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62 O far as is known, the art of glass-working was introduced into Italy in the days of the Early Empire, sometime during the first century of the Christian era. The antique Roman civilisation was when in its latest and most gorgeous blossom ; it was the time of the banquets of Vitellius and the o-olden house of Nero, when every land was vexed, and all invention exhausted, to give a new relish to the pleasures that began to pall. Among the tliou- sand appliances of luxury it was hardly possible that one so obvious and delightful as the use of glass as an art material should be forgotten. Forgotten assuredly it was not ; indeed it seems to have been even more widely recognised and taken advantage of than at the present day. The Romans of the Empire, we know, had cups, basins, and platters of glass — they formed glass into armlets, beads, bracelets, and rings. These, however, were the least important uses of the material, from an artistic point of view. When we examine the Portland vase, and determine, so far as possible, the enormous difficulties overcome to produce it, we shall more readily conceive the high development which, even at that distant period, the art of glass-working had attained.

This celebrated work of art was found in the tomb of Alexander Severus, who died in the latter half of the third century. The vase is composed of two bodies of differently coloured glass : first was formed a ball of blue glass, on that was imposed a layer of white enamel glass, then the whole was fashioned into a vase, as yet entirely without decora- tion. At this stage it was merely a vessel of white glass with an internal surface of blue. But the glass-cutter, with his rapidly revolving wheel, carved away the glass from the surface, and as the white layer was removed, the blue beneath began to appear, and thus was produced an elaborate gradation of light and shade. JosiaJi Wedgwood, referring to this vase, said, ' It is apparent the artist has availed himself very ably of the dark ground in producing the perspective and distance required by cutting the white away nearer to the ground, as the shades were wanted deeper, so that the white is often cut to the thinness of paper, and in some instances quite away, and the ground itself makes a part of the bas- relief — by which means he has given to his work the effect of painting as well as sculpture ; and it will be found that a bas-relief, with all the figures of a uniform white colour upon a dark ground, will be a very faint resemblance of what this artist has had the address to produce by calling in the aid of colour to assist his relief^ It is needless to say that the mere production of two bodies of glass, which would coalesce firmly without subsequent fracture, would require a glass-maker thoroughly cognisant of his art. But the Portland vase is not the only relic of its kind and age. In the National Museum at Naples are many fragments of cameo glass ; and besides we have the Auldjo and Alexandrian Vases, botli of similar fabrication. No doubt the skill displayed in these and like fabrics was largely acquired by antecedent practice in the carving of chalcedony, onyx, and rock crystal, which were lavishly used by the Romans in mural and other decoration. Rock crystal, in particular, prior to the general introduc- tion of glass, was cut, carved, and polished into vessels possessing remarkable whiteness and great brilliancy. Roman glass in its outline possesses all the charac- teristic feeling of classical art ; if we compare it with Venetian ware we at once perceive how distinct and dissimilar are the forms. In the Kelvingrove Museum, Glasgow, may be seen a small case of Roman glass consisting of amphora;, basins, cups, lachrymatories, and bottles. The amphorae are so much corroded, that to a casual observer they have more the appearance of clay or stone, than of glass. There is a small basin partially corroded, but where the surface is intact it shows the beautiful pearly- iridescent lustre so peculiar to old glass. The lachrymatories are entirely corroded. This case of glass is peculiarly interesting, but it is hardly admissible to compare it with other ware, or assume it as a standard. A more valuable collection