 (1958) ALTARE Italian glasshouse near Genoa founded probably in the XIth Century always a rival of Venice Whereas the emigration of glass makers was regarded as a severe crime at Murano and punished as such, the Altarists had to work abroad temporarily, as it was laid down in the constitution of their Untersita dell arte vitrea in 1495 They founded glass works in France and in the Netherlands Thus indirectly they caused the capid spread of the façon de Venise, especially since one has to assume that among them were numerous glass makers who originally came from Murano Reference Govinni Mar acher Edle Glaser von der Anbike bus Murano Munich 1962 APOSTLE GLASS Enamelled bumper (qv) depicting the twelve Apostles They were inspired by contemporary ceramic productions especially the Kreussen Apostelkruge, and were in use in Germany from the end of the sixteenth into the seventeenth Century ARIELGLASS Manufacturer's name for two layered glass embellished by figure like air bubbles The technique was invented by Edvin Ohrstrom of the Orrefors Glassworks in Sweden (Fig 2131 AMERICAN GLASS The first glasshouse in the United States of America was founded in Jamestown, Virginia in 1608, but did not exist for very long the actual development starts with the foundation of both glassworks in Wistarburg 296 ARYBALLOS Ancient Greek globular bottles for cosmetic oils and balms The small bottle, usually made of clay, was intended for daily use and carried around suspended on a string or chann ·AVENTURNT GLASS Glass with inclusions of glittering metallic particles It was made in Venice in the scicntcenth and cightenth centuries and the process was kept secret The particles consist of metallic coppet which is chemically produced when forge scales and copper-oxide arc added to the glass mitture Perienhofer te invented the process during the second half of the ninctcenth century In Bohemia it was often cascd and cut Beinglas is not identical with the so called mill glass, the Italian lattimo or lafticipo, the colouring of which results from tın oxide This has been produced in Venice since the sixteenth century Beinplass, hou cves, sclated to the so-called opal glass, which is also made with the help of bonc ashes or hartshorn, the degree of opalescence depends on the ratio of ingredients in the glass mixturc Anton Neri (qv) has described how to make a peach blossom coloured opal glass BACCARAT French town in the department Meurthe et Moselle, site of the glassworks Compagare des Cristalleries de Baccarat, Paris The foundation of the first plasshouse was land in 1765 Since 1816 it has been owned by d'Artiques They producclcad-crystal in the English fasluon The glass. house 13 still one of the leading French glass manufacturers [Tig 189 190) Reference: Jamer Burrelet L Vorten Free Par 1914 Cu der Grgur Been Orrefors Vo* # Calibet on catalogue od ted by August Wamcclc, Ilomburg, without date BERKEMPYER Durch drinking glass of the seventcenth century Similar to the Romer but with a glindrical lowce part and a bulging bowl DALSAMAPIUN Ancient small containcs, usually in the form of a bottle, for cosmetics, balms, or fragrant oils Because they were often found in combs they were popularly tcrmcd tcar bottles Special forms of balsamania are the amphora (9) Leythos (9), Arzballos (9.) Alabas tron (qv) Twin balsamaria are often to be found, they are usually looped or handled [rigs 4 14] BIEDERULIERGLÄSER German and Bohemian glasses peculiar in stylc to the first half of the nineteenth century Partly influenced by the heaveness of English lead glasses, the form, especially the feet becomes bold and massive In the beginning of the period facetting is predominant Later a subtle and refined form of engraving flourishes (Dominicus Bimann, 91 ) Along with it coloured glass becomes fashionable Hyalıth glass, (qv) Lithyalın (9). surface staining (qv), etc Entirely new types of glasses came into being c& Friendship glasses commemorative glisses, Burdegliser etc (v Kothgasser, Mohn) [Figs 162 - 168) Reference llermann Trenkwald Gliser der Spread (um 1790 1850). Vienna 1923 Gustav L. Pazzurek, Golur der Lompirt sud Bedermarami Leipzig 1915 BEADS They were of importance in ancient glass maling and originated in Egypt From the time of the VI Dynasty spırally tuisted polychrome beads had been knoun Beads #crc also made in Tell cl Amarna Since about 1000 BC, the so called cyc bcads had been made, after the seventh century BC beads with zig zag patterns appear, the 50- called mask beads were made after the fifth century BC, and millefiori beads came into being after the third century BC. Aggrybeads are many layered short rubbed glass canes the ends of which ucrcobliqucly cut, thus producing a fancy zig zag pattern BISEAN, DOMNIC Bohemian glass engraver, born at Neuwelt in the Bohemian part of the Ricsengebirge in 1800 died 1837 He is the most important engraver of the Breder meier period His outstanding mcrit rests in his achieve ments in portrait engraving Unlike the miniature painters, he executed his commissions mainly in the famous spas of Western Bohemia, especially at Franzensbad where he took up residence during the watering season Therefore his glasses arc widely scattered, and many of his works went to Russia Characteristic objects of the crafts of the Breder meier period arc engraved roundels executed by him Reference Gustav E. Pazaurck Gliser der Empire #nd D «der margar Leipzig 1929 Jul us Stret and Otto Lauer Domek D mann Lebensberubo and Masterarbazen de beste Portraigrateurs Schwab sch Gmünd 1958 The age-old manufacture of beads was brought to life again by the glass makers of Venice During the Bicder. meier period, small cylindrical beads were employed in making embroidered miniature mosaics Later, in the nineteenth century, short tube shaped beads (bugle beads, German Scbrrelzperlen) were in fasluon, they were also used for making curtains later in the Jugendstil period [Tig :) Reference Tredenc Neuburg, Ans ker Glas Darmstadt 196: Gustav E. Tazaurck Glasperlex and Perlasrtal as alter xrd sewer Zai Darmstadt 1911 BLANKÄTZUNG Method of polishing crystal glass with a chemical solution This is deeper than polishing by hand The solution consists of onc part hydrochloric acid, one part water and two parts sulphuric acid Bern GLAS Semi opaque white glass produced by adding the ashes of calcıncd boncs to the mixture Mainly of Bohemian and Thuringian manufacture, it was produced in large quantities in the second half of the cighteenth and the first half of the nineteenth century, largely influenced by porcelain This opaque glasz was usually decorated by enamel pigment BOTICIAN AND SILESIAN GLASSSIAKING The art of glassmaking in Bohemia reached a climax after the invention of potash lime glass around the year 1685 It was allegedly invented by Michael Muller, a master craftsman at the glasshouse of Winterberg in South West Bohemia It flourished until the middle of the cighteenth century To distinguish properly between Silesian and Bohemian glass making is hardly possible, since the arcas overlap 297 ·peror Constantine decreed in 337 AD that glass makers (urtriar) were to be exoncrated from all public duties in the sixth century AD numcrous Jewish glassmakers lived in Constantinople The Venetian art of glass making was strongly influenced by Byzantine glass After the conquest of Constantinople in 1224 Byzantine glass makers worked in Venice Reference Frederic Neuburg, Anaker Glar Darmstadt 1962 It started with goblets, engraved in high relief, from the Herschberg Valley in Silesia from about 1680 until 1690 At the turn of the century the Bohemian goblets with facet -cutting and flower and fruit ornamentation take the lead They again are succeeded by Bohemian wine glass shaped goblets with a delicate formal foliage decoration After 1725 the Silesian side of the Riesengebirge dominates the scene with goblets, the decoration of which begias wich heavy formal foliage and gradually develops into the rocaille Flanked by these ornaments, scenes, towns or landscapes are depicted Besides gablets, sweetmeats in the shape of small boats were made The period between 1680 and the middle of the nineteenth century is also marked by the flourishing Bohemian glass trade, in many places all over the globe Bohemian glass companies were established [Figs 148-150 160, 161] Refcrence Edmund Scbebek, Bobmons Glasindustrie und Glasbandel Prague 1878 J R. Vavra, Das Glas und die Jabrassende Prague 1954 CANTARO Spanish, special vessel with an apical circular handle and two spouts pointing in opposite directions, one short and wide for filling the vessel, and one long, slightly curved and tapering for pouring out the liquid In use from the seventeenth to the nineteenth century (F1g 93) BRANDENBURG GLASS The main Brandenburg glass houses were Krimnitz, Matienwalde, Drewitz, Potsdam, and Zechlin Until the beginning of the seventeenth century Brandenburg depended on the import of glass from Bohemia, Saxony, Thuringia and Schleswig Holstein In 1602, under the patronage of the Elector Joachim Friedrich, the first Brandenburg glasshouse was founded near Krim nitz It was moved to Marienwalde in the year 1607 where it existed ull 1825 From 1653 to 1792 there existed a second glasshouse at Kamnitz These catly Brandenburg glass houses usually produced drinking glasses, window panes and enamelled glass The products were very similar to Bohemian glass, since the craftsmen were recruited from Bobemia With the foundation of the Potsdam glasshouse near Drewitz by the Elector Friedrich Wilhelm in 1674, begins the really important period of glassmaking in Bran denburg (see Potsdamn) (Fig 1541 Refcence Robert Schaudt, Brandenburgsscbe Glaser, Berlin 1914 CASED OR FLASHED Glass The superimposing of a layer of contrasting coloured glass onto the glass bubble before blowing in ancient glass this was only a preliminary to the cameo carving executed on the vessel, and not a decorative technique in itself The outer coloured layer was cut away to produce a relief pattern, and the skilful craftsman was able to achieve an effectsve gradation of tone The technique of cameo carving cased glass was developed to its height in Alexandria and Rome during the time of the Roman Empire The craftsman has in many cascs attempted to reproduce the effects of layered gem stones, such as onyx The Port {and Vase is a supreme example of this technique The cutting was much simplified in the nineteenth century, so that the superimposed layer was left very thin (flashed) and engraved in flat patterns The casing of glass is important in Chinese woch, (as shown by the snuff bottles), and from this Galle drew the inspiration for his terras doubles in more recent glass work, brighter, thicker layers of glass are superimposed on darker and thinner layers, with attract eve results Efforts are being made in Czechoslovakia to give a new lease of life to the cut cased glass (Kacel Wunsch in Novy Bor) (Figs 175-178, 180, 181] BRONCIT DECORATION A method of glass decoration with a blackish matt paint application usually in geometrical patterns, designed by Josef Hoffmann (qv) around 1910, and executed by the Viennese glass manufacturers Lob meyr (qv) This decoration forms one of the elements of the style of the Wiener Werkstatte (Vienna Crafts Centre) (Figs 187, 188) BUTZENSCHEIBE = BULL'S EYE GLASS Palm sized flat glass disc with a central boss ( the bull s eye on one side, produced by tapıd rotation of an opened glass sphere on the uron in the furnace CHARPENTIER French goldsmith and engraver of the beginning of the nineteenth century Five glasses engraved by this artist are known The engraving is in each case of extreme subtlety, reproducing in the most delicate detail the tiniest flowers in the garland ornament and the fine curls on the heads of his figures The name of the engraver was imprinted on a case containing a glass we learn that Charpentier was a "graveur sur pierres et sur tous metaux. Il grave les cristaux dans un nouveau genre " ( engraver of precious stones and all metals He engraves crystal in an entirely new style ') This last sentence no doubt refers to English lead crystal or English lead crystal style of cutting The engraver's widow, Madame Desarnaud Charpentier, received a gold medal at the Paris Industrial Exhibition of 1819 for her exhibits It was stated in the Annales del Industrie Etrangere ou Mercure Tecbnologique that she obtained her raw material from the Établissement d Antigues This establishment, which produced lead glass in the English BYZANTINE GLASS Glass from Constantinople (Byzan tium) continuation of the tradition of the ancient art of glass making and further development of some branches of it eg the decoration of glass in gut and enamel pigment Also noteworthy ate Byzantine glass mosaics The Em 298 ·fashion, was founded in Vonêche near Brussels in 1802, and stones and rock crystal was transferred to glass Glass was later, after the setting up of subsidiary glass houses in cutting in ancient times reached its climax in the Cologne Baccarat and Val-Saint-Lambert, in a position to make the area in the third and fourth centuries AD The great Trench glass industry Independent of English Icad crystal revival took place in Bohemia and England in the sevenimportation, it had been reliant on foreign materials teenth and eighteenth centuries Some special patterns throughout the previous century [718 268] ' achieved by cutting are facet cut, producing shallow dia mond fashions, flute cresting, producing parallel hollowed CINERARY URNS Spherical orovate glass urns, usually with or notched flutes, star cutting, producing diamond patterns a broad rim The cover has two crect loop handles They of all sorts, curved cutting, producing shallow, arcular or originated from Grock clay vessels (Hydra) and were used crescent shaped slices at first for storage purposes and later as burial urns The For shallow facet cutting a vertically rotating sron wheel, carliest burial urns known date from the time of the first which is fed with emery or sand, is employed The cut sur Roman Emperor, the latest from the middle of the third face is then successively polished by a fine grained stone century AD They were found in large numbers in burial wheel, a wooden whecl and tripoli powder (Figs 38, 166, grounds, especially in Gaul and the Rhineland (Fig 23] 235] "COMBED" DecoRATION This typeof decoration is princi CzecHOSLOVAKIAN GLASS Since 1918, glass produced in pally associated with ancient Egyptian glass Threads of Czechoslovakia has been known by this term, although coloured glass were pressed onto the glass vessel whilst it Czechoslovakian literature includes under at the earlier was still hot, and these were then "combcd" or "tooled Bohemian glass To complicate the issue still further, outside into zig zag, fcather and other patterns [Figs 1,3) Czechoslovakia modern products are often referred to as Bohemian" The contemporary Czechoslovakian glass CROWN GLASS Flat shects of glass for the making of industry is aware of its long tradition and continues to use windows etc A blown bubble of glass was cut open, classical techniques of glass cutting and engraving to a rapidly cotated and reheated from time to time until it greater extent than most other countries, although adapting formed a flat disc on the iron This process gave the famithese techniques to the modern idiom Some 100 designers, liar bull s eye window panes of the Middlc Ages most of them ex students of the Prague School of Art, arc CRYSTAL GLASS The word crystal is derived from the active at the present time, involved with both industrial and art glass [Figs 227 235] Grech Krystallos, that is, 'clear ice', rock crystal, hence its References F X Jük Cerkt Sko, Prague 1934, Muscum des Kunsthand use in rcferring to very clear transparent glass Venctian werks Lepzig Tseberboslowakisebes Glas Exhibition Catalogue (Text glass of the sixteenth century was known as cristallo because A. Adlerová) Le pzig 1964, Trebecboslowakische Glasrnne monatl. Zert of its contrast with the green Waldglas (9 v) In the seven schaft Prague J R. Vivra, Das Glas und die Jabrtausende Prague 1954 teenth century, use of the term was extended to cmbrace the J Raban Modernes Bobmisches Glas Prague 1963 (this work gives a list of Bohemian potash lime crystal glass Subscqucntly it was names of most of the leading Czechoslovakian glass-designers) applied to English lead crystal which was introduced, very successfully, onto the market in the cighteenth century DAUJIENHUSIPEN, DAUMENGLAS Large cylindrical or Today high quality cut glass is generally mcant when the barrel shaped goblet with circular indentations (Fingerterm is used, and lead crystal must contain at least 18% lead napfen), most probably to give the hand a firm hold of the oxide glass [Fig 117) CRYSTALLO-CERAMIE Otherwise known as "sulphides." DAUM FRTRES The Daum brothers founded a glass Reliefs (mainly portraits) moulded from a soft paste of works in Nancy at the time of the Franco Prussian war porcellancous, glass or china clay content, then sculpted Greatly influenced by Gallé (qv) they produced glass in into fine detail, and fired The resulting medallions were his style, yet not lacking in characteristics of its own The inserted into a bubble of glass from which the air was firm still exists, now known as the Crystalleries de Nancy". extracted, so that they were solidly lodged in the mass of producing, according to its tradition, glass which reflects glass The process was perfected by Apsley Pellatt (qv) the spirit of the times (Fig 182] although he derived his knowledge from a French source His brilliant flint glass was excellent for this purpose, show DECOLORISING Decolorısıng always played an important ing off the medallions to perfection, and the whole was fur cole in the history of glass technique, since the sands used ther enhanced by the deep cutting of the heavy metal for glass making almost always contained impurities, mostly traces of iron which gives the glass a greenish tint CULLET Glass sherds which are re used in the melting The usual decolorising agent is oxide of manganese, the so called glass maker s soap J Kunckel (qv) in his Ars process litrana, when referring to Neri s first book, advises German CUTTING Cutting of glass followed soon after the advent glass makers to use pyrolusite, that is oxide of manganese of glass-blowing The age-old technique of cutting precious 10 a mineral form, as' soap" rather than the more expensive 299 ·Piedmontese manganese, though the method was said to be somewhatout of date He regrets that he is unable to publish his new and much better recipe for making glass by adding carbonate of lime Decolorising agents act either physically by chromatic neutralisation or chemically by releasing oxygen, eg arsenic, the greenish ferrous oxide is trans formed into yellowish ferric oxide DIAMOND The hardest precious stone known, chemically, pure carbon Diamond splinters are used for diamond point engraving (line engraving and stipple engraving) DIAMOND ENGRAVING The glass surface is scratched with a diamond point It was employed for' waiting" the owner's name on a vessel from the fifteenth century onwards Its use for artistic decoration started presumably in Venice The usual ornaments consist of formal plant motivs such as scrolled foliage, large flowers or scroll work Shades were obtained by short parallel strokes From Venice diamond engraving was taken over by glass makers at Hall in the Tyrol Here it was practised together with cold painting Again borders of formal plant motivs are typical The hey day of diamond engraving came in the second half of the sixteenth century Later it was applied also in Bahemia Silesia and the Electorate of Brandenburg The artistic climax was reached in the Netherlands Used on a very large scale it offered an alternative to the decoration in enamel pigment which was so fashionable in Germany Glasses with engraved calligraphy were common, many such glasses with mottos and proverbs are still extant Among the improved Dutch diamond engravers the sisters Roemers of Amsterdam (Anna Roemers, 1583-1651 and Maria Tesselschade, 1994-1649) and Willem Jacob van Heemskerck of Leiden (1613-1692) are notable In the eighteenth century the line engraving was superceded by the delicate technique of stippling with a diamond point (David Wolff and Greenwood qv) Both line-engraving and stippling by means of the diamond point have been revived in our time and further developed into modern styles of decoration, especially by Ilse Scharge Nebel [Figs 88 105, 123, 124 136, 137) Otto Doppelfeld hold this view, other experts propose a different method Wilhelm von Eiff thinks the glass was produced by moulding in two independent layers, accord. ing to K W.cdmann the connecting rods were perhaps fuscd on by soldering, O Knapp regards this question as unsolved and categorically denies the possibility of the design being undercut More recent rescarch (O Doppelfeld) supports the theory that the diatrela glasscs were pro duced by the cuttingof a solid vessel, this opinion is founded on a passage of Roman literature (from a fragment of Oppian) There it is said that in the event of unsuccessful cuteing of a diatreton cssel damages had to be paid The crafts. man was to be permitted to accept the work only on condition that he took no risk whatsocver Doppelfeld concludes from this legal clause that the diatreta cutter was put into 3 privileged position Nevertheless the question remains Whether or not the term diatreta referred to all kinds of cut glass or to glasses in Winckelmann s sense - So far twenty six diatreta glasses have been found inclusive of frage ments The most up to date reports on the subject are given by Doppelfeld, Harden and Toynbce (Tigs 41, 42) References ) ) Winckelmann, Parte III P11, Anton Kra, Das Glu im Altertume Leipzig 1908 p 621 Bruno Mauder Deatrete sudobre Her stellangSBUJE in Keramisele Rondebux Berlin No as P 321 (1992) Oscar knapp Diatreten sad sbre Herstellungsmynde in Keramisebe Rexdebar Berln 40 No 9 p 116 117 (1911) llans EdenDiafratglas aus aur spitroms uber Begrabauslitte is sederemmel as der Mosel in Trierer Znisconfr Trier 19 P 36-40 (1990) harl Wiedmana Du romusch Diant mil des Argen dus Hobiglastebukers gurbe in Glastrebarscher Bencde Frankfurt M. 27 P 33-44 (1954) Oscar knapp Okr die Herstellung der spiromisku Diatral Gliser un Silikarsabark, Berlin s P 378-481 (1954) Otto Doppelfeld, Das neu: Kolner Distreiglus in Germanis Berinys P 403-417 (1960) Otto Doppelfeld Dar Kolver Diatregla nd die anderer Arkadiatrete an: Gymnasium Heidelberg. Vol. 65 P 410-424 (1961). Otto Doppelfeld Das Dratru glas aus dem Gräberteork du romuschen Gutshofs tot Kale Bramusfeld in Koluer Jabrburb für Vor and Frubgescbooba Berlin, s p 7-54 (1960/61) D B Harden und ) MC Toynbee The Rorbutball Iyargu Cup, in Artburologro 97 P 179ff (1959) DIATRETA GLASS (VASA DIATRETA) Term given by JJ Winckelmann to a small group of glasses of fourth century AD Rheno Roman origin These glasses consist of a solid vessel which is surrounded by a basket lile network of interlaced ornaments The outer layer of ornaments is joined to the solid inner part of the cup shaped vessel by short glass struts In Roman literature the name diatretum was indiscriminately used for all glass vessels which were cut by the wheel perhaps even for vessels cut out of precious stones Many difficulties in the philological interpretation of ancient documents result from this remarkable confusion There are conflicting opinions about the process of making diatreta glasses Since Winckelmann it has been supposed that the vessels were made of one solid piece of glass which was then cut Wbile Anton Kiesa Fritz Fremersdorf and DISLASED GLASS The disintegration of all alkalınc chalkglass that 13, all ancient glass which is subjected to humidity, water, carbon dioxide or acids in the soul The "disease takes on two forms I an even disintegration of the entire surface, with a thun layer of scales, producing the familiar iridescence of ancient glass, forms, 2 deeper COLrosion in the wall of the vessel for reasons unknown, or at points where the vessel was damaged Both types of decay icad eventually to the total disintegration of the vessel The process involved consists of the extraction of the alkalı in the glass and the consequent increase in the sılıcıc content The final result of the process is silicic acid with small quantities of titanium aluminium and iron Sometimes faulty knowledge of the correct proportions of the ingredients used in making glass resulted in an excess of alkali and a glass that is unstable in composition Such 'diseased' glass develops a network of fine interior cracks, a sour smelling liquid forms on its surface and it eventually decomposes and crumbles This defect in its early stages was known in England as crisselling'" Honey p 4 300 ·Rderences Pnez luimper, Kral Calder, in Mont Varuskunde Berlin 6 1965 111-114. Gutty E. FazurekArct Glier, Reichenberg 1901 Rolf Wihr Gm" Tieners lbrer Belsdag in Therm Zamin. Tret 24 -16 1916-18, No 1 Dolrun Borners Small ancient csscls with fused decoration resembling sca animals, usually dolpluns They are products of Roman glass making and ucc mainly made in Italy, Gaul and the Rhincland They ucrc usually worn suspended from the belt by a bronze chain or string Reference A kint, Du Clusia Autortas Leipzig 1908 P 768 DOUBLE GLASS A An outct glass, which was usually without a bottom, was made to fit cxactly round an inner one (see also Zuberwoldglaser) The process is described by J Kunckel (9) Vol 1 part 2, chapter 27 The inner sur• face of the outcr beaker is pained to resemble marble and delicately cincd to the outer surface of the inner beaker gold leaf is applied When the two arc put together, the outside of the double salled beaker appears marbled, and chcinncs gel B Tuo superimposed vessels (bcslcrot vinc glass) which were gren as wedding or friendship glasses In the collection of the Germanisches Nationalmuseum in Nuremberg there is 2 161 enteenth century double glass consisting of cu o superimposed wine glasses The cover of the louer is crowned by a smaller onc The inscription "Vasat des Herrn (master). Vivat der Frau (mistress)" indicates the purpose 700 to 800 °C The application, which has a strong lead content, fuscs into the glass surface, and the result is a fixed, shiny decoration, translucent or opaque The technique of chamel painting was employed in Egypt at the time of the Roman Lmpire, and later in Syria and the Rhincland Its gicatost period may be said to be represented by the Islamic glasses from Micsopotamia and Syria, pro duced at ccntrcs such as Raqqa, Damascus, and Aleppo in the thirteenth and fourteenth ccnturics During the fifteenth Venice developed her own style of enamelled decoration which was the inspiration for the numerous German enamel painted glasses which were at their best in the seventeenth century Armonal bearings were at first the most popular mouf with German artists, their scope was vider from the end of the sixteenth century, although the well known representations of the Rescbsadler Humpen, the Kurfürsten and postelglas, and hunting scenes or familiensluser (family glasses) were frequently repeated Mention must also be made of the Ochsenkop glaser of the Fichtel gebirge and the Hofkellereigl user of the Saxon courts The most important contrcs of German chamel painting were in thc Bavarian Forest, in Bohemia, Silesia, Franconia, Thuringia, Hesse Saxony and Brandenburg It is sometimes diftscult to attribute a glass to a certain place of manufacture unless there is some distinct local feature, since they had so many ornamental clements in common Somc indi cation of origin is provided by the border just bencath the tim Franconian artists often painted a frıcze of overlapping arches or zig zag pattern, on Bohemian glasses we usually scc a border of enameldots anden Hesse, gold borders with whitc dots or after 1670 plain gold borders A Hessian characteristic is the yellow crown with the cypher of the Landgraf Typical of Bohemia is a dark green or dark blue glass and vndly coloured enamels, whercas a light yellowish green predominarcsin franconian glasses (Figs 129-134) LGCRMANY, FRIEDRICH. 1777-1864 An outstanding Bohemian glass manufacturer of the Empuc. or Bieder. meierperiod, born at Blotrendorfncar llada Ho decorated many of his glasses by staining them usth amber or ruby colours (Silber lisar and Lupferrxbulasur, also tormed Kxpo ferrube-size) The flashing which s as applied with a brush, served as a subsitute for the more complicated overlay glass Norcover, Egermann is the inventor of the famous Letbju lin, a glass which aimed at imitating precious stones and was produced in shades of dark red broun, grey green, dark green to bluish green, also veined or marked References Gunay E. Paziurek, Gliser der Empurre sul Bedemarral Leipzig 1923 Jarm la Brotori, Vor burdert Jahres starb der brriomis dsomu sebe Climaber Frumud Iger.no fo: Turburbulovskud Glast stw 1964:7 P 101-104 Prague 1964 Eirp, WILIELIV On Stone and glass cutter, born 1890 at Goppingen in Su abia, died 1943 From 1922 professor at the Kunstgewerbeschule (art school) Stuttgart His training took him to Pacis (Lalique). Vienna (Stephan Rach) and northern Bohemia (Lobmeyt) He may be regarded as the greatest glass engraver of the twentieth century Wilhelm von Eiff was the first to make use of the flexible drive for glass cutting (rig 198] Reference Gustav I Paziurek, Konstglaser der Gegensant Le png 1913 ENGLISH GLASS Mainly characteristic of it is the leadcrystal glass which was invented in England in the second half of the seventcenth century, and which was exported during the cighteenth century (scc also flint glass, lead glass, Ravenscroft) Gencral history the carliest glass houses « crc founded by the Normans in the south of Eng land in the thirteenth century, but there were few of them throughout the Middle Ages Glass in the Venetian manner was produced in the late sixteenth and scventeenth centuries Glass making reached its height in England in the period from the end of the seventeenth century to the end of the eightcenth, when lead-crystal glass was being produced on a large scale English glass of this period had a strong influence on the Continental product, particularly evident in the cutting of that time English cut glass was at its zenith at the end of the cigtcenth century, and became the inspiration of Bohemian and German manufacturers A shortage of wood compelled English glass makers to employ coal as fuel as early as the beginning of the seven tecath century English glasses of the cighteenth century are renowned for the excellence of their metal, the shapes 301 ENAMELLED DECORATION Powdered glass coloured with metal oxides is applied to the surface of glass vessels by means of an oily medium, and then fired at a temperature of ·are perhaps not so elegant as theic Bohemian and German counterparts but rather more stout and practical, the decor. ation by engraving is also less refined Important present day glass manufacturers are James A Joblin & Co, Ltd Sunderland, James Powell and Sons Ltd, Wealdstone, Stuart and Sons, Wordsley, Stousbridge, the most important designers of art glass making te Mrs Phyllis Boissier, London (diamond engraving), Sheila Elm. hirst, Ipswich (diamond engraving), John Hutton, London (engraving), Juniper Workshop and Edinburgh College of Art, Glass Design Department, Royal College of Art, Lon. don, Laurence Whistler, (diamond engraving) (Figs 136, 137, 140, 145, 152, 153,751,156,158,159 167, 191, 192, 223] cveryday scenes, Christian and ]cu ish symbolism etc The most famous specimen which has come down to us is a dish which was found at the church of St Ursula in Cologne and is know kept in the collection of the British Muscum It was certainly made in a Cologne workshop of the fourth ccatury Mutatis mutandis the same technique was adopted for the cighteenth century Bohemian Zn sscbengoldgliser and for the Mildner glasses of about 1800 References Fritz Fremersdorf Evo buker terksextus romisches Gold4 mil cónustlicher Bxrders ont i dur Romus dve Atalrus der Fall Rurart Afacent Ksla sa Wallraf Richartz Jahrbuch, N Vol I 1910 p 111-104 Fir FICHTELGEBIRGE GLASSES (FICHTEL.GEBIRGE mountains, Middle Germany) Large beaker like vessels with enamel decoration which usually depicts the Ochsen kopf the second highest peak of the mountain range The earliest known specimen is dated 1656, the latest stems from the middle of the eighteenth century They were made in the glasshouses of Bischofsgrün The characteristic repro sentation of the Ochsenkopf shows a steep, tree covered hull, and on thus the rebus of the mountain, an ox's head the whole surrounded by a chain with padlock Forest animals and the rivers Main, Naab Saalc and Eger, which have their sources in those hills are also shown (Fig 1311 Reference Thilde Ostertag Das Fiebtelgebirg.glas Baträge zur frdakucber Kunstgesebicbte Erlangen 1933 FRANKISII GLASS (Alcrovingian glasses) comprises glass of the period from the sth century up to about the year 700 AD, when the custom of burying vessels with the deccased was discontinued The glasscs arc confined to drinking vessels, bottles and cucts arc almost unknown The glasses are mostly characterized by the absence of foot or any practical base Conical cups or bell cups are the most common fornis The tims were smoothed in the firc The glasses arc almost suithour crception of impurc grccoish or sellowish green metal The decoration consists solely of trailed threads or moulded ribs, cutting or engraving do not occur (Tigs 46, 49) Reference Giss*** Scbmxet der Romerodd Froskus Altertumsmuscum der Stadt Mainz, Exhibition catalogue Mainz 1960. FINNISH GLASS The earliest known glasshouse was founded in 1793 and produced household glass from that date The first artistic glass production dates from 1940 The main glasshouses are Karhula Iittala the Notsjo and the Helsinki glassworks Tapio Wirkhala (born 1914), Timo Sarpaneva (born 1926) Kaj Franck (born 1911), and Saara Hopea (born 1925) are the most notable designers Finnish glass making 18 not principally concerned with the production of decorative pieces alone, but with functional glass which embodies the highest artistic expression Its designs reflect Scandinavian character (Figs 217-219) FLINTGLASS Term used for lead glass since Ravenscroft, because calcined powdered English flint was used as silica supply [Figs 165-168] FRENCII GLASS A thriving industry was alrcady establishcd in Gallo Roman times as well as during the Frankish or Merovingian period Tradition has it that the Italian glasshouse of Altarc (qv) was founded by Norman glassmakers During the Middle Ages numerous glasshouses produced the so called zerre de forgere, which is similar to the German Waldglas In the sixteenth and sevcatccnth centuries there 15 a notable influence from Venetian glass, becausc craftsmen from Murano and Altare ucre employed in many French glasshouses Nevers adopts the technique of lamp blown glass from Venice in the seventeenth and eighteenth centuries in the seventeenth century France excels in the production of murars Until the ninetcenth century, however, French glass mahing is of less importance than Bohemian and German Both the adoption of English leadcrystal glass and the development of a scfined cutting tech nique brings about a blossoming in the beginning of the nineteenth century French glassmakers of the Art Nouveau period, most notably E Galle (qv) and Daum frères (qv) influenced Bohemian and Austrian glass to a large extent The most important glass manufacturers of to day are Cristalleries de Baccarat, Baccarat and Paris, founded 1765, Cristalleries Royales de Champagne, Bayel and Paris, founded 1666, Cristalleries de Saint Louis, Paris, founded 1767, Cristalleries et Vecrecies Reunies de Choisy le-Ros, founded 1821, Daum et Cie, Nancy, founded 1880, René Lalique et Cie, Paris, established 1909 and Les Gemmaux de France, Paris, founded 1953 (Figs 368 180-182 189, 1901 Reference James Bacrelet La Verrerie e France Paris 1953 FLUTE Very tall, slender wine or cider glass (similar to the modern continental champagne glasses but even slimmer) belong to the most typical Dutch glasses ranging from the sixteenth to the eighteenth century [Fig 77] FONDI D ORO Shallow, ancient vessels, their bases were ornamented with a medallion of engraved gold leaf which was covered by a layer of clear glass They were made from the first until the fourth century AD, originally in Alex andria and later in Rome but from the third century onward also in Cologne where the technique reached its climax Thematically they cover all aspects of life, eg portraits, 302 ·Celuc women The Celts used glass for making articles for personal adornment only Reference Thea Elisabeth Hacverick Anak Glasarmringe und sbre Hor stellung it Glastechnische Berichte Frankfurt a M 25 7 July 1952 P 213-115 FRIT According to Thcophilus (Book 2, Chapters IV-V) this term refers to the pre heating of the glass ingredients until they become red hot, but do not melt or fuse, ("take it with an iron shovci and shalc it onto the upper plate of the smaller compartment of the furnace, so that it becomes rcd hot When it begins to get hot, turn it ov er immediately so that it does not becomc fluid or fuse in the heat") Ch V take upon a shovelthcfrit and fill all the crucibles with it" This process eliminates moisture from the material and reduces the development of gas in the melting process, and thus a glass with fewer impurities is achieved In ius annot. ations to Neri's first book Kunckel says 'that which you call a mixture is here ternicd frit" The same process is termed by Kunchel calcination, that is to desiccate the ingredients (pre-heating) GALLÉ, ESTILL, 1864-1904 An outstanding I rench glass artist of the Art Nouveau period Gencrally speaking, most of his glasses are cut-overlay vessels modelled on Far Eastern examples He favours muted shades in his cxotic colour schemcs, and mainly plant mouifs enhancing the basic shape of the vessel (Figs 180, 181] GLASS HARNOVICA The cathiest mention of a glass instrument, sounded by stroking the aims of glass vessels with the wetted finger tips, occurs in thc inventory of the Ambraser Collection, 1596 In 1762 the American physicist and statesman, Benjamin Franklin, developed the instrument still further His instrument he called a 'glass harmonica', which had rotating glasses controlled by a foot treadle Many concerts were warmly applauded throughout Europe The glass harmonica became the fashionable instrument of the Wertberqeu Apresent day glass instrument is the Glass Harp" developed by Bruno Hoffmann in Stuttgart Glass Mosaic Brightly coloured glass picccs are pressed into cement or a similar substance so as to form pictures or patterns Descended from the stone or pottery mosaic, (mosaic with both glass and pottery used together existed from the first century AD) Mosaic purely from glass dates from the third century AD, and became the characteristic decoration for Christian Churches The art spread from Byzantium to Venice, other parts of Italy, and Russia The art was at its height at the time of the Early Christian and Byzantinc mosaics, such as may be seen at S Vitale in Ravenna A revival of the art occurred in Germany at the end of the nineteenth century GILDING Gold-leaf is applied to the vessel, and scaled with a layer of clear glass Gilt beads were incorporated into necklaces in Egypt at the time of the cighteenth Dynasty, BC The gold mortied glasses produced at the time of the Roman Empirc arc worthy of note, gold-lcaf was applied to the hot glass bubble, and during further blowing would break up and form golden speckles, gold dust was also sprinkled on the glass vessels while they were still hot [Figs 3.36,68] GLASS PAINTING Parating on the inner surface of a glass panel or bottle (China, eighteenth to nineteenth centuries), also used in the Bohemian Za uscbengoldglaser The paint is not translucent and never fired A special effect is obtained by applying gold or silver leaf, which is sometimes also engraved, behind the decorated surface [Fig 160] Reference Otto Freytag Hinterglasmalere Ravensburg without date, Josef Vydra Dis Hinterglasmalere Prague 1997 GLASS the etymology of the term There were various words for glass in the Greek language byalos = a coloured, but transparent glass, krystallos -- glass transparent as water, lrbos coste= 'moltcn stone"=coloured glass Latin byalus, krystallus, murra, and, from the middle of the first century BC (Cicero) vitrum The origin of the word 1 trum remains unexplained, it may be that there is an analogy with lifrumoa blue colouring material, from identification with the blue Egyptian vessels From this word the French terre the Italian retro and the Spanish rietro arc derived In the Germanic languages the word for amber, glesuni, was adopted for the new substance GLASS BANGLES Bangles made of glass were known as objects of personal adornment in the Early Iron Age, the La Tène period, and in the time of the Roman Emperors They were produced in two ways I by bending a glass rod of varying patterns into a bangle shape, (examples of this type have been found in graves of the Roman period), 2 by piercing a mass of hot glass and whirling it round an rron rod This latter method is described by Thcophilus in Vol I Book 2, Ch 31 Bangles, some with an underlay of coloured glass, have been found in the graves of wealthy GLYPTOGRAPHY (GEM CARVING) Gem carving may be divided into two types 1 deeply incised cutting 2 cameorelief carving Precious stones were originally used as seals, the earliest examples dating from the ancient Mesopotamian civilisations Glyptic work is seen at its best in Mycenaean, Greck, Etruscan and Roman art One of the niost famous ancient cameos is the 'Apotheosis of Augustus" in the Kunsthistorisches Museum in Vienna The gems used were principally amethyst, zircon, agate (qv)and carnelian The camcos are usually cut from semi precious stones which have several layers of contrasting colours, such as onyx, chalcedony and sardonyx The stones were cut on the lapidary s wheel Since the timc of the carly Roman Emperors, glass had also been subjected to this technique, first of all in the city of Alexandria The most famous example of this act is the Portland Vase in the British Museum, which is of blue glass cased with white, then cut, resem bling the ancient onyx cameos 303 ·Cameo carved glass was not produced after the first century AD It occurs later, but was treated differently in China (snuff bottles), in Bohemia (Hocbsebnitt goblets) and in the Art Nouveau period, (cut cased glass especially by Emile Galle) [Figs 149 180 181) HALLORENCLAS Large cylindrical or slightly conical drinking vessels usually with Saxon enamel painting, made for the 'Halloren", members of the Salters Company in Hallc, for the annual Whitsuntide beer drinking ceremony Halloren glasses dating from the seventeenth to the midcighteenth century have come down to us The painted decoration, exccuted in vigorous simplicity, shows in four zoncs a panorama of the town of Hallc, the Talamtshaus, the procession of the Halloren, and the arms of the guild supported by two saltworkers (Fig 132) GONDELACH, FRANZ A glass engraver from Hesse, born in 1663 at Almecode near Cassel He held the post of Hof glasschneider (glass engraver by appointment to the court of the Landgrave Carl of Hesse Cassel) in Cassel until the first quarter of the eighteenth century Some of his work was executed on Potsdam glass and is similar to the engraving done by Spiller (qv) A few of his pieces were marked by an eight rayed star Reference Gustav E Pazavrek, F Gondelab Berlin 1927 GRAALGLAS Trade name for coloured mosaic like glasses produced by the Orrefors Glasbruk AB in Sweden invented by Simon Gate and Edvard Hald GRAL GLAS Products of the Gralglashutte Durnau near Goppingen in Germany established 1930 Chief designers are Ch Baumann Konrad Habermeister and Josef Stadler (Fig 2371 GRAPE CLUSTER BOTTLE. A small bottle like vessel with wide foot and two handles blown into a mould to form the shape of a grape cluster In use in the second and third centuries A D in Italy Gaul and the Rhineland (Fig 15) HEAD SHAPED VESSELS These are the development of mould blown glasses taking the form of a Medusa head Thcy bcar strong resemblance to Grock pattery of natura listic design It is thought that such glasscs werc produced in various parts of the Roman Empire, most probably in Sidonian Alexandrian and Rhenish glasshouses They reached the height of their popularity in the third century AD a favourite type being the portrait caricature The Emperor Tacitus, who is said to have blown glass himself owned a collection of glass curiosities Nero's court fool a crippled shoemaker, was the inspiration for the design of one of them (Figs 17-19) HEDWIG BEAKER cleventh century Egyptian glass cut in high relief The name derives from St Hedwiga, the patron saint of Silesia Twelve specimens of this glass are known The relief cut decoration consists of stylised lions, griffons or formal palm leaf pattern (Fig 57] Hesse In the late Middle Ages this Land was one of the most important glass producers As early as 1406, forty glass makers in the Spessart Mountains and surrounding forest districts had formed themselves into a strict guild The Spessart guild controlled working hours and les el of production After 1525 the centre of this guild was trans ferred to the forest region of Kaufungen, to the village of Almerode In the seventeenth century enamel painting was being executed throughout Hesse Typical of the style in this area are the yellowish green metal and the gold leaf borders with engraved scale pattern and white enamel dots In the eighteenth century a goblet peculiar to Hesse was es olved with a high bell shaped foot and an air bubble at the bottom of the bowl The most important glass engravers were Franz Gondelach and Franz Trumper References Margarete Killing De Glasmacberkunst sa Hessen on Betrag gut Gewerbe xad Kunstgescbicbte der deutscben Rena ssance Macburg 1927 GREENWOOD FRANS 1680-1762 A Dutch glass engraver of English descent Together with David Wolff (qv) he was the most outscanding exponent of stepple engraying A large number of glasses decorated by his hand were signed 'The earliest glass which bears hus signature was made in the year 1720 So far only one glass line engraved by him is known all the others were stippled His designs comprise gente pictures and mythological scenes and to a lesser extent, still lifes and calligraphy (Fig 138] Reference Francis Buckley Frans Greenpood. London 1930 HALL IN THE TYROL Glasshouse founded by the Augs burg glassmaker Vitl under the patronage of the Archduke Ferdinand in 1534 During the first decades of its existence, fine glasses in an adapted Venetian style were produced with the assistance of Italian glassmakers, but not without difficulties for the necessary soda had to be imported The glasshouse was still flourishing in the seventeenth century but without any important production The majority of the surviving glasses are now in the Hofmuseum in Vienna whence they were taken from the Ambras Castle in the Tyrol Typical Hall glasses are covered goblets and evers in the Venetian fashion They are characteristically diamond engraved and they are also decorated with cold painting in red and green colours (Fig 87 89] Reference Ench Egg D & Glasbulles in Hall and Innsbruck im 16 Jahr bandert Tiroler Wirts baftsstudies is Folge Innsbruck 1962 304 HOCHSCHNITT A manner of cutting glass so that the design of the decoration remains in telef, while the remain ing parts are groundaway with the wheel (cf Glyptography) The Alexandrian and Roman glass reliefs (such as on the Portland Vase), the Hedwig glasses the Silesian goblets of about 1700 the Chinese snuff bottles of the eighteenth century and the Galle vases were ornamented in this way Modern glass manufacture, particularly Bohemian has fruitfully exploited this technique again [Figs 57. 149, 176-178,180 181] ·HOFFMAN, JOSEF, 1870-1995 Viennese architect and handicraft expert, one of the most prominent initiators of the Vienna Secession 1897, the Vienna Crafts Centre (Wiener Werkstatle) 1903, and the Austrian Werkbund (Arts and Crafts Society) 1912 Well known for his glass designs, especially the so termed broncit-glass (qv) (Fig 187] IRIDESCENCE Ashimmer on the surface of the glass which may have its origins a) from prolonged burial in the soil or weathering, in this case the surface is scaly and the light broken up prismatically, producing an attractive rainbow cffect in some ancient glass b) from the application of a metallic lustre, c) and most recently from the use of chemical substances HorKELLEREIGLÄSER Drinking glasses of the royal resi dences in Saxony, with armorial bearings and usually the initials and titles of the ruler in enamel pigment, from the royal cellars of Dresden, Moritzburg, Konigstein, Lossnitz, Torgau, Pretzsch, Magdeburg, Halle, Merseburg, Weissen fels, Naumburg, Querfurth, Christiansburg, Altenburg, Gotha Mostly decorated in Sarony Considerable numbers of these glasses have come down to us References harl Berling Due sächsiscben Hofkellereglaser, in Festschrift zum funfundsebzerabrigen Jubilium des Konighed Sacbscben Altertur serrans Dies den 1900 Beiheft zum Neves Arcb fur sachsische Gescbcbie wnd Alterfums kunde Vol XXI. IRISK GLASS Glass was produced for the first time in Ireland in 1585 Irish glass was at its best from the end of the eighteenth to the middle of the nineteenth century The most important manufacturers are Waterford, founded in 1783, Corh, also founded in 1783, and Belfast, founded 1776 These glasshouses fashioned excellent lead crystal into heavy, solid shapes with cestrained cut decoration Typical motifs are the fine diamond patterned arches or half moon shapes, and the shallow or deep cut stars Waterford Glass Ltd, Waterford, still produces glass in the traditional style (Fig 169] References E M. Elville The Collector D chonary of Glass London 1961 WA Thorpe A bistory of English and Irub Glars London 1929 HUMPEN Cylindrical drinking vessels of the sixteenth, seventeenth and eighteenth centuries, usually decorated with enamel and less often with cut or engraved deco ration Their frequently enormous size can be traced to the custom of passing a drinking glass round a group of people [Figs 117.125-132] JADE The name given to three semi precious stones Nephrite, Jadeite, and Chloromelanite, the first two are usually green, sometimes grey or brownish often mottled and have a waxy appearance, the last is dark green to black 10 colour The word jade is derived front the Spanish predra de ijada, (predra = stone rada pain in the side) and this stone was said to relieve kidney trouble Jade 13 a material much favoured by artists particularly in China where it was also imitated in glass - side HUNGARIAN GLASS Glasshouses founded in the fourteenth century, strongly influenced in the sixteenth century by Venetian, and in the seventeenth and eighteenth centuries by German and Bohemian glass Worthy of note is the peasant like art of the more ancient Hungarian glass pro ductions Jugs and bottles are the most common vessels In the eighteenth century the faience made in Habane no doubt had its influence on the style of decoration executed on Hungarian glass Reference Béla Borsos Die Glaskunst om alten Ungars Budapest 1963 KANTHAROS Shallow drinking vessels with foot and two handles used in Ancient Greece from the sixth century BC Often shown in pictorial representations of Bacchus [Fig 30] KEULENGLAS Club shaped glass of a rather impure light green or yellowish green metal with several indented hori zontal trails about 1500 A D [Fig 94] HYALITH GLASS A black, more rarely red opaque glass invented in Bohemia in the first quarter of the nineteenth century In 1820 an eight year monopoly for its production was granted to the glasshouse of Count Buquoy The pur pose behind this glass was to imitate the extraordinarily popular Wedgwood ware Patterns in the spirit of Wedg wood designs were painted in gold and silver on the glass KOPPING GLASSES Lamp blown glasses executed after designs by the Berlin painter and etcher Karl Kopping 1848-1914 [Fig 185) ICE GLASS An invention of the sixteenth century, the hot glass is dipped for a moment in water and then re heated The crackles caused by the sudden change of temperature are thus fused together again Ice glass with a rough surface is also made by rolling a gathered lump of soft hot glass over tiny glass splinters The surface of ice glass can also be treated with hydrofluoricaad if covered with a resinous substance which crackles when dried, the acid affects only the crevices and the covered areas retain their smooth sucface KOTHGASSER ANTON, 1769-1851 Viennese porcelain and glass decorator He was introduced to glass painting by Gottlob Mohn Most glasses by Kothgasser havea heavycut foot and a concave wall Views of towns and lands capes within an area of yellow stained glass surrounded by a goldleaf border are painted in translucent enamels (Fig 164] References Gustav E Pazaurek Glaser der Empire- und Biedermacrtat Leipzig 1923 Hermann Trenkwald Gläser der Spatze 1 (um 1790-1850) Vienna 1923 KRATER Ancient vase with wide mouth and small handles, of various types, eg Corinthian Bell, Calyx 305 ·KRAUTSTRUNK (CABBAGE STEM) GLASSES Cup like glas ses of the fifteenth and sixteenth centuries with large flat based tapering applied prunts They are referred to in con temporary literature Mathesius has in mind the glasses with large upward drawn blobs when he uses this term (Fig 103] Reference Franz Rademacher Die deutscben Glaser der Mittelalters Berlin 1963 with a wide mouth, which has East Gallo Roman orgins, the many tubed version with a bottic mouth, first made in Syria, and, also Syrian, the type with onc tube which was still in use in Persia during the seventeenth and eighteenth centuries These peculiar forms, particulasly those with bent necks consisting of scveral entwined tubes, were very popular in the Middle Ages, and are often depicted in the art of the period (Figs 112-113) References Franz Rademacher, Der Kuttroll an gatike Glasform and ibra Fortbildung im Mittelalter nd us der Renaissance in Latschrift fur Bildende Kunst, 62 1918-1919 Leipzig 1929 P 37-43 KRONGLAS Trade term for the best quality grade of Bohe mian crystal glass KYLIX Ancient drinking vessel consisting of two handled, shallow bowl on tall foot KUNCKEL, GEORG ERNST Thuringian glass engraver, born in Ostheim on the Rhon and employed from 1721 at the court of Gotha Died in 1750 in Eisenach Hus signature is found on three of his works, of which two are in the Coburg collection A further thirteen of his products are dated Annegrete Janda Bux has ascribed approximately seventy glasses dating from the years 1721 to 1748, to this artist These examples have found their way to various parts of the world Kunckel probably studied the act of engraving in Nuremberg learning from the work of Friedrich Killin ger and H W Schmidt Later he worked for a time on Nuremberg glasses Characteristic of his work are leafy festoons strewn with tiny polished cut bercies pearl gar lands flower head chains and trellised lambrequins with pearl tassels Reference Annegrete Janda Bux Der Thuringer Glassebault 19 17 and 18 Jahrbundert Leipzig thes 8 1962 LACE GLASS, Vetto e reticelle was produced in Venice at the end of the sixteenth century White threads in a criss cross pattern, each square" enclosing a tiny air bubble, arc sealed within the doublc wall of the vessel This glass was made by arranging white glass rods, cquidistant one from the other on the hot glass bubblc the rods are then pinched together at top and bottom and the glass bubble twisted so that they form a spiral round it By sucking air out of the bubble, the craftsman collapses one half of it into the other, thus producing a double walled vessel with the rods or threads lying criss cross Another method was to fuse together two bubbles which hase spiral threads in opposite directions (Figs 77.78) LAGONA a Roman water jug a single handle KUNCKEL JOHANN Chemist and glass technologist, stems from an old family of glass makers in Hesse The family name is already knoun in connection with the Spessart Ligue in 1406 Johann Kunckel was born in about 1630 at Rendsburg where his father worked as a mastercraftsman From 1679 till 1693 he was in charge of the Potsdam glass house and there he produced among other things the famous ruby glass with gold chloride the so called Kunckel glass In 1679 he published his book Ars Vitraria Experi mentalis or Vollkommene Glasmacberkunst (Complete art of glass making) It appeared in five successive editions and is regarded as the first fundamental work on the subject of glass technology in modern times In 1693 Kunckel went to Sweden, where a knighthood was conferred on him As Johann Kunckel von Lowenstein he died on his estate in the Electorate of Brandenburg in 1703 [Figs 142] Reference Robert Schmidt Brandenburgucbe Glaser Berlin 1914 LAMP BLOWN GLASS articles which were not made in the factory at the furnace, but by a cottage industry using glass tubes softened into shape in a flame, at one time oil lamps and bellows were used This technique was probably dis covered soon after glass blowing itself, and was used at first for the manufacture of glass beads In Venice, small figures and other objects were also made in the seventeenth century The technique spread to France (Nevers) and Hol land (Amsterdam) At the end of the eightcenth century it was taken up in Bohemia and Thuringia Lauscha is still the centre of an extensive cottage industry in the Thuringian Forest, especially for the production of beads, toys and Christmas tree decorations Since the turn of the century efforts have been made to adapt this technique to the manu facture of glass vessels, the delicacy of the methods was ideally suited for the purposes of the Art Nouveau move ment After 1920 W Wersin succeeded in making small vases of coloured glass rods Arround 1930 fresh efforts were made by Wilhelm Wagenfeld to extend the Thuringian glass industry At the present time, besides the glass makers Albin Schaedel Volkmar Precht and Edmund Muller, the designers Ilse Decho, Ilse Scharge Nebel and Professor Horst Michel are engaged in the production of lamp blown glass [Figs 238, 240, 241) References Johann Kunckel, Ars uztraria experimentals 3 d Nuremberg 1744 P 398 Von klasea Glass Blasen so mu der Lampen gescbicbt Gustav KUTTROLF OR ANGSTER The German term Kuttrolf 15 derived from the latın gusta =drop, and Angster from the Latin angustus = narrow A description of the vessels will show why such names were chosen The common charac teristic of these vessels of vatying shapes is the pinching of the neck to form a number of narrow tubes through which liquid will pour slowly or emerge in drops In the Middle Ages the terms embraced vessels of many shapes but later three types were distinguished the many tubed Kuttrolf 306 ·E Pazaurek Konstgläser der Gegenwart Le pzig 1925 P 232 240 Vor der Lampe geblasene Glasarbeten Albin Schaedel Lampengeblasene Glaser Muscum des Kunsthandwerks Leipzig Ausstellungskatalog Leipzig 1962 decoration depicts the ages of man Whole figures represent ing each age group are posed on a flight of steps (Fig 165] LEHMANN, CASPAR German gem cutter, employed at the Court of Prague under the Emperor Rudolf II In 1609 he obtained an Imperial privilege for engraving glass He is regarded as the first master of the art of glass engraving in modern history (Fig 146] LEKYTHOS ancient Greek vase or jug with a cylindrical or round squat body, and narrow neck originally used for oil Used mainly as a funeral offering since the fifth century BC LITHYALIN reddish brown marbled glass (with the appear ance of sealing wax) invented in 1829 by Egermann (qv) of Blottendorf in Southern Bohemia LATTIMO, LATTICINO, LATTICINIO the Italian term for white glass, sometimes referred to as milk glass or Milchglas Used since the fifteenth century in the manufacture of Venetian glass of various patterns, such as the vetro di trina or retro a reticells, and the terms are sometimes loosely applied to refer to vessels which have such insertions of white glass Canes covered with a layer of colourless glass and canes of completely colourless glass are arranged according to the desired effect against the sides or in the middle of a cylindrical mould, and the remaining space is filled with molten colourless glass After being taken to the fire to ensure complete fusion, the lump of glass is drawn out and twisted into a long thin cod, containing fine threads of coloured glass It is then cut into canes of the desired length which in their turn are used, in a similar process, to produce the final vessel They are arranged around a stoneware mould, colourless glass is blown into it, then removed, the canes adhering to it, the outer surface of the bubble is then also covered with clear molten glass The whole is heated and thus fused, and the resulting patterned glass is used to make a vessel In the seventeenth and eighteenth centuries pure white glass was used as a substitute for Chinese porcelain and decorated with Chinoiserie enamel painting In the nineteenth century Bohemia produced many Milchglas vessels with red or blue overlay The opacity of white glass is obtained by the use of tin oxide arsenic or calcined bones (Figs 69, 76 78] LAUENSTEIN glasshouse at Osterwald near Hamelin in Westphalia founded in 1701 An English glassmaker intro duced at an early date coal for firing the furnaces The glass produced at Lauenstein is considered to possess the mate rial quality of English lead glass and its features resemble English contemporary glass Typical products are goblets with bell shaped folded feet, drawn stems facet cut knops, and the bowls are frequently facetted at the base, there is almost always an air bubble in the bottom of the bowl En graved decorations are not elaborate References Christian Scherer Zur Frage der sogenannten Lauensteiner Glaser 10 Cicerone Leipzig V 1913 P 403 ff Christel Mosel, Duc Glassammlung Katalog des Kestner Museums Hannover 1957 LAUSCHA Village near Neuhaus in Thuringia (Germany), a well known centre of glass blowing in the Thuringian Mountains A glass house is known to have existed there in 1995 [Fig 144] References Rudi Hoffmann Dar Murerm fxr Glaskunst Lauscha Steinach 1954 Barbara Puschel. Die tburingische Glasblasera Weimar 1936 LOBMEYR well known Viennese glass manufacturer, esta blished in 1823 The successive managers of the firm Josef Lobmeyr (1823-1855) Josef Lobmeyr Jun (1855 to 1864) and Ludwig Lobmeyr (1864-1902) are important in having perpetuated the tradition of glass engraving of northern Bohemia in their glasshouses at Steinschontu and Haida After 1902 came are orientation towards the modern Viennese style under the artistic direction of Stefan Rath After 1910 Josef Hoffmann (qv) was one of the co direc tors The firm of Lobmeye is still one of the leading manu facturers in the field of glass making (Fig 226] References Robert Schmidt 100 Jabre arterrecbiseber Glaskunst Vienna 1923 Stefan Raib Lobmeyr Vienna 1962 LYCURGUS BEAKER GLASS dark green glass with five figures in high relief cut out of the solid wall of the vessel representing the punishment of Lycurgus by Bacchus Probably Alexandrian workmanship of the fourth century In the British Museum Rothschild Collection References Eberhard Schenk zu Schweinsberg Der Becber des Lykurg Bemerkungen zu der Arbert von E Coche de la Porte in Glastecbaisebe Berichte Frankfurt a M 37 1958 P 470-472 Journal of Glass Studier The Corning museum of glass vol 2 1960 Corning New York, Ill 9 P 138 MAIGELEIN German drinking glass of the fifteenth and sixteenth centuries usually in the form of a beaker or tallish bowl mould blown, ribbed or fluted and with a high kicked base, although this term has been extended to include bowls of somewhat different shape (Figs 98 99] References Franz Rademacher Die deutseben Gläser der M telalters Berlin 1963 MATHESIUS JOHANNES 1504-1965 parson of Joachims thal, (now in Czechoslovakia) published the Sarepla oder Berg Poshill, darin zon allerler Bergnerk und Metallen Bericht gegeben wird The fifteen sermons deal with glass making and are the source of much important information about medieval glass LEAD GLASS English invention, second half of the seven teenth century, sce RAVENSCROFT LEBENS ALTERGLAS Drinking glasses produced mainly in the first half of the nineteenth century in Germany The MAUDER, BRUNO Glass artist born in Munich in 1877, died in Zwiesel, 1948, studied at the Kunstgewerbeschule, 307

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·ONYX GLASS dark glass with a multicoloured, predomin antly white streaking, produced by mixing various molten glasses together NERI, ANTONIO died 1614, a Florentine priest and chemist who published in 1612 his Arte Vetraria, seven books on glass making Neri himself worked in glass houses in Florence, Pisa and in Flanders, so we see that his knowledge Is based on experiment and experience Ch Merret (qv) and J Kunchel (qv) wrote commentaries on the "Arte Vetraria" OPAL GLASS this term is sometimes used to embrace various kinds of whitish metals Opaque white glass has for a long time been produced, either for making the entire vessel (at one point in imitation of porcelain) or as a deco rative insertion, as in the Venetian lattıcıno glass Semiopaque or opalescent white glass has also been produced by using the ashes of calcined bones Tinges of other colours were introduced (Antonio Neri mentions opal glass as a peach coloured glass) and the glass may glow blue, green or pink Thenineteenth century referred to this as "opaline White glass is known as Milcbglas in German for obvious reasons Milcb = milk (cf the Italian latticino) (Fig 83] NUPPENGLAS German glasses decorated with applied drops or prunts, in these turn subdivided into Napfe, Stangenglaser or Krautstrunk The Nuppen are produced by dabbing the vessel with a molten glass cod The point of the resulting blob may be drawn upwards or downwards as required Glasses may be dated according to the size and type of drops, the general shape of the glass being taken into consideration also The drops developed from the sharp little snail like Sterncben of the mid 1400's to sharp thorny appendages at the end of the fifteenth century, then became larger and flatter during the sixteenth Fornis related to the Nuppenbecher are to be seen in the Russelbecbernor Claw beakers of the fifth and sixth century with their hollow trunk like attachments, and in the Daumenbumpen (Thumb glasses) of the sixteenth and seventeenth century, where they are inverted These techniques are again being used by modern glass artists [Figs 99, 102-105, 107) OPAQUE GLASS glass of any colour which is not trans parent, although it usually has a translucent effect PASSGLAS (German), PASGLAS (Dutch) tall cylindrical drinking glasses in use in the seventeenth and eighteenth centuries in Germany and the Netherlands They are decorated at even distances with thin pincered horizontal trails At gatherings the glass was passed from mouth to mouth, and each man had to drink from one ting to the next in one draught [Fig 120] its PELLATT, APSLEY born 1791, died 1863 His father had founded the Falcon Glasshouse in Southwark Apsley Pellatt, Jun, is best known for his perfection of the crystallo ceramic (qv) technique, the inclusion of medal lions in glass This denianded a flawless glass which was supplied by his firm Inuitations by rivals are of poorer quality NUREMBERG GLASS ENGRAVING main period dates from 1622, the year when Georg Schwanhardt (qv) returned to Nuremberg from Prague, to the end of the seventeenth century Nuremberg engraving is shallow, as a result of the thin-walled glass, unpolished and polished areas and diamond engraving (qv) are at times effectively combined The Nuremberg goblets have a flat foot, a shaft with hollow ball knops, or hollow balusters and discs and an oviform bowl The most talented engravers were Gcorg Schwanhardt the Elder Heinrich Schwanhardt (qv), Her mann Schwinget (qv), Hans Wolfgang Schnndt (qv), Paulus Eder, Georg Friedrich Killinger and Christoph Dorsch Around the year 1700, Nuremberg glass engraving was largely ousted by that of Bohemia and Silesia, which gained through the discovery of a better quality vehicle for it, Bohemian potash lime glass References Ench Meyer Heisig Der Nurnberger Glasschnitt des 17 Jabr banderos Nurnberg 1963 PERSIAN GLASS important during several epochs in the history of glass making, a) in the Sassantan period, z26 to 642, b) in the Islamic period, especially in the thirteenth and fourteenth centuries, when it shows to a certain extent Chinese influence in the style of enamel painting. c) from the seventeenth to the nineteenth century, mass production of decorative bottles and jugs with Shiraz as its centre [Figs 58,64 172, 173] References Carl Johan Lamm Mittelalterliche Gläser eed Steascbmttarbetex aus dem Nahen Osten Berlin 1929/30 OBSIDIAN apart from cock crystal the only natural glass, normally shiny black or green, of volcanic origin, used by man for weapons, bowls and ornaments since the early Stone Age Hence man made black glass is often termed obsidian glass OENOCHOE ancient one handled ewer, often with trefoil mouths, certainly used for wine Pokal German word for goblet (from the Italian boccale= ewer) The early Venetian glass goblets of the fifteenth century indicate that they were modelled on gilt vessels The goblet is a typical vessel of the European baroque period [Figs 69, 147-IS1,154) POLISHING OF ENGRAVED GLASS SURFACES (Blarkschruti) Joachim van Sandrart in his Academie der Bau, Bild und Mablereykunste ascribes the invention of BLANKSCHNITT TO the Nuremberg glass engraver Georg Schwanhardt (qv) The matt surfaces of the ground part of the intaglo engrav- 309 Omov Syrian vessel for the sprinkling of rose water and other sweet smelling essences The form developed from the pilgrim bottle (Fig 64] ·ing are polished by wheels edged with cork, leather, lead, pewter or brushes All the deeper parts of the cutting, which are usually of an even, greyish tinge and are not transparent, are heightened by this process and form á sculptural effect The play of light, caught and softly reflected by the rounded, polished contours of the engraved surface, deepens its relief considerably The Nuremberg school of glass engravers applied this method of polishing to the thin potash glasses at their disposal, and achieved a finesse which has never been surpassed The human body, in particular, is depicted with richness and luminosity Thus before the advent of the heavier and more brilliant Bohemian glass the aim of the Baroque to express movement, light and space was realised in glass engraving (Fig 147] Today potash obtained from molasses charcoal (found in the residues from the process of producing sugаc from beet, and also produced synthetically) is used in the manufacture of good quality glass Since the chemical composition of beechwood is liable to changes according to the locality (trace elements), a chemical analysis of old glass vessels can assist research into their place of origin The results are, however, not always con clusive, since cullet (broken or refuse glass) is often used for the production of glass References Wilhelm Geilmann, Butrage zur Kenntnis alter Glaser 11 Die chemische Zusammensetzung eimger alter Glaser sasbesondere deutscher Glaser des 10 bis 18 Jabrbunderts, in Glasterbnesche Berubie Frankfurt/M, 28 1955 146-156 PONTIL OR PUNTY the iron rod to which the glass vessels are transferred before their remos al from the blowing iron for further working, such as the smoothing of the mouth, the forming of the neck in the case of bottles etc A scar known as a "pontil (or punty) mark in the base of the vessel often shows where it has been attached to the rod It is seen in nearly all glasses made before the nineteenth century, when glass makers began to erase it, sometimes by grinding the base to make it slightly concave, or by cutting a star shape POTSDAM Foundation of the first glasshouse near Drewitz In 1674 but transferred to Potsdam 1679 Because it was found unprofitable it was leased into private hands by the Elector Friedrich Wilhelm From 1679 to 1693 it was run by Johann Kunckel (qv) In 1763 the glasshouse was moved to Zechlın, where it flourished till 1890 The most important engravers of this glasshouse were Friedrich Winter (qv), Gottfried Spillet (qv) and Elias Rossbach (qv) The glasses were richly ornamented by both cutting and engraving Characteristic of thern are decorative borders of formal flower motifs, polished in the early period of the eighteenth century and otherwise unpolished Later, borders of lozenge shaped cutting became fashionable After 1730, lavish gilt decorations were favoured For the same period heavy feet and variously cut baluster stems, often with a large air bubble inside, are typical Mythological and military scenes in unpolished engraving grace the entire surface of the vessel (Fig 154] References Robert Schmidt Brandenburgiscbe Glaser Berlin 1954 PORRÓN Spanish drinkingvessel, seventeenthto nineteenth century, a conical ewer with a long tapering spout which is inserted near the base People drink from it without brushing it with their mouths The porron is derived from skin bottles (Fig 90) 5 PORTLAND VASE This very famous glass vessel was at one time in the Palazzo Barberini in Rome, was bought by Sir William Hanulton in the 18th century, was then owned by the Duchess of Portland, and is now housed in the British Museum In 1845 the vase was wilfully broken by a visitor to the Muscum but has been carefully pieced together once more It is made of blue glass cased with white, the latter then being cut away to forma decorative mythologicalscene The vase was probably made in the first century B C in Rome References Enka Simon Du Portlandzase Mainz 1937 PRESSED GLASS Molten glass is poured into a mould, and a plunger presses the glass mass into the mould giving it the desired shape and pattern The technique was developed in England and in America at the beginning of the nineteenth century, although it did exist in the ancient world, as shown by Roman ribbed bowls or the Murrhine bowls In the nineteenth century pressed glass was first produced as a cheap substitute for cut crystal glass, but modern glassmakers use this technique to produce vessels which are not intended as imitations of finer products, but which exhibit certain qualties of their own 1 PROCHUS Ancient cone shaped ewer, certainly used for wine (Fig 28] Pyxis Ancient cylindrical vase with or without cover POTASI an alkaline substance obtained originally by burning vegetation such as bracken, beechwood etc and used as a flux After soda, the most important alkalt used for glass manufacture Ancient glass, Roman, Gallic, and Rhenish has a soda not a potash content The break with Rome occasioned by the invasions of the tribes compelled glass makers in the north to turn to potash, and its use was retained in those regions until the beginning of the nige teenth century and the Industrial Revolution in Europe A certain amount of limc was inevitably also included in the glass because of the use of potash giving the metal reststance to glass discasc RAVENSCROFT, GEORGE 1618-1681, English glass maker, founded a glasshouse in Savoy in 1673 A year later he obtained a patent running for seven years for the production of glass of lead Many of hus glasses bear the caven's head seal References W B Honey, Eagliss Glass London 1946 W A Thorpe, Englisb Glass London 1949 310 ·gold chloride In 1679 Kunckel mentioned ruby glass in his Ars Vitraria but kept the recipe secret At the same time however ruby glass was produced in southern Germany The peculiarity of the process for making ruby glass lies in the fact that the glass attains its deep red colour only after reheating at first it appears grey (Figs 141, 142] REICHSADLERHUMPEN cylindrical glasses with a represen tation of the Imperial Eagle in enamel paint and the coats of arms (usually forty eight) of the Heiligen Romiscben Reicbes samt seinen Gliedern (The Holy Roman Empire together with its Member States) arranged on the wings in the so called Quaternion System This heraldic scheme is derived from Peter von Andlaus s Imperio Romano of 1460 and from the related illustration in Hartmann Schedel s Weltcbronik, Nuremberg 1493 Reicbsadlerbumper were made in the last quarter of the sixteenth century and throughout the seventeenth mainly in Bohemia Until about 1590 a crucifix is to be seen in the centre of the eagle later the imperial orb (Fig 130] Reference Walter Stengel Racksadlerglaser Grupp erungsversucbe in Kunst und Konsthandwe k, Vienna 19 1916 P 122 338 RUSSELBECHER Vaciously known as trunk beakers or claw beakers are Rhenish and Frankish vessels of the fifth to seventh century in green or more rarely blue glass with hollow trunk like appendages drawn downwards in two to three rows of five to seven trunks (Fig 47] Reference Fntz Fremersdorf Zur Geschicble du Frankuchen Rüsselberbers Wallraf Ricbartz Jobrbuch N F Cologne 1933/34 P 7f ROCK CRYSTAL clear translucent natural product pure quartz (S10.) In ancient times it was cut by artists into splendid vessels and was favoured from the time of the Renaissance for cutting in intaglio and after 1600 in high relief in the history of glass making and glass refine ment rock crystal had great influence The main epochs of glass cutting the Roman period the Fatimnid era the beginning of glass engraving in Europe in the seventeenth century and Bohemian engraving in the eighteenth century were strongly influenced by rock crystal cutting RUSSIAN AND SOVIET GLASS The centre of Russian glass making in the eighteenth century was St Petersburg which surpassed Moscow where glass houses had been in exis tence since the seventeenth century The St Petersburg engraved glasses like those produced in Hamburg in the second decade of the eighteenth century (both were pro duced exclusively for the Tzar s court and the aristocracy) differ very little in style from the usual European glass of the time In the second half of the eighteenth century a certain resemblance to St Petersburg porcelain is noticeable particularly in the mulk glasses of the late eighteenth and eårly nineteenth centuries A Russian speciality is a fondness for mosaic work which has been evident in all periods in the eighteenth and nineteenth centuries as well as the present Union now possesses a modern and versatile glass industry which can supply the country s enormous need for plate glass technical and industrial glass The main manufacturer is Gusy Reference B A Shelkown kow Glaskunst in Rußland in Kunstglas und sant Versendung in der Arcbs zktur Len ngrad Moskau 1951 (Russ) B A. Shelkownikow Russian Glass Esbe Egbreenth Century n Journal of Glaur Studies The Corning Museum of Glass Corning Glass Centre, Corning. New York, Vol z 1960 day The ROMER Drinking glasses consisting of a core wound foot they have hollow stem with prunts and a spherical bowl They are almost always green in colour The Romer was produced when the lip of earlier vessels was transformed into the liquid containing part at the beginning of the six teenth century in the Rhineland achieving enormous size in Holland during the seventeenth and eighteenth centuries and often engraved in diamond point technique It has remained the typical German form of wine glass up to the present day Rademacher states that the name results from the admiration for Roman glass still felt in Cologne in the late Middle Ages (Fig 106) Reference Franz Rademacher De Deutschen Glaser des M telalters Bela 1963 SANDBLASTING a stream of sand is directed under high pressure onto the surface of the glass attacking it and sendering it matt Skilful use of the technique can produce effects of different quality and depth from slight grazing to deep cutting of the glass Sandblasting was invented in the USA in 1871 (Figs 229-231) ROSSBACH ELIAS glass engraver who worked in Berlin from 1727 to 1741 then in Zechlin until his death in 1765 Eight of his pieces are known signed Rossbach Fecit Berlin Rossbach is one of the best glass engravers of the eighteenth century His delicate work is the equivalent on glass in spirit and technique of the Watteau painting ex ecuted on porcelain (Fig 1541 Reference Ekhart Berckenhagen, Berliner and Märkus be Gliser Darmstadt 1916 SANG ANDREAS FRIEDRICH Thuringian glass-engraver of considerable importance Court engraver to Duke Ernest Augustus of Saxe Weimar The records show that he was in Erfurt during the year 1719 in Weimar from 1723 to 1732 and then in Ilmenau until 1747 He later worked in Holland and fundamentally influenced Dutch engraving in the second half of the eighteenth century Four signed pieces by Sang are known (Cologne Kunstgewerbe museum Dessau the Castle) showing his style He was probably first influenced by Gottfried Spiller (qv) and the Berlin school of engravers Later his large scale designs were abandoned for more fincly detailed representations or 311 RUBY GLASS Produced by adding gold chloride The question of whether Johann hunckel (qv) was actually the inventor of ruby glass is much debated amongst experts A physician Andreas Cassius of Hamburg in 1676 reported to Kunckel his discovery of the red colouring properties of ·landscapes, enhanced by delicate Laub und Bandels erk patterns The engraved areas are enhanced by surroundiag cutting References Walther Scheid g Andreas Friedrich Sang 10 Glastechnische Bericble Frankfurt a. M 10 1932 P 182-386 Annegrete Janda Bux Der Tbwringer Glasschnitt im 17 xnd 11 Jabrbundert Leipzig Theses 1962 Schwinger, who was fond of idyllic scenes showing shop herds, fisherman and hunters, Schmidt preferred stirring representations of a battle or a hunt taking place in a towering forest or on a wide plain encrcled by tress Reference Erich Meyer Heising Der Naraberger Glassebasit des 17 Jabr- Bunderts Nuremberg 1963 SCHWANHARDT, GEORG, THE ELDER 1601 to 1667, a Nuremberg glass engraver He inherited the privilege of glass cutting accorded to his master, Caspar Lehmann, and after his return from Prague in 1622 spread his knowledge of glass engraving in Nuremberg He is recognised as the artist who first employed the technique of polishing certain parts within the matt engraving in order to achieve an appearance of greater depth Erich Meyer Heisig has identified approximately fifty of his pieces Reference Erich Meyer Heisig Der Nurnberger Glasschnitt des 17 Jahr kunderts Nuremberg 1963 SAXON GLASS There have been numerous glasshouses in Saxony since the Middle Ages in the forest regions of that area, in the Vogtland and the Erzgebirge Enamel painting on glass was carried out in Saxony from the sixteenth century onwards, influenced by that of its neighbours, Bohemia and Franconia It is characterized by rim borders in white enamel dots on a gold ground, the remaining ornament being in various colours The metal is mainly colourless From 1610 till the beginning of the eighteenth century glasses unique to Saxony the Hofkellererglaser, were made and used in Saxon castles Saxon engraving and cutting was influenced both by the cast and the west A typical feature of the Saxon covered goblets - probably manufactured at the Dresden glasshouse - is the horizontal oval facetting on the lower part of the bowl The relief portraits on the bowl are also usually indicative of Saxon origins The court glass engraver in Dresden was Johann Christoph Kiessling who died in 1744 and whose goblets were mainly decorated wuh hunting scenes Also belonging to the Saxon group of artists are the Weissenfels glass engravers Johann Naumann from Zittau, from 1680 to 1697 court glass engraver to Duke Johann Adolf I of Saxc Weissenfels, and Johann Georg Muller from Lauscha, who died in 1783 as glass engraver to the court of Saxony in Weissenfels (Fig 132] References Sabune Baumann Studien zum Sachsischer Glas des 18 Jabrbun derts Leipzig. Theses 1954 Sabine Baumann Sachr scbe geschatttene Glaser des 18 Jabrbunderts Leipzig Theses 2958 Paul Frenzel, Wassenfelser Glas schneider und abre Pokak in 25 Jahre Stadtascbes Museum We ssenfels 1910-1935 Weissenfels 1955 P 35-40 SCHWANHARDT, HEINRICH 1624 to 1693 Nuremberg glass engraver, son of the above Reference As above SCHWARTZ, SAMUEL Born in about 1681, died in 1737 at Arnstadt in Thuringia (Germany) A glass cutter and engraver, he was employed at several Thuringian courts but worked mainly at Arnstadt He received his training most probably in Brandenburg in the first decade of the eighteenth century The frequently recurring decoration with pointed leaves at the base of the bowl is typical of Brandenburg glasses Schwartz's glasses were mainly pro duced at the time when festoon and cibbon decorations were in fashion, many of them have cut stems Reference Annegrete Janda Bux Der Tourager Glasschnitt im 17 und 18 Jabrbunder Thesis University of Leipzig SCHWARZLOT Method of decoration For explanation sec (pl 133/134) SCHAPER, JOHANN A Nuremberg glass painter working from 1640 to 1670 The Schaper glasses show fine trans lucent enamel painting on the typical Nuremberg ball footed beakers Usually in coloured enamel, more rarely 16 Sebaaralot (Figs 133, 134] SCHMELZGLAS (ACHATGLAS, CALCEDONIO) Mottled glass, produced by allowing glass of different colours to mingle when still liquid The terminology is confused in older litesature It was first made in Egypt, but it played a most important role in the Venetian act of glass making Antonio Neri describes several methods of making a Calcedonier A similar product is Karneolglas, which has reddish veins and was produced in Venice from the seventeenth century onwards It must not, however, be mistaken for Egermann's Lithyalın glass which was made in Bohemia in the first half of the nineteenth century (Fig 82) SCHWINGER, HERMANN 1640 to 1683, a Nuremberg glassengraver He signed some of his pieces "Herman Schwin ger" eg a hollow baluster stemmed glass with forest scenes architectural representations and militaryıllustrations as seen in the Narodni Galerie, Prague Characteristic of his work is the idyllic landscape of the early Baroque type with small figures and atmospheric effects such as the heat of a fire, achieved by a slight grazıng of the surface, which is partly polished or emphasized by diamond point engraving Reference Er ch Meyer Heisig Der Nurnberger Glasseba i de 17 ſabr buader's Nuremberg 1963 SCYPHUS Ancient Greek drinking vessel, squat, round or bell shaped, with handles on the sides SCHUIDT, HANS VOLFGANG A Nuremberg glass engraver working from 1676 to 1710 In contrast to Hermann 312 SHEET GLASS Trade term, as opposed to glass vessels It comprises window glass, mirrors or any glass which is used in flat panes In the beginning it was simply produced by ·the alkalınc lakes or indirectly by burning certain marine plants Inscribed tablets of the Assur Bani Pal revealed recipes for glass, mentioning the use of ash of Salicornia berbacea or Glasswort Venetian glass was made with soda which was mainly imported from Egypt and Syria In modern times soda is prepared from water, salt (NaCl), ammonia and carbon dioxide (Solvay process) pouring the glass mixture onto a suitable surface Later a large blown bubble was given the form of a cylinder, and, after both ends had been removed, it was cut lengthwisc with shears and flattened into a rectangular sheet In another process, the bubble was opened at onc cnd and then rapidly rotated on the cod after reheating in the furnace Thus by making use of centrifugal force it was turned into a circulac pane, which was later cut into pieces as desired Since 1688 a rolling process has been in use, it was invented by Lucas de Nehou By this method the liquid metal is poured onto a flat sron surface and then rolled in a semi liquid state In this century sheet glass is produced mainly by the 'broad glass" process, the molten glass is directly drawn from a tank This technique is possible on account of the tenacity and ductility of the material SPANISH GLASS In its earliest period Spanish glass was a mixture of Moorish Islamic and Venetian influences, developing in the seventeenth century indigenous formg such as the porrón, cántaro and the almorrata (Fig 90-93] Reference Alice Wilson Frothingham Hispan & Glass New York 1941 SPECHTER A tall cylindrical glass of Stangenglas, with an applied foot The name is derived from the area which first produced it, the Spessart Forest Region SIDONIAN MOULD BLOWN VESSEL These were made in the first century AD in the Eastern Mediterrancan with Sidon as the main centre of manufacture They are in blue, green or clear glass They were blown into clay moulds with a decorative impression on the inside The decoration thus obtained bore a strong resemblance to that of Grcek pottery of the Hellenistic period The Sidonian mould blown glas ses are sometimes furnished with the name of the maker in raised letters on the handle or body of the vessel The most frequent names arc Ennion, Artas, Ariston, Meges Eryncios, Sometimes Sidon is mentioned as the place of manufacture, eg Ariston Sidoni In view of the trade with Rome, the names are somctimes given in two languages, Greek and Latin (Sidon became Roman in 63 B C, today it is known as Saida, in the Lebanon) Some Sidonian glasses bear the Inscription in Greck “Buyer, think of the giver 'The vessels take the form of bottles, beakers, and amphorae, often sixsided or cylindrical, the decoration consits of Greck motifs (Fig 13] SPILLER GOTTFRIED Glass engraver, born c 1663 in the Hirschberg Valley in Silesia a pupil of Martin Winter (qv) from 1675 in Potsdam, worked as a glass engraver from 1683 in Berlin, and was from 1702 Until his death in 1728 Koniglicber Glasschneider in Berlin His work belongs to the High Baroque period The figures in his designs are deeply cut (up to 7 mm) into very thick glass (up to to mm) resulting in a three dimensional effect Spiller signed one rock crystal jug G Spiller' (Cicerone 1916, p 89) All his pieces are identifiable by their unique style Reference Robert Schmide Brandenburgiscbe Glaser Berlin 1914 STANGENGLAS Cylindrical drinking vessel dating from the fifteenth to the seventeenth century usually showing decoration in the form of prunts, diamond point engraving or enamel painting [Fig 104) SILVER STAIN Silver chloride in an acid solution used to produce a yellow coloured surface in glass Silver nitrate is used to obtain a mctal which is yellow throughout STEUBEN GLASS Art pieces from the Steuben Glassworks in Corning, New York Since the reorganisation which took place in 1933 the Steuben Glassworks have been among the leading manufacturers in the USA They produce highly individual pieces employing the best craftsmanship and high quality material Attractive glass engraving is a cha racteristic of their work. The main designers are Sidney Waugh and John Monteith Gates (Fig 200] Reference E M Elville The Collector Dichondry of Glass London 1961 SITULA Egyptian bucket shaped bowl SULPHIDES See Ctystallo Ceramie Svane TRAILED VESSELS Glass vessels produced mainly in Cologne glasshouses in the second, third and beginning of the fourth century AD, with applied thread decoration usually in irregular winding patterns, although sometimes in spirals, ivy motifs and other motifs related to Germanic symbolism They constitute a small group among those vessels showing trailed decoration The best piece of this type is the pilgrims bottle, known as the Meisterstuck in the Romisch Germanisches Museum in Cologne [Figs 32-35] Reference Fritz Fremersdorf Rom jebe Glaser mot Fadenduflage in Lola De Denkmaler des romucben Koln Vol V Cologne 1959 SURFACE STAINING This is achieved by the application of metal oxides to the glass surface and reheating For example yellow tones are obtained by using silver oxides ruby colours by copper oxide, etc (Figs 163 164] SODA An alkaline substance, sodium carbonate (Na, CO,) Used as flux in glass making Egyptian glass of the second milennium BC contained about 18% soda obtained from THURINGIAN GLASS Waldglas was made in the Thuringian Forest from the fifteenth century possibly earlier Numerous glasshouses were founded in the sixteenth and seventeenth centuries From 1633 to 1639 under Duke Bernhard of Saxe Weimar a glasshouse employing Venetian craftsmen 313 ·existed in Tambach producing the Tambacber Flasben, bottles with six or eight pass rings From the end of the seventeenth century glass engraving of a good standard was carried on at some of the neighbouring courts, only to be eclipsed by the growing porcelain industry in the mideighteenth century The most important glass engravers of this period are Caspar Creutzburg, Gotha from 1690, the artist J H, Sondershausen and Arnstadt, Samuel Schwartz (qv) Gotha and Arnstadt Andreas Friedrich Sang (qv), Weimar, Ilmenau Arnstadt, Georg Ernst Kunckel (qv), Gotha A Thuringian characteristic is pseudo facetting, 1e moulded stems of covered goblets No glass cutting of particular interest developed in Thuringia During the nineteenth century Ilmenau became important as the centre technical pharmaceutical glassmaking, whereas Lauscha, founded in 1995, turned to the production of simpler bottleglass and to pieces made at the lamp (Figs 144 151, 241] References Walter Schcıdıg, Thuringer Glasschneider and Glasmaler im Densie des Herzogs Ernst August von Sachsen Wemar (1708-1748) in Zet scbrift des Verans fur Touringisebe Gesch ebte und Altertumskunde N F Jena Vol 29 1931 P 476-482 Walther Scheidig Andreas Friedrseb Sang in Glasrechniscbe Berichte Frankfurt a M 1937 O P 382-386 Annegrete Janda Bux Der Tlwringer Glasschnitt im 17 und 18 Jahrbundert Leipz 8 Thess 1962 Wilhelm Streda, Touringiscbe Glasbuttes 55 der Vergargenbest Leipzig 1910 Barbara Puschel, D. Thuringische Glasblasere Weimar 1936 kind of trick vessel, including the Roman and all postmedieval periods The Kutterolf might be considered to belong to this group of glasses, as might all other vessels designed to show the virtuosity of the glass blower, such as human and animal figures, musical instruments and vessels in the shape of all kinds of objects, if they were intended as drinking vessels Sometrick glasses were of rehgious origin, for example the glasses made in the shape of a head, and particularly the Phallus glasses, which can be traced to the fertılıcy rites practised by many ancient civilisations, but whose function degenerated into the realm of vulgar joking during the Middle Ages [Figs 121, 122] TRULLA A shallow ladle for serving wine TRUMPER JOHANN FRANZ Hessian glass engraver of the first half of the eighteenth century The only signed work we possess, an engraved cylindrical vessel in the collection ofthe Museum fur Kunsthandwerk in Leipzig (about 1730). shows a certain resemblance to the Silesian style of deco tation (foliage borders) References Walther Scheid & Thuringer Glasschneider und Glasmaler im Dienst des Herzogs Ernst Angust von Sachsen Weimar (1708-1748) in Zal scbrift des Verans fur Touringische Gescbicbte und Altertumskunde N F., Jena, Vol 29 1931. P 476 Kunsthandwerk und Plasnk aus Deutscbland im Museum des Kunsthandwerks Lapzig Annelise Hanisch Leipzig 1951 fig 43 TIFFANY, LOUIS COMFORT 1848-1933 New York glassartist and painter, son of a silver ware manufacturer, foun der of the Tiffany Glass and Decorating Company New York His Fayrıle 'glass, with its metallic, lustred surface had a great influence on the glass of his European contem porasies, and is a typical product of the Art Nouveau period His pieces bear a finely etched signature under the foot [Figs 183 184) Reference Hans Ulr ch Haedeke Glas in Jugendstil Der Weg uns 20 Jabr banderr Helmut Sel ng Heidelberg/Munich 1959 P 325 340 figs 183 184 UNFIRED PAINTING The ornamentation of glass with enamels which are not subsequently fired Unfired painting 1s easier to execute, but less durable than fired enamel decoration (Figs 87-89] TRAILING A decoration known since Roman times A lump of softened glass is drawn out into a thread and attached to the surface of a heated vessel This technique has been applied throughout the ages but was especially favoured in medieval glass decoration and for popular glass of the following centuries Handles of ancient glass vessels are often made of twisted glass threads, the feet of fifteenth and sixteenth century Romers were produced by winding soft glass threads concentrically round a wooden mould Theophilus in his Schedula diverarum artium (2nd book, chapter X) gives the following instructions for trailing * Take also a lump of glass out of the furnace in such a manner that it produces a thread, which you then attach to the desired point on the vessel, turning the latter near to the flame so that it clings to it "See also latticino [Figs 76-78] VENETIAN GLASS Glass produced in Venice, 1e in the Murano glasshouses The term is often applied to articles in the façon de Venise, but produced elsewhere, and tends to refer to any thin walled soda glass as opposed to the medieval Waldglas or the Bohemian cut potash lume glass Because of her world wide trading connections, Venice was in the happy position of having an assured supply of raw materials and a ready market for her glass products These advantages combined with the skill of her craftsmen, made Venice the capital of glass making during the sixteenth and seventeenth centuries The finest products of the industry are the enamelled glasses of about 15oo, the crystal glasses of the sixteenth century, the latticino glasses of c r6oo and the winged glasses of the seventeenth century Changes in artistic taste towards the end of the seventeenth century transferred the supremacy Venuce had enjoyed to Bohemia (Figs 66-86] References Gudmund Boesen Venetrasske glas på Rosenborg Copenhagen 1960 Karel Hettes Venezianisches Glas Prague 1960 Govanni Mariachen Edle Glaser von der Antike bs Murano Munich 1962 Ignaz Schlosser Venezianer Glaser Vienna 1991 The Corning Museum of Glass Tore Great Centuries of Venetian Glass Exhibition catalogue Coraing New York 1958 Trick GLASSES Constructed so as to render the process of drinking difficult for the would be imbiber, or to produce some amusing effect They were most popular during the late Renaissance, although all periods have produced this VERZELINI, G Italian glass maker who founded the first London glass house for vessels in the façon de Venise in 1575 He died in London in 1606 '314 ·References Robert Schmidt Evropusebes Glas Die Sammlung Wilfried Buckley Berlin 1927 Francis Buckley A History of old English Glow, London 1925 W B Honey Englisó Glass, London 1946 Reference Robert Schmidt, Brandenburgiscbe Glaser, Berlin 1914, Ekhart Berckenhagen, Berliner und Markssebe GI ser, Darmstadt 1956 WOLFF, DAVID Died at the Hague in 1808, foremost Dutch stipple engraver on glass Glasses bearing his signature date from between 1784 and 1796 [Fig 139] Reference Fancis Buckley, D Wolf, London 1935 WALDGLAS A glass of primitive quality, not deliberately coloured and therefore usually green, or sometimes brown, produced in Central European glass houses from the fif teenth to the eighteenth centuries These glass houses were mainly found in the wooded regions of the Mittelgebirge mountain range, where an abundance of fuel was at hand Hence the name Waldglas, for Wald=wood The glass consisted of sand containing iron and therefore green, and potash obtained from beechwood ash German Waldglas provides the strongest possible contrast to the thin, colour less Venetian metal, which as a flux contained soda imported from the Orient (Figs 100-118] ZWISCHENGOLD GLÄSER (see also Double Glass) Bohemian two layer glasses from the period of about 1730-1740 An outer glass, which was usually without a bottom, was made to fit exactly round an inner one The outer surface of the inner glass was covered with engraved or painted gold leaf The joint is usually beneath the aim or sometimes further down (Figs 160, 161) WILLKOWM A type of Humpen of remarkable size, made from the sixteenth to the eighteenth century, usually enamel painted The name of these glasses, sometimes capable of holding more than five litres, derives from the custom of using the Willkomm to drink to the health of a visitor, thus welcoming him Mathesius (qv) mentions the "unflang grossen Villkomm" as foolish vessels which one can hardly lift". (unflatig=coarse, ugly) WINDOW PANES Already known in Rome in Caligula's time Pieces measuring 30 x 60 cm (1'X 2) are extant They are about 4 cm (1%) thick in the centre and taper towards the edges, they were produced by rotation on the iron (see shcet glass) and bull's eyes WINGED GLASS Originally Venetian wine glasses with wing like appendages, made from pinched glass threads, sometimes adopting the form of a double headed eagle, sometimes that of two horses They came into the fashion about 1600 They were popular throughout Europe and were imitated in glasshouses in other parts of the continent Sometimes the appendages take over the role of the stem, and become heart shaped, or are ingeniously curved into a figure eight [Figs 79-81) WINTER, FRIEDRICH Silesian glass engraver In 1690 and 7691, he set up a water power mill for glass-engraving in Petersdorf in the Hirschberg Valley The heavy Silesian cameo relief glasses, which may be grouped together with the goblets showing the coat of arms of Count Schaligotsch, which date from the end of the seventeenth to the beginning of the cighteenth century, are probably his work VINTER, MARTIN Glass engraver in the service of the Elector of Brandenburg in Potsdam, brother of theengraver Friedrich Winter of Petersdorf in Silesia His work shows the Silesian style of engraving In 1684 he received a privi lege for Hochschnitt or cameo relief engraving from the Elcctor In 1687 he set up a water power mill in Berlin for cutting and engraving, and had as his pupil his nephew Gottfried Spiller