| i \ | “TP 4 } | 1 | a «(| | en, «4 q a : LH : ee | . 7 q q q a q i j | =~ a | | = | rates Mae = 4 { Y r i Rk I | et f | j | { a | ! / a | } | j | ) f st 1 ; q ; i : ; ‘ . - @ eS WITH 265 SUPERB PHOTOGRAPHIC ILLUSTRATIONS = oxi So! eet ee a ee ee Te eee: ee ee ee iN " ncellgs WE alii = Hy — Ti) a2 = OK. > THE ONLY BOOK ON THIS FASCINATING SUBJECT OLD GLASS European and American By N. HUDSON MOORE Author of “The Old Clock Book,” etc. This book deals with the development of glass making in Europe and America. As a source book, it will prove valuable to collec- tors who have been looking for an adequate treatment of this subject. Beginning with the early Roman glassmakers the author relates the progress of glass making as a fine art. The color, composition and workman- ship of glass products as manufactured in different countries is minutely de- scribed. The markings and methods of distinguishing genuine old glass are not only carefully explained but the book is distinguished by the unusual number of illustrations gathered together by the author from museums, private collectors and other sources. The volume is particularly valuable in its relation to early American glass. To our knowledge, it is the only book that covers this subject. With 265 notable illustrations from photographs OLD GLASS EUROPEAN AND AMERICAN “Decanters, Rummers, Drams and Masons, Flutes, Hob-nobs, Crofts and Finger Baisins, Proof Bottles, Goblets, Cans and Wines, Punch Juggs, Liqueurs and Gardevines, Salts, Mustards, Salads, Butter Keelers, And all that’s sold by other dealers. Engraved or cut in newest taste, Or plain, whichever pleases best.” Cork New Evening Post. 1792. be Gy a vw Co. oe r) e rah he - wa5 it’, Lit emer a he ; >. é = — , —) STIEGEL CUP, BUSWELL COLLECTION (Frontispiece) OLD GLASS EUROPEAN AND AMERICAN BY N. HUDSON MOORE AUTHOR OF “THe Otp CLock Book,” “THE Otp Cuina Book,” “THE OLD FURNITURE Book,” “OLD PEWTER, Brass, COPPER AND SHEFFIELD PLATE,” “THE OLp Lace Book,” ETC. WITH TWO HUNDRED AND SIXTY-FIVE ILLUSTRATIONS TUDOR PUBLISHING CO. NEW YORK Copyright, 1924, by FREDERICK A. StoKEs COMPANY All rights reserved Published, November 1, 1924 Second Printing, November 28, 1924 Third Printing, December 20, 1924 Fourth Printing, January 25, 1926 Fifth Printing, November 15, 1927 Sixth Printing, November 13, 1931 New Edition, December 1935 Printed in the United States of America CONTENTS PART I THE Art or Guass-MaKING . . . . 2 PORTER eet TUASS kk ee va oes MERC NOANEARSS (0 5 he iw lwo ae M7CH AND FLemisH GLASS . . . . ». « GERMAN GLASS ree career aire te nT a he DMO ASS kk et Pee ek kk Deptt ACe Oe ee we ee be, PetRePA CSLASS 9 wl. eee TUAGS a MST ARS i ae a es DuBLIN AND Cork Gtass PART II AMERICAN GLASS WISsTARBERG GLASS BaIeceEL GLASS . , Pian ARTY GiLASS =. . 4 wt ss SARATOGA GLASS ee ied pha a omens AND FraskKs . . . « 3) THREE-SECTION Moutp GLasSs .... «© [v] 108 169 174 195 209 213 220 251 280 283 305 CONTENTS STODDARD GLASS oe gle We ela Ee re Keene Guass 2.0 3, 0s 8 14. 8 PrrKin GLASS 3 ea ve) ae ose) ke Historic Cup-PLaTEs 9. 5 9.9. 5 4) | ee SANDWICH. GLASS §.. . s1's (6 ss) ee Mexican Guass'.. 2 88. AMERICAN Guass Factorigs . °. . 5 =) ee | INDEX rN rr [vi] mest OF ILLUSTRATIONS STIEGEL CUP, BUSWELL COLLECTION ..... Frontispiece FIGURE PAGE CICERO REG se bk ie cp we eR le ee TS 5th Century B.C. eter ORD see ok el a fe ala ea ee ee AS WU TRIA SE CteSR TNL ieee. kas bs ives ew te au ec 16 I GO OTS Son a er a as & 18th Century. PEER i re ew eed ee hs ee ok ES IRE S OOS R OM, Pegs ee se ne ie ge oe 1g foe COVERED CUP. . 2... we we wl Uw wl lw 19 8 GOBLET WITH WINGED STEM . 20 From an Original of the 15th Century in Tonsieperetie Museum, Berlin. Venezia Murano Company, Venice. 9 VENETIAN TAZZA . . 20 From 15th Century Griging? 3 in the Marcsint: Gallery, Venice! 10. GOBLET WITH WINGED STEM .. . 21 From an Original of the 15th Century in the Britek Ri aseura, 11. VITRO DI TRINA WINE GLASS .. . 21 Vitro di Trina Glass from Original of the “15th Century in the Murano Museum. MEE SIMMS EE WV ECR oo eee ee e's Pe ey ae wee | eR Italian, 16th Century. 13. DRINKING VESSELS AND EWER. ..... . .«. 39 Venetian. d ETC NV ONS.) eis oe eg ie be rh ee) ee se, 4D Venice, 19th Century. 15. BOHEMIAN GLASS, DIAMOND ENGRAVED .... . 39 16. BOHEMIAN GLASS, PAINTED . . 40 Clear Glass, Cylindrical, Painted with Two Coats af Arms, an Inscription in Gilt and the Date 1868. [ vii ] a ILLUSTRATIONS eens FIGURE 17. 18. 19. 20. 21. 22. 23. 24. 25. 26. 27. 28. 29. 30. 31. 32. COVERED GOBLET Goblet with Cover, Green Gissee Rageaved: Ani with an Inscription. A Silver-gilt Openwork Foot, and on the Cover Silver-gilt Figure of a Dog Standing, with the Initials I. A. V. and the Date 1656. DEEP-CUT TUMBLER KALLIGRAPHEN ORNAMENTE DOPPELWANDGLAS MILCH GLASS, PAINTED COVERED CUPS : » os) a a Bohemian Glass Covered Cone “Metropolaan Museum of Art. BOHEMIAN DECANTERS BEHERSCREW, SILVER-GILT . + a Dutch Beherscrew, Silver-gilt. 17th Century. Property of the City of Amsterdam. DUTCH WINDMILL GLASS . ere *;- a Ne Dutch Mill Beher. Latticinio and Siivex 17th Century. DUTCH GLASS, VENETIAN ‘STYLE .. 3033 With Diamond Engraving, 17th Century. DIAMOND-ENGRAVED GLASS. . ets Green Glass, Dutch Diamond Bhgraviag! 1646. DUTCH GLASS, GOLD DECORATION . . Dutch Green Glass Decorated with Gold, 1606. Ranbler ie Prince Maurice of Orange. ROEMERS .. . Seeruervar yh Dutch Green Glass: ‘Left and Centre 16th Century. Right 17th Century. DIAMOND-ENGRAVED ROEMER : ‘. Green Glass, Dutch Diamond Hneravine! 17th Cenbire ENGRAVED BOTTLE . +. 6) a Green Dutch Bottle. Diamond Engraving, 1684. TALL DRINKING GLASS : Dutch Glass, Facon de Venise, ith ‘Portratt inf ‘Prince [ viii J PAGE 41 42 42 42 43 44 43 45 45 46 46 63 63 64 64 65 ILLUSTRATIONS FIGURE Frederick Hendrik of Orange (1625-47). Diamond En- graving. 33. DRINKING GLASS . . ee eee AY 6 Dutch Glass with Diamond Engraving. Second Half of 17th Century. 34-A. ENGRAVED GLASS, GOLD DECORATION Green Roemer of 1650 with Heraldry in Diamond Engraving of Orange, Spain and the Provinces of the Netherlands. 34-B. ENGRAVED GLASS, GOLD DECORATION SeeCOVERED BIRTH CUP ... ee Seah 8 Colourless English Crystal Glass. "Dutch Cutting, 18th Century. 36. GERMAN GLASS BEAKER . Enamelled Glass Dated 1687. 37. COVERED CUP 38. “WILLKOMMEN” GLASSES 39. HUNTING GLASSES 40. GERMAN GLASSES 41. COVERED CUP, ETCHED AND ENGRAVED German. Early 18th Century. 42. SPANISH LAMP a Pale Ambler Glass in + thes Fomn at a Candlestick: Support ing a Reservoir with Two Spouts and Serrated Ornament. Spanish. Cartagena. 17th Century. 43. TAZZA, ENAMELLED y Nae rs POEs die 2 Clear Glass Painted in Enamel iCalouct Spanish. 16th Century. 44. JUG, MOTTLED GLASS . . kame heese dy poe eae & Blue and White Mottled Glass. Teeaniaht Cadalso. 17th Century. 45. COVERED BOWL AND TRAY Plain Glass with Bouquets and Serrated Borders in Gold: 18th Century. Spanish. 46. GLASS BOWL, ENGRAVED . . Plain Glass, Oval Bowl with Lip, Engraved with a Chateau [ ix ] PAGE ILLUSTRATIONS FIGURE PAGE and Trees. Winged Handle Ending in a Shell. Spanish. 18th Century. San Ildefonso. 47. COVERED CUP, WITH CUTTING . Sa ei aa Standing Glass with Cover. Plain lane Richly Cut. Span- ish. San Ildefonso. 18th Century. 48. GOBLET, CUT AND ENGRAVED wie Plain Glass, Cut and Engraved. Spanish. San Ildefonso, 18th Century. 49. SPANISH DRINKING VESSEL . . 111 Bottle. Plain Glass with Long Neck and Trefoil Mouth, Surrounded by Latticinio Lines, with Long Spout. Used as Drinking Wine. 18th Century. Spanish. £ 50. FRENCH BOTTLE, ENAMELLED .. pee ee 51. BEAKER, ENAMELLED) . 4.05.) 5. 6) Se 52, FRENCH VASE fo 6 5 5) a 0? tee pe 53. BOTTLE, CLEAR GLASS MPM IeErer ene oe 54. BARREL-SHAPED FLASK ‘ = .0 2°20 3) 55. WINE GLASS WITH COIN IN STEM (27> 56. FRENCH JUG, CLEAR GUASS 2...) S56 5g 57. ENGLISH WINE GLASSES . 2 2.) tc 58. WINE GLASSES WITH KNOPPED STEMS .. .. . 115 59. FOUR GROUPS OF STEMS . . 2 2 ee 60. SET OF ENGLISH CUT GLASS . 2S 3 ees 61. SET OF LUSTRES 00.0.0 5 8 5. 62. ADAM ‘CHANDELIERS =. 2) 5. 7 Se 63. STANDING LIGHTS 0 29.) 2 £2 64. BRISTOL GLASS © 3.0. %\.4 8) 6) i ee 65. BRISTOL VASE 2.0.06 0) 2) 5 66. BRISTOL VASE... oo 5 0) 3) Reverse. 67. BRISTOL COVERED JAR . 3. 2 (6 (gee estes tee ee 68. BRISTOL CUT GLASS BOWL . . % 9S eee a ILLUSTRATIONS Rss senses FIGURE 69. 70. 71. 72. 73. 74. 75. 76. 77. 78. 79. 80. 81. 907%. 91. 92. 93. 94, BRISTOL BLUE GLASS PAPER-WEIGHT NAILSEA FLASKS ROLLING-PINS . NAILSEA BOTTLES AND JUGS CANDELABRA . DECANTER, MARKED “PENROSE” JUGS, PROBABLY WATERFORD BOWL AND CELERY GLASS WATERFORD GLASS WATERFORD AND CORK TUMBLERS GOBLETS, WATERFORD DUBLIN OR CORK GLASS BOAT-SHAPE AND TURNOVER BOWLS BOWL AND BASIN AND TUMBLER CORK DECANTER . CORK DECANTERS CUT GLASS, CORK CUT GLASS, CORK... MOULDED GLASS, DUBLIN GOBLET, DUBLIN GOBLET, DUBLIN Reverse. BLUE STIEGEL, BUSWELL COLLECTION THREE WISTARBERG PITCHERS AND WISTARBERG VASE FOUR EXAMPLES OF DOUBLE-DIPPED GLASS AMBER BOWL AND BALL BROWN WISTARBERG PITCHER . . [xi] ILLUS FRATIONS FIGURE 95. 96. 97. 98. 99. 100. 101. 102. 103. 104. 105. 106. 107. 108. 109. 110. 111. 112. 113. 114. 115. 116. 117. 118. 119. 120. 121. 122. 123. SCENT: BOTTLES 2 6 oh in, Covi Res aes MORTAR AND. PESTLE > 2.5.5...) 4: eee SWEETMEAT)) JAR i \.359. 55) oy a 0 oe ee ee GREEN AND AMBER CUP PALE GREEN CANDLESTICK GROUP OF WISTARBERG SOUTH JERSEY PITCHER SOUTH JERSEY BOWL, BLUE SOUTH JERSEY VASES AND BOWL . SOUTH JERSEY BOTTLE GREEN .... . SOUTH JERSEY SCENT BOTTLE. . [3 MILLVILLE, N. J.. GLASS BALL . +s cee GLASS BALL, BUSWELL COLLECTION. . .,, STIEGEL POCKET BOTTLES, AMETHYST . . STIEGEL POCKET BOTTLES BLUE AND AMETHYST BOTTLES ...,... STIEGEL BOWL. .)..0°:" 2° is 4s | oe STIEGEL BOWL WITH BLUE RIM .... . STIEGEL JAR (70%. 2 “ets. 3 94) ee CLEAR GLASS, STIEGEL . 2.) Ve) wee FOUR BLUE FLINT CREAM POTS FOUR BLUE AND CLEAR GLASS CREAM POTS EWER AND CREAM POT BLUE FLINT SALT-CELLARS CLEAR AND GREEN GLASS SALT-CELLARS VINEGAR AND MUSTARD CRUETS.... . BLUE FLINT SUGAR BOWLS ..... « «s CLEAR GLASS SUGAR BOWL BLUE AND CLEAR GLASS SUGAR BOWLS . [ xii ] ILLUSTRATIONS ence nrc eer eer eS SSS SSS ss SSS FIGURE 124. 125. 126. 127. 128. 129. 130. 131. 132. 133. 134. 135. 136. 137. 138. 139. 140. 141. 142. 143. 144. 145. 146. 147. 148. 149. 150. 151. 152. SUGAR BOWLS, STIEGEL . COVERED RUMMER . WINE GLASSES WITH PLAIN BOWLS WINE GLASSES WITH MOULDED BOWLS WINE GLASSES WITH ENGRAVING ENGRAVED FLIP GLASSES . ENGRAVED AND PANELLEL GLASSES ENGRAVED JELLY GLASSES COVERED FLIP GLASSES BOTTLE WITH PANEL AND DAISY PATTERN COVERED PITCHER CANDLESTICK BLUE FLINT GLASS MEDICINE GLASS EGG CUP BLUE PITCHERS AND COMPOTE DECANTER MUGS (o>. FLIP OF CLEAR GLASS PANELLED BOWL RUMMER ENAMELLED BOTTLES STEEPLE DESIGN BIRD PATTERN DOVE DESIGN BLUE AND CLEAR GLASS, STIEGEL EARLY BOTTLES MOULDED BOTTLE IREITAL) cw 6) ees ye wie [ xiii ] 272 289 289 290 291 291 292 ILLUSTRATIONS FIGURE PAGE 153. EARLY LAMP (40055. 4tle se) Ft 154. GERMANTOWN: LAMP 9... iss fe) cn ae ee 155. CLEAR’ GLASS LAMP* 2 oe ee 186. CUT AND MOULDED LAMP . ... . 33 is7. LAMP . CHIMNEY oo. Fee. is8. CURTAIN KNOBS, OPAL .. . >... [5 159. CLEAR GLASS KNOBS: .. 2. 20‘. 5 160. CLEAR GLASS MUG . |.) 200.) 3 4) ABR 161. MUG WITH LEGS. 2 2 n5 162. EARLY WINE GLASS . «9. «1s 6 | UR 163. WINE GLASSES, AIR-TWIST STEMS ..... .*. 296 164. MEDICINE "GLASS . ~ . 6) su) 0) Se 165. “RINSING. BOWL 9. 8 woe) 3 8 oe 166. SARATOGA GLASS =. . . |. . « (2 2 een 167. ARRANGEMENT OF BOTTLES AND FLASKS .. . . 298 168. BOOZ BOTTLE AND MOULD ©.) 2) 2) ypiee eee 169. EARLY ALBANY FLASKS . 22°.) See 170. KENSINGTON FLASK. 90.0 5 ec 171. COVENTRY, CONN., FLASK 9 2) 3 Se 172. KENSINGTON FUASKS ©.) se 3 Se 173. KOSSUTH AND HUFFSEY BOTTLES) 0) 0) oye 174. HUFFSEY BOTTLES (5) a) 27 5 ere 175. BALTIMORE FLASKS 0 2). 05:0 3) (2 ee 176. BOTTLES AND FLASKS 5 2 55) 35 SRee 177. FLASKS PP PU 178. FLASKS -AND BOTTLE ©: ©. 2) (0p ee 179. FLASKS WITH PEWTER TOPS ~ 32) 180. ,THREE-SECTION MOULD DECANTER ey ac. bal! sat bn ane 181. GROUP OF THREE-SECTION MOULD GLASS .. . . 323 [ xiv | A SSeS SSSSesSSSSSRSSSSNS ILLUSTRATIONS LLL a er NEES FIGURE 182. 183. 184. 185. 186. 187. 188. 189. 190. 191. 192. 193. 194. 195. 196. 197. 198. 199, 200. 201. 202. 203. 204. 205. 206. 207. 208. SUGAR BOWL, BUSWELL COLLECTION THREE-SECTION MOULD PITCHERS PINPEGUASS 2. foe. BARREL-SHAPED GLASS WINE GLASS GLASS ASCRIBED TO NEW HANOVER, N. J. STODDARD, N. H., BOTTLES STODDARD, N. H., BOTTLES TWO STODDARD PITCHERS TWO STODDARD INKSTANDS TWO CLEAR GLASS HATS . RUINS OF PITKIN FACTORY PITKIN GLASS GROUP OF CUP PLATES . BENJAMIN FRANKLIN CUP PLATES Upper—Genuine, White. Lower—Counterfeit, Blue. FRIGATE CONSTITUTION . GROUP OF CUP PLATES LOG-CABIN TEA PLATE AND WHISKEY BOTTLE, WHITNEY WORKS VIEW OF SANDWICH GLASS-WORKS, 1835 SANDWICH GLASS DOLPHINS CLEAR SANDWICH GLASS . CLEAR AND FROSTED SANDWICH GLASS RUBY SANDWICH GLASS AMETHYST AND HONEY-COLOURED DECANTERS SANDWICH GOBLET... . . eye pate ete SANDWICH JUG AND CELERY GLASSES B. & S. BOAT-SHAPED SALT-CELLAR ...... « [ xv J 330 330 331 332 333 334 335 336 353 354 355 356 356 356 357 358 ILLUSTRATIONS FIGURE PAGE 200. GLASS, SANDWICH’ . . 2°) 2) 0) 210. OPAQUE SANDWICH GLASS .°.. . . . eee 211. OPAQUE AND CLEAR SANDWICH GLASS ... . . 360 212. COLOURED SANDWICH GLASS. . |. eupe0 een 213. SANDWICH GLASS <=. ‘\. . |. \.2uueee 214. GROUP OF MEXICAN GLASS . . . “2 soe een 215. MEXICAN PITCHER . .-. .). .)) 92 uRenene 216. MEXICAN COVERED VASE . . . 9 Renee 217. MEXICAN VASE . 9. 2... = |) (pee 218. .MODERN MEXICAN GLASS . . 9). 219. VIEW OF THE GLASS WORKS OF T. W. DYOTT AT; KENSINGTON ON THE DELAWARE NEAR PHILA- DELPHIA 2.0 owe ke 220. INTERIOR OF OLD GLASS WORKS . 2) eee 221. GLASS FROM KENSINGTON GLASS WORKS... . . 368 222. EARLY DECANTERS =: 2 0. =. 0° 2°) cy wee. CUT-GLASS BY CRAIG RITCHIE e 1) je! ‘° ‘e [e) {e! e 368 [ xvi] PT? te ar a so ae ares OLD GLASS THE ART OF GLASS-MAKING LTHOUGH this book deals with Old Glass, I A am not going back to Tubal Cain. Nor am I about to quote what Pliny, the Roman historian (A.D. 23 to 79), wrote about its discovery, for there are other historians who think he was mistaken, since it is impossible to make glass in the open air and under the conditions he describes. But it is a known fact that the Egyptians were early in the field as glass-makers of skill and that the Romans copied their product. At the Metropolitan Museum in New York, in the Edward C. Moore collection, are some beautiful examples of small, coloured, moulded Roman glass vases. These vases are said to date back to the first century B.c. This period is given by some authorities as the date of the invention of the blowpipe. From this time till the fifth century, this method— blowing in a mould—was in constant use among the Roman glass-blowers and the making of glass had become a highly developed art. In fact the Romans used glass for more domestic purposes than it is used at the present day, for having no highly glazed or fine porcelain, glass objects, both OLD GLASS coloured and plain, took their place for household use, It is seldom remembered that the Portland or Barberini vase in the British Museum, London, which Wedg- wood so successfully copied, is of glass, cameo glass it was called. This was made by putting successive layers of glass over the original gathering, and then cutting away the outer coat from the portion which was to form the background, leaving the decoration white or whatever colour was selected. The Barberini vase was found in the sixteenth cen- tury in a sarcophagus near Rome. It belonged to the Barberini family for nearly two centuries and then was bought by the Duchess of Portland and lent to the British Museum, where it is still to be seen. This vase is supposed to have been made in the time of Antoninus, that is, 138-161 A.D. In addition to resisting the cor- roding tooth of time, this vase, smashed into many pieces by a stick in the hands of a lunatic, has emerged again triumphant. It has been restored so successfully that it is hardly possible to detect the places where it has been joined. Constantine the Great (b. 288, d. 337 A.D.) and Theodosius II (5. 401, d. 450 A.D.) encouraged glass- making in the East and urged skilled workmen to come to the seat of their empire, and the making of glass flourished greatly. There still remain some of these beautiful glass objects, particularly of Greek and Roman manufacture, to prove the versatility of the ~ [4] THE ART OF GLASS-MAKING artists who made them. Two which are owned by the Victoria and Albert Museum, London, are shown here. Figure 1 is described as a bottle of glass, “Alabastos,” with broad lip and two small ears; green, with yellow and white wavy lines; from a Greek tomb, probably of the fifth century B.c. The second vase, Figure 2, is quite as beautiful, and may have been from its small size and shape used for some toilet article, holding perfume, ointment or some rare drug. It is three and a half inches tall, and could have been conveniently carried on the person. The colour is blue, and the decorations are in turquoise blue and yellow. This was also from a Greek tomb, probably of the fifth century B.C. It was not till the fifth century A.D. that the Western world began to challenge the supremacy of the East, and the Venetian Republic became the leader in the manufacture of glass. The Venetians were clever, they sought to prevent the trade secrets of glass-making from becoming known. So about the end of the thirteenth century they confined their workmen to the Island of Murano, which is separated from Venice by a narrow strip of water. They traded with countries in the Far East and Venice became wealthy through her glass trade. In this same century and in the fourteenth and fif- teenth the Saracens made very choice glass. Dillon in “Glass” speaks particularly of the beauty of the enam- Figures I and 2, page 15. OLD GLASS elled pieces, and says that even yet occasional pieces are found in England and France. This enamelled glass was made in lamps, vases, beakers, and bottles, particularly for mosques. It is seldom that a piece finds its way to America. Figure 3 shows a vase in the Victoria and Albert Museum, London. It is 17% inches tall, of clear glass painted in enamel colours, chiefly blue and red and gold. Round the body is an Arabic inscription in Neshky characters, ‘“‘Glory to our Lord the Sultan, the wise, just, religious warrior, king.” The first part of this is repeated around the neck. From Cairo, of the fourteenth century. About this period the Germans began to manufacture glass, but their product was coarse and heavy, decorated with enamels and entirely lacking the grace and beauty of the Venetian output. Assyria, India, China, Persia, Spain as well as Egypt made glass with more or less success, and at different periods. Italy, Germany, the Low Countries, France and England were the leaders and remain so still, although America is not far behind. For centuries the Venetian models were copied everywhere. Even Persia used their designs, often used decoration of gold, and to-day the modern Persian glass differs very little from the Venetian glass of the sixteenth and seventeenth centuries. Figure 4 shows some typical pieces which are in the Pennsylvania Mu- Figures 3 and 4, pages 16 and 17. . \ [6] THE ART OF GLASS-MAKING seum, Philadelphia. They belong to the eighteenth century. Excelling in all branches of the ceramic art, China does not seem to have given the same amount of atten- tion to the making of glass. It was mentioned by a Chinese writer in 627 A.D., but little is known of the manufacture before the eighteenth century. Figure 5 shows one vase of a pair in dark blue glass, in the Victoria and Albert Museum, London. It is engraved in relief with an Arabic inscription, and also with the seal of Yung-cheng, A.D. 1723-35. Figure 6, a vase of sapphire glass, has on it the seal mark of Ch’ien-lung, A.D. 1736-95. ‘The Chinese are making to-day glass of extreme beauty of colour and of graceful shapes, flat bowls, vases, small dishes. The colours are greens, blues, soft yellow and a glowing ruby, all of them translucent and showing to wonder- ful advantage against the light. Under the heading of glass may come those entrancing objects used by the Chinese for medicine, snuff or perfume. Sometimes they are made of clear glass and exquisitely painted on the inside with landscapes, birds, fishes, anything which appeals to their delicate fancy. Other bottles are cut from blocks of glass, coloured quartz or crystal, and they make one of the most charming as well as costly bibelots which one can collect. For years I have had it in my mind that I would own some of these pretty things, but since a collector of old American glass, who Figures 5 and 6, page 18. [7] OLD GLASS does not hesitate to pay hundreds of dollars for choice specimens, advised me to “forget it,” that ruin lay in the path of the collector of really choice snuff bottles, why, I have tried to follow his advice, and so far I have only two. Another object which appeals to the collector is the ruby shade of Bohemian glass. This they succeeded in making during the early part of the seventeenth cen- tury. But before they attempted colour they excelled in making a superior clear glass. In 1609, Caspar Lehmann, a Bohemian glass-worker, invented the proc- ess of engraving on glass, which gave a new impulse to the industry. ‘The distribution of glass was more general and its uses more various than one is apt to realise, even at this early period. Craddock, an Eng- lishman, writing about 1650, mentions that blown glass, “black and strong,” was used in making the black-and- white pavements which were so popular. Tournefort, the distinguished French botanist who travelled so ex- tensively in the East, mentions in 1683 that “in the palace at Teflis there were windows glazed with great squares of blue, yellow, grey, and other coloured glasses.” England, curiously enough, seemed content to get her rich glass from Venice, in cups, flagons and bottles, and not try herself to build up the industry. But during the reign of Elizabeth, she appreciated the value of glass-works and invited to London a glass-worker [8] THE ART OF GLASS-MAKING named Cornelius De Lannoy; he established glass- houses and from this time on the British Isles had an important part in the industry. Even before this time there had been a little glass made in England, but the introduction of flint glass was an important step forward. It was made first by the Venetians from crystal pebbles which they got from their rivers, and ground. When the first Venetian glass- makers came to England they used the native flints for their glass, and even after silicious sand was used, the name flint glass still clung. The old formula for flint glass was sand, lead, potash, salpetre and manganese. Common glass for bottle-making contained sand, soap- er’s waste, gas lime, common clay and rock salt.* This latter formula produced a glass which was green in colour, known as bottle glass, but when care- fully made and rendered colourless by the use of man- ganese, it was called crown glass. Apsley Pellatt in his “Curiosities of Glass Making,” published in 1849, gives many formulas for the making of coloured glass: For blue transparent glass, oxide of cobalt was added to the formula already given for flint glass. For ruby red, oxide of gold was added. For amethyst or purple, add oxide of manganese. For emerald green, add copper scales and iron ore. For common orange, there was added iron and man- ganese. * Apsley Pellatt: “Curiosities of Glass Making.” [9] OLD GLASS For gold topaz, add oxide of uranium. For soft white opaque enamel, add arsenic and an- timony. For hard white opaque enamel, add putty prepared from tin and lead. In all batches of material for making aes either common, green, or flint, it was found that the “metal,” as the molten glass was called, had a much better qual- ity if there was added broken glass, even sometimes as much as one-quarter in bulk. This was called “‘cullet,” and was constantly called for in advertisements, in both English and early American newspapers. The flint glass of to-day is probably very different from that made in the sixteenth and seventeenth cen- turies. The term is now understood to mean a glass composed of silicates of potash and lead. It is the most brilliant and colourless of all glasses, and England claims that she was the first to perfect it. Hartshorne in “Old English Glasses” dates its discovery about 1663, when a patent for making “crystal glass” was taken out by a man named Tilson. On the other hand, E. W. Hulme, who spent years investigating the sub- ject, and who wrote “English Glass Making in the XVI and XVII Centuries,” gives the date as 1730, when flint glass in its present form was perfected. One of the chief beauties of ancient glass is its pleas- ing irregularity. There is a freedom in the decoration, often crookedness in the whole object which was the [10] THE ART OF GLASS-MAKING result of hand work. A most important thing in the manufacture of glass was the building of the pots in which it was made. These were subjected to such in- tense heat that the process of making them was a dif- ficult one. If not made of the best materials they would crack, in which case the metal would be lost. Old pots broken up and ground down, then mixed with new clay were found to give the best results, the proportion being about one to three. These pots were built up layer upon layer, each successive layer being carefully dried, so that the process was a lengthy one, and from six months to a year was not an undue time to give to the making. The earliest glass was made in open pots with wood as a fuel. In order to obtain an abundance of fuel the glass-works were situated in the country. In the year 1641, a bill was introduced in England to stop the fell- ing of trees for burning glass, and from the last quarter of the seventeenth century, glass-works were in or near towns where coal could be obtained. With the use of coal, gases arose which were injurious to the molten metal, so it was found necessary to cover the pots. The number of pots which glass-houses employed varied. Dudley Westropp, in his book on “Irish Glass,” gives as follows the method of working a ten- pot furnace: “Each glass-blower had a chair with long arms on which he rotated the blowing-iron with the gathering Car xe! ae OLD GLASS eds of glass. The four or five chair system was the one usually employed. For a ten-pot furnace four or five sets of workmen would be employed in making the glass objects while the other four or five rested. The first chair was termed the castor hole chair, consisting of a blower and three assistants, known as servitor, footmaker, and taker-in or boy, and was used for large pieces, jugs, decanters, etc. This chair had an empty pot heated with dried beechwood, for reheating the glass. ‘The second chair, consisting of four workmen, made fancy articles, goods required for cutting, chemical ap- paratus, etc. This chair reheated the glass at the mouth of one of the pots containing fluid metal. The third chair, also consisting of four workmen, made almost exclusively wine glasses, goblets, tumblers, lamp chim- neys, etc. The fourth chair, consisting of four or five workmen, did not require such skilled operators as the other three, and made chiefly phials and small articles.” The tools used by glass-makers have varied little in several centuries. A list of tools published in “The Toast,” 1747, reads, “bars, paddles, rakes, ladles, pipes, pontee stakes, shears, scissors, crannies and towers.” Hunter, in ‘“Stiegel Glass,” gives as the tools employed, blow-pipe, pucellas, which are a pair of shears looking something like garden shears, and used for everything but cutting, the blades being dull. There are also short-bladed shears, tongs for picking up small objects, [ 12] THE ART OF GLASS-MAKING a trowel-like tool with a handle, used for shaping, and finally the pontil or punty. In addition to the glass-maker’s chair with arms, he also uses a stout table with an iron top, called a mar- ver, on which he rolls into shape the small bunch of glass, called the “gathering,” which he has attached to the blow-pipe. In “Glass Making in All Ages,” Walter Rosenhain says: ‘Large objects like carboys were difficult to blow on account of the weight of glass to be handled by the gatherer and blower. In the old days the only aid available to the blower was the method of injecting into the partially blown carboy a small quantity of either water or alcohol. This liquid was vaporized immedi- ately by the heat of the glass, and if the blower held his thumb over the opening in the blowpipe, the force of the vapor blew out the glass to the proper extent.” The cooling of glass objects is almost as important as blowing them. For too sudden chilling renders them liable to break. They are gradually cooled by plac- ing them in an annealing oven which is allowed to grow cool slowly, or by slowly removing the glass from a constant source of heat. It requires considerable skill to coil the proper amount of glass on an iron rod four feet long. This mass of glass is slightly rolled on the marver to solidify it, and then somewhat hollowed by blowing. The moulds were used to give shape to the vessels, OLD GLASS and also to impress patterns. upon them. They were formerly made of wood or iron. The operation of cutting glass from the brilliant lead glass blanks is now purely mechanical. The old and new methods are contrasted in ‘“The Journal of In- dustrial and Engineering Chemistry.” ‘Patterns were marked out on the blank, and steel wheels, with mitred edges and armed with trickling sand and water, were used to make the deep cuts and the finer tracery. Stone wheels next smoothed the roughly cut surfaces. ‘Wooden wheels with pumice and water gave an ap- proach to a polish, and finally rapidly revolving brushes with putty powder (tin oxide) gave a high finish. The men who operated these four types of ap- paratus were all highly skilled and highly paid. About 1895 attempts were made to utilize the action of hydro- fluoric acid on glass in order to eliminate the two final processes almost entirely. Many difficulties were en- countered by the chemists who attempted to control this reaction. “Finally, however, they were overcome, and one or two men can now polish the output of a large factory, permitting the laying off of perhaps forty highly paid workers, and the selling to the public of fine cut-glass ware at much less than it could otherwise be marketed.” During the last fifty years the two most important in- fluences in the manufacture of glass were, first, the substitution of gas for coal, and second, the invention [34] One Dee G FASS Fig. 1. GREEK BOTTLE Fig. 2.. GREEK BOTTLE 5th Century B.C. s (See page 5) _ OLD GLASS Fig. 3. SARACENIC VASE (See page 6) [16] EN SS SSS. OLDD-GLUASS Fig. 4. PERSIAN GLASS 18th Century. (See page 6) (eral OTD 2G aioe aSVA ASANIHO 9 “a1 q aSVA ASANIHO *¢ ‘BI (L abn 299) [ 18 ] (See page 30) OT DERG aAsaS ye AUER OSES OH OSSOSee ey Soe cree, - ken Se oR eS RR Om a 5s acted Nee ann oer ees Sc eres teas ot oe ae Fig. 7, VENETIAN COVERED CUP grog OLD GLASS a es Fig. 8. GOBLET WITH Fig. 9. VENETIAN TAZZA WINGED STEM From 15th Century Original in the Moro- From an Original of the 15th Century in Junstz- gewerbe Museum, Berlin. Venezia Murano Com- pany, Venice. (See pages 32 and 33) sini Gallery, Venice. [ 20 ] OL DeGlVASs Fig. 10. GOBLET WITH WINGED STEM From an Original of the 15th Century in the British Museum. (See pages 34 and 36) [f2ie] Kigali ea VI ROM Dt TRINA WINE GLASS Vitro-e dre lrinage. Glass from Original of the 15th Century in the Murano Museum. OO DG Agss Fig. 12. BASIN AND EWER Italian, 16th Century. (See page 37) — [233 7] THE ART OF GLASS-MAKING of the glass-blowing machine.* This machine was in- vented by M. J. Owens, of Toledo, Ohio, and of course, revolutionised the making of glass. Modern glass moulds are of three kinds, iron, press and paste moulds, all of them made of iron. These moulds are made in two or more segments fastened together, and no matter how well they are made, wear and tear and abuse in using them makes the joint of the mould apparent. The Germans used moulds of maple or apple wood soaked in water. After use the moulds grew charred on the inside, and the blower found that the object within could be easily revolved, giving it a lustre and smoothing off the seams. Iron moulds in use at the time if covered on the inside with some of the charred mixture from the wooden moulds, allowed the object to be revolved as in the wooden moulds. This gradu- ally led to a carbon mixture being known as “paste.” The writer of “Fifty Years of Glass Making” goes on to say that this paste mixture is applied on the inside of a mould, and often sprayed with water so it will not burn. A paste mould of this description will not allow an object with a raised design upon it to be treated in this way. A “press” mould is made of two parts, the mould and the plunger, the mould being the outer part and the plunger working within it. The press operator gathers a bit of molten glass on the punty, drops it in the mould, shears it away from the punty, and presses *“Pifty Years of Glass Making.” [ 23 ] OLD GLASS in the plunger. The press operator must have an ac- curate eye to judge of the right amount of metal so it will not be too much to fill the mould, and so be wasted, or too little which will cause under pressing. The styles of decoration are many: Cutting. ‘This was among the earliest methods used, and is one of the most beautiful. It was accomplished by the use of wheels from two to sixteen inches in diam- eter, sand, water, powdered pumice, and “putty pow- der,” consisting of whitening and other ingredients, for polishing. The wheels were of blue stone, mild steel or hard wood, boxwood generally for polishing. The cutter revolved the wheels by foot power, pressed the glass against the wheel on which sand and water dripped. The design was rudely scratched on the glass and then the cutter followed the details from a sketch on paper which lay beside him. Diamond-point engraving. This style of decorating was employed long before the use of the wheel. Every country where glass was made used it, and as late as the middle of the nineteenth century it was still em- ployed in England. Engraving by wheel. This method followed the diamond-point style. The effect if done by an artist was often extremely rich. One cannot study or handle glass without noting the frequent use of the grapevine as an ornament. With or without the bunch of grapes which so often accompany it, its use was not confined [ 24] THE ART OF GLASS-MAKING by any means to drinking vessels. The grace of the stem, the curling tendrils, the pleasing shape of the leaf, made it adaptable to objects of any form. I have found it on glass vessels of every description except perhaps salt-cellars. A very agreeable variation of engraved glass is found when a portion of the pattern is left clear and polished. Besides the vine and the hop and barley sprays found on ale glasses, flowers were favorite designs. ‘Tulip, rose and lily, honeysuckle and leaf vine, all had their place; the tulip in particular, beloved of the Dutch, often figured on glass from the Low Countries. Fluoric Acid Etching. ‘This art, which originated in Germany, had in the eighteenth century many fol- lowers in England. Their productions were among the most exquisite which it is possible to produce upon glass, seeming hardly more than a shadow of a design blown upon the glass. Flashing. This is superimposing upon clear glass a thin layer of coloured glass. This layer of coloured glass can be used either upon the inside or outside of the clear glass. When cut through for purposes of deco- ration the result of flashing on the inside shows clear figures on a coloured background, while coloured fig- ures on a clear ground are the result of applying the coloured glass on the outside. Trailing. Canes or rods of glass laid on in a pattern while the metal was still hot, makes a somewhat clumsy [ 25 ] OLD GLASS but effective decoration. It was commonly combined with etching or engraving. In Rosenhain’s ““Glass Making in All Ages,” he says: “The blowing of a tumbler is typical of the process of blowing any hollow article, and the higher grade the object the more depends on the skill of the worker. The old way of forming a tumbler was to take the gath- ering of glass on the blowpipe, blowing it into the proper size, then elongating by gently swinging the pipe. Then the bottom was flattened by pressing it gently on the marver, which gave the tumbler the proper shape. The pontil was affixed to the bottom by a small bit of glass, the neck and blowpipe were sep- arated from the bulb, leaving the tumbler the proper size. The edge of the tumbler was thrust into the fur- nace to heat the broken edge, which was now smoothed and rounded off. If the worker so desired the edge could be widened out or fluted, or otherwise treated by rotating it, and pressing the edge with pieces of wood.” When you come to consider the collecting of old glass, one of the most discouraging things to be faced is the number of frauds and fakes. Not only is old Irish and English glass being forged, but early Ameri- can as well. Often the highest precautions will not defend the purchaser. In the presence of the pontil mark collectors once used to place their trust, but this is no longer an infallible test. Old cut-glass of high quality generally did have the pontil mark smoothed off, and so did many pieces which were not cut. [ 26] THE ART OF GLASS-MAKING The form of the foot in drinking glasses is a means of identifying old pieces. It is generally large, the diameter being equal to that of the bowl, and it is con- ical or domed. The bottom of old pieces is frequently like ground glass, and always has at least a rim of wear around its edge. There are collectors who claim that they can never be deceived in the “ring” of old glass. That is, if the rim of the object is struck smartly with a pencil or the fingernail it gives out a clear, musical note. I have before me a large, dark-blue beaker which rings clear and true when struck. Yet it is an unmistakable fake. It is thick and heavy, it is a bad shade of blue, and the bottom has been industriously scratched with sand- paper. Not content with this, there are some extra- large scratches made no doubt with a file. On a genu- ine piece the wear shows evenly, coming from use and moving about. Most of the old glass was less clear and brilliant than the modern. It had many imperfec- tions in it, tiny bubbles, sometimes little grains of sand, which Mrs. Stannus in “Old Irish Glass” says is one of the peculiarities of old Irish glass. Constant handling of old glass is a most necessary part of the training of every would-be collector. Old glass lacks the sharpness of new, there is a feeling of softness almost as noticeable as in soft paste porcelain, and sometimes the fingers will be more of an aid to you in detecting the fraud, than the eyes, [ 27] VENETIAN GLASS HE making of glass before it became so me- chanical a process as it is now, was one of the most beautiful arts in the world. The glass- worker could please his fancy in the shape and decora- tion of the objects he fashioned, and the greater variety of form he introduced, the better it was. The story of Venice, the history of her proud nobles with their wealth of ducats and their ropes of pearls, is like a fairy tale. For centuries those oozy quicksands were the nesting-grounds of wild birds, and the sea was choked with fishes. Then by and by came men and women, driven to such fastnesses as the lagunes pro- vided by the raids of the Goths. They fought the sea, building up with wooden piles driven deep into the shifting sand, and men, women and children toiled to give stability to the ooze and silt. By degrees the rude mud huts gave way to cottages, and these in turn to more substantial dwellings, though the fierce daily battle went on to keep the water out and retain the shallow strips of soil. The best men in each little knot of dwellings were chosen as leaders, and little by little the process of selection showed its ad- vantages. Invention and the creative faculty seems to have been inborn in them, they were Christians too, [ 28] VENETIAN GLASS and in 421 A.D., Rivo-Alto (the Rialto), or Port of Padua as it was called, sent consuls to regulate the lives and property of the water settlers, and to safeguard them from the inroads of barbarians.* The first “Grand” Doge of Venice was Agnello Badoero, a Greek by descent, who was called to the supreme office in 810, and he chose Rivo-Alto as the seat of government, and set about developing and im- proving the islands of the lagunes.t It would seem but natural that a race sprung from fisherfolk and toilers should lack, not excel, in all lines of art. But touch them where you will, even the simplest things were wrought on lines of beauty, and their artists, printers, goldsmiths, weavers of rich lace and splendid textiles, makers of glass and mosaics, seemed to draw inspiration from the colours and forms they found in their wonderful gardens or shimmering on the surrounding waters. Glass-making was early an important Italian indus- try. From the fifth century there are records of it, the artisans working in a small way at little individual furnaces, instead of in the immense establishments of more modern times. The earliest recorded individual worker was Petrus Flavianus, in the year 1090, as a phial maker.t In 1268 the glass-workers became an incorporated *Staley: “Dogaressas of Venice.” + Charles Yriate: “Venice.” + Monograph on Venice and the Island of Murano. [ 29 ] OLD GLASS body, and took part in processions and pageants. Glass for windows and mirrors and vessels of glass for house- hold use were all made as early as the fourteenth cen- tury, and during the sixteenth and seventeenth centu- ries immense quantities were exported. Figure 7 shows one of the splendid covered cups of the fifteenth cen- tury. It is of plain glass, the bowl, the cover and the foot ornamented with raised gadroons and ribs. Around the mouth is a band of enamelled dots on a gold ground, and beneath that a raised rib, coloured spirally blue and white. Around the bottom of the cup is a raised moulded band. It belongs to the end of the fifteenth century, and is in the Victoria and Albert Museum, London. The seat of this prosperous industry was the Island of Murano, whither the workers had been transferred late in the twelfth century. It is a fact that glass-works had been established at Treviso, Ravenna, Vicenza, Padua, Mantua, and Bologna by the end of the thir- teenth century, but they were so overshadowed by Ven- ice that little is known of them, or what they made. The Island of Murano, separated from Venice by an arm of the sea, was not only celebrated on account of the glass-works which were gathered together there. For years it was the abode of the aristocrats of Venice, and here they built their gardens, and many villas sprang up on the sandy seashore, whose hanging gar- Figure 7, page 19. [ 30] VENETIAN GLASS dens and orchard terraces were claimed to be the most beautiful in the world. During the fifteenth and sixteenth centuries when these villas were at their proudest, every visitor ex- tolled the beauty of the gardens snatched from the sea. Every afternoon and evening fleets of gondolas stole through the murky waters, filled with merry people who went to Murano to enjoy the cool breezes filled with the scent of flowers, or to view the splendid fres- coes and wonderful statuary at Villa Mocenigo and Villa Trevison.* But while the nobles had complete liberty to go and come as they pleased, the glass-workers were virtually imprisoned there so that the secrets of the manufac- ture should not become known. But to reward them for this curtailment of liberty they had astonishing privileges. They were under the immediate jurisdiction of the Council of Ten, and they had the right of coin- ing a certain number of medals on the day of the bless- ing of the waters by the Doge. If one of their daugh- ters married a noble the latter did not forfeit his nobility, and the children were noble. A very great con- cession in those days.t If, however, one of the workers attempted to leave the island, he was punished with death. The number and variety of guilds at Venice seems *Staley: ‘“Dogaressas of Venice.” + Yriate: “Venice.” [31] OLD GLASS to have embraced every known occupation. In the splendid pageants which were such a feature of Vene- tian life for centuries, it was customary for the dif- ferent guilds to appear, generally in rich uniforms and bearing show-pieces illustrative of their trade. Each branch of the glass-makers’ trade had its own guild, and they were divided into mirror makers, crystal glass workers, mosaic glass workers, and bead makers. These latter were divided into ordinary bead makers and bead makers of finer quality.* During the reign of Doge Giovanni Soranzo (1312- 29), and Dogaressa Franchesina his wife, importations of mirrors from Germany and hanging lamps from Greece were prohibited. Their palace was one of the grandest in Venice, filled with costly treasures, with table service of gold and silver-gilt and the most beauti- ful glass Murano could produce. No doubt tall gob- lets similar to the one shown in Figure 8 stood on their table, for this one is a copy of one in the Berlin Mu- seum, and is in the Pennsylvania Museum, Philadel- phia. The original is of the fifteenth century. The exquisite lines of these tall goblets, the admirable pro- portion, the delicacy of the winged ornament, belonged more to the fifteenth and sixteenth centuries than later when the ornament became too heavy, and in some cases almost grotesque. During the years 1547-49, discontent raged among * Dillon: “Glass.” Figure 8, page 20. [ 32] VENETIAN GLASS the glass workers of Murano. Instead of asking for less time to work—the modern method—they com- plained that so much time was taken by observances of church and state, and the restrictions of labour under legal enactments, that the working year was reduced to thirty-five weeks. Luigi Conaro in his ‘“Discorso Intorno Alla Vita Sobria,” has recorded: ‘Cloth of gold from India, porcelain and glass from Sévres, earthenware from Birmingham, and other manufac- tures entered Venice freely to the disadvantage of Venetian workmen.” ‘The Gastaldi or Masters of the Guild laid their complaints before the Dogaressa Alicia, and she was able to obtain permission in 1550 for a party of Murano glass-workers to travel through England, Flanders, Spain and France. King Henry VIII of England welcomed them and made a great collection of Venetian glass. Among the exquisite objects made were tazze—one is shown in Figure 9. ‘They are flat, shallow bowls mounted on stems and very often flecked or powdered with gold. The one shown is at the Pennsylvania Mu- seum, and is a copy of one in the Morosini Gallery at Venice. It belongs to the fifteenth century. Slender, long-necked bottles for water were made in quantities at the furnaces of the Miotti and Luna fami- lies. Their glass was colourless, not very brilliant, but ornamented with ribs and rings of white enamel.* *Ryley: “Old Venetian Glass.” Figure 9, page 20. [ 33] OLD GLASS The glasses of the sixteenth and seventeenth cen- turies are very beautiful, and may have funnel-shaped bowls, fluted, four-leaved, scalloped, or tulip-shaped. The latter is very pleasing, particularly when decorated with ribs and threads of glass. Many of these early glasses were colourless, but there are some of a royal purple that are exceptionally fine. The Venetians had a fancy for lavishing decoration on the stems, which were often fourteen inches high. They are balustered, winged, crested with glass of another colour, twisted and ringed in endless variety. Figure 10 is from an original glass of the fifteenth century which is in the ~ British Museum, London. This replica is at the Pennsylvania Museum, Philadelphia. Everything about this glass is interesting. ‘The tall braided stem, the winged decoration which is so suggestive of the sea-horse, a design which has always seemed to appeal to glass-makers, American as well as European. The importance of Altare, a small Ligurian town north of Savona, has only recently been recognised as having an important part in the development of the glass industry of the sixteenth century. As far back as the eleventh century a glass industry had been estab- lished there, and there was a constant influx of skilled workmen from Normandy and later from Murano, so that by the fifteenth century there were so many trained workers that they were ready to go to other countries to seek employment. Constantly from this Figure 10, page 21. [ 34] VENETIAN GLASS time Altare has played an important part in this art, does so to-day, for there are descendants of the old families—Mr. Dillon in his book, ‘‘Glass,” says thir- teen—who still carry on the craft. The term “Venetian Glass” always conjures up in the mind those lovely and fragile objects with which we are familiar. But the earliest glass was made for the mosaic makers to use. Then about the beginning of the fourteenth century they made lanterns for gal- leys and lighthouses. They made glass in blocks for spectacle makers, mosaic glass, window glass, glass for mirrors, each branch of the work being under its own code of laws which bound both master and workmen.* Salvino d’Amato invented eye-glasses towards the end of the thirteenth century, and they were subse- quently improved by Allessandro Spina.t About 1436 the coloured glass of Venice began to be celebrated, and continued so for centuries. By the fif- teenth and continuing to the sixteenth centuries plain glass decorated with gilt and enamel was much es- teemed ; while in the seventeenth century the celebrated vitro di trina, marbled and variegated glass were all being made. Millefiori extends through all periods.t The enamelled glass of the sixteenth century was very beautiful, and the imitations of jasper, agate and chalcedony very successful. The vitro di trina or lace- *“The Americana.” + Wallace-Dunlop: “Glass in the Old World.” + Apsley Pellatt: “Curiosities of Glass Making.” [35] OLD GLASS glass consists of fine threads of white or opaque glass contained in the body glass. They might be vertical or horizontal, and might appear in the form of ribs or bands. Figure 11 shows a vase, vitro di trina of the fifteenth century, a copy of one in the Murano Mu- seum. This one is at the Pennsylvania Museum, and is exceedingly beautiful and graceful. As the seventeenth century advanced, the style be- came florid and gaudy, particularly in such objects as chandeliers and wall lights) Many formulas were used for the composition and colouring of the old glass, the colouring particularly being a very delicate matter, since it depended not only upon the just pro- portion of the ingredients, but upon the greatest care in the application of heat. The choicest specimens were sometimes submitted to the heat fifty or sixty times.* There are a few great names connected with the max- | ing of glass in Venice: Ballarin; the leaders of the schools of Brussa and Briati, particularly Guiseppe Briati himself, who in 1736 obtained a patent to make glass in Venice in the Bohemian style. He had learned the secret of its manufacture at Prague. He also was allowed to set up his furnace in Venice itself, in the Via del Angelo Raffaello, in 1739, and destroyed those he had at Murano. He died in 1772.T Another of the illustrious of Venetian glass-makers *Yriate: “Venice.” + Ibid. Figure 11, page 21. [ 36] VENETIAN GLASS was Angelo Beroviero, who, with members of his fam- ily, made many improvements in glass-making. In 1463 they invented what they called “crystal glass,” and from it they made those wonderful cups and gob- lets which were used as marriage or betrothal gifts; they also made memorial vases and show-pieces for the guild. These latter were sumptuous objects, rich with gold and enamel decoration, and in some cases showed historical portraits. The ewer and basin in Figure 12 show the grace which such masters of their craft be- stowed upon everything they touched. These pieces are in the Victoria and Albert Museum, London, and are of clear glass banded with blue. Angelo Beroviero, aided by his friend Paolo Godi da Pergola, a chemist, was able to manufacture artificial gems as well as artificial pearls.* Anyone who has read much of the ancient history of Venice as well as other parts of Italy, is staggered at the amount of jewels mentioned. ‘Pounds of Great Pearls” figure in inventories of estates and in accounts of the wealth and marriage portions of great ladies of noble rank. A. Sauzay in his “Wonders of Glass Mak- ing,” says: “On his return to Venice (1295) Marco Polo hastened to inform his fellow citizens who were dauntless mariners as well as enterprising merchants, not only of the manners, but also of the taste of the people of Tartary, India, and China for false pearls *Sauzay: “Wonders of Glass Making.” Figure 12, page 22. [ 37] OLD GLASS and imitation gems. Nothing more was required to exercise the inventive mind of the Venetians. Thus while Dominico Miotti endowed Venice with the in- vention of blowing false pearls which had been lost for centuries, Christopher Briati, on his side, revived an art once carried to great perfection, the production of coloured glass and aventurine. Such efforts necessarily brought their rewards, and it is to the pearls and col- oured glass in the imitation of precious stones, that Venice owed in great part the wealth she gained from both hemispheres.” The pearls are made from tubes of glass, the thick- ness of the tube being in proportion to its size. After the end of the tube is blown into a ball-shape, it has to be twice pierced, if for stringing; is further modelled into shape, round or pear shape; and then coloured. This colouring is introduced into the interior of the glass globe after a slight coating of glue has been sprayed over the inside, and is a powder made of fish- scales. Previous to 1686 the colouring matter was made of quicksilver. The work of colouring these pearls was done by women, a skillful worker finishing about forty thousand a day. Although those past-masters of the arts, the Egyp- tians, made false pearls fifteen centuries before our era, Pliny says that the taste for fine pearls was introduced into Rome by Pompeius Magnus about 693 A.D. He did not stint himself in the use of these gems, for even f 38] ODS GU AS. Fig. 13. DRINKING VESSELS AND EWER Venetian. Fig. 15. BOHEMIAN GLASS, DIAMOND ENGRAVED (See pages 50 and 52) [39] OU De a ana Fig. 14. VENETIAN VASE Fig. 16. BOHEMIAN Venice, 19th Century. GLASS, PAINTED Clear Glass, Cylindrical, Painted with Two Coats of Arms, an Inscription in Gilt and the Date 1868. (See pages 50 and 53) [ 40 ] OM DEGAS Ss Fig. 17.) COVERED, GOBLET Goblet with Cover, Green Glass, Engraved, and with an Inscription. A Silver-gilt Openwork Foot, and on the Cover Silver-gilt Figure of a Dog Standing, with the Initials I. A. V. and the Date 1656. (See page 54) [ 41 J OLD GLASS Fig. 18. DEEP-CUT Fig. 19.° KALLIGRAPHON TTUMBLER ORNAMENTE Fig. 20. DOPPELWANDGLAS (See pages 55 and 57) [ 42 ] OLD GLASS Fig. 21, MILCH GLASS, PAINTED Fig. 23. BOHEMIAN DECANTERS (See pages 57 and 58) [ 43 J OLD GLASS Fig: 22... COVERED: CUPS Bohemian Glass Covered Cups. Metropolitan Museum of Art. (See page 58) 44] OLD-GLASS Fig. 24. BEHERSCREW, Fig. 25. DUTCH WINDMILL SILVER-GILT GLASS Dutch Beherscrew, Silver-gilt. 17th | Dutch Mill Beher. Latticinio and Century. Property of the City of Silver. 17th Century. Amsterdam. (See pages 71 and 72) [45] OLD GLASS Fig. 26. DUTCH GLASS, VENETIAN STYLE With Diamond Engraving, 17th Century. Fig. 27, DIAMOND-ENGRAVED GLASS Green Glass, Dutch Diamond Engraving, 1646. (See page 73) [ 46 | VENETIAN GLASS his furniture was studded with them. There was a likeness of himself wrought entirely in pearls, and he had besides chaplets and ornaments. Of course such a spendthrift and dandy as Caligula could not be outdone in magnificence, so he had his shoes decorated with pearls. His horse, Incitatus, had his collar studded with them, and they were used in countless other ways. These were Oriental pearls, and of course only obtainable by the wealthy. Twenty years after Marco Polo brought news that false pearls were desired in India and China, there were so many makers of these gewgaws that they were regulated by special statute. The mirrors of Venice were for long years objects of envy by the rest of the world, and on these and the making of beads they had a monopoly. The making of mirrors requires not only a good plate of glass free from all imperfections, but the applying of a film of bright metal, which shall be free from all defects. The mirrors of the fifteenth and sixteenth centuries were always small, not alone from the fact that it was not then possible to make large sheets of glass, but also because in the hands of a Renaissance artist, the frame was the important thing. Whether of gold, jewelled, or of carved wood, or tortoise-shell inlaid or rich with lapis, it was a masterpiece, and the mirror was only an excuse for all this enrichment. The little mirrors which women wore were small things indeed, worn [47] OLD GLASS generally at the girdle. They were often about four inches high by two wide in an embossed frame, or if round, were commonly enclosed in a small ivory box richly carved. When England began to make mirrors the business in them was dropped in Venice, so that by 1772 only one glass house at Murano made them.* In addition to the desire for false pearls and imita- tion gems, the feminine rage for beads does not seem to have lessened with years. If there were documents concerning the manners and customs of Adam and Eve, how they kept house and what they wore when they walked out of an afternoon, there is no doubt in my mind but that reference would be found to chains of rowan beads and hips and haws, with which they decked themselves. Nobody knows how rar back the making of beads began in Egypt, for beads of colour—sapphire, emer- ald and brown—were well known by the time of the XVIIIth Dynasty, that is from 1500-1350 B.c. The skill of the Egyptian women in making exquisite adorn- ments out of beads can be seen in the Egyptian room of any great museum. The small thin chains which satisfy us to-day are meagre compared to the splendid and artistic breastplates and collars of Egyptian make. Even the melancholy bugle bead, so well known as the jangling accompaniment to modified mourning, has * Yriate: “Venice.” [ 48 ] VENETIAN GLASS been used for centuries and centuries for the same purpose. Gabrielle d’Estrees, Marquise de Monceaux, mis- tress of Henry IV of France, died in 1599. In her in- ventory are noted ‘Five small caps of black satin of which two are embroidered in jet, one quite full, a robe of black satin with a border of jet over the body and the sleeves open, valued at forty crowns.” * In 1723 Savary wrote in his “Dictionnaire Universel du Commerce”: “It is with artificial jet, cut and pierced and threaded with silk or thread, that embroid- eries are made in sufficiently good taste, but very dear, which are used particularly in churches. Trimmings are also made of it in half mourning for men and women, and sometimes muffs and tippets, and trim- mings for robes.” The tons of glass beads which are worn by women in every part of the world to-day, be the women black, white, yellow or red, seems only the outcropping of a desire for flashy adornment, which is ingrained in the feminine nature. The modern bead may be more regu- lar, but often it is far less beautiful than its predecessor of centuries ago. The Chevron bead is perhaps the most important of all Venetian beads, not alone on account of its size, but because of its wide distribution. These beads are made from canes built up from layers of colored glass, gen- * Sauzay. [ 49] OLD GLASS erally, blue, red, and green, divided by thin layers of opaque white glass which are so placed that the opaque glass forms a star-like pattern on a cross-section. They vary in size from one-third of an inch to two and a half inches, and the usual type is cylindrical with rounded ends. These beads are very beautiful, and have been made at Murano so long that the time of their intro- duction isunknown. They are made at the present time in large quantities for use in the Congo, where they are in great demand. They have been found in the remotest spots of the earth, Upper Egypt and Nubia, Zanzibar and India, Central Africa, South Sea Islands, Peru, Canada, and even in the graves of the American Indians.* Thinking of Murano as one of the greatest artistic colonies in the world, it seems unbelievable to know that they had to have recourse to making ugly and com- mon things. Yet in 1790 Giorgio Barbaria asks for a patent for making black bottles for export to England, and also enamels and jet. His is the last great name in the industry of glass-making at Murano. He was deputy of the Island for 1794-96, and this was just be- fore the republic fell. Murano once so proud and pros- perous came on evil days, and though the art is still carried on, it is done so by foreigners, or at least on foreign capital.t See figures 13 and 14. * Dillon: “Glass.” + Yriate: “Venice.” Figures 13 and 14, pages 39-40. [50] . BOHEMIAN GLASS HE glass industry was introduced into Bohemia from Venice, in the thirteenth century, and soon attained a vast importance. The glass factories were in the neighbourhood of the mountains, where minerals, especially silica, abounded, and where fuel was plentiful. The finest product, the crystal glass, is to-day made around Haida and Steinschonau, the same places where the art originally flourished. When one nowadays speaks of Bohemian glass, there flashes instantly into the mind a not too agreeable shade of red, with a deco- ration of vine leaves and grapes in white. But this glass is not the one for which the works in Bohemia became famous. ‘That was a glass crystal clear, artistic in its shape and very similar to the Vene- tian glass from which it was copied. The heyday of this beautiful product was the seventeenth century, when, under the fostering care of the Emperor Ferdi- nand III, the elder and younger Schwanhardt of Nur- emberg turned out their masterpieces.* The art of cutting was really derived from the art of rock-crystal cutting, imported into Italy after the conquest of Constantinople, in 1453. From Italy it *Ryley: “Old Bohemian Glass.” fasts} OLD GLASS passed into Nuremberg about 1550, and then into Prague. The recluse Rudolph II was a great patron of the arts, and encouraged the glass industry by invit- ing to come to his castle at Prague such celebrated lapi- daries as he could hear of. Chief among these were Girlamo and Gaspardo Miseroni, who came from Milan and were placed in charge of a glass-works, which had been founded by Rudolph himself.* The decoration of Venetian glass of this period was far from artistic. It was either scratched with a dia- mond or painted in enamels. The beautiful glass made at Prague and Nuremberg still showed the influence of Albrecht Durer (he died 1528), for at this time and for many years after, these two cities were the head- quarters of science and art. The glass itself, much improved in quality and clearness by the use of po- tassium carbonate instead of sodium carbonate, was cut with the same care as rock-crystal. The deep cut- ting was done with the apex of the natural crystal, while the lighter etching was made with a splinter or frag- ment of a diamond. Figure 15 shows a group of this diamond-etched glass, of the sixteenth century. The elegant shapes of the vessels themselves and the grace of the decora- tions are far more Italian in character than many other pieces of about the same period. In fact the demand of the customers was responsible for the character of *Ryley: “Old Bohemian Glass.” Figure 15, page 39. { 52] BOHEMIAN GLASS the glass. A great contrast to these pieces is shown in Figure 16. This is a tall drinking glass very German in shape, size and enamelled decoration. There are two coats of arms on it in colour, and an inscription with the date 1568. This glass is owned by the Victoria and Albert Museum, London. Bohemian glass, even of the choicer qualities, was not always blown. The heavier pieces which were to be subjected to the deep cutting were cast in wooden moulds. The wheels dressed with emery and diamond dust which are used by lapidaries at the present day were used by the early cutters in Bohemia, who soon abandoned, except for polishing, the primitive sand- stone or wood and metal wheels. A. Beresford Ryley in his paper on “Old Bohemian Glass,” in the Con- noisseur, says that George Schwanhardt and his son Henry, both of Nuremberg, were never excelled or even equalled in the beauty and delicacy of their work. The elder Schwanhardt was a pupil and assistant of Caspar Lehmann, who had learned his art at Prague under the two Miseroni. The Thirty Years’ War deso- lated Bohemia and Schwanhardt returned to Nurem- berg, from which city he had gone to Prague to be director of the Imperial furnaces. From Nuremberg came many of his marvellous mas- terpieces. Princes of the church quarrelled with Roy- alty for possession of his glasses, and finally, owing to the entreaties of the Emperor Ferdinand III, he re- Figure 16, page 40. So. OLD GLASS turned to Prague. Under his direction his models were copied in the various glass-works. His return to Prague was in the year 1652, and he and his son Henry continued to do their marvellous work on goblets, tankards, tumblers and beakers. The ‘“‘pokale,” or gob- lets, often with tall graceful covers, were especially elegant. Sometimes these goblets in addition to being facetted and cut were practically covered with en- graving, and even then might be further embellished with gold rims and stands. Figure 17 shows a splendid example of such a covered cup. It is of clear green glass, engraved and with an inscription. A silver-gilt openwork foot and on the cover a silver-gilt dog, stand- ing, further enrich it. It also bears the initials I. A.V. and the date 1656. ‘This cup is at the Victoria and Albert Museum, London. During the last half of the seventeenth century the celebrated ruby glass began to make its appearance. It was brought to perfection about 1679 by Johann Kunckel, a Silesian, at his glass-works on the Isle of Peacocks, at Pottsdam. Kunckel, born 1638, was at first a chemist, and his researches led him to investigate the colouring of glass. He detected the fact that to get this wonderful shade of ruby the glass had to be twice heated, and that the gold, used as colouring, must be present only in minute quantities.* A little book called “L’Arte Vetraria,” published by *Dillon: “Glass.” Figure 17, page 41. [ 54] BOHEMIAN GLASS Antonio Neri in 1612, has had an important influence on both makers of glass and on writers on that sub- ject. This book passed through four translations, re- ceiving valuable additions each time. It was translated first from Italian to English, then to Latin, to German and finally to French, which latter translation, by Baron d’Hollack in Paris, 1752, is the best. Much of this deeply cut Bohemian glass, modern as well as antique, is very heavy. This is necessary on account of the style of decoration, deep-cutting, “‘tief- geschnitten,” and an example of this glass is shown in Figure 18. Fruit and figures, horns of plenty, with inscriptions and quite a medley of objects crowded together, gives a showy but less artistic decoration than some of the simpler pieces. Usually, the main object, a portrait, a picture of a town, which was a favourite sub- ject, a bunch of flowers or fruit, or even an elaborate geometric design was deeply cut while the lesser parts, scrolls, curlicues, swags and tendrils were done in much lower relief, often etched. During the first half of the eighteenth century, a mode of decoration called “kalligraphen ornamente”’ was much admired. It was extremely beautiful, light and elegant scroll-work and conventional decoration which practically covered the whole object. Figure 19 shows it. It is no wonder that the demand for this exquisite product increased and spread all over Europe, Figures 18 and 19, page 42. [55] OLD GLASS particularly in those centres where the elegancies of life were in demand. Maria Theresa, Countess of Flanders, visited Ghent in 1744, which city had been hitherto a market for Venetian glass. In fact much glass made in Ghent had been directly copied from Venetian models. But the glasses made to celebrate Maria Theresa’s visit were in Bohemian style, rich with engraved armorial bearings.* Indeed, about the middle of the eighteenth century, the demand for this glass in Bohemian style had a dis- astrous effect on Venetian manufactures. ‘Though the glass-works at Murano were nearly ruined, the Senate forbade them to make any goods in Bohemian style. Things grew so bad at last that in 1736 the Senate granted permission to Guiseppe Briati to establish in Venice a furnace to make glass in Bohemian style. Briati himself was a Muranese glass-maker who had studied the art of Bohemian glass-making secretly at Prague. Some of his models are still to be seen at the Murano Museum. ‘These pieces of Briati are most interesting. Into the shapes he succeeded in impart- ing a lightness not to be found in the solid and imposing pieces of Bohemian design. The quality of the glass was more brilliant and clearer than that previously made at Murano. His cups and beakers were of an elegance and beauty that made them treasured by all who gained possession of them. At the Doge’s palace *Sauzay: “Wonders of Glass Making.” [ 56] BOHEMIAN GLASS they were displayed on the cupboards among the gold and silver plate.* Later in the eighteenth century, a new style of work called ‘“‘Doppelwandglas” was produced in Bohemia. Specimens are shown in Figure 20. This Doppel- wandglas was a revival of an ancient art practised long before. The objects made in it were commonly goblets or bowls, very heavy, with round or square bases. They were made of two layers of glass, holding between them the decoration etched in gold or silver leaf. Sometimes the inner layer was of ruby glass, but oftener of clear, the two layers fastened together by a colorless cement, or by fusion, the inner layer of glass being very fusible, so that a low degree of heat would attach it hermetically to the outer layer. The effect was often very brilliant and beautiful, particularly if the design was kept simple. But as the Bohemian glass ousted the Venetian, so English flint glass with its marvellous power of decomposing light owing to the presence of lead, ousted Bohemian. Searching for novelties the Bohemian workers not only imposed black silhouettes on backgrounds of gold or silver, but they also returned to painted glass, the background of which was whitish glass. This they called “Milchglas,” and some of it is shown in Figure 21. Some of these painted designs are most attractive, par- *Yriate: “Venice.” Figures 20 and 21, pages 42 and 43. [57] OLD GLASS _ticularly on the early pieces, but late in the century the taste became rococo, and nothing was too gaudy. Early in 1800 in an effort to revive the industry quantities of ruby glass were made. Some is shown in Figure 22. There were smaller lots made of blue, amber, and very rarely green. These were often in two layers, milk-white over a colour, in which the opaque glass was cut through to show the colour beneath. Sometimes thumb-spots was the pattern chosen, sometimes the colour layer was cut through to show clear glass. Such pieces are by no means rare in this country, particularly in the coarser qualities. Some are shown in Figure 23. The map of Europe has been so juggled with that one hardly dares to state the domain of Bohemia. There are, however, six principal glass-making centres in Bohemia or adjacent to it. Of these Haida ranks first, and was in the business as early as the thirteenth cen- tury. The method of glass-making in Bohemia up to 1870 and indeed for ten years later (see roth Census of the United States) was most primitive. All the furnaces throughout Austria-Hungary were small affairs placed in the midst of forests, and when the wood near at hand was exhausted it was found cheaper to move the fur- naces than to bring wood. The way the manufacture was conducted was almost as primitive as the works. The work was divided into two distinct branches, one Figures 22 and 23, pages 43 and 44. [58] BOHEMIAN GLASS where the rough unfinished glass was made, and the other the refining or finishing, which included engrav- ing or decorating of the crude article. This method caused the training of a band of skilled workmen, excellent engravers and decorators. They were further encouraged by a government museum, and schools were maintained in connection with the glass industry where art training could be obtained. In 1880 there were in Bohemia alone 169 furnaces making glass, most of them making crystal, table, hollow ware, coloured glasses, bottles and other fine ware. They also made glass pipes for beads, glass sticks, cut glass and coloured raw glass. Only twelve of these furnaces used coal. The quantity of Bohemian glass sent to this country was perfectly immense. The tables showing the imports of glass into the United States between the years 1876-80, under the head of “Bohemian, cut, en- graved, painted, coloured, printed, stained, silvered or gilded, plain, mold and pressed,’ was valued at $2,972,089.76. No wonder there is plenty of it to be found, and that it makes its frequent appearance at auctions. Glatz has a great reputation at the present time as a glass-making centre and these Bohemian glass-works send their products all over the world, Africa as well as America demanding them. They are making now some exceptionally beautiful coloured glass of the highest quality, in the old shapes, “‘tief-geschnitten,” [ 59] OLD GLASS and consequently very expensive. Pieces in a gorgeous amber or in the fine clear red, tall covered cups and vases also with covers can be found and are most decorative. Many of them bear a label which reads, “Made in Czecho-Slovakia.” In studying up the early history of Bohemian glass, it was soon apparent that like so many other industries and arts, its beginnings were very foggy. But in the Congressional Library in Washington, that Mecca of all students who try to delve into antique history, I found in one of the card catalogues a book entitled “Bohemian Glass.” It seemed as if my almost hope- less searches were about to be rewarded. So vast is the library and so distant some of the stack-rooms, that you are requested by frequent signs not to ask, under half an hour, if your book has come. Just sit down and wait patiently, and if your book is in an attendant will bring it to you. I waited the half-hour and some over, though to me patience has always seemed a poor kind of virtue. The librarian who finally answered, said “Bohemian Glass” was an “art book,” and was to be found on the third floor at the end of the print room. An art book, how promising that sounded! ‘To get to the print room was a walk equivalent to several city blocks in length and on arrival at the desk one of the very polite and helpful women who attend to the wants of readers, said she did not know the book but would have it looked for. So there was more waiting, quite [ 60 ] BOHEMIAN GLASS watchful waiting this time, and she presently arrived at my side with a very doubtful look and a very small book. She remarked that she feared the book would hardly serve my purpose, and put it in my hand. “Bohemian Glass” was a book of poems published in Oxford, England. It was declared to be one of “‘Works of Authors Unknown to Fame,” which on looking through the volume was quite understandable. How- ever, I copied the following lines, as forming one of the shortest and most lucid gems! “Of a Certain Green-eyed Monster.” “Charles gave Elizabeth a Dodo, Charles never offered one to me— The loveliest lemon-coloured Dodo With the greenest eyes that you could wish to see. Now it isn’t that I’m doubting if Charles loves me, And I know he would ask me out to tea, But he did give Elizabeth a Dodo, And he never even offered one to me.” [ 6r] DUTCH AND FLEMISH GLASS HE political history of what is now known as The Netherlands, and Belgium, seems to have been linked with nearly every country in Europe. They have been included in the Holy Roman Empire, they have been ruled by French kings. The Dukes of Burgundy fostered their arts and the country prospered, but when The Netherlands passed with King Philip II to the Spanish line of the House of Hapsburg, its domain was considerably reduced. In 1795 Flanders, like other provinces of Belgium, was incorporated with the French Republic, but the Congress of Vienna united Belgium and Holland to form the Kingdom of The Netherlands. Not till 1830-32 did Belgium liberate itself from Holland. The glass-workers travelled from one city and country to another, and it is difficult to classify glass which has so strong a family resemblance, as being distinctively Flemish or Dutch, particularly when both Venice and Germany exerted so strong an influence on this art in both Belgium and Holland. It was but natural that the workmen from the dominating countries should impress their technique on the native workers, so in this Dutch glass we see the styles of other countries reflected. [ 62] OD 2G EAS. Fig. 28. DUTCH GLASS, GOLD DECORATION Dutch Green Glass Decorated with Gold, 1606. Emblem of Prince Maurice of Orange. Fig. 29. ROEMERS Dutch Green Glass. Left and Centre 16th Century. Right 17th Century. (See page 74) [ 63 | OD GAs Fig. 30. DIAMOND-EN- Fig. 31. ENGRAVED BOTTLE GRAVED ROEMER Green Dutch Bottle. Diamond En- Green Glass, Dutch Diamond graving, 1684. Engraving, 17th Century. (See pages 74 and 75) [ 64 | OT, DiaG DAS Fig. 32. TALL DRINKING Fig. 33. DRINKING GLASS GLASS Dutch Glass with Diamond En- Dutch Glass, Facon de Venise, graving. Second Half of 17th with Portrait of Prince Freder- Century. ick Hendrik of Orange (1625- ~ 47). Diamond Engraving. (See page 76) [65 ] OW DeGilaA os NOILLVYOOAd AIOD ‘SSVID GCAAVYONA "E-ve “Sl (LL abvd 2a9) *‘spurlIZqION 24} JO SdOUIAOIG 24} pue uledg ‘asuviIQ jo SulaAvisuq puowriq ur AIpjesayy YM OS9T FO JaWII0Y UDd2I1D NOILVaYOOrd A109 ‘SSVID GHAVYONA “VW-e “OTT [ 66 ] es UA IO yo Or ch aioe! AER OHI LS. were anaes ® & xy Wig, 35) COVERED BIRTH CUP Fig. 36. GERMAN GLASS Colourless English Crystal Glass. BEAKER Dutch Cutting, 18th Century. Enamelled Glass Dated 1687. (See pages 77 and 79) Liat OLDUG: LASS Fig. 37. COVEREDSGGE (See page 80) [ 68 ] OF De SVID WaOO AO NITHAG LSe, ol (961 a6ng 909) [ 165 ] —_ OLD. GLASS STMOd YAAONAOL GQNV UdVHS-LVOd ‘73 “SI [ 166 | J Ssh Sl Sess trsbpa/essoseeeesthoceneusscaes BRISTOL GLASS re nr sition of china clay and super-silicate of potash, which was able to stand a higher degree of heat than the glass upon which they were superimposed. It is odd how few of them have survived. Bottles for water and decanters of this same entranc- ing shade of blue spoken of before are not hard to find. I have a couple, one with a chain of gilt painted about its neck, and an oval mark enclosing the word “shrub.” There is a pretty stopper, oval in shape and having a few lines of gilt on it. The second bottle is of the same shape but greater capacity and of a finer quality glass, perfectly cooked so that there are no air bubbles; both of them have collared necks. Of course to show this coloured glass to best ad- vantage it must be displayed against the light. Ar- ranged in a window on glass shelves, against ground glass, so that there is a clear opaque background for it, it is very ornamental. Door-stops were also made at Bristol as well as at other places. The Bristol ones were of a clear shade of green with many air bubbles in them, which looked something like a fountain. Some of these door-stops in addition to being flattened on the bottom were also flat on one side so as to rest against the door. Paper- weights of this same shade of green glass were also a Bristol product. They often had in them lily-like flowers and some of them were five or six inches tall. The dolphin as an ornament on glass probably origi- [ 167 ] OLD GLASS nated in Venice. A single dolphin in exquisite opal glass, bearing on his tail a shallow flaring dish, shell- like in shape, is not a rare Italian model. ‘Twisted dolphins were used in England as well as single ones, and sometimes they were used on covers. Later the dolphin was much used in the various Sandwich pat- terns of pressed glass. The little bird as a cover ornament is also Italian, English, and then American, showing how the glass- makers copied anything they thought attractive no mat- ter where they found it. These little birds on top of a covered mug are very graceful, even if the shape of the bird is somewhat crude. The influence of the Bristol glass-makers was more far-reaching than is commonly suspected. Mr. Wes- tropp gives credit to Bristol glass-makers for establish- ing glass-works ‘n Ireland, and Mr. Hunter in his book, ‘“‘Stiegel Glass,” speaks of Stiegel following the “Bristol tradition.” ‘There are art.cles known to have been made by Stiegel, for example some of the covered bowls and other objects in transparent blue glass with a rim of white glass which are precisely like those made at Bristol. fF 168 ] NAILSEA GLASS HE town of Nailsea where glass-making flour- ished for eighty-five years, finally closing its doors in 1873, is in Somerset, and in the Bristol district. This accounts for its productions being so often classed as old Bristol glass, and for the fact that there is so little on record having reference to Nailsea alone. The works, called the “(Nailsea Glass Works,” were opened in 1788 by John Robert Lucas, who was a son of Robert Lucas, a glass bottle manufacturer of Bristol, who died 1775. In 1793 the firm of Lucas, Chance, Homer and Coat- hupe was established at Nailsea, and the business must have been profitable, for in 1807 when the partnership was renewed the firm had a capital of sixty thousand pounds, and in addition to the crown glass works at Nailsea, owned at least two other works at other places, and had an office and warehouse at Bristol. In 1810 Robert Lucas Chance became manager of the works, and from that time on the firm passed through different hands, till in 1836 it became the well- known firm of Chance Bros. and Co.* There were after this many more changes in ownership, till, curi- * The Connoisseur, 1911: “Nailsea Glass.” [ 169 ] OLD GLASS ously enough, the firm name became again in 1870 Chance Bros. and Co., and they carried on the business till 1873, when the works were closed. There have been many reasons given for the closing of the works in 1873, but as only sheet and rolled plate glass were made there then, the reason probably was that they did not pay. The Nailsea glass which is of interest to collectors shows specimens very beautiful in color, like the orna- mental flasks which were Nailsea’s chief product; a few of them are shown in Figure 71. The flask with the top in this figure is Venetian, and shows where the inspiration for the Nailsea flasks came from. Objects more or less quaint, like the rolling-pins, Figure 72, were made in numbers, and there were jugs, pipes, bells and some pieces known as “freaks,” which it is sup- posed the workmen made and sold on their own account. The flasks display the well-known ribbon or lat- ticinio effects, made popular by the French and Venetian workmen who moved from one factory to another. These charming flasks vary in height from three and a quarter to about ten and a half inches. A few of them have the double neck which was so charac- teristic of Venice. Nearly every colour was employed, clear and opaque, white, brown, yellow, red, pink, salmon, and greens and blue, both dark and light. The rolling-pins had knops at the ends, and generally one of these could be opened to put in flour or water to Figures 71 and 72, pages 140 and 141. [ 170] NAILSEA GLASS give it weight. Many of them are beautifully ribboned while there are also plain coloured ones of dark glass with such pious mottoes as, “May the eye of the Lord watch ever,” presumably to keep the user from skimp- ing on the recipe, or from using “just as goods.” There were bottles and jugs spotted and striped, the decoration crude, but the shapes of the bottles very attractive. Every collector of old glass, no matter how dainty and fanciful the objects he gathers, smuggles in somewhere one or two of those delightful wide- bodied bottles, often in a rich dark green glass, or in brown or a pale bluish green, clear glass. Nailsea made these Falstaffian-bodied objects in these colours; see Figure 73. A few have been found in the dark green with white striping. Glass bells were some of the choicest of their products. They were very decorative if not very use- ful. Some were of ruby tint with clear glass clappers, and handles of greenish-white opaque glass with a knob on top of peacock blue. The old-time potworks in various parts of England were worked by a rough crew which came from all parts of Europe. In the days of the great Wedgwood, Burslem, Etruria, in fact all the ‘““Five Towns” as the great pottery centres were called, were subjects of great concern as to their morals and manners, both of which were bad. The great preacher Whitfield went down Figure 73, page 142. [171] OLD GLASS to conduct meetings, and, to say the least, was not favourably received. The glass-works at Nailsea were as bad. It is re- corded that in 1792 the glass-house people lived in nine- teen cottages, nearly two hundred of them, and that they were herded in together, both sexes and all ages. They called themselves ‘“‘savages” or “‘heads,” and to such as came to minister to them were as rough as the potters. They called their group of hovels “Little Hell” or “Botany Bay.” It is stated that Hannah and Martha Moore, religious teachers, had considerable success taming these savages, but that is as it may be. Such people were of course superstitious, so they ade hollow glass balls, sometimes as large as seven inches in diameter, which were intended as charms to ward off the Evil Eye. They were gaudy things daubed on the inside with many colours. Yet I have seen one of these Nailsea balls hanging in a window (which was where the Nailsea men put them) on the Massa- chusetts coast, looking out to sea, which was a thing of beauty. It is a very rich blue, flecked with white, and has the pleasing effect which all these Nailsea objects have. The makers may have been rough, tough personages, but the work of their hands was admirable. The style of glass produced at Nailsea was un- doubtedly Venetian with its latticinio effects. The native workmen were taught by French and Venetian glass-blowers who went from one factory to another. [172] NAILSEA GLASS Many of the Frenchmen lived at Nailsea, and a row of cottages was built for them known as “French Rank.” Glass-workers are very liable to chest diseases and snails were considered a panacea. The Bristol glass- workers probably contracted the taste for them from the Nailsea Frenchmen, for they still eat them.* Another thing which the Nailsea glass men made for health’s sake, was a long glass tube or cane, some- times a yard to eight feet long, which they set up in their houses and wiped clean every morning, so that the dis- eases which gathered on it could be wiped away. If the rod was broken, that house which owned it was marked for misfortune. So attractive is this old Nailsea glass that there are many forged pieces of it on the market. Jugs, bottles, bowls of a poor quality glass with wide, wavy, white lines are to be found in abundance with positive as- surance from the sellers that they are “old Nailsea.” It is well to remember that the objects made at Nail- sea were almost always small, and that they are rarely to be met with in this country. None of the pieces shown in the illustrations are above ten inches tall. * The Connoisseur: “Nailsea Glass.” [ 173] IRISH GLASS a story of Irish glass is an interesting one, and romantic as well. So little has been known about the Irish factories and their product that bit by bit legends have grown up about them, par- ticularly Waterford. It is curious how quickly the facts about an industry seem to vanish, even one which was as prosperous in its day as Waterford in Ireland, or Sandwich, in America. But while all old Irish glass is interesting and in most cases beautiful, more interest seems to attach to what was made in Waterford than to that made at either Cork, Dublin or Belfast. But this is really only a fanciful notion, for in Ireland as in all glass-making centres, the workmen travelled about from one place to another, using the same materials for the metal, the same patterns for the objects they made, and the same designs for decoration. The Cork Glass Cutter’s Union had a fine device on their membership cards, and the motto upon it was, “A Pleasant Road and a Cheerful Welcome to Every Tramp.” It is only within the last few years that the true his- tory of Irish glass has been patiently dug out of old records, newspapers, account books and family his- tories. This task has been performed by M. S. Dudley [174] IRISH GLASS (LL eee ee ea sec SS Westropp, lately of the National Museum of Ireland, who has done for Irish glass what Mr. Hartshorne did for English glass. For the collector it is unfortunate that this Irish glass has been so eagerly sought. It has paid the forger to reproduce it, and to get hold of plain pieces which are real antiques and cut them in the old patterns, so that the result is not unlike the spurious French statues of the Gothic period which have deceived Museum ex- perts both in Europe and America. You will constantly hear it stated that it is possible to distinguish real old Waterford glass by its blue tint, owing to the presence of lead. This is not so. Mr. Westropp in his book, “Irish Glass,” says: “With the exception of a few drawings of some of the patterns used in the Waterford glass-house, no others belonging to Irish glass-works are known to exist.” He next says that “Waterford glass has not the blue tint hitherto ascribed to it. This in itself stamps as spurious hun- dreds of pieces which have been accepted as genuine Waterford. . . . If all the alleged Waterford glass in existence were genuine, despite the output of the factory and allowing for the amount that has been broken, it would have taken probably two or three glass-houses to produce it.” Something like the amount of stuff that descendants claim came over in the Mayflower! But it is true that there are varying tints in this old [175] OLD GLASS glass. When placed upon a white cloth, much of the old cut-glass has what might be called a darkling tint, not exactly bluish, nor blackish either, but something entirely different from the colour of modern cut-glass, no matter what its origin. There is in the Smithsonian Museum in Washington a very handsome large, covered, cut-glass bowl. The workmanship is choice and the patterns identical on both bowl and cover, yet the shade of glass in the two pieces is markedly different. Probably made from two different batches of the metal. In the making of this old glass the scum rose to the top and had to be skimmed off. The goods made from the glass in the top of the pot were known as “tale” goods and were inferior to those made from the glass in the middle of the pot, which was the best. Few trades were more harassed by taxes than glass- making. In England a terrible excise duty was im- posed in 1746 and so many and vexatious were the re- strictions that it is a wonder that the industry survived. It was 1825 before the excise duty was introduced into Ireland, where there were flourishing glass-works at Cork, Belfast, Dublin and Waterford. The duty was imposed upon the molten glass in the crucible, “metal” it is called, and on unfinished goods. So as soon as the glass-maker got these out of the clutches of the excise man he set to work to decorate his glass as much as [176] IRISH GLASS possible, so as to sell it at a sufficient profit to make it worth while. | The period between 1780 and 1810 is said to be the most important in English glass-making. It lasted about fifteen years longer in Ireland. It took, however, only twenty-five years of this excise duty on glass in the crucible and unfinished, to completely ruin the Irish branch of the industry, which has never been revived. [177] WATERFORD GLASS HE making of glass in the city of Waterford was begun in 1729. The factory—there was only one—closed in 1851. Mr. Westropp says that between 1740 and 1783 no glass was made in or near Waterford. Joseph Harris was the first manufacturer to set up a glass-house at Waterford, and later in the century, 1783, George and William Penrose established a glass- house and made much glass. They sold their works, however, in 1799 to James Ramsey, Jonathan Gatchell and Ambrose Barcroft. These men, under the firm name of Ramsey, Gatchell and Barcroft, did business together till 1811 when Jonathan Gatchell became sole owner. | He continued the business till 1823, when the firm of Gatchell and Walpole was formed. Jonathan Gat- chell died this year, but the firm continued, and was finally dissolved in 1835. From 1835 to 1848 the firm name was George Gatchell and Co. In 1851 the fac- tory was closed.* Some idea of the amount of the output may be gath- ered when it is known that as many as two hundred *Westropp: “Irish Glass.” [ 178 ] WATERFORD GLASS workmen were daily at work at the glass-house up to 1820 and that an equal number had been employed for thirty-six years.* But the most interesting point, to Americans at least, is that thousands, hundreds of thousands of pieces of this glass were sent to the United States, that Gatchell’s account books duly set it down and that American newspapers advertised it for sale. As late as 1842 George Gatchell and Co. announced that they made “every article made of glass for use, luxury or adorn- ment; also chandeliers, lustres, lamps, hall bells, and candelabra in bronze, ormolu and glass. Medical establishments supplied.” Prior to 1795 that splendid old potter, Wedgwood, combined his beautiful blue and white ware in candela- bra with glass for branches and prisms. They are very rare in this country, but in October, 1921, two pairs were sold at auction in New York City. They were listed as ‘‘Waterford glass candelabra with Wedgwood bases.” One pair brought five hundred dollars, the other five hundred and ten dollars. Through the courtesy of Antiques one of these candelabra is shown in Figure 74. Most of these candelabra have crystal chains, but these chains are crystal and blue glass. Amber glass was also occa- sionally used. A pair of candelabra somewhat similar, and which belonged to General Washington, are on ® Waterford Mirror, May §, 1820. Figure 74, page 159. [ 179] OLD GLASS exhibition at the Smithsonian Museum at Washington. They are extremely beautiful and quite perfect. This Waterford glass is no more perishable than the old Staffordshire bone paste crockery which was hunted out in such quantities some years ago. Indeed, when you come to special pieces, that is aside from drinking glasses and bottles, more care was taken of them than of the crockery. After the making of flint glass was established the glass improved in quality and the cut- ting of glass after 1740 was quite general. By 1786 Waterford was sending large quantities of assorted glass to New York. In 1793 they sent there 36,000 drinking bottles, and two hundred and ninety pounds’ worth of other glassware. From 1796 to 1798 Waterford sent to New York 100,382 drinking glasses, and three hundred and seventy-five pounds’ worth of other glassware. Nor was New England left without her quota, for in 1805, 17,280 drinking glasses and five hundred and forty-five pounds’ worth of other glass- ware were sent there. In 1811 New England absorbed 67,792 drinking glasses and four hundred and thirty- six pounds’ worth of other glass. Up to 1822 quantities of glassware, thousands and thousands of pounds’ worth, were sent to this country, but after that date the amount declined. Mr. Westropp, speaking of the export trade, quotes letters showing that in 1819 many thousands of pounds’ worth of Irish [ 180 ] WATERFORD GLASS glass was sold in “Charlestown,” Philadelphia, New York, Halifax, Newfoundland and Quebec. There were manufactured at Waterford, baskets, but- ter coolers, cans, candlesticks, cruets, cream ewers, de- canters, dishes, egg cups, jelly glasses, mustards, pickle jars, salts, bowls of many kinds, smelling bottles, sugar basins, squares, tumblers, wines and rummers, celery glasses and jugs, in addition to immense numbers of drinking bottles and many kinds of lighting fixtures. One of the objects of the late eighteenth and early nineteenth centuries which is most frequently to be found is the decanter. They were kept with more care and not subjected to such rough usage as the domestic pieces and so escaped the breakage to which the latter are liable. These early decanters are most interesting. They come under the head of human documents, and they depict very clearly the manners and customs of the times. The necks are ringed, the bodies giobular, and the stoppers are often very decorative. But it is these rings which make the decanters interesting. There may be one, two or three of these rings, generally with spaces between, so that fingers which were none too steady could get a good grip and not drop the decanter. These rings were of different designs, plain rounded, cut in diamonds, triangular cut, square cut, feathered, double or triple. While the shapes of the bodies of the decanters varied somewhat as the years went by, [ 181 J OLD GLASS those of the early nineteenth century still maintained their ribbed necks. One of these decanters of Water- ford glass is shown in Figure 75. It is owned by the Victoria and Albert Museum, London, and is the only specimen of old Irish glass which they own which they know definitely to be Waterford. It is marked ‘“Pen- rose’”’ on the base. There was much glass made to order at Waterford for the old Irish families.’ More pieces than were needed to fill an order were blown, so that it would be on hand to fill breakages or enlarge sets. That accounts for the fact that in England and in Ireland many pieces of this ancient glass are found entirely undecorated. While experts will not admit that Waterford glass had a bluish tint, it is true that they were constantly striving to improve the colour. In 1832 Elizabeth Walpole, one of the partners in the Waterford glass- works, says with reference to some glass she was send- ing over from Waterford for sale, that a glass mer- chant of Plymouth had told her that all the Irish glass he had ever seen was dark coloured, “but she told him she had sent for some Waterford glass so that he might see for himself.” This letter is quoted in Mr. Wes- tropp’s book, “Irish Glass.” There are certain characteristics which are found on Known Waterford glass, so that we think that at last we have something definite, when lo, the same thing turns up on some other factories’ work, which may be Figure 75, page I60. | { 182 ] ODT Giz Asis Fig. 83. BOWL AND BASIN AND TUMBLER Fig. 85..- CORK: DECANTERS (See pages 198 and 200) (eroaet OLD GLASS Fig. 84. CORK DECANTER (See page 199) [ 184 ] OME IBY TO bvayers) Higms6..CUI GUASS,~CORK Fig 87. (CUT GLASS, CORK (See page 200) [ 185 ] OO De Ge Avoas NITGNd ‘SsvID dadTAnow "88 ‘SI (102 abog aag) [ 186 ] OLD GLASS NITH NG "ISIIAIY ‘LATAOD ‘06 SUT NITANG 6 LaTIOD 68 (£0¢ 2bn¢ 299) Sty Ero a) at OLD GLASS _THE METROPOLITAN AU eum OF ART THE METROPOLITAN MUSEUM THE METROPOLITAN MUSEUM OF ART ‘ = OF ART Fig. 91. THREE WISTARBERG PITCHERS AND WISTARBERG VASE (See page 214) [ 188 ] OTD. GLASS 8 N ——sTHE METROPOLITA MUSEUM | rere a Of ART 4922 | = oo hs (ME meTRORaLiTaR mUaEU i : SE d BF ake we fe Fig. 92, FOUR EXAMPLES OF DOUBLE-DIPPED GLASS (See page 215) [ 189 ] OULD. GEASS YWHHOLId OAAPTAVLSIM NMOUE NE a eet OR I cr ene a TIVd GNV IMOd YAINV ‘£6 “SI [ 190 ] WATERFORD GLASS marked. Many of the pictures which are used to illus- trate this chapter on Irish glass came from the Na- tional Museum, Dublin. All of them were labelled by the director himself. In Figure 76 two jugs are shown. They are labelled “probably Waterford, about 1820-30.” Asa rule this old glass is very heavy, it had to be when the cutting was to be deep. The edges of the articles were seldom plain, but were scalloped, saw-toothed, either large or small, fan-shaped or cas- tellated. These jugs are most typical, the one on the right showing what is known as “lustre” cutting, that one on the left showing what we call “thumb-spots,” but what the Irish or English glass-worker called “printies.” This jug also has step cutting on the neck. But alas for calling the one with the lustre cutting definitely Waterford. In that device on the member- ship card of the Cork Glass Cutter’s Society already mentioned, there is used as the central decoration an exact replica of this jug. Mrs. Graydon Stannus in her book, “Old Irish Glass,” says that “much cutting on the glass ware was done outside the glass-houses by men who had cutting sheds in their own homes, which accounts for the in- dividuality of the work done.” | Figure 77, also labelled “probably Waterford, 1820- 30,” shows an unusual plain edged piece. The bowl has a rayed cutting underneath the foot, a splendid fan- shaped edge and the strawberry cutting within the dia- Figures 76 and 77, pages 161 and 162. [191] OLD GLASS monds, so often confused with hob-nail. The celery glass is heavily cut, showing that it is of the later period, for the early specimens are so lightly cut that it is hardly more than heavy engraving. One of the examples in Figure 78 speaks for itself, a charming little scent bot- tle; and the toilet bottles show variations of popular diamond cutting. These are Waterford also, and like the scent bottles are of very clear white glass. The tumblers of the early nineteenth century had most generous proportions, like those of an earlier period, and the same decorations. In Figure 79 the smallest one on the left is marked “probably Water- ford,” and the other two “probably Cork.” But the swag and line cutting on the middle one was very much used at Waterford, and there are large services of glass held in both England and Ireland, known to have come from Waterford, which have exactly the same cutting. The decoration above the diamonds on the Water- ford tumbler is known as “blazes,” they may be slant- ing like these or straight up and down. I have a num- ber of tumblers, and smaller glasses for liquor, with flutes at the bottom and blazes above. They are the remnants of a set which have come to me by inheritance, and which I satisfy myself by calling Irish glass. In the Pennsylvania Museum, Philadelphia, are the interesting pieces shown in Figure 80. The director, Mr. Samuel Woodhouse, Jr., is rather inclined to fol- low the example of the director of the Dublin Museum, and call them “probably Waterford.” The tall glasses Figures 78, 79 and 80, pages 163 and 164. [ 192 } WATERFORD GLASS with domed foot and knopped stem are unusual, but stems like these are seen on many of the candle and taper sticks which were made in such quantities at Waterford. The decanter with its step and diamond cutting and ornamental stopper, combines two of the most popular Waterford decorations. Not only can- dlesticks, but wall-lights, candelabra and chandeliers were made both on private order and kept in stock for many years, at Waterford. Mrs. Stannus says in her book, “Old Irish Glass,” that a peculiarity of the Waterford glass drops was their oval shape. These drops appeared on many of the lighting fixtures which were made in infinite va- riety. They were for one candle or many, with drops or without, with arms or hand-bent branches, with stars or spear-heads or even crescents on top as ornaments. Some of the chandeliers were eight feet long and weighed over two hundred pounds, being formed on iron rods covered with silvered tubing. General Washington, always eager to adorn and beautify his home, had many of these beautiful light- ing fixtures. Besides those on exhibition at the Smith- sonian Museum, are others hanging on the walls at Mount Vernon. There must be others stowed away somewhere in this country. In handling this old glass it is remarkable to note how pieces which have come down in families as “sets” vary in colour. A pair of jugs, very beautifully cut — with diamond and step cutting, with a pinched lip and [ 193 J OLD GLASS rayed base, which belong to me, are absolutely dif- ferent in colour. One of them is steely blue but the other is quite yellowish. These heavy glass jugs had three or four cuts in the top of the handle to prevent the thumb from slipping, and the handles were very thick and solid, quite different from the handles of early American glass. On the eighteenth century Waterford glass very lit- tle engraving or gilding is found. The engraving was done by itinerant journeymen who went about the country carrying the little copper wheels which they used in this work, arranged in a small box, the motive power being supplied by a small boy who turned a handle which drove a shaft and two wheels which were inside the box.* The best gilding was done by a man named Grahl, about 1786, and it is said to have the merit of resisting wear, and cannot easily be scraped off. Mrs. Stannus, whose immense collection of Irish glass, particularly Waterford, has come to her through inheritance and by pati nt search, deplores the increas- ing number of fakes. These are not only modern but date back to those days when Irish glass became so much sought for domestic use. The modern reproductions come from France, Germany, Belgium and Holland, and some very recent ones from Bohemia. But these latter betray their origin by showing a pinkish tinge. *Stannus: “Old Irish Glass.” [ 194] DUBLIN AND CORK GLASS LASS-WORKS were early established in Dub- lin and glass-making became an important industry early in the eighteenth century. The name of the first manufacturer as given by Mr. Westropp was Captain Philip Roche, who established his glass-works about 1690, and carried on the business till 1713 when he died. The Fitzsimons family which was associated with him in the glass-works carried on the business till 1787, when the firm became bankrupt. This glass-house, known as the Round Glass House, was an important one. It advertised its wares freely, as may be seen from the following, taken from Faulk- ner’s Dublin Journal, January, 1752: “At the Round Glass House on George’s Hill, near Mary’s Lane, Dublin, are made and making all sorts of the newest fashioned drinking glasses, water bottles, claret and Burgundy ditto, decanters, jugs, water glasses with and without feet and saucers, plain, ribbed, and diamond moulded jelly glasses of all sorts and sizes, sillybub glasses, comfit and sweetmeat glasses, orange glasses, bells and shades, hall lanthorns for one to four candles, glass branches, cut and plain barrel lanthorns, globe lamps, etc., all in the most elegant and newest fashioned mounting now used in London; chamber ditto; all sorts of apothecaries’ bottles, spaecia glasses of all sizes, rounds, urinals, breast and sucking bottles, cupping glasses, funnels, etc. All sorts of tubes, globes, etc., for electrical experiments, weather glasses, receivers for air pumps, and all sorts of philo- sophical experiments. All sorts of cut and flowered glasses may be had of any kind to any pattern, viz: wine glasses with a vine border, [ 195 ] OLD GLASS toasts or any flourish whatsoever; beer ditto with the same, salts with or without feet, sweetmeat glasses and stands, cruits for silver and other frames all in squares and diamond cut, gardevins, tea cannisters, jars and beakers for mock china, mustard pots, crests and coats of arms, sweetmeat bowls and civers, etc. N. B. As no pains or expense have been spared by the proprietor to procure the best workmen and patterns from London, he hereby hopes (that as his is the only manufacture of glass in the Kingdom, and that he is determined by his own personal inspection and application to support it in the highest perfection) to deserve the encourage- ment and approbation of all who shall honour him with their commands, and further promises them the greatest satisfaction in regard to colour and workmanship, beside the advantage of pur- chasing the above at much cheaper rates from him than those imported from England or elsewhere to be sold. Constant attend- ance will be given from eight o’clock in the morning until 9 o’clock at night at the glass warehouse on George’s Hill.” There were a number of other glass-houses estab- lished in Dublin from time to time, the most important of which was that opened by Richard Williams and Co. in May, 1771. They advertised that they made “glass lustres, girandoles, chandeliers, candlesticks and candle moulds, pyramids, salvers, bowls, decanters, wafer dishes, drinking glasses and smelling bottles and every other article that can be made of flint glass, cut, engraved and plain.” They also made plate glass for looking-glasses, windows and coaches. Various mem- bers of the family carried on the business till June, 1827, when the last member of the firm died. In Figure 81 is shown a claret jug, of either Dublin or Cork manufacture, and of the late eighteenth cen- tury period. It is decorated with strawberry diamond cutting separated with bars. There is also the Figure 81, page 165. . 196} a hl SE DUBLIN AND CORK GLASS SL a eae ae a favourite leaf design, and heavily domed foot. The turnover bowl with feet is an unusual specimen. It is called “Dublin or Cork” and is of late eighteenth cen- tury. The turnover is richly cut, and on the bowl itself is a band of printies, in oval form. In Figure 82 the piece on the right is “probably Cork,” and the one on the left “probably Dublin or Cork.” The one on the left is of peculiar interest to me. It is of the much desired boat shape, is lightly cut with the famous old leaf design of the eighteenth cen- tury, and has the cut base which is so much admired. The edge has a gracefully castellated scallop, and a heavy diamond cut on each side gives variety to the leaf design. I have one like it, an heirloom, which can be traced to the first quarter of the nineteenth century, but which probably is older. The other bowl with heavy turnover edge is of a shape made in every Irish glass- works. Indeed it has become the practise, in Great Britain at least, to call such Irish glass as cannot be distinguished as belonging to any particular glass-works as “Munster.” ‘This covers the output from Water- ford, Cork, and to a certain extent Belfast. It should include Dublin too, but it is sometimes claimed that old Dublin glass has an unmistakable tint, quite yellowish in tone, which Waterford and Cork never had. Irish glass is very tough, it sings with a clear note when struck, and Mrs. Stannus claims for it a softness to the touch entirely lacking in English glass of the Figure 82, page 166. [ 197] OLD GLASS same period. All glass of a good quality emits a clear note when struck, modern as well as ancient, so it does not seem that one can use this as a test of old glass. The presence of minute air bubbles is common, you will find them in many pieces, but they are far less ob- servable in the Irish glass than they are in the English glass, particularly of the same period. The last makers of flint glass in Ireland were the brothers Thomas and John Pugh. They established works in Dublin about 1852. Thomas and his son Richard took over the works in 1863, and after the death of his father, Richard carried on the business till 1895, when the manufacture of flint glass in Ireland ceased.* Besides the white flint glass they made quantities of coloured glass, amber, purple, blue and green. The bowl and basin and tumbler shown in Figure 83 are very heavy cut-glass pieces. The diamond cutting on bowl and basin is deep and the bars between wide and cut in flutes. The tumbler has both step cutting and panels, and is marked “probably Waterford, early nineteenth century.” ‘The bowl and basin are late eighteenth or early nineteenth century. The Cork Glass House had goods on sale in Feb- © ruary, 1785, and ten years later were advertising that they could fill all orders for flint glass with accuracy and despatch. Before the Cork Glass House finally *Westropp: “Irish Glass.” Figure 83, page 183. DUBLIN AND CORK GLASS ceased work in 1818, a new one called the Waterloo Glass House was opened. The proprietor evidently fancied starting off with a flourish, for he put the fol- lowing advertisement in the Overseer, a Cork weekly newspaper, on December 24, 1816: “Waterloo Glass House. By his forming the Waterloo Glass House Company, which is now at work, Mr. Daniel Foley is giving employment to more than one hundred persons. His workmen are well selected, from whose superior skill the most beautiful glass will shortly make its appearance to dazzle the eyes of the public, and to outshine that of any other competitor. He is to treat his men at Christmas with a whole roasted ox, and with everything adequate. They have a new band of music with glass instruments, bessons serpents, horns, trumpets, etc., and they will have a glass pleasure boat, a cot and a glass net, which when seen will astonish the world.” The Waterloo Glass Works ceased work in 1835, and all the fittings and materials were sold off, includ- ing a large quantity of richly cut glass, and the contents of a dwelling house, presumably that of the owner of the works. ' | The Terrace Glass Works was opened in 1818, but like all the other glass-works could not stand up against the taxes and other restrictions, and finally was closed in 1841. With this closing the making of glass ceased in Cork, having lasted nearly sixty years. Figure 84 shows a moulded decanter. It is one of the few speci- mens which form an oasis of safety for the glass col- lector who wishes that other firms had pursued the same method. This decanter is marked on the base, “Cork Figure 84, page 184. [ 199] OLD GLASS Glass Co.” The two decanters in Figure 85 are also marked, the one with the stopper, “Waterloo Co. Cork,” and the other one, also marked on the base, “Cork Glass Co.” This latter one was made about 1810, the other one about ten years later. Three cut-glass jugs are shown in Figure 86, all of which are probably Cork, early nineteenth century. The centre one is decorated with wide shallow dia- monds which are rather unusual, the diamond cutting on the jug to the right being a commoner size. There is step cutting on the neck and lip, and a pointed edge. The handle has a thumb-hold instead of the several small cuts which the glass-maker so often made use of. But it is not a pretty jug, heavy and clumsy, the upper part looking far too large for the body. The other two are more admirable in every way, the one on the left being an extremely popular pattern in both English and Irish glass-works. It was copied in moulded glass in America, and later in cut glass. | The effects of the excise law which taxed metal in uncut state is visible in the two pieces in Figure 87. The sweetmeat jar and stand and the celery glass are decorated to death, for only by excessive cutting so a high price could be asked was it possible for the glass- worker to make any profit. These pieces are ascribed to Cork and the early nineteenth century. It was not long after these were made that glass- making 3 in Ireland practically ceased. Figures 85, 86 and 87, pages 183 and 185. [ 200 ] DUBLIN AND CORK GLASS The old Irish cut-glass is so much in demand by col- lectors that the charm of moulded glass is practically overlooked. Decanters have already been shown, and in Figure 88 is a pair of moulded glass butter coolers. These are marked ‘Francis Collins, Dublin,” and were probably a late output of these works. Occasionally butter coolers, sugar basins and finger bowls are found of a wonderful shade of rich green glass. They are decorated with simple panels or flutes, the splendid colour being all that is necessary. After many of the Irish glass-works were closed, as in the case of those in England, the stranded glass- workers tried to eke out a living by making and selling small objects in glass. Sometimes these were freak things, toys and canes, but more often they were small drinking glasses or articles for domestic use. ‘The quality of the glass was poor, greenish in colour and filled with bubbles. Glass was also made in Newry, Ballycastle and Lon- donderry, but only in small quantities and for short periods of time. In his book on “Irish Glass” Mr. Westropp says he has been shown specimens said to have been made at Newry, but as there was nothing to prove it he let it go at that. Even less is known of what was made at Ballycastle and Londonderry, prob- ably only black bottles. From 1825 the glass trade in Ireland began to de- cline, and by 1845 most of the glass-houses had ceased Figure 88, page 186. [ 201 } OLD GLASS working and those that still remained open had greatly decreased their output. The fact that such quantities of Irish glass were sent to various sections of America has impressed experts in Europe. Mr. Westropp states that it is quite possible that there is more old Irish glass here than there is in Ireland. To bear out this contention Mr. Westropp quotes from the Custom House books which are preserved in the National Library of Ireland, regarding the glass sent to various places in this country. As early as 1781 glass in quantity was exported from Ireland. In the year 1784 Cork and Dublin sent to Quebec, Pennsyl- vania, Newfoundland, the Barbadoes and Carolina, 18,336 drinking glasses. In 1791, 64,348 drinking glasses were sent to New York, New England, Carolina, Pennsylvania, Virginia, Maryland, Newfoundland and the Barbadoes, by Dublin, Waterford, Belfast, Cork, Londonderry and Newry. They also sent about twenty thousand vials, and what was more important still, they sent almost two thousand pounds’ worth of other glassware. This sum would cover a large amount of glass at the prices of those days. So it went on year after year; in 1802 Waterford sent to Pennsylvania and Virginia alone 130,740 drink- ing glasses. In fact it is perfectly amazing to realise what enormous quantities of this Irish glass which is [ 202 ] see ee DUBLIN AND CORK GLASS so eagerly sought came to this country. Surely it can- not all be broken! Between 1805 and 1812 hundreds of thousands of drinking glasses were sent to New York, New England and the Southern states from Waterford, Cork, Dublin and Belfast. After that date the number of drinking glasses declined, but the value of other glassware in- creased, so that in the next ten years more than one hundred and thirty-two thousand pounds’ worth of glassware other than drinking glasses and bottles were sent to America. With regard to the bluish tint which is so often ascribed to Waterford, both Mr. Westropp and Mrs. Stannus are agreed. He says: ‘I would wish now, once for all, to state that the glass made in Waterford has not the blue or dark tint always ascribed to it... . Dublin and especially Cork glass often has the blue or dark tint. I[ have never seen a marked Waterford piece with the blue tint.” | Too early dates are often ascribed to Irish glass, for Waterford, Cork, Belfast and some of the Dublin works only operated about twenty years of the eighteenth century, while the largest output was dur- ing the nineteenth century. The goblet shown in Figures 89 and 90 was made by the Pughs about 1870 for an Orange Lodge. It is said that they employed four Germans to do their en- graving. Figures 39 and 90, page 187. [ 203 } PART II i an 2 ’ Oi Diy Gels Atos STIEGEL, BUSWELL COLLECTION [ 208 | AMERICAN GLASS ITH the multiplication of articles to make the business of living easier, it is hard to realise how the first settlers in this country got along at all. To my mind one of the most wonder- ful things of all is the way the Pilgrim Mothers settled down to their work and apparently made no complaints. At least none have come down in the records which detail so many of the small happenings which befell the pioneers. The early drinking vessels must have been pewter, wood or leather mugs or jugs. They worried along somehow with these things till there were sales of fish and masts; till the apple orchards began to come in bearing, till the cattle increased, and they could draw breath from tilling the fields and fighting the Indians, and consider providing the comforts of a home. While Caspar Lehmann was experimenting in Bo- hemia, the New World was trying to establish a glass- works in the infant colony at Jamestown, Va.; 1607 is the date given for the erection of this first furnace, and bottles only were made, so these are the oldest branch of the industry in this country. In 1620 a subscription list was started in Jamestown to erect a factory for the manufacture of beads for trade [ 209 ] OLD GLASS with the Indians, and in 1621 the London Company sent Italian workmen to make them.* This plant, which was situated some distance from Jamestown, escaped the massacre of 1622, and is heard of as late as 1623. No further attempt was made in Virginia, appar- ently. But the need was urgent. When glass-making was seriously attempted in America has not been defi- nitely settled. All authorities agree, however, that Salem, Massachusetts, was early in the field. Weeden, in his “Economic History of New England,” says these glass-works were opened in 1638. This business at Salem grew beyond its original ca- pacity, and the court gave official sanction to the in- dustry by ordering a loan. In 1640 Salem was author- ised to lend the glass men thirty pounds and deduct it from the next rate laid on the town. These works were operated with more or less success for more than thirty years, and were finally closed in 1670 for “lack of capital.” Jan Smeedes in 1654 and Evert Duyckingk in 1655 were glass-making rivals in New Amsterdam, in what was originally called “Glass-Maker’s Street,” but is now known as William Street, New York. But what these rival glass-makers did at their glass-houses can- not be set down. Perhaps they found the barter of pelts *Records of the Virginia Company in London. f 210} AMERICAN GLASS or schnapps more profitable. At any rate no more is heard of their efforts. Though mention of glass-making is made in Pennsyl- vania, in a letter written by William Penn in 1683, he does not state where. Window glass, which we use so freely to-day that we hardly think about it, was one of the acute needs of the early colonists. In Virginia where there were earliest any houses which made any pretensions to com- fort, there were few which had glass in the windows. Oiled paper and sliding wooden panels were the usual substitutes. In June, 1684, Colonel William Byrd, one of the original F. F. V.’s, sent to his agent in London for 400 feet of glass with drawn lead and solder in proportion. This glass was for use in his first house, Belvidere, for he did not begin the building of the famous Westover till 1688. At these early glass factories in America where win- dow glass was the chief product, there were almost always some bottles blown for the use of the workers if not for sale. The corner pots where odds and ends of metal were thrown, provided the material, and the rule was general that the glass-workers could use it free of charge. Quantities of specimens which their owners assign to definite factories were no doubt made at some of these glass-works where the regular product was window glass or common glass bottles, and the [ 2rr J OLD GLASS workmen used their privilege and made for their own use or for sale such pieces as pleased their fancy. Like their European brothers in the trade, the glass- workers were a roving lot, travelling from one place to another, carrying their technique with them, and copying patterns that they were familiar with and liked. They were of many nationalities, so that it is no wonder that early American glass follows closely what was current at the same time in Europe. [ 212] WISTARBERG GLASS N 1739, Caspar Wistar, a Philadelphia merchant whose original business was making brass buttons, turned his attention to glass-making and began to construct a plant in Salem County, New Jersey, which was afterward known as Wistarberg, and sometimes as Allowaystown. Frederick W. Hunter states in his book, “Stiegel Glass,” that this glass-works of Wistar’s was the first successful glass industry in America. Caspar Wistar landed in Philadelphia in 1717, twenty-one years old, with not much money, but a capacity for making it in whatever enterprise he at- tempted. Wistar imported from Holland glass-makers to work in his factory, and the Dutch influence is clearly discernible not only in the early output, but in the later work. These Dutch artisans were contracted to teach the art of glass-making to Caspar Wistar and his son Richard, and to no one else. The factory began operations late in 1739. They made window glass in five sizes, many kinds of bottles, lamp chimneys, snuff and mustard bottles, “electrofying globes and tubes,” bowls, dishes, pitchers, canisters, preserve jars, sweetmeat bottles and drink- ing glasses. The first output was of plain glass, chiefly f 213 ] OT Di Ass 's window glass and bottles, but later they excelled in making many objects of great beauty both as to form and colour. In Figure 91 are shown three pitchers and a vase of Wistarberg make. They display the char- acteristic two-coloured work in which this factory excelled, the darkest pitcher of all being extremely brilliant, with a ruby ground and pale green wavings. The one with the pinched base is perhaps the earliest though it may have been just the fancy of the individual workman. This group is at the Metropolitan Museum of Art, New York. Mr. Hunter gives to Wistar the credit of being the first maker of flint glass in this country, and also gives him the precedence over all other manufacturers for using both clear and coloured glass in one object, some- times indeed two or three in whorled and artistic patterns. The dark blue glass which may or may not be at- tractive to the eye, owing to the richness of shade, was made at Wistarberg in small quantities only. They used instead a lighter, more delicate shade, turquoise almost, from which were fashioned many lovely ob- jects. They made opalescent glass, clear green, very beautiful in all its shades, amber, and rarest of all brown. To my taste the most exquisite of their output is a soft shade of yellow with shifting turquoise lights in it, and used only for delicate and dainty objects. There is a scent bottle of it at the Smithsonian Museum Figure ol, page 188. Lata) WISTARBERG GLASS which belonged to Martha Washington. I have re- cently seen a similar one on sale, and Leslie Buswell’s splendid collection of American glass at Gloucester, Massachusetts, is rich in it. The method of making the two-coloured, or double- dipped, glass was as follows: A partially completed object of one colour was decorated with whorls or lines of another in floral designs or the effects of breaking waves, the same pattern being carried out on the covers to match. Four examples of this decorative treatment are shown in Figure 92. They are at the Metropolitan Museum. Bowls of many sizes, and bottles, some of these latter with handles, were put out in large numbers by the Wistarberg factory. Much of this product was in the favourite green glass, sometimes very charmingly | whorled with white, not so delicate but in the same style as Nailsea glass. At Wistarberg they had a way of blowing balls of glass, matching and to be used as covers for their bowls and pitchers. The anti-germ idea was struggling for birth even then. These balls ranged in size from those a foot in diameter made to cover large bowls, to those scarcely larger than marbles to fit the tiny creamers. Figure 93 shows such a bowl and ball, in amber glass. What is probably the choicest piece of Wistarberg now extant is shown in Figure 94. It is a dark amber, rarest of all Wistarberg colours, with lily-pad design Figures 92, 93 and 94, pages 189 and 190. [ 215 ] OLD GLASS and spiral glass thread around the flaring neck. It is nine inches high, six inches in diameter, and was bought at the Herbert Lawton sale in 1923 by Mr. Buswell. One of the prettiest little things which came from the Wistarberg works was the scent bottle, which was made in greatest variety of shape and colour. Some were small enough to slip into a glove, and no doubt took the place of the apple stuck full of cloves which Colonial belles were used to carry. These bottles are made in clear or coloured glass, or in combinations of two or three colours, in various shapes, the oddest being the “‘sea horse” pattern shown in Figure 95. Some of the bottles are decorated with strips of crimped glass on the sides, others are in plain flask shape, but all are very dainty and desirable. There is a constantly growing market for these pieces, and their admirers are many. While not so much in demand as the Stiegel glass there are plenty of collec- tors who pick up when possible these charming bits of artistic worth. While it is true that the Wistarberg glass-works were in operation from 1759 to 1780, and put out large quan- tities of glass, it is also true that there were other glass- works in operation in that neighbourhood, but the fac- tories were small and the output inconsiderable. The Wistarberg works made much useful ware, like the mortar and pestle in clear and amber glass, shown in Figure 96, or the sweetmeat jar in Figure 97. The Figures 95, 96 and 97, page 225. [ 216] WISTARBERG GLASS green and amber cup, Figure 98, and the pale green candlestick in Figure 99, and the sturdy pitcher in Figure 100 are all pieces of interest and beauty. These are at the Metropolitan Museum of Art, New York. In 1775 a factory was started at what is now known as Glassboro, by two of Wistar’s workmen. Indeed this factory is still in operation under the name of the Whitney Glass Works, Glassboro, New Jersey. While the general appearance of this Jersey glass has a strong family resemblance, such pieces as those shown in Figures 101, 102, 103 are without doubt from Wis- tarberg alone. Up to nearly the middle of the nine- teenth century small factories for glass-making were started up in this neighbourhood and along the Mullica River. None of them were in operation very long, nor is the product easily distinguishable from that made in the neighbourhood. Like the workmen in the great English potteries, they did not seem to strike roots, but wandered about from one glass-works to another as fancy dictated. What made the output from these factories still more similar is the fact that most of the factories were started and carried on by men trained in the Wistarberg works, or their descendants. J. B. Kerfoot, writing a note upon this South Jersey glass, says: ‘Again and again, as a matter of proved and indisputable fact, three generations of these work- men continued for more than a hundred years to make Figures 98, 99, 100, oI, 102 and 103, pages 225, 226 and 227. [ 217 ] ae OLD GLASS i for themselves and their friends the same range of pieces, unaltered in form and indistinguishable in tech- nique. So that, so far as concerns these wholly true- to-tradition specimens, the attempt to differentiate be- tween ‘true Wistarberg’ and South Jersey pieces is ut- terly futile and meaningless.” By 1850 a change of style seems to have taken place. The old forms vanished, new ideas with reference to colouring and decoration were put into practise and the charm of the earlier ware was lost, but Caspar Wistar’s influence had lasted more than a century. At his death in 1752 he left the glass-works, its contents, etc., to his son Richard. The latter never lived at Wis- tarberg, but employed a manager, Benjamin Thomp- son, to run the works. They were carried on till about 1780, when the effects of the Revolution crippled all business. A hundred years later only a log house and a splendid sycamore-tree marked where once a flour- ishing factory stood by the side of the road. No collector thinks his collection complete without one of the fine squat schnapp, gin or whiskey bottles which were made in such quantities at this time. The one shown in Figure 104 ina rich green, which is an un- usual colour for these bottles, and adds to its beauty. They are commonly found in amber or a greenish brown. One of the dainty little scent bottles which occasion- ally come to hand is given in Figure 105. I have one Figures 10g and 105, page 228. [ 218 ] WISTARBERG GLASS not so attractive in shape, but of a wonderful shade of dark blue. Glass-works were opened at Millville, New Jersey, about 1820, and they turned out a great variety of ob- jects. There were chains of glass, generally clear, glass lilies, paper-weights and glass balls to cover bowls and pitchers, Figure 106, though now they are generally called witch balls after the English style, and were said to have been made to hang in the window to ward off witches. They were often of great beauty, like the one shown in Figure 107 which is pink and white on a clear glass stand. This belongs to the Buswell collection. Figures 106 and 107, pages 228 and 229. [ 219 ] STIEGEL GLASS HE story of the work of the early American glass-makers is still much fogged, except that of William Henry Stiegel which has been so exhaustively covered by the late Frederick William Hunter. His book, “Stiegel Glass,” is inaccessible to most people, since an edition of 420 copies only was privately published, and the cost of such stray copies as come into the market is quite prohibitive. In the preparation of his volume Mr. Hunter spared neither time, money nor himself, and the result is that the history of William Henry Stiegel has been traced from the time of his landing on these shores, August 31, 1750, at Philadelphia, to the date of his death at Charming Forge, January 10, 1785. Briefly stated, William Henry Stiegel arrived in Philadelphia in 1750, at the age of twenty-one. On No- vember 7, 1752, he married Elizabeth Huber, daughter of Jacob Huber, owner and operator of large iron fur- naces in Lancaster County. On September 22, 1756, with some men from Phila- delphia he began the operation of the Huber iron fur- nace in Elizabeth township, Lancaster County, and here in 1763 he began experimenting with glass-mak- ing. He built two glass-houses at Manheim; the first [ 220 | STIEGEL GLASS one had the fire lighted under the pots on October 29, 1765. The output was chiefly bottles, ranging in size from a gallon to a pint; the smaller sizes were known as ““pocket bottles’’—see Figures 108 and 109. In Fig- ure 110 are some very choice blue and amethyst bottles which belong to the Buswell collection. In addition to the bottles there were other articles listed under the head of “small glass’—see Figures 111, 112, 113, the latter a green glass milk bowl with blue rim, in the Buswell collection. On December 18, 1770, fire was lighted under the ovens of the second glass-house at Manheim, and glass of many kinds was made. In February, 1774, the sheriff sold the Manheim glass- houses and Stiegel’s career as a business man was closed. So he was making glass just about ten years, a fact to be remembered by glass collectors. Mr. Hunter was extremely fortunate in finding among the papers of John Dickinson, now in posses- sion of the Pennsylvania Historical Society, a series of day books, journals and ledgers, relating to Elizabeth Furnace, Charming Forge and Manheim works. From these he was able to reconstruct the life story of Wil- liam Henry Stiegel, which ended at the last in misery and wretchedness. Although glass was made first at Elizabeth Furnace, Charming Forge was used only for the manufacture of bar iron and earned much of the money which was later used at Manheim. The first glass-house at Man- Figures 108, 109, I10, III, 112 and 11}, pages 230,231 and 232. [ 221 | EL ————eee__eee_ee OLD GLASS i heim began work with about half a dozen blowers, and the product was sold to merchants in nearby towns. The stamp act of 1765 had a depressing effect upon the business of the Colonies, and though it was repealed the next year, the Townshend act of 1767 levying duties on Colonial imports, bore heavily on crown plate, flint and white glass. But to Stiegel’s mind this duty on imports should prove of great benefit to the industries of America. An advertisement to this effect printed in the Penn- sylvania Journal and Weekly Advertiser, July and August, 1769, shows his attempts to call the attention of the public to his wares. A beautiful arrangement of Stiegel glass, all clear, is shown in Figure 114. It is a part of Mr. Buswell’s collection, all of which is ar- ranged as a decoration to the rooms in which it is placed, rather than as a mere collection. The variety of goods which Stiegel made may be judged from the following advertisements which ap- peared in the Pennsylvania Gazette, for June 27, 1770) and June 4, 1772. They are in the files of the Pennsyl- vania Historical Society, at Philadelphia. STIEGEL GLASS This is to acquaint the public, and my kind customers in particular, I have lately been at the Glass Factory at Manheim, in Lancaster County, and contracted with Mr. William Henry Stiegel for a large and complete assortment of his Flint Glass, consisting of quart, pint, and half-pint decanters; pint, half-pint, gill and half-gill tumblers; wine glasses; vinegar glasses; salt-cellars; cream-pots; Figure 114, page 233. [ 222 ] STIEGEL GLASS sugar dishes with covers; jelly glasses; syllabub glasses; proof bottles; etc., etc.; to be delivered to me immediately at my house in Market Street, next door to the Indian King, where I will sell them as low or lower, and equal in quality with my flint glass imported from England. Any orders shall be punctually complied with, and be quickly forwarded, and will be exactly furnished from the Manufactory. Wanted. A Glass-Cutter and Grinder; such a workman by applying will meet with good encouragement. ALEXANDER BARTRAM. Figure 115 from the Buswell collection and Figure 116 from the Metropolitan Museum, New York, show some of the kinds of glass which Mr. Bartram could furnish to his kind customers. The following advertisement is even fuller in nam- ing the different objects in glass which were being made at the Manheim works. STIEGEL GLASS Caullman & Fegan To be sold, AMERICAN FLINT GLAss, greatly improved, and al- lowed by competent judges to be equal to the most improved from England, is now to be sold wholesale and retail, at the American Flint Glass store in Second Street, fifth door above Race Street, by Caullman & Fegan, where they have just opened a large and general assortment of the Manufactory, viz. Double and single flint gallon, three quart, half gallon, and single quart decanters with stoppers; sugar loaf ditto; round ditto; single and double flint tumblers, pint measure, half pint ditto, and gills; tall pint tumblers, pints and half pints; enamelled mason wines; enamelled twisted mason wines; plain ditto, common wines; twisted ditto, enamelled ditto; syllabubs, with one handle, ditto with two handles; bubbled buttoned jellies; common acorn ditto; jacony salts, and enamelled ditto; double and single cruets with stoppers; tall, twisted and enamelled cruets; enamelled three footed creams, common ditto; three footed salts, enamelled blue and plain; Figures 115, 116 and 117, pages 234, 235 and 236. [ 223 ] LL ———————e—e————e—e—e—e——————— OLD GLASS inks of all sorts; and flower pots; garden pots; proof glasses; lemonade jars; candle-sticks, ornamented; servers, ornamented ; common and enamelled mustards; vinegar and oil cruets, joined together; and great variety of glasses, too tedious to insert. The public may rest assured that no other kind of glass will be kept, or sold in said store. From the great experience that the proprietor of this manufactory, Mr. William Henry Stiegel, has of the patriotic spirit of the Gentlemen in Pennsylvania, and the provinces adjacent, he flatters himself that it will meet with suitable encouragement. All orders of patrons sent to the store, shall be accurately forwarded and complied with, at the Manufactory, or at the Store, from time to time. All Store-keepers, Tavern-keepers, and Retailers, will be completely supplied to orders, lower than importation price. That Stiegel possessed an optimistic disposition the financial records of his various business difficulties plainly show. He plunged into debt and yet more debt, and mortgaged everything available. He built himself a fine mansion at Manheim, and two tall tow- ers, one at Elizabeth Furnace, another at Schaeffers- town, on which cannon were placed. A third can- non graced the band platform on the top of the house at Manheim. His goings and comings were announced to the village by the cannon reports, and his coach, in which he rode from one place to another, served to accentuate his love of show, and no doubt had much to do with giving him his courtesy title of Baron. He began at this time to advertise freely not only in the Philadelphia papers but in the New York Gazette and Mercury. On July 1, 1772, he adopted the name “The American Flint Glass Factory,” and this, accord- ing to all records, was his most prosperous year. l 224 } rr SSS OLD-GLASS eee: . x Suess & “ i THE METROPOLITAN MUSEUM | THE METROPOLITAN MUSEUM | AR « § ii at Rene ER RE Fig. 97, SWEETMEAT JAR Fig. 96. MORTAR AND PESTLE Fig. 99, PALE GREEN CANDLESTICK Fig. 95. SCENT BOTTLE Fig. 98. GREEN AND AMBER CUP (See pages 216 and 217) {225 | Fig. 101. OLD.GLASS THE METROPOLITAN MUSEUM ae er Fig. 100. GROUP OF WISTARBERG SOUTH JERSEY Fig. PITCHER (See page 217) F-22060" 102. SOUTH JERSEY BOWL, BLUE ODF G UAS S Fig. 103, SOUTH JERSEY VASES AND BOWL (See page 217) OLD GLASS THE METROPOLITAN MUSEUM OF ABT Fig. 104. SOUTH JERSEY BOTTLE, GREEN Fig. 105. SOUTH JERSEY SCENT Fig. 106. MILVILLE, N. J., GLASS BOTTLE BALL (See pages 218 and 219) f 228 | Og G Aas Fig. 107, GLASS BALL, BUSWELL COLLECTION (See page 219) [ 229 ] OLD.-GLASS THE METROPOLITAN MUSEUM QF ART Fig. 108. STIEGEL POCKET BOTTLES, AMETHYST Fig. 109. STIEGEL POCKET BOTTLES (See page 221) [ 230 | OD] GLASS Fig. 110, BLUE AND AMETHYST BOTTLES Fig. 111, STIEGEL BOWL_ Peeeupage 221) cm ote [ 231 | OLDi'GLASS Fig. 112, STIEGEL BOWL WITH BLUE RIM — Fig. 113, STIEGEL JAR (See page 221) [72823 OLUD..GLASS CLEAR GLASS, STIEGEL 114. ige F (See pagé 222) L233] OLD GLASS SLOd WVadadO LNITA FATE ANOA "SIL “31g (ez abvg 3a) [234 ] OLD ,GLASS5 aisle PER METER, Bee Fig. 116. FOUR BLUE AND CLEAR GLASS CREAM POTS (See page 223) [ 235 ] OLDE GLASS LOd WV ANV YAMA “LIT “OUT waase Sse W NMS ete lt Iw ahs ei cs (¢¢z abvg aag) [ 236 ] OeEsDELG PASS “ANE METROPOLITAN MUSEUM "OF ART METROPOLITAN MUSEUM BE RET Fig. 118, BLUE FLINT SALT-CELLARS (See page 241) [ 237] OLD GLASS SUYVTIHO-LIVS SSVIO NAAYD GNV AVATO "6IT “SI (1tz 26n¢ 329) J [ 238 QEDIGLIASS i > : * a 3 VINEGAR AND MUSTARD CRUETS Fig. 120. (See page 241) OLDEAGLASS Fig. 121... BLUE FLINT SUGAR BOWLS Fig. 122. CLEAR GLASS SUGAR BOWL (See page 242) [ 240 ] STIEGEL GLASS Among the “small glass” produced by Stiegel, his salts were particularly attractive. There were many shapes, and the blue flint ones, often in his best shade of blue, are more esteemed to-day than when he made them. Some of these in both blue and clear glass are shown in Figures 118 and 119. Stiegel’s glass was on sale at the store of Garret Rapelje, opposite the Fly Market in New York, and the venture must have been successful, since in Janu- ary, 1773, he went to New York, rented a store on Broad Street, and advertised as follows in the New York Journal or General Advertiser, for January 14, and several weeks following: AMERICAN FLINT GLASS William Henry Stiegel Proprietor of the first American flint-glass manufactory in Penn- sylvania, is just arrived in this city, and opened a warehouse near the Exchange, the corner opposite Mr. Waldron’s, where he hopes for the encouragement of those who wish well to the establishment of manufacturers on this continent; and that the glass he offers to the public will be found to rival that which is imported, and sold at lower prices. Quart, pint and half-pint decanters; pint crofts; double flint pint, half pint and jill tumblers; syllabub and jelly glasses; three-feeted salts and creams; wine and water glasses; vinegar and mustard cruets; phials and other bottles for Chymists and Apothecaries, etc. As his stay in town will be very short, he begs the favor of an early application to him from those who want a supply of glassware. Vinegar and mustard cruets are mentioned in this advertisement. Some are shown in Figure 120. The variety in sugar bowls is almost as great as in salts. A Figures 118, 119 and 120, pages 237, 238 and 239. [ 241 ] (rene ——EeeEEEEeEE————————e OLD GLASS number of these are shown in Figures 121, 122, 123, yor Stiegel did not retain the special warehouse very long, and is next heard of advertising from a new stand, in the months of February and March, 1773, in the New York Gazette and Weekly Mercury. James and Arthur Jarvis became his New York agents, and advertised on sale at their shop “between Burling and Beekman’s Slip, in the Fly,” an even greater assort- ment of goods than appeared in Stiegel’s own adver- tisement. They had “of the American manufacture, quart, pint, and half pint decanters; pint, half pint, gill and half gill, flint and common tumblers; carrofts, enamel’d; mason, and common wine glasses; jelly and cillabub glasses, with and without handles; mustard and cream pots, flint and common; salts, salt-linings, and crewets; wide-mouthed bottles for sweetmeats, rounds and phyals for doctors, wine and water glasses, ink and pocket bottles. Orders taken for all kinds of glasses for chymical or other uses agreeable to order.” But with all his efforts and ceaseless activity things did not go well with William Henry Stiegel. His busi- ness affairs went from bad to worse, though in 1773-74 he organised lotteries to bolster up his fortunes. His credit was exhausted, the sheriff levied on his house- hold goods, and finally in February, 1774, Manheim, the glass-house on which he had staked his all, was sold by the sheriff to George Ege, a nephew of Mrs. Figures 121, 122, 123 and 124, pages 240,257 and 258. [ 2422 a a Ee ae a ee STIEGEL GLASS Stiegel. Ege soon became possessed of the entire prop- erty, built himself a fine house where later he took in and cared for Stiegel who had become an absolute bankrupt. Indeed, for a few weeks he was imprisoned for debt, being liberated on Christmas day, 1774. This was a terrible blow for a man of Stiegel’s temperament and position. The last years of this one-time prosperous and successful man were melancholy indeed. He was but fifty-six when he died, in January, 178s, and since his failure had eked out a poverty-stricken existence by teaching, giving music lessons, or giving any service which those living in that region might require. In the heyday of Stiegel’s prosperity he had deeded one of his Manheim lots, with a small church which he had built upon it and called the Zion Lutheran Church, to its board of trustees. It was quite a custom at this time when property was sold for a nominal cash consideration, to add also a nominal annual rent. Mr. Hunter says in “Stiegel Glass” that a peppercorn or a grain of wheat were favourite considerations. A red rose, which was the fee chosen by Stiegel, was, curi- ously enough, chosen also by Caspar Wistar to be paid in lieu of ground rent in many of his deeds. But the Wistar rose rent has faded into obscurity, while the red rose demanded by the Stiegel deed has blossomed into a ceremony which is observed the second Sunday in June at Manheim, which in its elaboration and pic- [ 243 ] OLD GLASS turesqueness would have given William Henry Stiegei abundant satisfaction. They call it the “Feast of the Roses,”’ and for one day in the year Manheim emerges from the obscurity which enwraps it the other 364. The collection of Stiegel which was gathered by Mr. Hunter and presented by him to the Metropolitan Museum, New York, covers the ground pretty thor- oughly. It is so arranged that it can be conveniently studied by those who wish to add to their knowledge of this interesting and beautiful glass. The illustrations given here are chiefly from this collection and that of Leslie Buswell at Gloucester, Massachusetts. In the Buswell collection are some pieces which are absolutely unique, like the splendid Stiegel cup which is the frontispiece of this book, and the large covered pitcher shown in Figure 134. The first impression of the collection at the Metro- politan Museum, as a whole, is the comparatively small size of the objects. The pitchers are smaller than those we use at the present day, and few of them are as much as twelve inches tall. They have a certain fragility and delicacy which certainly would not stand the rough and tumble life of a modern dish-washer, human or mechanical. A great number of the coloured pieces in the Hunter collection are blue, that splendid shade derived from the Bristol workmen who came here to make glass and teach the local workers the tricks of the trade. I have Figure 134, page 267. [ 244 ] STIEGEL GLASS mentioned elsewhere what Mr. Hunter calls the “Bris- tol tradition” with reference to the colouring of Stiegel glass. But an acquaintance with Stiegel glass very soon teaches you that it is quite impossible to lay down rules as to what is “Stiegel blue.” You can see for yourself in the Hunter or any other collection of Stiegel glass any number of shades in his blue flint, some of them rarely beautiful, some of them flat and verging on the indigo. This variance of shade is nowhere more distinguish- able than in the salt-cellars, many of which are besides delightfully crooked, one of the charms of hand-work. Drinking glasses in numberless patterns and decora- tions were turned out at Manheim. The covered rum- mer in Figure 125 is an interesting piece, not only on account of the cover, but because of the panels of the glass itself. These panels are more often found on flip glasses and tumblers, and may be of equal size or alternating long and short. In the group of wine glasses shown in Figure 126 the one with the cotton twist stem is the most interesting. Both drawn and stuck stems were made at the Manheim works, and the method employed was the same as that in use at the English glass-works. The next group is more decorative, Figure 127. These bowls are pattern moulded, and then expanded by blowing, or twisted by rolling on the arms of the glass-blower’s chair, or by pinching with pucellas, as Figures 125, 126 and 127, pages 258, 259 and 260. [ 245 ] OLD GLASS in the diamond pattern. As a rule domestic wine glass feet are flatter than those of English make, and are more solid, and the edge of the foot is turned down and in, rather than up and over which is characteristic of English glasses. Engraved glass made at the Stiegel works was done with the copper wheel and diamond method. Mr. Hunter distinguished fourteen types of design which were in use. The wine glasses in Figure 128 show four of these. The flip glasses beloved of the deep drinker, and much sought by the modern collector, are generally very beautiful. The basket design holding flowers, and the tulip design, were most characteristically Dutch, copied from them by the English and then copied from both of them, over here. Four of these Stiegel engraved flips are shown in Figure 129. They are extremely attractive, the one with the panels in three lengths being particularly so. They seem too delicate to stand the hard usage to which flip glasses as a rule were subjected. Figure 130 shows some un- usually fine engraved glasses, from the Buswell collection. A charming pair of engraved jelly glasses is shown in Figure 131. They are rather tiny affairs, one and seven-eighths inches high, and three and a quarter inches in diameter. There is that pleasing irregularity in the Figures 128, 129,130 and 131, pages 261, 262, 263 and 264. [ 246] 8 cha So eS ae STIEGEL GLASS engraving which is indicative of hand-work, and the handles are similar but not identically alike. It is not wonderful that with time and use, covers have parted company from the vessels they were made to go with. This group of covered flips, Figure 132, which belong to the Buswell collection are then all the more remarkable, and the one in the centre is the largest one known. Stiegel made two shades of green; one, fine and clear and very brilliant, is seldom met with, while the other shade, far less attractive and quite pale, is more com- mon. It depresses me to write about this pale green glass, for I lost a covered sugar bowl by hesitating over night to pay the price. There seems to be always somebody waiting to “snap up” these things, and she was on the spot while I was considering. I have seen many pieces, particularly salt-cellars, in what might be called a smoky green. It looks as if they were made from odds and ends of metal from the corner pots, asno doubt they were. One such salt-cellar had several flecks of ruby red glass in it, not as decora- tion, but as part of the article itself. In fact this piece was given to me. I saw it at the house of a friend, tried to buy it from her, but she gave it to me saying, “You can have it, it only cost fifty cents, and I don’t pace for it.” If I had been as experienced in collecting old glass as I am now, I should have taken it then and there and Figure 132, page 265. [ 247] OLD GLASS borne it off in triumph. But I protested feebly at tak- ing it as a gift, and went home. The next time I saw her she spoke of it and said she would send it. Here again I made a mistake. I should have gone for it. She arrived one snowy day with a shapeless parcel done up in tissue-paper. ‘Here is your salt-cellar,” said she, “‘all that is left of it,’ and went on to say that she had given it to her chauffeur to deliver, but that as he had several other errands to do, somehow, in the course of his activities, he had sat upon it! There was nothing left but the base and stem, two or three bits, and some powdered glass. I tried later to impress the enormity of her carelessness upon her by showing her the record of an auction sale where a similar one had fetched $140. Next to blue, purple ranging from a very rich bluish tone to a reddish amethyst seems to have been a popu- lar product of the Stiegel factory. There was also amber, rarest of all, a warm tone and not very dark. Some of the very early bottles were in this warm brown. A very charming pocket flask with panels and daisy design is shown in Figure 133. The variety of styles embodied in the various kinds of glass made at the Manheim works was owing to the different nationalities of the men employed there, Eng- lish, Irish, German and Italian. At the new Manheim works nearly one hundred hands were employed and the choicest glass made. In addition to the moulded Figure 133, page 206. [ 248 ] STIEGEL GLASS wares, there was the enamelled in German style, with clearer, brighter colours, and there was the etched and engraved which is now so eagerly sought by collectors. Splendid pitchers with covers like the one shown in Figure 134 were occasionally made, either on order or for presentation pieces. This one belongs to the Bus- well collection. Candlesticks like Figure 135 were also made, and more rarely vases, like the one in blue flint, which is given in Figure 136. The struggle which Stiegel constantly maintained to produce goods as useful, beautiful and cheap as those which were constantly imported is more or less pa- thetic, when you consider his tragic end. Medicine glasses, Figure 137, egg cups, like the one in Figure 138, pitchers and compotes, Figure 139, and small de- canters like the one given in Figure 140, were all parts of his regular output. Mugs both in clear and coloured glass, with or with- out covers, plain or decorated, were made in numbers, and some are shown in Figure 141, two of blue flint and two of clear glass. Of course the average collector can only hope to possess a few pieces of Stiegel glass. ‘They are the gems of any collection. Such a piece as the flip, seven and a half inches high, clear glass, with the daisy-in- the-square design, Figure 142, or the amethyst bottle shown in Figure 133, is always at the back of my mind. Figures 134-142, pages 267-271. [ 249 ] TLE OLD GLASS etre eee erase SE Some day I mean to own one or the other—my wildest dreams do not include both. Panel pieces like the bowl in Figure 143 and the rummer in Figure 144 show the use of the panel as a decoration for otherwise plain pieces. But the last and probably in Stiegel’s estimation the highest style of decoration attempted at the Manheim works was that in coloured enamels. The workmen who were em- ployed to do this class of decoration were four in num- ber, and the colours were fresher and brighter than the German colours, and the decoration was conse- quently more attractive. Mr. Hunter says six colours only were used. The two bottles in Figure 145 show how very effective this decoration may be. There were designs which were used over and over again, like the steeple, Figure 146, the bird design, Figure 147, or the equally popular dove design shown on the mug in Figure 148. Less attractive than much of Stiegel’s product, these too consciously follow for- eign models to please the taste of those who like original work, A cupboard of clear and coloured Stiegel glass which shows a portion of the Buswell collection is given in Figure 149. The pieces are charmingly arranged and are displayed against ground glass which is the true and proper background, particularly for coloured glass. Figures 143-149, pages 271, 272, 289 and 290. [ 250 ] OTHER EARLY GLASS ‘ , YITHIN the last few years many collections of early American glass have been sold. Though the pickings for the would-be col- lector are not what they were, there are chances still left. In 1920 a collection made by Dr. Pleasant Hunter —what an ideal name for a collector—was sold at auc- tion. The objects embraced in this sale were made in Pennsylvania, New Jersey, Massachusetts, Connecti- cut and New Hampshire. In a prefatory note to the catalogue, Dr. Hunter states that he gathered this col- lection, 862 pieces, in five years. That in January, 1913, and in November, 1915, he had disposed through the same hands of two previously made collections. Without doubt the finest collection of early Ameri- can glass which has ever been sold at auction was that gathered by Mr. Herbert Lawton of Boston, and sold in New York, February, 1923. Some of the choicest pieces of this collection are shown in this book through the courtesy of Mr. Buswell who bought them. There were three hundred and forty-nine pieces in the Lawton sale, comprising all the finest products of American glass-works, and showing an unusual num- [ 251 ] OLD GLASS ber of three-section mould pieces which are becoming increasingly interesting to the collector. In the making of glass the most important neces- sity is an abundance of fuel near at hand. Western Pennsylvania and the neighbourhood of Pittsburg fur- nished this in quantity. The use of coal, and later of gas, still caused this section of the country to become important as a glass-making centre. The first glass-works in Western Pennsylvania was started by Albert Gallatin in 1787, on the Mononga- hela River, about sixty miles above Pittsburg. In 1795 the first factory was built in Pittsburg itself, and both of these works made window glass only. Mr. Isaac Craig, writing in 1880, says in his ‘‘Recol- lections” that the glass made at the early glass-houses was generally crude, and the “small wares” were made by the workmen from the corner pots. He writes, “I recollect distinctly seeing both tumblers and decanters made of green glass. In old times these decanters were used in every house, mostly by the poorer families who could not afford cut-glass. Whiskey was set out to every visitor in these decanters, and before and after every meal. Although of green glass they were not cut, but ornamented by beads around the neck.” O’Hara and Craig, General and Major in the Revo- lution, started in 1797 another plant on the Mononga- hela. Pittsburg has always retained its position in the glass-making industry, but it is within the last sixty [ 252] OTHER EARLY GLASS years that the most important developments have taken place in the methods of making it. The first glass factory to use coal was established at Pittsburg in 1797, but it was many years before it came into general use. Sand, one of the most important ingredients of glass, is found in abundance, and of superior quality, in America. Large deposits were found in Juniata County, Pennsylvania; Hancock County, West Virginia; Fox River, Illinois; Crystal City, Missouri; and Berkshire County, Massachusetts. When the war of 1812 cut off the supply of foreign sand, the sand from Plymouth Beach, Massachusetts, was used till better quality was discovered at Maurice River, New Jersey. The superiority of this sand is attested by such ex- perts as Thomas Webb and Son, of Stourbridge, Eng- land, who experimented with some sand from Massa- _chusetts, and exhibited the result at London in 1851. Also by Bontemps, one of the greatest authorities on glass, and by Henry Chance of Birmingham, England, in his article, “On the Manufacture of Glass.” In the early factories window glass and bottle-mak- ing seemed to go together. It was not till after 1837 that factories were built exclusively for bottle-making.* The glass-houses where flint glass was made, manu- factured table and other ware, both blown and pressed. Pot metal is the term used for glass when the colour *Tatum. [ 253] ——— eee OLD GLASS eT eee permeates the whole metal; flashed or double glass when the colour is confined to the surface; and stained, when it is burned in. Bottle-making, one of America’s first industries, be- came a very important one. Very necessary indeed were bottles of every description. The fine old squat ones, dark or light green or dark amber, are now much in demand for decorative purposes. They have a de- lightfully raffish look and speak of those potations long and deep in which our ancestors indulged. Three ven- erable ones, assorted sizes, are shown in Figure 1 50. There are occasionally to be found very charming little decorative bottles like the one shown in F igure 151. It comes under the general heading “early Ameri- can” where so much of this interesting and delightful glass belongs, though the general tendency of collectors, and dealers too, is to apply the name of some glass- works to it without reference to facts. C. A. Tatum in an article in the Scientific American, entitled “One Hundred Years of Glass Achievement,” has this to say on the subject of bottles: “America is said to be the most wasteful country in the world in the matter of bottles. It is not the custom to save a bottle once it has served its purpose, particu- larly those which contain medicine. In Great Britain and on the Continent it is the practice for those who wish a prescription made up to furnish a well-washed bottle which has served a similar use before. In fact Figures 150 and 151, page 291. [ 254] ae OTHER EARLY GLASS Deen ener EEnnEEEn ERE nnn aes an extra charge is made by the chemist if no bottle is furnished by the purchaser of the dose. “At the beginning of the nineteenth century only two kinds of bottles were in general use for prescrip- tions or medicines. These were made of the commonest green glass, and were either long and slim like a phial, [Figure 152] or round and rather squat. The lip was thin and irregular in shape, making it difficult to drop liquid from it, so that the size of the drop continually varied. The drip from the bottle was so apt to destroy the label with directions that it was customary to tie this to the neck of a bottle with a string. The use of these bottles continued well into the century. “Being so prodigal in the use of pharmacists’ and other bottles it was fitting that America should make the first advances in bettering this form of glassware. About 1825 the octagon-shaped bottle made its appear- ance and was popular for a time, but was followed by the oval-shaped bottle as being more convenient. “A heavier lip and a uniform shape to the mouth were found more adapted to prescription ware and were taken up by the trade. Tools were used instead of the old hand-work, and more regular results ob- tained. “Then flint glass was substituted for the common green glass, the first of these appearing about 1861. Soon after a tall four-sided bottle with beveled edges was put on the market, and these ‘French Squares,’ as Figure 152, page 292. [ 255] ——— ee OLD GLASS ——— eee they were called, became very popular all over the country. “About 1867 lettered bottles were made, sometimes with the whole name, monogram or some trade device, appearing in raised letters on the side. This was achieved by the use of a special device known as a plate mold which was made to fit the various molds used in casting bottles of different shape.” The various articles made in glass for lighting pur- poses were very numerous, including the many pat- terns of candlesticks and all kinds of lamps. In the latter were burned lard, tallow, common grease, and oil. The early lamps of the better class had two wicks instead of one, like the one shown in Figure 1 So ic font is of clear glass and the base of amber glass. It was often the fashion in those farmhouses where these lamps were cherished long after gas was in use in the cities, to put in the font a bit of red flannel. This was considered highly decorative, and certainly claimed attention. The lamp in Figure 154 was made in Germantown, now Quincy, Massachusetts, and has a moulded font and a pressed base; it carries two wicks and belongs to the early nineteenth century. The lamp given in Figure 16¢ is probably earlier than the two previous ones, about 1800. It is of clear glass with heavily knopped stem, domed base, and the Figures 153-155, pages 292 and 29}. © 256] OLD GLASS Fig. 123. BLUE AND CLEAR GLASS SUGAR BOWLS (See page 242) naam 1 Ct DY ae OLD. GEASS Fig. 125. COVERED RUMMER Fig. 124. SUGAR BOWLS, STIEGEL (See pages 245 and 242) [ 258 | Shi bol Bh afGe bwavsys: “Fig.-126..- WINE GLASSES WITH PLAIN BOWLS (See page 245) [259] OLD GLASS Fig. 127, WINE GLASSES WITH MOULDED BOWLS (See page 245) { 260] OUR Wa G Laks Fig. 128. .WINE GLASSES WITH ENGRAVING (See page 246) Por OUND. (GEA SUSSVIO dIiTi GHAVYONA "61 “SIA (942 2O0¢ 99S) [ 262 ] OWA POR ASsS SASSVID GATIANVd GNV GAUAVYONA ‘O8T ‘SI (9b¢ 2bng aag? [ 263 | $$ —$ eee OUD UGGASS Fig, 131, ENGRAVED JELLY GLASSES (See page 246) [ 264 J OLD GTA Ss SUSSVIO dITd GaAAAOO . ctl rat | (Ltz avd 399) [ 265 | OLD GLASS Fig. 133. BOTTLE WITH PANEL AND DAISY PATTERN (See page 248) [. 266. ] OLD: GLASS Be Tet oes, 134. COVERED PITCHER (See pages 244 and 249) [ 267 | I ——— OLDSGUASS Fig. 135. CANDLESTICK Fig. 136. BLUE FLINT GLASS Fig. 137. MEDICINE GLASS Fig. 138. EGG CUP (See page 249) [ 268 ] OLD GLASS DECANTER BLUE PITCHERS AND COMPOTE Fig. 140. Fig. 139. (See page 249) [ 269 J OLD GLASS Fig. 141. MUGS ’ . e - ; ro ae I . ak > ‘ , ‘4 S22 Cn See Nl ee Oe — wana . =< a ‘ . . N +, Seo ue . OLD .GLASS5 Fig. 143. PANELLED BOWL Fig. 142, FLIP OF CLEAR Fig. 144. RUMMER GLASS (See pages 249 and 250) | : hee OLD ;GLASS Spann GE fetes hee 3 ‘She & TIRE MAL RT Sy HET : SE THE, STEEPLE DESIGN ENAMELLED BOTTLES 146 Fig. . 145 18) . F (See page 250) [ 2724) OTHER EARLY GLASS edge of the rim folded up and over, as was seen in the wine glasses of this period. In 1815, Thomas Coffin, of Number Three, Chestnut Street, Philadelphia, announces in the Daily Advertiser that he has for sale: Best winter-pressed spermaceti oil; Second do do do Summer strained do do Common & Humpback do Best Streights Liver do Second Quality do do In the same issue of the paper appears the following notice: Great Sale of Elegant Lamps and Lustres, Store Lamps, ete. Will be sold at Public Auction, Monday morning next 27th. inst. at No. 4 South Third Street, an extensive and splendid collection of Lamps, Lustres, etc. And various articles appertaining thereto. Elegant Cut Glass Lamps for Mantles with one or two lights, orna- mented with cut glass pans and spangle drops, etc; do, do, gilt and bronze do; splendid Lustres ornamented with Paste drops, etc. of two, three and four lights. Grecian Lamps for halls and rooms, Entry Lamps in great variety, gilt, bronzed, two, three, or four branches. In Figure 156 is given a very handsome pair of lamps. These may have been made at Sandwich, for at the time of their closing down they were at work on an order of lamps. These have cut-glass fonts and shades and moulded bases, and were of comparatively late make, as can be seen from the design of the brass fixtures. Figure 156, page 293. [{ 273] OLD GLASS A blown glass lamp chimney is shown in Figure 157. These were used on metal lamps and were exceedingly fragile. We are used to furnish our old bureaus and desks with clear or opalescent glass knobs when we wish to restore them to what we believe to be their original con- dition. Yet the following advertisement which ap- peared in the American Daily Advertiser, Philadelphia, for March 4, 1830, shows that there were many other colours for sale: Glass Commode Knobs. The Subscriber will furnish Glass Commode Knobs of the following descriptions, viz., Plain, Fluted, Fine Twisted, Coarse Twisted, Moulded and Sunflower, all of Superior Double Flint Glass. Also the same as the above of the following colours, viz. Deep Blue, Turquoise, Opal, Pearl, Agate. Orders will be received for the above of any size they may be wanted. ‘They will be from the Jersey Glass Company, and in point of shape and quality of glass, not surpassed by any in the country; prices very low. Also, orders received for Cut Glass Knobs of any pattern re- quired. On hand, an invoice of extra rich Cut Glass Knobs, and a few Signal Lanterns. M. Nissit, 77 South Front Street, Philadelphia. In addition to the glass knobs for furniture there were others much more ornate, really very beautiful, generally of opal glass, which were screwed into the wall to support mirrors, pictures, or to hold back cur- tains. In Figure 158 are shown three of these knobs, opal glass and decidedly alluring. Plain glass ones are shown in Figure 159 and one of them is turned to show the metal mounting. Figures 157-159, pages 294. and 295. [274] | RETIN EIN OE OTHER EARLY GLASS The forger has been at work in reproducing these pretty things, but the character of the metal work be- trays him. The late E. A. Barber sounded a warning about these curtain knobs as far back as September 24, 1911, in an article in the New York Sun, on “Old Glass and Its Imitations.” He says: “Pressed glass rosette curtain knobs in imitation of those produced at Sandwich, Massachusetts, about 1840 and later, are now being made in such large quantities that they have recently appeared in many of the prin- cipal ‘antique shops,’ and in auction sales in New York and Philadelphia. They are found in clear trans- parent glass and in white opalescent glass, and in colour and design closely resemble the old ones. “These reproductions, however, are not dangerous, as they possess several features by which they may be recognized. The backs of the larger ones are well finished and present the appearance of sweating. The backs of the smaller ones are depressed to correspond with the relief design. The silvered or nickel-plated rods or shanks which run into them are fresh and bright and should deceive no one but the novice. Yet many of them are being sold to unsuspecting buyers, lovers of ancient things who do not take the trouble to examine them critically. “The old examples are heavier and cruder in finish and are more or less nicked around the scalloped edges, while the metal rods are tarnished and possess the marks [ 275] OLD GLASS of age. The spurious examples which we have seen are three and four inches in diameter and possess six petals and scalloped edges. One lot recently sold by public auction was fitted with the usual metal rods or screws, which had been treated with acid or oxidized in spots to imitate the appearance of rust. As genuine pieces can be picked up at moderate prices, usually about $1.50 a pair, there would seem to be no good reason for pur- chasers being victimized by the sellers of cheap sub- stitutes.” If reproductions were so abundant twelve or more years ago, there must be even fewer veritable antique ones to be found now. The ones shown are at the Met- ropolitan Museum of Art, New York. Occasionally there are interesting bits of old glass, blown or moulded, which may be picked up in out-of- the-way places. True, the automobile has brought even the remotest hamlet within hailing distance of the dealer and collector, and there are many little old houses on back roads where clever imitations have been “planted” to deceive the enthusiastic but ignorant collector. But old blown glass is almost unmistakable. A clear glass mug like the one in Figure 160, with its welted base and rim, crude handle and bubble-flecked bowl, speaks for itself. Why seek to assign it to some definite glass-works? To call it “Early American” seems quite — identification enough. Figure 160, page 294. [ 276] OTHER EARLY GLASS So with the next mug, Figure 161, a three-legged affair with not even the legs matching. No doubt this was one of the pieces made by a workman from the “corner pot” to please his own fancy. In the account of glass-making in this country, in the “Special Report of Manufactures,” of the Tenth Census, there is this: “In 1837 there is a record of a ‘vial works’ and a ‘black bottle factory,’ the latter the only one of its kind in the Western Country.” This factory made wine, porter and other black or amber bottles as well as demi- johns and carboys. The place where this was situated is not mentioned. This delightful three-legged mug may well have been made at a black-bottle factory. The wine glass shown in Figure 162 is another pleasing piece. Probably this was made for home use, it seems far too irregular for a commercial piece. “Early American” can be used to describe this, and even so any one would welcome it to a place on their shelves. Three very graceful wine glasses are shown in Fig- ure 163. They are in the Buswell collection. They have the air-twist stems which are so desirable, and so infrequently found to-day. Although the glass in Fig- ure 164 is called a medicine glass, it could be equally well used for a drinking glass. It is crude and rather heavy, but graceful in shape, and the term “Early American” covers this too. The rinsing bowl, Figure 165, is like many of its English cousins, two-eared and Figures 161-165, pages 296 and 297. [ 277] —— OLD GLASS moulded. There was not the abundance of wine glasses that there are now, when this was made, though there were many kinds of wine. So the glass was rinsed when changing from one kind of wine to another. The ribbed moulding used on this glass was used on a variety of glasses and glass vessels. Pitchers, bowls, decanters, bottles, bowls and tumblers all have it, and sometimes it extends to the pontil mark on the bottom, but not always. I own a decanter with the three rings on the neck, and the ribbing extends from the sides to the very crude pontil mark on the bottom. So crude is the work- manship that three or four ribs extend beyond the rest, and these are the only ones which show wear. The last five glasses given are at the Metropolitan Museum, New York. | Cut-glass began to be advertised about 1830. In the Philadelphia directory for this year is this notice: ‘“M?’Cord and Shiner, manufacturers of Cut Glass, No. 3 & 7 Bank Alley, Back of the Merchants’ Coffee House, Philadelphia. Setts of Glass Executed to order at the shortest notice. Workmanship warranted equal to any in the world, or no sale.” Thomas E, Walker and Co. (1830) at No. 15 North Fourth Street advertise: “Heavy English Tale and Flint Tumblers, rough and cut bottoms, ring and star bottom do; rough and star bottom Decanters, Pocket bottles, Flower Glasses, Lamp Shades.” There was competition not only by English but by [ 278] OTHER EARLY GLASS Irish glass-works too. Henry J. Pepper, 103 Chestnut Street, Philadelphia, was agent for Waterford glass. His name is given in the directory for 1830, and his name is mentioned in the Waterford account books. Henry Chance, the great English glass-maker, in his paper, “On the Manufacture of Crown and Sheet Glass,” sums up in a few words the difficulties of making perfect glass: “Perhaps the glass has been badly melted and is seedy, that is, full of little vesicles, to which the rotary motion has given a circular shape; or the gatherer may have enclosed air within his metal and a gatherer’s blister is the result—or a pipe blister, or pipe scales, or dust from the pipe-nose, or dust from the marver, or dust from the bottoming-hole, or dust from the nose- hole, or dust from the flashing furnace, or bad bullions, or scratches, or music lines may disfigure the table, or the glass may be crizzled, or curved, or bent, or hard, or smoky, or small, or light, defects to explain which would be a long and dreary task.” [ 279] SARATOGA GLASS EW YORK State was among the first states to engage in glass-making. In 1732 it is recorded that two factories were in operation. It was not till 1810, however, that American glass-works be- came of sufficient importance to attract attention, and that the Census returns include a statement of manu- factured articles.* There were many little glass-works scattered all about the state, and their product was small, and most of them were short-lived. The only records remaining are to be found in early gazeteers and county histories. Such accounts from these sources as I have been able to verify are found in the list at the back of the book. In 1835 the Census reports thirteen glass-houses at work in New York State. The product of one of these, at Saratoga Springs, has not entirely disappeared, and Saratoga glass has been eagerly snapped up by such collectors as have been fortunate enough to secure it. In a New York State gazeteer (1860) mention is made of a glass-works being established at Mt. Pleasant, Saratoga County, in 18or. Whether this date is too early I cannot say, but the glass which is now so eagerly sought by collectors dates * Tenth Census. [ 280 ] SARATOGA GLASS considerably later. My informant, Mr. S. M. Sterns of Saratoga Springs, says that the first Saratoga factory was started about 1835 on top of a mountain about twelve miles from Saratoga. Wood was abundant, but all the materials for making glass were hauled up the mountain, made into glass and then hauled down. Bottles only were made, some for spring water, others for pocket flasks of the same type as the “Success to the Rail Road” flasks. While bottles were the regular product of the works, the glass-blowers were allowed to make for their own use all the dishes and small wares they desired, such as rolling-pins, canes, cans, bowls, balls, hats, darners, Jacob’s Ladders, besides all kinds of table wares. As the metal was furnished free of cost to the workmen, their homes were well supplied. The glass objects were made in three colours, light green, a rich deep green, and olive. A collection of this glass is shown in Figure 166. The glass-blowers were evidently men of taste, as the shapes of the articles are very pretty, and their rich colouring makes them most attractive. The workmen for this factory are said to have come from Rome, New York, and the factory was built and operated by the Granger Brothers. Very recently there was still living one of the men who was a glass-blower at the Saratoga factory. The second glass-works, erected at Saratoga Springs itself, was built by the Congress Spring Company. Figure 166, page 297. [ 281 ] OLD GLASS Mr. Sterns says: “The glass made by both of these com- panies is of great value. This section has been combed, raked and spaded, and the glass brings unheard-of prices. I think the hunt must soon end, as I spent two days last week with only one good vase as a reward of a cellar to garret search.” The workmen from the mountain factory came to the Congress Springs Company’s works soon after they were opened, and the factory continued to operate till about 1900. [ 282] BOTTLES AND FLASKS OTTLES and flasks, either for liquor or medi- cine, present an interesting field for many col- lectors. But while these bits of glassware may be of value historically, they can never make a collec- tion as beautiful to look upon as table and domestic glass, owing to the similarity of shape and colour. Yet when we see the arrangement in Figure 168 we are almost tempted to retract this statement, for Mr. Bus- well seems te have overcome these difficulties most successfully. It is true that these bottles were originally made in many different colours—olive, light and dark blue, emerald and light green, claret, rich brown, amber, opalescent and clear glass. But the survivors seem to be chiefly olive and light green, clear glass and brown. They were made between 1808 and 1870 and were blown in engraved metal moulds. One of these bottles, in log-cabin shape, marked “EB. Z. Booz’s Old Cabin Whiskey, 1840” on the roof, and “120 Walnut St. Philadelphia” on the end, is a favourite. They may be found in various shades of amber, pale green or clear glass. The Whitney Glass Works made these bottles in Philadelphia in the Wil- liam Henry Harrison presidential campaign, and no Figure 167, page 298. [ 283 ] OLD GLASS doubt Booz did a good business selling them filled. In Figure 168 is one of these bottles and the mould it was made in. They belong to the Pennsylvania Museum of Fine Arts, Philadelphia. The late Dr. Barber, in “American Glassware,” divided these bottles into six classes, which is a sufhi- ciently broad characterisation to cover even the large number which have come to light. A very admirable check list has been prepared by Stephen Van Rens- selaer in a little book called “Early American Bottles and Flasks.” It covers the subject exhaustively. Dr. Barber’s division is as follows: Type I. Slender and arched in form, flattened and shallow; edges horizontally corrugated. Elongated neck, sheared mouth, scarred base. Type II. Oval in form, flattened and shallow; edges ribbed vertically, sheared mouth, scarred base. Type III. Almost circular in form, flattened and shallow; plain rounded edges. Shortened neck; sheared, collared, or beaded mouth; scarred or flat base. Type IV. Calabash or decanter shape, almost spherical; edges corrugated, ribbed or fluted vertically. Long, slender neck, circular or many-sided; sloping collar or cap at top; smoothly hollowed or hollowed and scarred base. Type V. Arched in form, flattened and deep; edges corrugated vertically. Very broad and short neck, narrow round beading at top; scarred or flat base. Type VI. Arched in form, broad at shoulder and narrow at base; flattened and shallow (modern flask shape); plain and rounded edges. Medium neck, single or double beading at top. Smoothly hollowed or flat base. Occasionally sheared mouth and scarred base. Early flasks are shown in Figure 169. They were made at the Albany Glass Works, which was opened Figures 763 and& rég, page 299 [ 284 ] we: cer BOTTLES AND FLASKS as early as 1786 and closed in 1815. One of these flasks is in light blue and one in amber. The figure is George Washington in uniform; reverse, a full-rigged ship. An eagle flask, aquamarine, made at Kensington Glass Works, is shown in Figure 170. This flask con- forms to Type II of Barber. It is at the Metropolitan Museum. | A flask made at Coventry, Connecticut, about 18265 is shown in Figure 171. The D in DeWitt Clinton is reversed, and the workmanship is more crude than is usual with flasks of this period. It is at the Toledo Museum. The colour is amber and the reverse shows a bust of Lafayette facing to the right. The two flasks in Figure 172 were made at the Kensington Glass Works. One shows a bust of Frank- lin; reverse the same; no lettering. The colour is aquamarine, sheared mouth, scarred base. ‘The other flask shows a bust of General Taylor and the legend, “Gen. Taylor never surrenders.” Above this is the lettering ‘‘Dyottville Glass Works, Philadelphia.” The later form of these flasks had collared mouths, and the lettering was omitted. These flasks are at the Met- ropolitan Museum. When Kossuth, the Hungarian patriot, was in this country at least two flasks were struck off in his honour. One of them is shown in Figure 173. This flask be- longs to the class listed as Type IV of Barber, and has on the side shown a side-wheel steamboat with the Figures 170-173, pages 300-302. [ 285 ] OLD GLASS words “U. 8. Steam Frigate Mississippi, S. Huffsey.” This flask was made about 1850. Other Huffsey flasks are shown in Figure 174. The smaller flask shown in Figure 173 is the more unusual; it has a bust of Taylor with “Bridgetown, New Jersey,” surrounding it; reverse, bust of Washington. This was made about 1855. The three flasks representing the Baltimore Glass Works are shown in Figure 175. ‘The two outer ones show Washington and Taylor in profile, facing right. Surrounding Taylor are the words “Baltimore Glass Works.” ‘These were made at the Federal Hill branch, which was established as early as 1790. The smaller flask shows Taylor in uniform, facing left, surrounded by the words “Baltimore Glass Works.” ‘These flasks, pint and quart size, were made in aquamarine and amber. The five bottles shown in Figure 176 are of unusual interest, most of them coming from glass-works which only varied their window glass activities by making bottles. The first one, barrel shape, was a design much used by sellers of “Bitters,” and is the most modern of the group. One in this shape and marked “Old Sachem Bitters and Wigwam Tonic” is not hard to find. The flask marked “Liberty” is a product of the West Willington Glass Works, which operated in that place under different managements, from 1830 to 1872. The flask with the basket of flowers is one of two designs Figures 174-176, pages 302-304. [ 286 ] BOTTLES AND FLASKS made by the Lancaster Glass Works, at Lancaster, New York. Itisa pretty bottle, in aquamarine, with sheared mouth and scarred base. “Success to the Rail Road” was made at the Kensing- ton Glass Works; reverse the same. It is a fine old bottle, amber, quart size. ‘The stopper is one which you occasionally come across in a bottle which has been in a farmhouse home, and is a bit of a corn-cob. Whether it was put in because it was handy, or to im- prove the flavour, or to show that the contents was “corn likker,” who shall say? The fifth flask was made at the Westford Glass Works which opened 1857. It shows its comparatively modern origin by its double-ringed neck. These flasks are at the Metropolitan Museum. A flask of considerable interest, maker unknown, is the deer and hunter one, shown in Figure 177. It is pint size, sapphire blue, and has an unusual base, which is scarred. The reverse shows a boar’s head in centre, surrounded by oak leaves and acorns. The other flask, with its spread eagle, was made at the Louisville Glass Works, which were opened in 1875 and operated by Capt. J. B. Ford. This flask is amber, but they also came in light green. The two flasks be- long to the Pennsylvania Museum of Fine Arts. The first flask in Figure 178 is another Lancaster, New York, one; it is pint size, aquamarine. The second one has a Masonic design, with twelve stones in the Figures 177 and 178, pages 303 and 321. [ 287] OLD GLASS pavement, and Masonic emblems around and outside the arch. The reverse has an eagle, facing left and perched on arrows, and an olive branch. Panel below contains the word “Keene.” Amber. The one with the clasped hands and the word “Union” may have been made by Huffsey, at the Whit- ney Glass Works, or at Pittsburg. The reverse is the same and the double-collared neck makes it later than the Kossuth and Jenny Lind bottles. Its colour is amber. Gen. Taylor in uniform, facing left, with “Bridge- ton, New Jersey,” and a star encircling bust, is the fourth bottle. Washington is on the reverse, with the name above. Light green, pint size. These four bot- tles are the property of the Metropolitan Museum, New York. Some pretty little flasks with pewter tops, similar to those made at the Louisville Glass Works, are shown in the next illustration, Figure 179. The designs are hearts and fleurs-de-lis. They belong to the Pennsyl- vania Museum of Fine Arts. Figure 179, page 322. [ 288 ] ONE DIG VAS ss NOISad FAO RB Bet wnasnw sinoaow "Stl “ST Naa LLVd Gala (0Sz abv¢ 229) LbT “Sly 4 [ 289 ] OLD GLASS Fig. 149. BLUE AND CLEAR GLASS, STIEGEL (See page 250) [ 2a0 ] OD GIZA Ss Fig.-151.- MOULDED BOTTLE Fig. 150. EARLY BOTTLES (See page 254) [291 ] OTD. GLASS dNVI NMOLNVWYID "PST “SI dNVI ATYVA “SST ‘I (98% pu cz sabvg aag) IVIHd ATUVA ‘2ST ‘3Iy [ 292 J ONE IEE NGAbS Asis) Fig. 155. CLEAR GLASS LAMP Fig. 156. CUT AND MOULDED LAMP (See pages 256 and 273) [ 293 ] OLD GLASS [ 204 ] CLEAR GLASS MUG LAMP CHIMNEY Fig. 160. (See pages 274 and 276) Fig. 157. OME ABE TE Abos vies Fig. 158. CURTAIN KNOBS, OPAL Fig. 159. CLEAR GLASS KNOBS (See page 274) [295] a EEE EE Eee O.L.D —GUASS esses Fig. 161. MUG WITH LEGS Fig. 162. EARLY WINE GLASS Fig. 163. WINE GLASSES, AIR-TWIST STEMS (See page 277) [ 296 ] OED GITASS etic Fig. 164. MEDICINE Fig. 165. RINSING BOWL GLASS Fig. 166. SARATOGA GLASS (See pages 277 and 281) [ 297 ] OLD GLASS e epee Fig. 167. ARRANGEMENT OF BOTTLES AND FLASKS (See page 283) “fees OLD-GLASS Fig. 168. BOOZ BOTTLE AND MOULD Fig. 169. EARLY ALBANY FLASKS (See page 284) [ 299 | OL D2GLUASs MSVII “NNOO ‘AYLNTAOD "ILL “St NO.LONISN@S1 (a2 ou “OLT “SIW verwy ODD GLASS "Lav 40 NVLIIOdONL3W ZHI SUSVII NOLONISNGS c Lt ‘Si ($82 OD 2G Eas Fig. 173. KOSSUTH AND HUFFSEY BOTTLES Fig. 174. HUFFSEY BOTTLES (See pages 285 and 286) [ 302 ] OW DeGUASS BALTIMORE FLASKS 175. Fig. . FLASKS hig. -177 (See pages 286 and 287) OU DEGAS Fig. 176. BOTTLES AND FLASKS (See page 286) L 304 J THREE-SECTION MOULD GLASS HE average collector who loves his glass for its own beauty, the pleasure he had in finding it, and the delight of possession, does not concern himself too deeply as to where it was made. For the owner of the three-section mould pieces this is a wise state of mind, for so far a large portion of this charm- ing class of glass must come under the head of “Maker Unknown.” Almost all of the three-section mould pieces have a strong family resemblance, as to decoration at least, for the quilted and sunburst pattern is the one most fre- quently found. This glass is almost as agreeable to touch as to sight, and there are certain pieces which are most beguiling, even if the collector’s fancy runs to glass in a particular colour, or to some one object, pitchers, salt-cellars, etc., or the product of some one glass-house. There are small decanters, delightful little things with sunburst and quilted design and ball stoppers, holding perhaps a pint, which may be found occa- sionally. Recently I had one offered me as a piece of English glass, the dealer not being sufficiently well in- formed on this branch of American glass to recog- nise it. [ 305 ] LL SS sss? OLD GLASS Se The large decanters with the usual sunburst and quilted pattern are not so rare as the small ones. The decanter shown in Figure 180 is somewhat unique, since this one has the daisy-in-the-square pattern instead of the sunburst. This daisy pattern is spoken of later. Many different pieces of table-ware were made in the three-section moulds, and saucers, bowls, one of the latter being nine and three-quarters inches in diameter, together with pitchers and a mug are shown in Figure 181. The bowls are very decorative with the quaint design on them, combined with ribbing and heavy welted edges. One of the least common pieces is a sugar-bowl, in this three-section mould type of glass. A very fine one, in fact the choicest known, is shown in Figure 182. It is in the Buswell collection. The cover is most ornate and fits perfectly, which is not always the case. It may be well to state here for the benefit of those who do not know this three-section mould glass, that instead of being blown into the ordinary moulds which had two sections, these moulds had three sections. The two-section mould glass showed two ridges where the moulds joined, and the three-section mould glass showed three. The moulds were never perfect enough not to show these ridges, and with use they grew larger, and always were in evidence. Two pitchers, quilted and ribbed, are seen in Figure 183. Though attractive they are not so pretty as when Figures 180-183, pages 322-324. [ 306 ] THREE-SECTION MOULD GLASS combined with the sunburst. Drinking glasses of many kinds were made in this type of glass, and a flip glass quilted and ribbed is given in Figure 184; a barrel- shaped tumbler, quilted and ribbed, is shown in Figure 185; and a wine glass with diagonal fluting in addition to the quilting and ribbing is shown in Figure 186. The barrel-shaped tumbler and quilted salt-cellar given in Figure 187 are assigned to New Hanover, New Jersey, but I find no record of any glass-works estab- lished there. They are, however, exactly of the same type as the other three-section mould pieces, so I in- clude them here. They, like the other three-section mould pieces with the exception of the sugar-bowl, are the property of the Metropolitan Museum of Art, New York. Figures 184-187, pages 325 and 320. [ 307 ] STODDARD GLASS HE glass made at Stoddard, New Hampshire, is also, some of it, blown in three-section moulds. In searching about for some glass- works where it is known that three-section mould glass was made, much incorrect information has been set afloat. The kind of glass made at Stoddard was coarse in quality, and a dark amber-green in colour. Window glass, bottles and decanters were the chief output, and in the “History of Stoddard, N. H.” by Isaiah Gould, published 1897, he says that the largest business carried on in the town was the manufacturing of glass bottles. In Figure 188 are shown three Stoddard bottles or decanters, which belong to the Toledo Museum of Art. They show the quilted and sunburst design, are blown in three-section moulds, but are dark and heavy. The first glass-works in Stoddard were built in 1842 by Joseph Foster, who came from Keene, New Hamp- shire, and “built a furnace, of stone principally, in an old house west from Gilson’s Tavern, and ran it a short time, but having no capital he failed in business. He afterward built another 80 rods north of the village, but again failed.” “Gilman Scripture, John M. Whiton, jr., and Calvin Figure 188, page 326. [ 308 J STODDARD GLASS Curtis built a large factory for making bottles at Mill Village in 1846, and were doing a profitable business. The next winter the factory was burned. It was soon rebuilt. They are (1854) making annually about $2500. worth of bottles of various sizes and descrip- tions.” The two bottles in Figure 189 show the crudeness of the metal. They belong to the Metropolitan Museum of Art. While still continuing the dark amber-green colour of the glass, the two pitchers shown in Figure 190, three-section mould, are much better quality metal. The one with the wide quilted and sunburst band be- longs to the Toledo Museum of Art, the other to the Metropolitan Museum. The two glass inkstands in Figure 191 are also Stod- dard and are at the Metropolitan Museum. They are coarse and dark but the decoration persists in the famil- lar pattern. . , “Another factory was built in the south part of the town( Stoddard) for the same purpose (making bot- tles) in 1850 by Luman Weeks, Almon Woods, Ebe- nezer A. Rice, Nicholas Hill and Fred A. Gilson, where they carried on business two years, when Messrs. Wood and Hill left the company; after another year Mr. Rice sold out; the business is (1854) carried on by Messrs. Weeks and Gilson; they are doing a good busi- ness but something less than the other company.” Figures 189-191, pages 327-320. [ 309 ] OLD GLASS These notes were furnished me by Otis G. Ham- mond, Superintendent of the New Hampshire His- torical Society, Concord, N. H. He also says that all the glass he has seen from these factories is coarse, dark, heavy metal. Yet there has recently been ascribed to Stoddard, table-ware of a rich blue colour. There has also been sold at auction under the name of “Stoddard” a double- dipped pitcher, Wistarberg type and colour. I am giving in Figure 192 two little clear glass hats. They are ascribed to Stoddard, but it is extremely doubtful if they were made there. Even though they show the quilted pattern, the alternating figure is not the sunburst, but the daisy-in-the-square, which was used sometimes by Stiegel. It is much more likely that they were made in South Jersey or Pennsylvania, both from the quality of the glass and the decoration. They are at the Metropolitan Museum. Among the historical bottles there is one with an eagle design and the words “New Granite Glass Co.” and on the reverse, “Stoddard, N. H.” The firm which made this bottle must have been one of little impor- tance, for Mr. Hammond of the New Hampshire His- torical Society tells me that he finds no record of the incorporation of any such company, nor any mention of it. There was not any large amount of money invested in glass-works in New Hampshire, at least during the Figure 192, page 329. [310] STODDARD GLASS first quarter of the nineteenth century. The “Special Report of Manufactures of the Tenth Census” states that in 1820 twenty-five thousand dollars was the sum invested in glass-works in the state. [311] KEENE GLASS HE story of the glass-making business at Keene, New Hampshire, is clear enough, but the glass which was made there, chiefly bottles and decanters, seems to have almost entirely disappeared. The following extracts from the “History of Keene,” and from other records, have been furnished me by Mr. Hammond of the New Hampshire Historical Society. | The most important person connected with the glass industry of Keene was Henry Rowe Schoolcraft, L.L.D., U. S. Indian agent and author, who was born at Watervliet, N. Y., in 1793; was graduated at Union College in 1811; then learned the art of glass-making. “His grandfather came from England, surveyed land, taught school, and changed the family name from Calcroft to Schoolcraft. His father, Laurence School- craft, was superintendent of a glass factory near Albany, N. Y.—had been a soldier in the Revolutionary War, and a colonel in the War of 1812—came to Keene about 1814 aS an expert to superintend the manufacture of glass, and remained several years. ‘‘Henry came to Keene with his father, and the next year Daniel Watson, Timothy Twitchell and young Schoolcraft seceded from the company on Prison Street, [312] a SS SS SL NS KEENE GLASS united as partners, built a factory and made flint glass bottles and decanters on Marlboro Street, and had a store on Main Street, near the present Eagle Hotel. Afterward Watson, and still later Twitchell, withdrew. Nathaniel Sprague joined, and the firm became School- craft and Sprague.” From the New Hampshire Laws, 1811-1820, it appears that the factory of Henry R. Schoolcraft and Nathaniel Sprague for the manufacture of glass in Keene, was exempted from taxation to the valuation of $10,000 by Act of June 26, 1816. The workmen, viz., one master stoker, two common stokers, two wood dryers, one calciner, one pot-maker, and five blowers were exempted from military duty. Act continued for five years, December 16, 1820. The New Hampshire Glass Factory was exempt from taxation as well as Schoolcraft and Sprague. Their valuation was put at $15,000 and their workmen were exempt from military duty. The exemption from taxation was to continue five years. In 1823 the Marlboro Street factory had passed into the hands of Justus Perry and John V. Wood. They continued the manufacture of glass bottles and decan- ters under the firm name of Perry and Wood. It was during their ownership that the bottles with eagle de- sign and letters “P.W.” were made. By 1840 both glass factories were in operation, and for a short time a third one was in operation. By 1850 [ 313 ] OLD GLASS the Marlboro works were closed and the business moved to Stoddard. J.D. Colony and Co. were making window glass at the other factory, but late in this year this factory, a landmark for half a century, was de- stroyed by fire. Like the Stoddard glass, that made at Keene was dark and coarse in texture. A letter from John J. Colony, of Keene, states that there was no very early manufacture of glass in Keene, and that window glass and bottles were the product of the works. He says that he remembers some of these bottles which were owned by his father, and they were decorated with crude designs, Masonic or patriotic, one or two of which were marked “Keene.” But most of them had no designa- tion whatever. Among the historic bottles illustrated is one of these bottles marked Keene. Apparently, however, the same rule was observed at Keene that was common at other glass-works, that the blowers were allowed to use the metal to make things for themselves. Mrs. Frederick Barrett, of Keene, owns two very hardsome pitchers of a light green emerald glass, resembling Wistarberg in type, which were made at the Marlboro Street works at Keene, which at one time were operated by Mrs. Barrett’s grandfather. The authenticity of these pitchers is un- doubted. [314] PITKIN GLASS >: story of Pitkin glass can fortunately be written with a certainty which belongs to few other early American glass-works. The glass factory itself was in operation from 1783 to 1830, in- clusive, at Manchester, Connecticut. The glass which was made there is well known though few authentic specimens exist, and those are so closely held that prac- tically none come on the market. The Pitkin family was prominent even before the Revolution. Captain Richard Pitkin and his sons William and Joseph were of such service to the Gov- ernment during the trying days of the Revolution that they were granted the privilege of being the sole manu- facturers of glass and snuff in the State of Connecticut for twenty-five years. That they made the glass is a matter of history; whether they ever made snuff is not known. The factory was built in 1783, and the ruins of it are shown in Figure 193. The ruins are very picturesque and belong now to the Orford Parish Chapter of the Daughters of the American Revolution, who will keep them in as good preservation as possible. The grey stone walls are covered with vines, and a good-sized tree is growing out of the centre. Figure 193, page 330. (315 ] een nner Sse SSSSSSSSSSSSeesiens OLD GLASS The product of the factory was bottles and demi- johns, made from olive-green glass which is very bubbly. They occasionally made jars and inkstands. The factory was large enough to employ thirty men, and run on day and night shifts. There was not only a local but an export trade as well. After the bottles were blown they were taken in large quantities to Hart- ford by ox-team and shipped to the West Indies. The shipper was paid in rum and molasses. In Figure 194 is shown a group of Pitkin glass. It belonged to the late Albert H. Pitkin, of Hartford, Connecticut, who was not connected with the Pitkins who were glass-blowers, but was an interested collector all the same. These pieces were shown at the Hudson- Fulton Celebration in New York in 1909. A great part of Mr. Pitkin’s collection of pottery and glass was given to the Hartford Atheneum. Like so much of this early American glass, the Pitkin glass, made for business purposes and not domestic use, was rough and crude. The bottles and demijohns, many of which were very large, had a great depression in the bottom, with a sharp bit of glass where the pontil was detached. The object at the end of the row in Figure 194 is a crude lump of the glass. The factory continued in operation till 1830, when work was for some reason suspended and never re- sumed. Possibly it was lack of fuel, since wood was used, and no doubt the forty-seven years of operation Figure 194, page 330. [ 316] BEER EN GLASS had reduced the immediate supply, and made getting a sufficient quantity both difficult and costly. The information about Pitkin glass was obtained from Mrs. J. M. Williams, of Manchester, Connecti- cut. Most of the Pitkin glass which is now owned in Manchester and vicinity came from the wagon factory belonging to Mrs. Williams’ grandfather. He used many of the Pitkin bottles of all sizes to hold his paints, oils and varnishes. When his estate was finally settled up in 1900, the bottles were distributed among the townspeople. Some of the demijohns are very large, with very squat bodies. These are seldom found. There is a pair owned in the Pitkin family which are used as fireside ornaments. Mrs. Williams herself owns a bottle with corrugated sides, which is very pretty, and more deli- cate than the others known. Memorials of the works of the Pitkins, of which the factory is but one object, remain to this day. The epitaph on the tombstone of Esquire Richard Pitkin, who lies buried in the East Cemetery, reads: “The shade-trees by the roadside will long perpetuate his memory, and to-day, more than eighty years since his death, the solid mile or more of elms and maples on Porter and Center streets are a living monument to his public spirit and a joy to the many passers-by.” F437.) HISTORIC CUP PLATES HE enthusiasm which so many collectors feel for the pressed glass cup plates have brought these little objects, which are not very pretty, prominently before the public. Originally they were made to sell for a few cents each, and it is by no means certain that all the different patterns which are so eagerly sought were made at Sandwich, Massachusetts. In Antiques for February, 1922, is a list of patterns of these cup plates which is given here by permission. SHIP CapMus. Small design of ship under full sail in centre, enclosed in circle. Pattern on the edge varies in different specimens. CHANCELLOR LivincsTon. There are three types of this design, showing a side-paddle steamboat. The name is impressed above and below the boat. See Figure 195. THE BENJAMIN FRANKLIN. Also a side-paddle steamboat. The name Ben- jamin Franklin is printed above the boat. An imitation of this cup plate has recently been put on the market, and through the courtesy of Antiques we show them side by side. The genuine is nicked, and very clear, and in plain glass. The forgery is in blue glass, with perfect edge, the design shows up sharply. Figure 186. PITTSBURGH STEAMBOAT. Marked “Union Glass Works, Pittsburgh, 1836.” THE FRIGATE CONSTITUTION. The design shows a frigate under full sail, on an octagonal cup plate. Very rare. In Figure 197 is given what is possibly a unique presentment of this design on a dish four and a half by seven inches. By permission of Antiques. FULTON STEAMBOAT. Also on octagonal cup plate. Another rare piece. THE Mat OF THE Mist. Made probably in the early so’s. A rare cup plate, but far less attractive than many other designs. It shows a picture of Suspension Bridge with the boat passing underneath it. Henry Ciay. There are six varieties of this favourite design. ‘They show a bust of Henry Clay within a circle, surrounded by conventional Figures 195-197, pages 331-333. [ 318 ] Peron LC CUP PLATES leaves. On most of the types the name “Henry Clay” surrounds the bust, but in one variety, the “N” is turned wrong-sided. The edge may be in single or double scallops. These Henry Clay cup plates are usually assigned to Sandwich, and most of them have that attractive edge, one large and two small scallops, which is thought to be from that factory. At the Toledo Museum of Art, in the Libby-Barber col- lection, is one of these cup plates in sapphire blue. One of the types is shown in Figure 198. There is another cup plate marked “Henry Clay,” with single scalloped edge, which is eagerly sought by collectors. The bust shows a head with curling hair, a ruffled cravat and upstanding coat collar. This is one of those misnamed pieces, like some of the Staffordshire busts. The border is stippled with floral designs at regular spaces, and it is a choice piece of glass. GerorcE WASHINGTON. This is another choice piece and much sought after. The large head is placed upon a star in the centre and surrounded by a laurel wreath. Octagonal, with scalloped border. Rincotp-PaLo Ato. This plate was struck off to commemorate the death of Major Ringold at Palo Alto in 1846. This was at the opening of the Mexican War, and Major Ringold was a popular hero. Harrison. There are two types of this cup plate, one with the word “Presi- dent” in a reserve space above the head, see Figure 198, and one showing the space without the lettering. Both of them show around the head the word “Major-Gen. W. H. Harrison, born Feb. 9, 1773.” The Presidential one also has the date “1841.” Loc-Capin, with cider barrel, flag and tree. ‘This is to symbolise the Tippecanoe Hard Cider campaign. There are three patterns of this design, two with different borders of loosely grouped flowers, and a third with acorn border. One is shown in Figure 198. Fort Meics Loc-Casin. The log-cabin in the centre has above it the words “Fort Meigs.” In the border is the word “Tippecanoe,” and below the name “Wm. H. Harrison.” See Figure 198. Loc-CaBIn, with flag. This is a small cup plate, showing in the centre a picture of a log-cabin with a flag on the ridge-pole, blowing in the breeze. Loc-CaBIN, with chimney. Less pleasing than the other log-cabin designs ; the border is plain with wide-scalloped edge. Loc-CABIN, with Liberty Cap on pole. A recent addition to the list. BEEHIVE. ‘Two types, both showing beehives in centre, the difference being in the border and quality of glass. Figure 195. EaGLe, 1831. Figure of eagle in centre, facing left, and below it the date, 1831. Figure 198. Figure 198, page 334. [319] —SSSSSSSSSSSSSSSSSSSSSSSSMMSsFfsses OLD GLASS en Eacte, with plain edge. This eagle faces right, there is no date and the edge is plain. SMALL EacLe, with dotted edge. Eagle faces right and about it are thirteen stars. Dotted edge. GrAPE-VINE EacGue. This is one of the rare patterns. Eagle in centre very small, with grape-vine border. The stippled work on border and scalloped and pointed edge are very pretty. FLEUR-DE-LIS EAGLE. Eagle in centre very clear and fine, surrounded by a little rim of fleurs-de-lis alternating with small flowers. ‘There is a stippled border with leaves and flowers. EAGLE AND THIRTEEN Stars. A fine eagle in centre, grasping thunderbolts, and above it thirteen stars arranged in a semi-circle. Scalloped edge and floral border. Rare. See upper row, Figure 195. EAGLE WITH THIRTEEN STARS IN SuNBURST. There are three varieties of this pattern, central design of eagle surrounded with a stipple ring set with thirteen stars, but with different borders and edges, one of them being plain. See Figure 195, lower row. Fort Pitr Eacte. This design in two styles is highly considered, showing the eagle in the centre with scroll above, with the words “Fort Pitt” and twenty-four stars. This places the date of its issue between 1821 and 1836. Edge may be scalloped or plain. Hop or BLACKBERRY-VINE Eacie. Small eagle surrounded by dots, and a vine border, edge plain. Bunker Hitt. There are four variations in the Bunker Hill pattern. All have scalloped edges with a picture of the monument in the centre. The lettering on them varies, one form being, “Bunker Hill battle fought June 17, 1775.” Another has in addition a second row of lettering which says, “From the Fair to the Brave.” (See Figure 198.) Another one has an outside rim of printing which reads, “Corner stone laid by Lafayette, June 17, 1825. Finished by the Ladies.” (Figure 198.) Collectors as a rule assign the Bunker Hill cup plates to Sandwich, but there are no records to back up this assumption. The general work- manship and quality of the glass is what they go upon, though Sandwich glass, so-called, varies from clear fine metal to that imperfectly cooked and full of bubbles and lines. A cup plate has recently appeared with the design of a plow in the centre. It has a stipple border with leaves raying out from the centre medallion, and an edge of scallops and points. There is a log-cabin tea plate made at the Whitney works (see Figure 199) probably about 1840, at the same time they made the log- cabin whiskey-bottle, which is the prettiest of any with this design. This piece is at the Toledo Museum of Fine Arts. Figure 199, page 335. [ 320 ] OVDe GO LZA,38'5 HILLOG GNV SASVTA “SLT iG | (82 26n¢ 299) —s fies 2 ta a OLD GLASS Fig. 180. THREE-SECTION MOULD DECANTER Fig. 179. FLASKS WITH PEWTER TOPS (See pages 288 and 306) lax22c Ont ab) Tea Loss GROUP OF THREE-SECTION MOULD GLASS Fig. 181. (See page 306) ee OLD GLASS sesso: Fig. 182, SUGAR BOWL, BUSWELL COLLECTION Fig. 183, THREE-SECTION MOULD PITCHERS (See page 306) [ 324] OD e GEASS feeeey ees et. Pip, 184.2 FLIP GLASS . i Fig. 185. BARREL-SHAPED GLASS ~~ Fig. 186. WINE GLASS (See sage 307) sets) OL DaeG Eas Fig. 187, GLASS ASCRIBED TO NEW HANOVER, N. J. Fig. 188. STODDARD, N. H., BOTTLES » (See pages 307 and 308) [ 326 ] Orne Gr Ars STLLLOG “H ‘N ‘Cuvdado.Ls "681 ‘Sty (60€ 2nd 299) (3278) $$$ hehehehe nS OLD -GLASS EE nv, TRE. PESRORULETER MUREOR Be ge Say ce ee Fig. 190. TWO STODDARD PITCHERS (See page 309) [ 328 ] OLD. GUASS Fig. 191. TWO STODDARD INKSTANDS Fig. 192, TWO CLEAR GLASS HATS See pages 309 and 310) [ 329 ] OLD GLASS Fig. 193. RUINS OF PITKIN FACTORY Fig. 194, PITKIN GLASS (Ser pages 315 and 316) [es303) Oise Glas S SAaLV1d df O AO dNOUO S61 Bi] (LEE puv OE SI¢ sabvg 29g) [ 331 ] OL Daa LAAs ‘3 ‘ 3 $ i i iB ig “ e A gba 4 & xi ‘4 y. 4 v4 + el f ty x “a \ f cise SiSiSissy easter J Fig. 196. BENJAMIN FRANKLIN CUP PLATES Upper—Genuine, White. Lower—Counterfeit, Blue. (See page 318) [ 332] OUDAGLASS NOILOLILSNOOD G2LVOTdd °46T “SI y soe, R24 EE i Pace arire btae ; rk: High Se: (gig 24v¢ 29g) [ 333 J OLD GLASS Fig. 198, GROUP OF CUP PLATES 319 and 320) [334] Oe De Glass SMYOM AANLIHM ¢ ALLLOG AAMSIHNM AONV ALVId V (oze abv¢ 399) AL NIGVO-DOT ‘661 314 ] 335 [ OTD GLASS Sst ‘SHUOM-SSVTID HOIMANVS [ 336 | HISTORIC CUP PLATES In addition to these historic cup plates there are many others which are extremely pretty, like the heart and dart design, some of which are assigned to Sand- wich. Some are comic, like the one in Figure 195, with its lettering, ‘“[The wedding day and three weeks after.” It is possible, if all the patterns with their variations are found, to build up a collection of about forty historic designs alone. If you include others which rely on their decorative quality for their value, you are embarked on a search which practically has no end. Unfortunately, like so many other things which are esteemed by the collector, these little glass trifles are being duplicated, and wary must be he or she who does not, unawares, allow some of these frauds to creep in among the veritable old ones. Figure 195, page 331. [ 337] SANDWICH GLASS HE study of Sandwich glass and the gathering of collections of it are occupying many col- lectors at present. By the term “Sandwich,” pressed glass is usually intended, though the Boston and Sandwich Glass Co. made both blown and cut-glass as well. A view of the works in 1835 is shown in Figure 200. The name of Deming Jarves is closely bound up in the history of Sandwich glass, which is so much of a mystery. As to the correct dating of various pat- terns, whether or not they were made at Sandwich or the rival factory at New Bedford, Massachusetts, there is no information at hand. There is a story about a carpenter inventing the first moulds used for pressed glass in this country, and that they were used at Sandwich, but like so many other tales about glass, it lacks confirmation. Deming Jarves says in his book on American Glass, that as early as 1815 he imported “pressed glass” from both England and Holland. He specifies salts, candlesticks, bowls, etc., and further states that from 1814 to 1838 “no improve- ment was made in this process.” In passing it may not be amiss to say that some of those pressed glass articles from England and Holland were no doubt responsible Figure 200, page 336. [ 338 J SANDWICH GLASS for the dolphin which was used so freely in the Sand- wich glass candlesticks, compotes, and other pieces. In Figure 201 are shown a group of these candlesticks, clear, canary, peacock and opalescent. They belong to Mrs. George W. Mitton, of Jamaica Plain, Massachu- setts, whose fine collection of Sandwich glass is known to all who are interested in this beautiful product. Dolphins were a favourite form of decoration with glass-makers as far back as the Middle Ages, among the Muranese workers at Venice, and were copied by glass-makers everywhere. Deming Jarves was not only a glass manufacturer but an inventor as well, particularly of articles for glass- makers’ use. On February 2, 1821, from Boston he took out a patent for a “machine for opening glass- blowers moulds.” On December 1, 1828, from Boston, he obtained a patent for a method of “pressing melted glass into moulds.” On June 13, 1829, and on October 19, 1830, he took out two patents for “Glass Knobs.” On May 28, 1830, he took out one for a “glass-makers mould.” I have not been able to get descriptions of these pat- ents from the Patent Office at Washington. The Patent Office Report, which is the earliest Patent Office publi- cation, does not go back of 1846. They are not num- bered, these early patents of Deming Jarves, and are buried deep in the Patent Office archives, if the subject matter is there at all. Figure 201, page 353. [ 339 ] OLD GLASS In October, 1846, he took out a patent for a glass furnace; this patent is numbered, 4783. It is interest- ing because it is for “a new and useful Improvement in Glass Furnaces, by which they may be operated by anthracite coal.” An article appeared in the Boston Transcript, Sep- tember 4, 1920, by Charles Messer Stow, which gives to a certain extent the history of glass-making at Sand- wich, Massachusetts, which covered a period from 1825 to 1888. This information is substantiated by a letter which I have received from Mr. George E. Bur- bank, a lifelong resident of Sandwich. As to the beginnings of the industry, Mr. Stow states: “Early in 1825 a Boston man named Deming Jarves . called a meeting of the citizens of Sandwich, and told them that, if there was sufficient interest manifest in Sandwich, he would build a glass-works there.” Mr. Jarves himself writes of the start: “Ground was broke in April, 1825, dwellings for the workmen built and manufactory completed ; and on the Fourth of July, three months from the first breaking of ground com- menced blowing glass.” The start was modest, only an eight-pot furnace hold- ing 800 pounds each, 7,000 pounds weekly. Mr. Stow continues: “The location at Sandwich was not on account of the sand, but that there was a large amount of timber available near by, and the works used wood for fuel. The policy of Mr. Jarves was to buy [ 340 ] SANDWICH GLASS land with timber on it, and the agent who was in charge of the works, besides having authority to buy land, had also the duty of seeing to the erection of the workmen’s houses. It seems that he exceeded his au- thority somewhat, and soon Mr. Jarves found that he needed more capital than he possessed to carry out the ambitious plans which had been developed. ‘There- fore he formed a stock company, and the ‘Boston and Sandwich Glass Company,’ was incorporated on February 22, 1826, by Deming Jarves, Henry Rice, Andrew T. Hall and Edward Monroe. At this time from 60 to 70 men were employed and the manufactured goods amounted to about $75,000 worth. ‘The glass- works prospered from the start and regularly and gradually expanded, employing more and more men, and turning out more and more glass.” In a paper by A. F. Dorflinger called “Development of the Cut Glass Business in the United States,” 1902, he says that the Boston and Sandwich Glass Company used 3,000 cords of wood yearly. When they increased the size of the furnace to four furnaces of ten pots each, the amount of wood consumed was much greater. No wonder Mr. Jarves busied himself in inventing and perfecting a furnace for glass that would burn coal: “the importance of a furnace in which this kind of fuel can be used to advantage, will be apparent to every glass manufacturer,” says Jarves himself. “By 1854 the capitalization had reached $400,000 [ 341 | OLD GLASS and five hundred men and boys were employed, and the value of the goods manufactured each year was $600,- 000.” The company looked out well for its workmen. Houses were built which were sold on the installment plan, but which the workmen were allowed to occupy at once. Stores were opened. More and more land was bought, and Sandwich town prospered on account of the glass-works. - “From 1825 to 1858 the finished product was trans- ported to Boston entirely by water and the company owned the sloop ‘Polly’ which was able to come up a small creek almost to the door of the factory. In 1858 what is said to have been the first railroad of its kind in the United States was built to carry the barrels of finished product from the factory to the wharf, farther away from the landing on the creek, for that was to be negotiated only at high tide, and the growing business of the company demanded more frequent transportation than the tide afforded. In later years the company bought the steamer ‘Acorn’ and used it to compete with the Old Colony Railroad and drive down freight rates;ao. It is generally assumed that the pressed glass found in Boston and vicinity is Sandwich, and that found in Pennsylvania was made in that state. But an immense amount must have been distributed all over the country by means of the annual auction sales. It is interesting *Stow. [ 342] SANDWICH GLASS to note that Jarves himself did not claim for the Boston and Sandwich Glass Company superiority in the pressed glass line. He says in his book, published 186s, that “James B. Lyon and Co. of Pittsburgh are conceded to have made the choicest pressed glass, which was of such a superior quality that it was difficult to tell it from cut.” The Boston and Sandwich Glass Company was not the only one in which Deming Jarves was interested. In 1837 he started the Mt. Washington Glass Company in South Boston for his son George D. Jarves. A large shop for glass-cutting was run in connection with the glass-works. By 1840 they were making cut-glass bowls, salts, dishes, sugars and creamers, tumblers, stemware, decanters, lamps and globes. In 1850 the business was transferred to Jarves and Commerais. They started off with great éclat, but the business only lasted about ten years. A man named Patrick Slane tried to revive the works, but they were finally burned down.* Getting his son started did not absorb all of Jarves’ time. In 1850 a glass bowl was made and presented to Daniel Webster by the Boston and Sandwich Glass Company. In an accompanying letter by Mr. Jarves, he says regarding the bowl: “It claims the merit of being much the largest piece of flint glass made by machinery in any part of the world. Two machinists * Dorflinger. [ 343 J OLD GLASS were employed six months in forming the mould. This bowl 1s the first made in this mould, and it is called ‘the Union Bowl.’ The name will not render it any less valuable.” * There are no traces anywhere of this bowl or any made in this mould. Deming Jarves remained with the Boston and Sand- wich Glass Company till 1858. Then, after a quarrel with the directors, he withdrew, formed the Cape Cod Glass Works, to run in competition with the Boston and Sandwich Company. But this company was never very strong, and it only continued a short time after the death of Jarves in 1869. The Boston and Sandwich Glass Company made a fine quality of flint glass. They used much good lead and the result was a clear ring to the glass when struck. Figures 202 and 203 show examples of their clear and frosted glass; they belong to the collection of Mrs. G. W. Mitton, of Jamaica Plain, Massachusetts. “During its long career from 1825 to 1888 the works at Sandwich turned out glass of all sorts for all sorts of uses. In the early days came the pressed articles which are now in demand. Also some of the curious millefiori paper-weights. Later it made full sets for the table, goblets, tumblers and all kinds of wine glasses, with finger bowls and other accessories. ‘These were plain, cut, etched, or engraved. About 1860 the man- agement sent a man to Europe to study the process of * History of Cape Cod. Figures 202 and 203, pages 354 and 355. [ 344 ] SANDWICH GLASS - acid etching and he brought back a machine which was used to the company’s profit both for table-ware and commercial purposes. At one time the company were turning out glass shades in between forty and fifty pat- terns, and many of these were etched.” * To the collector the most desirable product from Sandwich is the coloured glass. Mr. Stow says that some of the opal glass lamp-shades were from six to ‘sixteen inches across and very difficult to blow. Be- sides the opal there was much ruby glass turned out, and it was coloured by the use of gold, which gives it a brownish cast in some lights. They made some shades in ruby, too, and many perfume bottles. A pair of these is shown in Figure 204. They are at the Metro- politan Museum. In Figure 205 are shown two de- canters, honey-coloured and amethyst. They belong to the Toledo Museum. “The stockholders of the B. & S. Glass Co. have reduced the capital stock from $400,000 to $200,000. It is stated that the introduction of the company’s goods into the West Indies promises to build up a consider- able business for them.” Tf The company’s export business became very large. In later years the lamps they turned out went all over the world. They made cruets for various uses and tumblers, “at one time 500 tumblers every five-hour *Stow. + American Pottery & Glassware Reporter, 1879. Figures 204 and 205, page 356. [ 345 ] OLD GLASS shift, and bottles and jars of all sizes.” Figures 206 and 207. By 1880 the little town of Sandwich saw nothing but prosperity ahead. The Boston and Sandwich Glass Company were employing about 300 men and boys, at wages varying from four to six dollars a day. ‘Most of the men owned their homes, there was plenty of work, and they had confidence that the ‘Flint Glass Workers Union’ to which they belonged would assure them a continued prosperity for an indefinite time.” But for mutual protection and trade advantages the Sandwich Company and other glass manufacturers formed the Flint Glass Manufacturers’ Association. At the end of December, 1887, the Association drew up an agreement which was presented to the workmen at the various factories. The men of Sandwich refused to accept it, and the glass company, which had been running at a loss for some time, issued an ultimatum. If the fires were allowed to go out they would never be relighted. But the men did not believe this. So the fires went out, the plant was closed and has never been reopened. The buildings stood till 1920, when they were torn down to make place for a factory where wood pulp and Soap were to be made. The old building where Deming Jarves started the Cape Cod Works has been altered into a plant for cutting veneer. The closing of the works brought great hardship to Figures 206 and 207, pages 356 and 357. [ 346] SANDWICH GLASS the glass-blowers and their families. Many of them owned their own houses and had grown up in the business. There was no demand for so many houses, and many lost the savings of years, and no doubt when too late regretted listening to the trouble-makers. Ten of the men did not leave Sandwich to look for work elsewhere. They formed the Sandwich Co- operative Glass Company in 1888, put up a building and went to work. The venture was a failure. There are few of the Sandwich pieces which can have definite dates of manufacture assigned to them. As far as any one knows, the little boat-shaped salt, marked “B & S Glass Co.” and “Sandwich” on the bottom 1s the earliest. There is much discussion as to why it is lettered “Lafayet,” but it seems to be a matter of lack of space for more letters, and it sounded all right when pronounced. Through the kindness of Antiques, three views of this little salt are given, in Figure 208. It is much to be regretted that the works dropped the admirable idea of marking their product; collectors who call their treasures “Sandwich” just because it is pressed would never have got in the running. It is customary to say that the Boston and Sandwich Glass Company made pressed glass from 1825 to 1888. But from 1860 to the close of the works they made blown table-ware in great variety, cut-glass of more Figure 208, page 358. [ 347 ] OLD GLASS or less excellence, Figure 209, and great numbers of lamp-shades. “Boston and Sandwich Glass Co. (factory at Sand- wich, Mass.) are running one eleven pot furnace. The manufacture consists principally of blown and pressed tableware, bar and fancy goods, together with a large line of decorated shades, crystal chandeliers, gas globes, etc. In ordinary pressed ware they have been unable to compete with Western factories, and are giving particular attention to the production of cut, etched, silvered and decorated wares.” * Although I have placed Sandwich glass last in these brief sketches of early American glass, it should by rights be among the leaders. But hope springs eternal, and all the years I have spent trying to learn about glass have been cheered by the idea that somehow, some- where, I should find authentic data of what goods were made at Sandwich in pressed glass. But I have not been successful. Hundreds of letters, following up clues of every description, advertising for information, searching newspapers and getting others to search also, in hopes of finding an advertisement putting forth lists of goods made by the Boston and Sandwich Glass Com- pany have brought nothing definite. So I am giving as illustrations pieces from such well- known collections as that of Mrs. George W. Mitton, of Jamaica Plain, Massachusetts, who has studied and * American Pottery & Glassware Reporter, 1879. Figure 209, page 359. [ 348 ] SAAS. SECM, tn SANDWICH GLASS in handled hundreds of pieces of this glass; from the Metropolitan Museum of Art, New York; from the Toledo Museum of Fine Arts; and from Antiques, published in Boston. In Figures 210 and 211 are given some specimens of opaque white, clear and clear and coloured glass. The little compote in 210 is at the Metropolitan Museum, and the pieces in 211 at the Toledo Museum. The Sandwich salts alone would form a collection of great beauty, for they range in colour from clear glass to a rich dark green, deep blue, and many shades from honey to amber. Few collectors have secured as many and as perfect pieces as Mrs. Mitton, and she owns numbers of specimens of that splendid shade of purple which was made at Sandwich, generally in ob- jects of worth and fine design. All the pieces shown in Figure 207 are in this royal purple and canary yel- low, which, by the way, no real collector would ever call vaseline, a dealer’s term. In Figure 212 the com- pote in the upper row is ruby, the swan’s yellow and opalescent, the candlestick deep amber, and the celery holder deep purple. Of course the pitcher in the lower row is the most unusual of all, and is deep green flecked with gold, and the dolphins at the base are opal. Mrs. Mitton classes this as Sandwich because there are other gold flecked pieces which are supposed to have been made there. Figure 213 shows some of the lamps which were Figures 210-213, pages 360-3762. [ 349 J SSS OLD GLAS§ a made in such numbers at Sandwich. All of them in this picture are coloured, medium sapphire, purple and canary yellow. The candlestick in the centre is pur- ple, and the two on either side are dark blue. The covered dish is canary and the two openwork dishes are one blue and one green. Deming Jarves, writing in 1854 concerning the con- dition of the glass industry in the United States, says: “In enumerating all the concerns, companies and cor- porations that have been engaged in the manufacture of flint glass in the Atlantic States, we find that the number is forty-two, of which number two concerns have retired and ten are now in operation: Viz., two at East Cambridge, three at South Boston, one at Sand- wich, three near New York City, and one at Philadel- phia. This leaves two concerns who retired with Property, and twenty-eight out of forty-two concerns, entire failures, the fate of the remaining ten to be determined by future events.” The business both local and export was so large there seems to have been little advertising done. A store in Boston was maintained from 1830 to 1888 at different addresses in Milk, Federal and Franklin streets. From 1874. to 1884 they had stores at 164 Devonshire and 21 Federal streets, but persistent search of the files of newspapers of the day have yielded nothing, so far. Here I leave these fragments, in hopes that the next searcher may go farther and fare better, [ 350] MEXICAN GLASS gy ANY people are familiar with the decorative arts of Mexico—pottery, jewelry, rug-mak- ing and baskets. Less well-known, however, is the glassware, which is not only beautifully incised or carved, but further enriched with painting, chiefly in gold. _ It appears that the making of glass began in Mexico soon after the conquest. It became an important in- dustry, and continued so for two hundred years. In a Bulletin of the Pennsylvania Museum for 1908, the late Dr. E. A. Barber declares that in his opinion this style of glass was made at Puebla, Mexico. A group of this glass belonging to the Pennsylvania Museum of Fine Arts, Figure 214, speaks for itself as to its beauty. To support Dr. Barber’s contention as to the source of this glass he quotes from “A New Survey of the Indies,” written by Thomas Gage in 1648. This writer states that there was a glass-house at Puebla at that date, and that it was a rarity, none other being known, Another writer, Betancurt, 1698, says that the glass. ware of Puebla surpassed that of all New Spain. Frey Juan Villa Sanchez, writing in 1745, declares that the glassware made in Puebla was not duplicated anywhere else in the kingdom, and equals that of Venice. Figure 214, page 363. [351] OLD GLASS a Some very pleasing specimens are shown in F igures 21, 216, 217. They belong to the Metropolitan Mu- seum of Art. Besides these examples at the Pennsyl- vania Museum and at the Metropolitan there are some pieces at the Smithsonian Museum at Washington, D.C. They are of similar incised and gilt decoration, and consist of a pitcher and covered dish. The card attached reads, “Presented to Major-Gen- eral E. O’'C. Ord, U. S. Army, in 1881, by Manuel Gonzales, President of Mexico.” They are loaned to the Smithsonian Museum by Captain J. T. Ord, U. S. Volunteers. Glass is still made in Mexico, at Puebla, but the wares are simple flasks, bottles and drinking vessels. They are generally clear in colour, and of pleasing shapes, but there is none made now in cut and gilded style. Some of the modern glass is shown in Figure 218. Many inquiries as to the best way to clean old glass have been sent to me. The following has been recom- mended, though some strong soap diluted with water, shaken well in the glass object with a handful of shot, has always answered the purpose for me. “To clean glassware: Break a few raw egg-shells into the article to be cleaned, with a little cold water, warm water if the article is greasy, shake well and rinse with fresh water. The glass will shine.” Figures 215-218, pages 363-364. [ 352] a E————————— ee OLD GLASS Fig. 201. SANDWICH GLASS DOLPHINS (See page 339) [353] OLD GLASS Fig. 202. CLEAR SANDWICH GLASS (See page 344) [ 354 ] en SSS, OPA Der Gi Ais.s rss Fig. 203. CLEAR AND FROSTED SANDWICH GLASS (See page 344) [355 ] EME METROPOLITAR Mus QF sey Fig. 204. RUBY SANDWICH GLASS Fig. 206. SANDWICH GOBLET Fig. 205. AMETHYST AND HONEY-COLOURED DECANTERS (See pages 345 and 346) [ 356] Ol Dae AS ———— Fig. 207, SANDWICH JUG AND CELERY GLASSES (See page 346) [ 357 ] OLD, GEASS Fig. 208. B. & S. BOAT-SHAPED SALT-CELLAR (See page 347) [ 358 ] Orn D eG LASS HOIMGNVYS ‘SSVTID "602 “SIT (gt¢ abv 329) [ 359 | eg eeeenssecensernssmnssese geen OLD GLASS . RR , , , Fig. 210. OPAQUE SANDWICH GLASS Fig. 211. OPAQUE AND CLEAR SANDWICH GLASS (See page 349) ee CORTE ee Gr l-ArouS Fig. 212, COLOURED SANDWICH GLASS (See page 349) [ 361 ] ORD SS Ge ios SANDWICH GLASS ig. 213; F (See page 349) [ 362 ] OD Gril ALS Ss Fig. 215. MEXICAN PITCHER Fig. 214. GROUP OF MEXICAN GLASS (See pages 351 and 352) [ 363 ] OLD G LAs Fig. 216. MEXICAN Fig. 217. MEXICAN VASE COVERED VASE Fig. 218. MODERN MEXICAN GLASS (See page 352) [ 364 | ee Geen DP a / DVEDGALD 2d 612 ‘Sly f° U9 UdIDUISUA IY JD TLOAGd MT (588 ce. Sue ie (388046 80 ran (¢Z£¢ abvg 2a9) a — fo seqwogy ssn 34g fo mary : : aes : “ber vlay 0, fH [0 1 SMYOM SS¥YID CIO AO MOWALNI ASU UPI ty 1 Piypy DUYCHI WUD DIUIWUAYY SL) poli (Oe) fe VOUT FOV 2 ‘4 022 “SI 4 AEM & (-l¢ 26nd 399) tf Ny, 4 € “C8 Viens [ 366 | SS SSD Ore Gr Ata Fig. 222, EARLY DECANTERS (See page 379) [ 367 | eee OLD GLASS Fig. 221. GLASS FROM KENSINGTON GLASS WORKS Fig. 223. CUT-GLASS BY CRAIG RITCHIE (See pages 376 and 382) } [ 368 | AMERICAN GLASS FACTORIES HIS list has been gathered from newspapers, town records, histories, gazeteers, county publi. cations, anywhere in fact that they could be found. In some cases where the records overlap the dates vary a little, but I have left them as I have found them. My intention was not to list anything later than 1850, but in some cases where operation has continued I have set it down. The list is far from complete, but it is at least a step towards gathering the records of this early and interesting industry. ApaAms Gtass Co. Incorporated, 1812, in the town of Adams, Mass. ALBANY, N. Y. Van Rensselaer Glass Works, said to have been opened as early as 1807. ALBANY GLAss Works. See Guilderland. ALEXANDRIA, VA. Glass works established, 1787. M. De Warville visited these works in 1788 and declares five hundred hands were employed. A.LLowaysTown, N. J. See account of Caspar Wistar. AMELUNG, A. F. Frederickstown, Md. Glass factory established in 1797. Some of his German workmen started to cross the mountains to build a glass-works at what is now Louisville, Ky., but were stopped and taken to New Geneva, Pa., by Albert Gallatin. Amelung is said to have presented to General Washington two flint glass goblets made at his works. BAKEWELL AND PaGE. Some Germans started a glass factory in Fredericks- town, Md., which was soon abandoned. They went to Pittsburgh and started again, but were unsuccessful here. In 1808 this plant was taken up and run by Bakewell and Page, with one furnace of six twenty-inch pots, followed in 1814 by a ten-pot furnace. In Cramer’s Navigator for 1813, it states in connection with Bakewell and Page that they have lately built another flint glass house, making two that they have [ 369 ] OLD GLASS in operation, and that “glass-cutting is likewise executed in this place, not inferior to the best cut-glass in Europe.” A German named Eich- baum is said to have started a cutting-shop in Pittsburgh in 1809, and obtained his glass from Bakewell and Page. The firm name was Bakewell and Anderson, 1820. Bakewell and Co., 1824. The works were burned down in 1845, but were rebuilt, and were operated under the name of Bakewell, Pears and Co., till about 1880. In 1879 they advertise in the Pottery and Glassware Reporter that they are: “Manufacturers of Crystal and Opal glass Table-ware, Bar Furniture, Druggists’ Furniture in Crystal and Flint. Gas, Kerosene, Opal, Cone Shades, Globes, Smoke-bells, Round Orna- mental Shades and Flint Glass Chimneys. Lantern Glasses and all Kinds of Blown and Pressed Ware made to order.” BALTIMORE GLass Works. 1790. Established on a branch of the Patapsco River, at a place known as Spring Gardens. Another branch was started at about the same time at Federal Hill, Hughes Street. They made both amber and aquamarine bottles, which were marked “Balti- more,” and “Glassworks.” Washington design. The present works date from 1853, and they started to make flint glass in 1873. BELTZHOOVER AND WENDT Co. 1813. Birmingham, Pa. Boston Crown Grass Co. In July, 1787, Messrs. Whalley, Hunnewell and Co. received a charter allowing them the exclusive right to make glass in Massachusetts for fifteen years, and a fine of £500 was attached to any infringement of this right. Work was not really begun till 1792 owing to the difficulty in obtaining workmen, etc. In 1811 works in Essex Street were erected, but the War of 1812 prevented the successful operation of the works, but they were operated later, only to fail in 1826. BripGETON, N. J. Glass-works established by Stratton, Buck and Co., 1837, and run till 1841. Operated under the name of Joel Bodine and Sons, 1848-1855. At latter date works were purchased by Potter and Bodine, and then a stock company was formed called the “Cohansey Glass Manufacturing Co.” Made flasks in aquamarine with Washington design, marked “Bridgeton, New Jersey.” BrooKLtyn. Loderwick Bamper. 1754. Brown’s Pines, N. J. 1800. BRowNnsviLLE, Pa. According to the memorial sent to Congress in 1831 there were “four or five glass-works” at Brownsville. CHELMsFoRD, Mass. Window glass was made as early as 1802 in Chelms- fordtown at Middlesex village, by Hunnewell and Gore of Boston. This town is now a part of Lowell. In 1820, according to Allen’s “History [ 370] a re re SAE SS AMERICAN GLASS FACTORIES a of Chelmsford,” the works were in a flourishing condition, but they failed in 1826-27 and about this time were burned down. In 1828 the works were rebuilt, but were apparently unprofitable, since in 1839 the works were abandoned, and the company moved to Suncook village, Pembroke, N. H. On July 4, 1839, the Chelmsford Glass Co., Pembroke, N. H., was incorporated to make glassware, window glass, and glass plates. All trace and record of this glass-works has disappeared, except that there is still a street in the town called Glass Street. The New Hampshire Historical Society, at Concord, N. H., owns two or three specimens of this glass which came from residents of the tewn of Pembroke. They are described as of a “beautiful light green colour and fine texture.” CHESHIRE CROwN Grass Works. Cheshire, Mass. In 1812 a factory was started here to make window glass. In 1852 the product was changed to plate glass. They operated only about two months, and then moved to Brooklyn, N. Y. CuHEsTER GLass COMPANY. Chester, Mass. The factory was started here in 1812, was incorporated in 1814. This company as well as the pre- ceding one used the local sand, which was of excellent quality. Crarx’s Grass Works Washington, D.C. 1837. CotumsiA, N. J. 1812-1833. Window glass only. Corninc Grass Works. Corning, N. Y. In 1852 Amory Houghton, Sr., built and operated the Union Glass Works at Somerville, Mass., and ran them till 1864. He then sold out and bought the South Ferry Glass Works in Brooklyn, N. Y. He ran these till 1868, when he moved them to Corning, N. Y. In 1875 the business was reorganized under the name of the “Corning Glass Works,” and is still in operation. They make exquisite glass of all kinds, particularly in colours. Coventry, Conn. The Coventry Glass Works were organised by some citizens of that place as a stock company, in 1813. They made hollow ware, decanters and tumblers, and later, flasks with designs on them, snuff jars and inkstands. In 1820 the business passed into other hands, and from 1820 to 1830 it was operated by Thomas Stebbins and his successors, Stebbins and Chamberlin. In 1830 Gilbert Turner and Co. purchased the plant and worked it till 1848, when the supply of fuel, wood, gave out, and the works were closed. They made some of the earliest historic flasks, Lafayette and DeWitt Clinton, to commemorate the opening of the Erie Canal, 1825. These flasks are marked “S. & C.” and “Coventry C-T.” Craic anp O’HarA. Pittsburgh, Pa. They opened glass-works in 1797. The site has been occupied continuously by glass-works. In 1880 they were called the Point Bridge Works, of Thomas Wightman and Co. It was i371) OLDS Glass one of the first works to use coal. Up to 1810 no glass-houses except those in Pittsburgh used coal. Crystal Glass Co., Pittsburgh, Pa., made much household glass with a beehive. Sometimes below it was the motto, “Be industrious.” Also bread-trays with a sheaf of wheat, oval; and they were constantly adding to their list of patterns. They made in 1880 “butter plates” with portraits of James A. Garfield and Winfield S. Hancock. CUNNINGHAM AND Co., Pittsburgh. There is a bottle with the design of an Indian, marked with this name. CURLING AND Price. Pittsburgh. ‘They operated in 1828 what was known as Fort Pitt Glass Works. They were succeeded by E. D. Dithridge and Co., who were bought out by F. Lorenz, and he was succeeded by Thomas Wightman & Co. “The Rev. Dr. Berley wrote to the St. Louis Democrat, 1879, that he baptised Henry Clay in his parlour at Ashland, at the same time ad- ministering this ordinance to his daughter-in-law, Mrs. Thomas Clay, on the 22nd of June, 1847, a few special friends being present. The water was applied by the hand out of a large cut-glass urn, which, among his many presents, had been given him by a manufacturer in Pittsburgh, Pa. It is said this urn was the largest piece of cut-glass then known. Mr. Clay was then seventy years old. He was sub- sequently publicly confirmed in the church. ‘This piece of glass was made at the old Fort Pitt factory on Washington Street, then operated by Curling, Robinson & Co., in 1844, by Edward Dithridge, and pre- sented by Mr. Curling to Henry Clay. It was the largest piece of cut- glassware which had been made at the time, and few have excelled it in either size or appearance. These facts we get from Mr. E. D. Dithridge, of the Dithridge Chimney Co., Ltd., son of the man who made the urn.”—American Pottery and Glassware Reporter. Kate Field’s “Romance of Glass Making” shows the glass bowl used by Henry Clay in 1840. It was exhibited at the Chicago World’s Fair, 1893, side by side with a piece of modern cut-glass, one of those over-cut pieces of heavy glass which were so popular at the moment. The picture of these two pieces is in Miss Field’s little book, and a mere look establishes the superiority of the former. Washington Beck during the 70’s made many moulds of dishes and other pressed glass objects in “crystallo style” for the Fort Pitt works. DENNY AND BEELEN. Pittsburgh. 1800. They built a glass-works on the north side of the Ohio, in that part of Allegheny known as Manchester. DorFLEIN, Pur. Philadelphia. .Was a mould-maker for bottles and other glassware from 1842 to 1900. DOoRFLINGER, CHRISTOPHER. 1852. In this year Mr. Dorflinger organized a [372] ee AMERICAN GLASS FACTORIES rr firm in Brooklyn. Early in the 60’s he built the Greenpoint Works, and Hoare and Daily worked a cutting-shop in connection. In 1867 the White Mills Works were built which are still in operation. DumMER, GEORGE AND P. C. In 1824 they began to build a flint glass works in Jersey City. These works continued making glass for forty years, but were discontinued about 1860. DunsarTon, N. Y. Oneida County. Had a glass-works about 1802. DuRHAMVILLE, N. Y. Oneida County. Also had a glass-works about the same time. DyYorTviLLE Giass Works. Kensington, Pa., 1771. (See Figure 219.) They were founded by Robert Towars, leather dresser, and Joseph Leacock, watchmaker, on Bank Street. The next year the premises were sold to John and Samuel Elliot, who took Isaac Gray into partnership. They built additional furnaces and made bottles chiefly. In 1780 the property was sold to Thomas Leiper, tobacconist, who made bottles for his snuff. He kept the place twenty years. In 1800 the owners were Joseph Roberts, Jr., James Butland and James Rowland. They did business under the name of Butland and Co. In 1804, Rowland became owner and under the firm name of James Rowland and Co. they were operated till 1833. In this year they were bought by Dr. Thomas W. Dyott, who in 1838 was convicted of fraudulent insolvency, and the works were idle for some years. In 1843 they were leased by Henry Benners and under different owners have been in operation ever since. Among the things made by Dr. Dyott when he was operating the Kensington works were three patterns of bottles, and on each of them he placed a portrait bust of himself in connection with some American patriot. Two of these bottles or flasks show the portrait of Benjamin Franklin, and on the reverse, T. W. Dyott; and on the third is a portrait of Washington, reverse, American eagle with shield, arrows, etc., perched on an oval which contains the initials “T. W. D.” Around the edge is the inscription, “Kensington Glass Works, Philadelphia.” On the other side is “Adams and Jefferson, July 4, a. D., 1776.” As late as 1831 the furnaces were crude affairs, designed to run only six months in the year. At this time the Dyottville factory was the most extensive in the United States, melting about 800 Ibs. of batch a day and pro- ducing vials, bottles, shop furniture, etc. In 1833 this works had five furnaces and from 250 to 300 men and boys were constantly employed. A contemporary picture of the works is shown in Figure 219. Dr. Dyott believed in the virtues of advertising, and the following setting forth his wares is taken from The United States Gazette and True American, for January 2, 1833: “The Subscriber respectfully informs his friends and the public, that Figure 219, page 365. [ 373] OLD GLASS his glass factories at Kensington are now in full operation.” They made not only window glass but the following hollow wares: “Apothecaries’ Vials from one half to eight oz., Patent Medicine bottles, Mustard, Cayenne Pepper, Olives, Anchovies, Sweet Oil, Seltzer, and Cologne Water bottles, Scotch, Rappee and Maccabow Snuff do. Confectionery and Apothecaries’ Show do. Pickling and Preserving Jars; Pint, Quart, Half Gallon, Gallon and two Gallon Bottles; Quarts, Half Gallon and Two Gallon Demijohns, Oil, Vitriol and Aqua Fortis Glass Stopper Bottles; Druggists’ wide and narrow mouth packing do, from Half Pint up to Two Gallons; American Eagle, Ship, Franklin, Agricultural and Masonic Pocket Flasks, etc. “T. W. Dyort.” Dyott was a most persistent advertiser, agreed to help out country druggists, and sell them goods, taking produce in exchange. He adver- tised for broken bottles, particularly “broken Porter bottles.” ELLENVILLE, N. Y. Ulster County. 1848. Glass-works established by members of the West Willington Glass Co. : EMMET, FisHER & FLowers. East Cambridge, Mass. 1815. These men were South Boston glass-workers and opened a furnace in East Cam- bridge in 1815. Two years later this was sold at auction and bought by the New England Glass Co. See New England Glass Co. EXcELsior Co. Martin’s Ferry, Va. 1860? FaRMER’s Giass Co. Clarksburg, Mass. Incorporated, 1814. FISLERVILLE, N. J. Works established in 1850 by Jacob Fisler and Benjamin Beckett. In 1851 Beckett withdrew, and Edward Bacon took his place, the firm becoming Fisler and Bacon. The works were sold to John M. Moore in 1857, and Moore Bros. Glass Co. stands on the original site of the Fisler and Beckett Co. The name of the town became Clayton in 1867. Fort Pirr Works. Pittsburgh. Established by Curling and Price, 1830. Gaines, THomas. An Englishman working in a South Boston window glass factory induced the Boston Window Glass Co. to put in a six-pot furnace. GILLILAND. The Gilliland family seems to have been in the glass business for several generations, as agents at least before they became producers. In 1760, James Gilliland, dealer in earthenware, delft and glass in Wall Street, New York, advertised the following articles on sale in his shop: “Enameled and cabbage teapots, cut and ground glass decanters, tum- blers, punch and wine glasses.” (Interior of ancient glass-works, Figure 220.) About 1820 some workers from the New England Glass Works built a factory which was run under the firm name of Fisher and Gilliland. Plain decanters by them are still in use. In 1823 John Figure 220, page 366. [374] ROE, ES AMERICAN GLASS FACTORIES L. Gilliland built a glass factory called the South Ferry Factory, and though successful at first, it failed in 1854. GILLILAND’s BRooKLyN Grass Works. Established 1830. The following advertisement appears in Poulson’s American Daily Advertiser for January 1, 1830: “John L. Gilliland and Co.’s Plain, Moulded and Pressed Glass, and Joseph Baggott’s Cut Glass, have been removed from No. 23 Dock St. to 3 Minor St.” That competition raged keenly, the following extract from a long advertisement in the next issue of Poulson’s Advertiser plainly shows: “John Southan, 23 Dock St., has been the agent for Gilliland and Baggott’s glass. But they removed it, and he advertises that he is still able to supply every description of Glass, both Plain and Cut. That he has made connection with the Union Glass Works of Kensington, and assures the trade he will not be undersold. Though he is perfectly willing that his glass shall be removed by the favor of his customers, he does not intend his warehouse shall.” GERMANTOWN (Quincy), Mass. Had one glass-house recorded in 1750-60. Grassporo, N. J. Stanger Bros. erected a glass-works in Gloucester County. New Jersey, in 1775, which later received the name of Glassboro. Rink and Stanger built new works on the same site in 1813, and in 1837 Thomas H. Whitney purchased the business and in 1840 took his brother Samuel A. Whitney into business with him, under the firm name of Whitney Bros. In 1887 a company was formed under the title of Whitney Glass Works. A whiskey bottle in the form of a log-cabin, one of the best known campaign bottles, was made by them in 1840. They also made the Jenny Lind bottles in 1850, globe shaped, with long slender necks; the same type was also made by several other firms. Giass House Co. New York. 1754-1757. Grass Housz, N. Y. Rensselaer County. This town was in 1805 called Rensselaer Village, and was the seat of an extensive glass factory. In 1806 the company was incorporated, and was discontinued in 1852. In 1813 a force of 100 men were employed. GUILDERLAND, N. Y. Situated near Albany, N. Y. Opened glass-works in 1786, became the Hamilton Manufacturing Co. in 1797, and closed in 1815. Made both window glass, bottles and flasks, some of the latter with design of Washington. The tribulations of these early glass-makers were excessive. They were constantly asking for Gov- ernment loans, and in 1793 the Legislature of the State of New York voted a loan of 3,000 pounds to the proprietors for eight years, the first three years without interest. It was proposed in 1796 to build here a town called Hamilton, the glass company and workmen to be exempt from taxes for five years. In 1792 they advertised for a flint [375] OLD GLASS glass maker, and added, “As this manufactory must be of great public utility, it is presumed they will receive the greatest encouragement from all American glass dealers.” Hammonton, N. J. In 1820 a glass-works was established by William Coffin. In 1836 the firm became Coffin and Hay, who added bottles and flasks to the window glass department. In 1844 William Coffin died and two of his sons succeeded him, making window glass only. The business was closed about 1858. Hart & Co., Joun. This name is found on a heart-shaped whiskey flask, in amber colour. Hemincray Giass Co. Cincinnati, Ohio. Established in 1848. They made tableware of all kinds, glass lamps, jars, demijohns, flasks, bottles, etc. The works were at Covington, Ky. Hewes, RoserT. From Boston, built glass-works at Temple, N. H., in 1779 to 1780. The works were not successful, and operated only a short time. Harvard College is said to own some of their products. Hoare, Burns & Daity. In 1854 moved first to the South Ferry Works, Brooklyn, then to Greenpoint, and finally in 1873 to Corning, N. Y. HuFFsEY, SAMUEL. A glass-blower in Philadelphia in 1850, and owner of a glass-works in Camden, N. J., at the same period. Made bottles with the Kossuth and Jenny Lind designs and always put his name on them. HuUNNEWELL & Gore. Chelmsford, Mass. Had a glass-works from 1802- 1827. It became the Chelmsford Glass Works in 1829. Moved to Suncook, N. H., in 1839; closed, 1850. KENSINGTON Grass Works. See Dyottville. (See Figure 221, made 1835.) KENSINGTON, PA. In 1820 workmen from New England started a glass~ works here, but they quarrelled among themselves and the business failed. KEENE, N. H. In 1814, by Act of Legislature, the New Hampshire Glass Factory was incorporated. Closed 1850. KEENE, N. H. 1815, the Marlboro Street Factory was built to make flint glass bottles and decanters. Closed about 1842. LANCASTER GLass Works. Lancaster, N. Y. Made bottles; one so marked is a bluish aquamarine with basket design. La BELLE CoMPaANy. Bridgeport, Ohio. About 1879. Lee, Mass. Glasshouse. One of the grants of land which were set off to form the town of Lee was called Glasshouse. The grant was made in 1754 to John Franklin and his associates. In 1754 a further grant was made to encourage the making of “potash, cider, glass and cloth.” The venture is said to have been “pecuniarily unsuccessful.” Lenox Furnace. Lenox, Mass. In 1853 the Lenox Iron Co. built a glass- works near their iron furnace at Lenox. After a short run the glass- Figure 221, page 3068. [ 376 | AMERICAN GLASS FACTORIES works were burned, and immediately rebuilt, and leased to James N. Richmond, of Cheshire, Mass., in 1855. He kept them but a year, and then the Iron Company ran them successfully, making rough plate till 1862, when they were again burned. They were rebuilt, and have passed through many hands and under mauy names. LouisviLLE, Ky., Grass Works. This lettering is found on a whiskey flask, amber, with design of American eagle. The company was organised by Capt. J. B. Ford in 1875. LynpEBoro, N. H. See South Lyndeboro. Marrett, T. A. Established 1849. Manufacturer and glass cutter at 212 Canal Street, New York. MartTIn’s Ferry, VA. Excelsior Co. 1860. MARYLAND Giass Works. 1850. Founded by John Lee Chapman, at Lan- caster and Caroline streets, Baltimore, Md. Mitrorp, N. J. 1800. MILtvittz, N. J. 1822. In 1880 there were four “green hollow ware and six white glass furnaces, run by Whitall, Tatum, and Co.” Morris, ROBERT AND JOHN NicHoLson. Erected a glass-house at the Falls of the Schuykill, Pa., in 1780-1786. McCuLty, Witu1AM. Pennsylvania, 1828. Operated the Sligo Works. New ALBANY, IND. 1869. Works were founded by Capt. J. B. Ford, and operated by W. C. De Pauw, after 1872. New ALBANY, Pa. 1831. Window glass house. New Beprorp, Mass. In 1861 glass-works were started here, but were not particularly successful, and were sold in 1869 to W. L. Libby, who reopened the works under the name of “Mt. Washington Glass Works,” and built a large addition to the works in 1880. New Britain, N. J. Isabella Glass Works, 1840. Bottles and flasks. New Encianp Grass Co. East Cambridge, Mass. 1817. These works started with a six-pot furnace, forty hands employed. In 1818, Bishop in “American Manufactures,” says of this company: “Two flint glass furnaces and 24 glass-cutting mills operated by steam, a red lead fur- nace capable of making two tons of red lead a week, enabled them to produce every variety of fine, plain, mould and richest cut-glass, as Grecian lamps, chandeliers for churches, vases, antique and transparent lamps, etc., for domestic supply and exportation to the West Indies and South America. Virginia coal, New Orleans lead and Delaware sand and other native materials were used.” The first lead furnace in the United States is believed to be the one built by Deming Jarves of the N. E. Glass Co. in 1818 for the manu- facture of lead for glass. It was a success. In 1823 many beautiful glass vessels of various kinds were made and [ 377 ] OLD GLASS sent into Boston. Mr. Jarves states that in 1852 five hundred hands were employed. In 1878 the works were leased to W. L. Libby and nine years later his son moved them to Toledo, Ohio. New GENEvA, Pa. Glass-works built by Albert Gallatin in 1797. Moved in 1809 to the Monongahela River, 90 miles south of Pittsburgh. These works were operated by Nicholson and Co. in 1814, and are recorded as being at work as late as 1832. The firm name was Gallatin and Co. NEw Lonpon, Conn. About 1860 a glass-works was established here, known as the Thames Glass Works. It operated only a short time. One bottle was made, an eagle design; reverse, anchor and scroll with the words “New London Glass Works.” New Winpsor, N. Y. Orange County. 1753-1785. New York City. Had two glass-works in 1732. (Tenth Census Report.) New York Grass House Co. This company was allowed by the Common Council of New York through the efforts of Matthew Earnest, in 1757, to construct a dock on city land for the use of the company, rent of one pepper-corn being demanded for the privilege. Previous to this they had used a dock for which the annual payment was no doubt con- siderably more. The following advertisement appeared for six inser- tions in the New York Gazette or Weekly Post Boy, for October and November, 1754: “Notice is hereby given. That there is to be sold by Thomas Lepper, Storekeeper to the Glass House Company, living at their store on the late Sir Peter Warren’s dock at the North River near Mr. Peter Mesier’s, all sorts of bottles from one Qt. to three Gallons and upwards as also a variety of other Glass Ware too tedious to mention, all at reasonable rates; and all Gentlemen that wants Bottles of any size with their names on them, or any Chymical Glasses, or any other sort of Glass Ware, may by applying to said Lepper, have them made with all expedition. N. B. Said Lepper gives ready money for ashes and old window glass.” Thomas Lepper acted merely as agent for the Glass House goods, his business being that of keeper of a Gentleman’s Ordinary at the Sign of the Duke of Cumberland. In 1758 an advertisement in the New York Mercury reads: “This is to inform the Publick that the new erected Glass House at Newfound- land within four miles of this City, is now at work, and that any Gentlemen may be supplied with Bottles, Flasks of any sort of Glass agreeable to directions. N. B. Any person that has Oak Wood to dispose of, by bringing to the above mentioned place, will receive the New York Price upon Delivery, by Matthew Earnest.” [ 378 ] AMERICAN GLASS FACTORIES Ten years later the proprietor of the Glass House is spoken of as a bankrupt in a report by Gov. Moore of New York to The Lords of Trade and Plantations. The reason given was, “he was deserted by his servants whom he had imported at great expense.” According to the Census New York State had thirteen glass factories in 1835. O’Hara Grass Works. Pittsburgh, Pa. “The triumphs of pressed glass came from Pittsburgh. James B. Lyon & Co., of the O’Hara Glass Works, made for many years pressed glass only, and in 1867 made an exhibit at the Paris Exposition and took first prize for fine pressed glassware.” Onewa Grass & IRON MANUFACTURING Co. ‘They began operations at Taberg, Oneida County, N. Y., in 1809. PERRYOPOLIS, PA. Flint glass house, 1831. PHILADELPHIA, PA. Glass worker named John Tittery, said to have arrived in 1683. There was one glass-house in the city in 1810, two in Phila- delphia Co. and one each in Wayne and Gyconing counties. Pitkin GLass Works. Manchester, Conn. 1783-1830. PitTsBuRGH, Pa. 1795. ‘There were five glass factories in Pittsburgh, in 1813, eight in 1826, thirty-three in 1857, nine of these being flint glass houses, and twenty-four being window, green and black glass. In Cramer’s Almanac for 1803 it is mentioned that “jars, decanters, tum- blers and blue glass,” are made in Pittsburgh. See Figure 222. PitrssurG CuT GLass Co. 1809. “From 1823 to 1827 when there were only a few glass-houses in Pittsburg, the ware was loaded in flats and take down the river, usually accompanied by one of the proprietors of the factory and traded for rags, beeswax, produce and whatever could be turned into money.” PorceLain & Giass MANUFACTURING Co. This was established at East Cambridge, Mass., about 1787, the place then being known as Craigie’s Point. In 1817 this plant was sold at auction, and bought by a new company called the New England Glass Co. In 1853 there were five furnaces with ten pots of 2,000 lbs. each and 500 hands. They moved to Ohio in the 80’s. They made both flint and coloured glass. See New England Glass Co. Quincy, Mass. Glass House from 1750-1760. Appleton’s Cyclopaedia gives the date as 1750 and says the works were probably built by Germans, and that only black glass of poor quality was made. RavENNA Gtass Co. Made bottles. Reprorp. On the Saranac River, in Clinton County, N. Y. Had in 1832 a large manufactory of crown glass, which was erected by John S. Foster. This was carried on with more or less success till 1852 when Figure 222, page 367. [ 379 } OLD GLASS it was finally abandoned. In 1833 Foster went to Redwood, Jefferson County, N. Y., and established a glass-works devoted to the manu- facture of cylinder glass. In 1860 a stock company was formed, and manufacture continued under the name of the Redwood Manufactur- ing Co. RocKVILLE, Pa. A glass-works was started here about 1815; window glass. Rosinson & ENsELL. Pittsburgh, Pa. Started flint glass-works in 1807. Sold in 1808 to Bakewell and Page, which later became Bakewell, Pears and Co. It was Trevor and Ensell, 1813-14. At one time the firm name was Robinson and Son. ‘They were the first makers of “white glass.” SAMUELS, A. R. Philadelphia, Pa. 1855. Made two designs of bottles with Masonic emblems. Both bear his initials. SaLEM, Mass. Glass-house built in 1639 by Ananias Concklin, Obadiah Holmes and Lawrence Southwick. The next year John Concklin was allotted land also for the encouragement of the enterprise. In Dec., 1641, the town of Salem loaned the proprietors £30, the men to repay it “if the work succeeded and they were able to.” In 1661, in the Colonial Records, the place is mentioned as “Glass House Field.” SaRATOGA County, N. Y. Is mentioned as having a glass-works at Mt. Pleasant in 18or. SANDWICH, Mass. See page 338. SCHUYLKILL GLass Works. Mentioned as “two miles from Philadelphia”; made glass in 1806-07, and a year later in addition to some flint glass made both green and white half gallon, quart and pocket bottles. In 1810 Philip Jones and Co. owned the works. They were closed about 1823. SCHWENKSVILLE, Pa. On Perkiomen Creek, Pa. Had at one time.a glass- house founded by a member of the Pennypacker family. SEnEcA Guiass Co. Morgantown, West Virginia. Made souvenir tumblers with patriotic designs in 1896. SHEPARD & Co. Zanesville, Ohio. Made bottles, one design shows American eagle with letters “S. & Co.” Amber. SHEETs & Durry. Pennsylvania. Made bottles in clear glass with design of sheaf of wheat. See Dyottville. SMEEDES, JAN. He was the first glass-maker on the Island of Manhattan. “Glass-maker’s Street,” now South William, was named so on account of the importance of his shop. SoutH LynpEBoroucH, N. H. A bottle-works was started here in 1866. Stopparp, N. H. 1790. “New Granite Glass Co.” on deep amber bottle with eagle design. [ 380 ] a a AMERICAN GLASS FACTORIES STOUVENEL, F. 1837. He is the first glass-cutter of whom there is a record. At one time he had a retail shop on Broadway, New York. SUMNER, JOHN. 1809. Advertised cruets, salts, cheap cut tumblers, dishes, etc. Decanters in English flint. Factory closed in 1820. Tempie, N. H. In an article by Leonard H. Burbank, in Antiques for October, 1923, on “Glassmaking in New Hampshire,” he gives a very comprehensive study of the efforts of Robert Hewes to start a glass- works at Temple, N. H. Having apparently insufficient funds to start the works himself, he endeavoured to secure a grant from the State of New Hampshire in order to take care of his workmen, thirty-two of them. They were Hessian and Waldecker soldiers who had deserted from the British Army. He also needed help to build his factory. In 1781 the Legislature authorised a lottery with which to raise $2,000 so that Hewes could carry out his project. But the lottery was a failure, and Hewes returned to his home in Boston. His workmen did not fare so well. They were “warned” to leave the town and it is said that sick- ness carried off a number of them. There were only two firings of glass at Temple, both failures. So it is probable that no specimens exist. Tuum & Birrers. North Third Street, Philadelphia. Made bottles in 1808. Trevor & ENsELL. On the Monongahela, Pa. 1813. Union Fiint Co. Established at Kensington, Pa., 1820, by men from the New England Glass Co., of East Cambridge, Mass. Utica Grass Works. Established at Utica, N. Y., in 1810 or 1811. They were soon abandoned and never revived. VermMonT Grass Factory. Salisbury, Vt. 1813. WasuincTon, D. C. “Old Glass House” was operated from 1807 to 1851 under different ownerships. The factory was for window glass, as the following advertisement shows, but jars, toys, bottles and pocket flasks were made by the workmen for their own use, and as gifts to the visitors to the factory. “Window Glass of various sizes for sale Wholesale and Retail at the Glass Works in this city. Orders from all parts of the country will be duly attended to by Edwards, Way & Co. N. B. Sixteen cents per bushel will be given for clean Oak or Hickory Ashes delivered at the works. Washington City, Nov. 1, 1809.” (From the Records of the Columbia Historical Society.) WATERFORD, N. J. A window glass-works was established here about 1830, or a few years earlier, and bottles and hollow ware were made. The original proprietor was Jonathan Haines, who was succeeded by Porter, Shreve and Co., who continued till 1850, or a little later. The business was sold and was not finally closed till 1880. Made flasks in aquamarine, with eagle design. [ 381 ] enn nnn nn nnn nner cr OLD GLASS WELLsBuURG, VA. Had a glass-works here in 1815 for making white, flint, hollow and other glassware. In 1827 very beautiful glass was made here. In 1831 there were two flint glass furnaces at work, but in 1854 they were demolished. WesTrForD, Conn. Business started by Westford Glass Co. in 1857. Name changed to E. A. Buck and Co. in 1863; closed in 1873. West WILLINGTON, Conn. The Willington Glass Co., 1830-48, was operated by Gilbert Turner and Co. who also owned the works at Coventry, Conn. In 1847 the company was sold to a new concern, and it was carried on till 1872. Hollow ware and bottles, pickle bottles in aqua- marine in many sizes were made. Some of the members of this com- pany established another glass-works at Ellenville, N. Y. WHALLEY, HUNNEWELL, and their associates, with their workmen Plumback and Cooper, in 1787 erected a large factory in Essex Street, Boston, for the purpose of making Crown window glass. Their enterprise was unsuccessful till about 1803 when a German named Lint arrived in this country, and was employed in the factory. WHEELING, West Va. First glass-works here 1821. In 1829 John and Craig Ritchie erected a flint glass-house here. It was a great success. Messrs. Sweeney put in a large flint glass-works in 1835; this was followed by the works built by Plunkett and Miller. This was bought and operated by J. H. Hobbs, Brockunier and Co. See Figure 223. In 1864 a firm at Wheeling, West Virginia (presumably Plunkett and Miller), brought about a revolution in the manufacture of glass by making a clear, brilliant glass with the aid of bicarbonate of soda and lime, at about one-third of the cost of lead or flint glass. WHEELING, WEsT VA. 1863, Central Glass Works established here. Wuitney Grass Works. Glassboro, N. J. See Glassboro. Wistar, Caspar. Allowaystown, Salem County, N. J. 1739-1775. WILLIAMSPORT, PA. Window glass. 1810-1831. Figure 223, page 368. [ 382 ] INDEX A “Adlerglas,” 81 Air twist, 128, 129 Altare, 34, 35 “American Flint Glass,” 241 American Glass, 209-382 American glass factories, 369-382 American newspapers, 10 “Annals of Bristol,” 153 Antoninus, 4 “Antiques,” 219, 179, 318, 347, 349 Artificial pearls, 37, 38, 47, 106 Assyria, 6 Baccarat, 104 Ballarin, 36 Barber, E. A., 275, 284, 351 Barcelona, 85, 95, 96 Bate, Percy, “English Glass,” tsi 24, 125,126, 127, 128, 129 Bavaria, 80 Beads, 48, 49, 50 Belfast, 126, 147, 174, 197 Belgium, 62 Berlin Museum, 32 Beroviero, Angelo, 37 Beverages, 121 Bird knob, 168 Birmingham, 126, 154 “Blazes,” 192 Blown glass, 145, 276 Blowpipe, 3 : Bohemian Glass, 8, 51-62, 83, 106 Bohemian glass-works, 53, 59, 60 Bonhomme, H. and T., 73 Bontemps, 106 “Boston News Letter,” 147 Boston and Sandwich Glass Co., 338, 341, 343-348 Bottles, 180, 203, 211, 214-219, 221, 248, 253-255, 277, 281, 308, 309, 314, 316, 317 Bottles and flasks, 283-288 Briati, Guiseppe, 36, 56 Bristol, 124, 126, 130, 145, 147 Bristol Blue Glass, 156, 157, 167 Bristol Glass, 152-169 Bristol gilass-houses, 152, 153, 157 Bristol glass-makers, 168 Bristol Museum, 155, 156 “Bristol tradition,” 168, 245 British Museum, 4, 34, 81, 101 Buckingham, Duke of, 109 Buckley, Francis, “English Bal- uster Stemmed Glasses of XVII and XVIII Centuries,” 144 [ 385] INDEX “Bull’s Eyes,” 78 Burbank, Geo. E., 340 Buswell Collection, 215, 216, 210, 221, 222, 223, 244, 240, 250, 251, 277, 283, 306 C Cadalso, 85, 96 Cameo Glass, 158 Candelabra, 179, 192 Candlesticks, 133, 249, 256 Catalufia, 96 Chance Bros. and Co., 169, 170 Chance, Henry, 279 Chance, ‘‘On the Manufacture of Glass,” 253 Chance, Robert. Lucas, 169 Chandeliers, 150, 151, 192 Charming Forge, 220 Chevron bead, 49 China, 6, 7 Chinese style, 155 Clubs, 119-122 Congressional Library, 60 Coin glasses, 105 Cologne, 78 Coloured glass, 105, 106, 130, 132, 133, 145, 148, 150, 154, 167, 170, 198, 214, 247, 248, 281, 345, 349, 350 Congress Spring Co., 281, 282 Constantine, 4 Cork, 126, 174 “Cork Glass Co.,” 199, 200 Cork Glass House, 198 “Corner pots,’ 252 Cotton stems, 129 Craig, Isaac, 252 Crusaders, 100 Crystal Glass, 37, 52, 72, 104, 144, 154 “Crystallo ceramie,” 158 “Cullet,” 10 “Curiosities of Glass Making,” 9 Cut-glass, 278 D “Daily Advertiser,” 273 Decanters, 181, 182, 201, 242, 252, 278, 305, 306 De Colnet, 71 De Lannoy, Cornelius, 9 Diamond cutting, 200 Diamond-point etching, 24, 52, 73, 76, 125 Diane de Poitiers, 103 Dillon: “Glass,” 5, 32, 54, 76, 79, 97, 108 Doge of Venice, 29, 31, 32 Dolphin, 167, 168, 339 Domestic Glass, 125, 148 Doorstops, 167 “Doppelwandglas,” 56 Dorflinger, A. F., 341 “Double-dipped glass,” 214 Dou, Gerard, 76 Drinking glasses, 110, 119, 122, [ 386 ] INDEX 126-129, 132-143, 180, 202, 245, 246, 307 Drinking vessels, 98, 209 Dublin, 126, 174 Dublin and Cork Glass, 195-204 Dublin tint, 197 Durer, Albrecht, 52 Dutch and Flemish Glass, 62-78 Dutch workmen, 213 Duyckingk, Evert, 210 E “Economic History of New England,” 210 Edkins, Michael, 155 Ege, George, 242, 243 Egyptians, 3, 6, 38, 48 Elizabeth Furnace, 221 Elizabeth, Queen, 8 Emperor Ferdinand III, 51, 53 Enamel, 157 Enamelled glass, 5, 6, 53, 86, 10I, 249 England, 6, 8, 9, I1 Engraved glass, 97, 246, 247 Engraving by wheel, 24 English Glass, 108-152 English glass-making, 177 English Flint Glass, 57 English and Irish glass in Amer- ica, 147, 148 Evans’ ‘“‘History of Bristol,” 153 Evelyn’s Diary, 109, 110 Excise duty, 176, 200 Export of Irish Glass, 202, 203 F Faulkner’s Dublin Journal, 195 Feast of the Roses, 243, 244 Ferdinand of Aragon, 95 Fesselschade, Maria, 74 “Fiat” glasses, 123 Fichtelberger, 80 “Fifty Years of Glass Making,” 23 Flanders, 62, 71 Flashing, 25 Flavianus, Petrus, 29 Flint Glass, 10, 110, 180, 196, 198, 253, 255, 278, 343, 344 Flip glasses, 246, 249, 307 Fluoric acid etching, 25 Forgeries, 26, 27, 154, 173, 194, 275 Formulas, 9, 10 Foster, John, 308 France, 6 French Glass, 99-108 French workmen, 170, 172 Frontincennes, 103 Fuel for glass, 108, 109 G Gallatin, Albert, 252 ‘““Gallerie des Glaces,”’ 102 Gallo, Andrea and Domenico, 71 [ 387] INDEX Gas as fuel, 14 Gastaldi, 33 Gatchell and Co., 178, 179 Gatchell, Jonathan, 178 Gatchell and Walpole, 178 Gentlemen _ glass-workers, 103, 125, 126 Germans, 23 Germany, 32, 79 German Glass, 6, 53, 78-85 “German Glass Drinking Ves- sels Painted in Enamel Col- ours,” 80 Ghent, 56 Gilding on glass, 96, 194 Gin glasses, 134 Glasgow, 126 Glass balls, 172 Glass bells, 171 Glass-blowing, 13, 23 Glass-cutting, 14, 24, 110, 343 Glass-cutting works, 126 Glass-cutters in England, 146 Glass furnaces, 126 Glass-houses in England, 110 Glass in blocks, 35 Glass-making, 10, 11, 12, 13 Glass-making in America, 210 Glass-maker’s tools, 12 Glass-painting, 80 Glass-workers, 171, 172, 173 Glassboro, N. J., 217 Glatz, 59 Goblets, 131, 132 Great Britain, 197 102, Greece, 32 Greek Glass, 61 Greek workmen, 100 Guilds, 82 Guionet, 99 H Haida, 51, 58 Hammond, Otis G., 310, 312 Harburg, 82 Harris, Joseph, 178 Hartley’s, 154 Hartshorne, “Old English Glasses,” 71, 104, 122, 126, 134 Hero glasses, 123 Historic bottles, 283 Historic cup plates, 318-338 “History of Keene, N. H.,” 312 “History of Stoddard, N. H.,” 308 Hob-nail cutting, 192 Holland, 79 Holmes, John, 146 Houghton’s “Letters,” 153 Huber, Jacob, 220 Hulme, E. W., “English Glass- making in the XVI and XVII Centuries,” 10 Hunting glasses, 82 Hunter Collection of Stiegel Glass, 244 Hunter, Dr. Pleasant, 251 [ 388 ] INDEX Hunter, “Stiegel Glass,” 213, 220, 243 “Tgel,” 80 Independence Hall, 150, 151 India, 6 Irish Glass, 146, 147, 174-203 Irish glass-making, 177 Italy, 6 J Jacobs, Isaac, 156 Jacobs, Lazarus, 156 Jamestown, Va., 209 Jarves, Deming, 338, 340, 343, 344, 345, 350 Jarves’ patents, 339, 340 Jug handles, 194 K “Kalligraphen ornamente,” 55 Keene, N. H., 308 Keene Glass, 312-315 Kerfoot, J. B., 217 King, Réne, 100 Knobs, 274, 275, 276 Kinckel, Johann, 54 L “L’Arte Vetraria,” 54, 55 La Granja de San IIdefonso, 96, 97 Lamps, 256, 273, 274 Latticinio, 72, 98, 170, 172 Lawton, Herbert, 216, 251 Lehmann, Caspar, 8, 53, 209 Lewis, Sidney J., “Old Glass and How to Collect It,” 157 Liége, 75. Little and Longman, 155 “Little Red Book of Bristol,” 152 London, 8, 126 “London Company,” 210 “Long Elizas,” 155 Lorraine, 125 Low Countries, 6, 25, 79, 104 Lucas, Chance, Homer and Coathupe, 169 Lucas, John R., 169 Lucas, Robert, 169 Luna, 33 Lustre cutting, 191 Lyon, James B., & Co., 343 . M “Made in Czecho-Slovakia,” 60 Madrid, 96 Manchester, Conn., 315 Manheim, 220, 221, 222, 224, 242, 245, 248, 250 Mansel, Sir R., 109 Mantle sets, 149 Mantua, 30 “Manufactoire Royale des Glaces,” 102 [ 389 ] INDEX Marco Polo, 37, 38 Marguerite of Austria, 71 Maria Theresa, 56 “Metal,” 176 Metropolitan Museum, N. Y., 3, 214-216; 223, 244, 276, 278; 285, 287, 288, 309, 310, 316, 345, 349, 352 Mexican Glass, 351, 352 Millefiori, 35, 106, 107, 149 Miotti, Antonio, 33, 38, 72 “Milchglas,” 57 Mirrors, 30, 32, 35, 47, 48, 71, 78, IOI, 102, 108, 109 Miseroni, Girlamo and Gas- pardo, 52, 53 Mitton, Mrs. Geo. W., 339) 344, 348 Moore, Edward C., 3 Monteiths, 143 Monongahela River, 252 Mottoes on glasses, 124 Moulded glass, 145, 201 Moulds, 23 Mount Vernon, Va., 193 Mount Washington Glass Co., 343 Mugs, 132, 157, 158, 249, 277 Murano, 5, 30-34, 56, 79 Murano Museum, 36, 56 ‘“Muranese and Altarist Glass Workers,” 72 Murcia, 86 “Munster,” 197 Nailsea, 154, 155 Nailsea flasks, 170 Nailsea Glass, 169-174 “Nailsea Glass Works,” 169 National Library of Ireland, 202 National Museum, Dublin, 191 Nehou, Louis, 102 Nehou, Richard Lucas de, 102 Neri, Antonio, 55 New Bedford, Mass., 338 New England, 180 “New Granite Glass Co., 310 New Hampshire Glass Factory, 313 New Hampshire Historical So- ciety, 310, 312 New, York, 180 New York Gazette and Mer- cury, 224, 242 Nivernais, 100 Normandy, 34, 100, 125 | Nuremberg, 51, 52, 53, 78, 79, 82 O O’Hara and Craig, 252 Oil for lamps, 273 “Old Irish Glass,” 191 Opaque glass, 156 “Orford Parish Chapter,” 315 P Padua, 30 Paper-weights, 158, 167, 219 [ 390 ] INDEX Paris, 100 Patterns on glass, 145 Paulo, Geronimo, 93, 96 Pellatt, Apsley, 9, 35, 158 Pepper pots, 149 Pennsylvania Museum of Fine Arts, 6, 32, 36, 83, 157, 192, 284, 287, 351, 352 Pennsylvania Gazette, 222 Pennsylvania Historical Society, 221 Pennsylvania Journal and Weekly Advertiser, 222 “Penrose,” 182 Penrose, George and William, 178 Pergola, Paolo, 37 Perry and Wood, 313 Persia, 6 Phoenix Flint Glass Works, 153 Pilgrim bottles, 104 Pitkin, Albert H., 316 Pitkin Glass, 315-318 Pitkin Glass export trade, 316 Pitkin family, 315 Pittsburgh, 252 Pokale, 54, 83 Pontil mark, 26, 127, 128, 130 Potash-lime glass, 78 Portland vase, 4 Pot metal, 253, 254 Pottsdam, 54 Powell and Ricketts, 154 Prague, 36, 54, 56 Pressed glass, 338, 342, 343 Pretender’s glasses, 123 “Printies,’ 191, 197 Prisms, 151 Prunts, 74, 77, 79, 105 Public houses, 110, 119, 122 Pugh, Thomas and John, 198 Punch bowls, 143 Q Queen Elizabeth, 124 Queen Isabel, 95 Quilted and ribbed, 306, 307, 308 R Ramsey, Gatchell and Barcroft, 178 Ravenna, 30 “Records of Virginia Company in London,” 210 “Reichshumpen,” 81 Riano, Juan F., 86 Rijks Museum, 71, 73, 74, 76, Va Ring of glass, 27, 197, 198 Rings on decanters, 181, 182 Rinsing bowls, 277, 278 Rivo-Alto, 29 Robinet pump, 104 Roche, Capt. Philip, 195 Roemer, Anna, 73 Roemers, 73, 74, 79, 80 Roemer, Vischer, 73 Rolling-pins, 170 Roman Glass, 3, 4 [ 391 ] INDEX Rosenhain, Walter, 13, 26 Round Glass House, Dublin, 195 Ruby Glass, 54, 57, 58, 157 Rudolph II, 52 Rummers, 132 Ryley, “Old Bohemian Glass,” 51, 52, 53 S Salem, Mass., 210 Salt-cellars, 148, 241, 242, 245, 247, 248, 347, 349 Sand in America, 253 Sandwich, Mass., 318 Sandwich Glass, 174, 338-351 Sandwich Co-operative Glass Co., 347 Sandwich lamp-shades, 345 Saracens, 5 Saratoga Glass, 280, 281, 282 Sauzay, ‘Wonders of Glass Making,” 37, 99, 103, 104 “Schaperglaser,” 82 Schaper, Johann, 82 Schuerman’s “Letters,” 95 Schwanhardts, 51, 53, 54 Sets of glass, 148 Sheffield plate, 143 “Small Glass,” 241, 242 Smeedes, Jan, 144 Smithsonian Museum, 176, 180, 193, 214, 352 South Jersey Glass, 217, 218 Spain, 6, 96, 97 Spanish Glass, 85-99 “Special Report of Manufactur- ers,” 277, 280 Splashing and striping, 105 St. Gobain, 102 Staley, “Dogaressas of Venice,” 27 Stamp Act, 222 Standing lights, 151 Stannus, Mrs. Graydon, “Old Irish | Glass,” 29," 191 aoe 197 Steinschonau, 51 Stems of glasses, 127-131, 192 Step-cutting, 83, 193 Sterns, S. M., 281, 282 Stiegel Glass, 168, 220-251 Stiegel goods, 222, 223, 224 Stiegel patterns, 249, 250 Stiegel, Wm. Henry, 220, 242, 244 Stourbridge, 145, 146, 147 Stow, Chas. Messer, 340, 341, 342 Strawberry cutting, 191, 196 Stoddard Glass, 308-312, 314 Sunburst, 305-310 Swag and line cutting, 192 Sweetmeat glasses, 134 Zk Table glass, 154 “Tale” goods, 176 Tatum, “One Hundred Years of Glass Achievement,” 254 [ 392 ] eee INDEX ce ee Tavern glasses, 119 Tea caddies, 143 Teflis, 8 “Tenth Census of the United States,” 58 Terrace Glass Works, 199 Theodosius II, 4 “The Americana,” 35 “The American Flint Factory,” 224 “The Connoisseur,” 169, 173 “The Expert,” 71, 73 “The Journal of Industrial and Engineering Chemistry,” 14 The Netherlands, 62 Three-section mould pieces, 252, 305-309 ““Tiefgeschnitten,” 55 Tint of old glass, 144, 175, 176 Toledo Museum, 285, 345, 349 Trailing, 25 “Transcript,” 340 Treviso, 30 Glass U Use of coal, 252, 253 V Van Rensselaer, Stephen, ‘‘Early American Bottles and Flasks,” 284 Venice, 8, 51, 125, 168 Venetian Glass, 6, 28-50, 52, 56, 71, 72, 85, 97, 104, 108, 157 Venetian glass-makers, 9, 170, 172 Verzellini, Jacob, 124-128 Vicenza, 30 Victoria and Albert Museum, 5, 6,7) 30; 37;-53, $4, 79, 81, 84-95, 123, 127, 182 Vienna, 79 Vitro di Trina, 35 Vonéche, 104 W Wadham, Rickets & Co., 153 Wallace-Dunlop, 35 Washington, General, 129, 179 Waterford Glass, 126, 143, 146, 147, 150, 154, 174, 175, 178- 195, 197, 279 Waterford drops, 193 Waterford edges, 191 Waterford Glass in America, 179-181 Waterford goods, 179-181 “Waterford Mirror,” 179 Waterford tint, 182, 203 Waterford workmen, 179 Waterloo Glass House, 199, 200 Webster, Daniel, 343 Wedgwood, 171, 179 Weight of glass, 144 Westropp, Dudley, ‘Irish Glass,” II, 145-147, 154, 174, 175, 178, 180, 182, 195, 198, 201 Whitney Glass Works, 217, 283 [{ 393 ] renee peeenpeysciperaseseshortmnamisacrs even eensnsaeatie seats ee INDEX “Willkommen,” 81 Wistarberg balls, 215 Williams, Mrs. J. M., 317 Wistarberg Glass, 212-220 Williams, Richard, & Co., 196 Wylde, “German Enamelled Wine glasses, 128-132, 148, 277, Glasses,” 79-81 278 Window-glass, 30, 35, 108, 211, Y 213, 314 Wines, 131, 132 Yoxall, “Collecting Old Glass,” Wistar, Caspar, 213, 214, 218, 143, 144, 154, 155 243 Yriate, “Venice,” 31, 36, 48, 56 THE END [ 304] s € \ ae Dh Sey 01640 66 iii THE TAPESTRY BOOK BY Flelen Churchill Candee ‘Tas book traces the complete history of tapestry from the modest beginnings in classic times through the glorious period of the Renaissance down to our own time. The methods used by the makers in early days and the skillful designing and weav- ing of the great masters are described in detail. The great periods of the Gobelins and Beauvais schools are given particular attention. For the better identification of the famous makers the tapestry marks are dealt with in a separate chapter. While the book represents a thorough and expert study of the subject, the more than hundred illustrations render it inter- esting for the layman as well as for the student of industrial art. By the Author of “Early American Inns and Taverns.”’ be Ly > “Where Shakespeare Set His Stage,” “Sunny Days in Italy,” ete. Woe orice oe Houses 3 O ») az Gs cA yp, exica ‘ ELISE LATHROP OMMENCING with the several claimants to the title of “oldest house in America” Miss Lathrop considers, sectionally, hundreds of houses, from humble cabins to magnificent Georgian mansions, that have seen stirring or otherwise interesting moments in the building of our nation. The lovely houses of old Charleston, the homes of the Virginia Cavaliers and, later, of some of our greatest statesmen, the Patroon homes in upper New York State, the white farmhouses of early New England, the sturdy stone residences about Philadelphia, all are considered with a loving fidelity to the details of their histories that will render them doubly interesting to the modern visitor. There are plantation houses, houses of great architectural charm, houses with memories of great men and fine ladies, houses with ghosts. . . . In short, the author has carried on, though on a far larger canvas, the difficult and valu- able work which won such high praise for her earlier book, Early American Inns and Taverns.