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Rh is the one made in the neighbourhood of Rome by the Earl of Northesk, and presented in 1877 to the Museum of Science and Art in Edin- burgh. This museum also contains the valuable collection of antique glass formed by M. Piot of Paris. From an examination of all extant remains of antique glass we are permitted to conclude that the Romans were adepts at staining, enamelling, glass-cutting, blowing, and casting ; they had glass in their windows, they walked on pavements of mosaic glass, their walls were empanelled with glass. The majority of amphone distributed throughout the country show great beauty of form, while lachrymatories and smaller vessels are delicately wrought and not inartistic. But, when Rome from the brilliant and luxurious period of the empire descended into a state of semi-barbarism, the art of glass-working was lost, and revived in Italy only with the Renaissance.

HIS CR/ICE TH£ OVKE of- BVCCLtVCH ® In Venetian glass is breathed throughout the true spirit of the great art revival of Italy. In it we find embodied that harmony and simplicity, the first expression of an awakened sympathy for the beautiful. Glass-working is peculiarly an Italian art, and the Venetians are entirely its masters. In their hands it is sometimes simple, plain, and light as air ; at other times rich, bold, and brilliant, trained and woven into a thousand adventurous shapes. Various theories have been put forward as to the exact period at which glass-working began to be practised in Venice ; but it was in the thirteenth century that it first attracted attention, as is evidenced by decrees of the Council of the Re- public. The sixteenth century, however, is the period marking the real rise of the art. The glass of this period is remarkable for lightness and purity of material, for delicacy of treatment and beauty of form. In the liands of the skilled artist its plastic and pliable nature permitted him to fashion it into the most intricate lines with facility. In earlier times, on the other hand, it was some- what difiicult to obtain glass of absolute purity, and beauty of outline therefore is the only merit the early glass lays claim to. But as the art pro- gressed, like the old heraldic shields in which bordures, bars, and bosses, while playing their heraldic part, at the same time strengthened the shield — so the glass of Venice blossomed out into ornamental handles, flowers, rosettes, masks, etc., but all primarily affixed for strength. Venetian glass possesses various distinct styles and methods, though often in one piece all styles are combined. Of these various types mille-fiore began to be produced in Venice about the end of the fifteenth century. In this process long ' canes ' of glass are formed, in the centre of which there is a pattern, and when the cane is broken, the pattern, running all through the length of it, becomes visible. Small cubes are then broken from these coloured canes, and enclosed within two surfaces of glass ; the air between is exhausted ; the whole is reheated and rendered homogeneous and finally fashioned into a vase or bottle. Examples of this type may be met ith, in almost any stationers, in the round polished paperweights, in the interior of which are clustered little groups of flowers. There