bequeathed to the British Museum in 1868 by the late Felix Slade, Esq. This collection is for the present exhibited to a great extent in a separate series, as an acknowledgment of so munificent a bequest.

It has been thought convenient to collect into the same room the other collections of Glass in the Museum, excepting the Assyrian. It has not, however, been found practicable to arrange the collections in any chronological order.

It may be sufficient to state, that the Antique Glass from the Slade Collection is placed in Table Case F, and the Upright Central Case L; that from the Temple Collection in Wall Case 54, 55; that from the General Collection in Table Case H, and Wall Cases 56-61, excepting the Roman and Anglo-Saxon Glass found in England, which will be found in Wall Case 52, 53.

The Oriental Glass, which is chiefly from the Slade Collection, occupies Wall Case 44, 45. The Venetian Glass from the Slade Collection is placed in Central Case G, and Wall Cases 46-51; that from the General Collection in Wall Case 42, 43. The French, German, Dutch, and Spanish Glass is placed in Upright Central Case K.

The Egyptians, if not the inventors of making glass, were great workers in that substance, and applied a vitreous coating to pottery, and even stone. The Egyptian specimens in the Slade Collection are not so numerous as those in the Egyptian Collection (Table Case E in the same room), but include an elegant vase (No. 14) in the form of a papyrus sceptre, made for holding the antimony or stibium to be applied to the eyelids, and a very remarkable amulet (Case F) with the prenomen of Nuantef IV., a monarch of the XIth dynasty, placed by Lepsius between B.C. 2423 and 2380.

The glass works of Egypt must have been in full operation under the Ptolemies; and during the Roman dominion they produced very elaborate specimens, especially minute mosaic patterns, of which there are good examples (No. 92, &c.). These were made by arranging in the required patterns a number of slender rods of glass of various colours, fusing them together, and then drawing them out, so as to reduce the whole uniformly; transverse sections of the rod thus obtained would each exhibit the same pattern.

To the Phoenicians may in all probability be referred the numerous little vases of brilliant colours which are found in tombs throughout the borders of the Mediterranean (Table Cases F and H). They exhibit everywhere the same technical peculiarities, and as they differ somewhat in form and make from unquestionably Egyptian specimens,

it is probable that they are the products of the only other great centre of glass making, the celebrated works at Sidon. The forms are more Greek than Egyptian, frequently alabastra, amphora, and præfericula.

The colouring is striking, generally in zigzag patterns of yellow, turquoise, or white, relieved by blue, brown, or green grounds. There are many fine vases of this kind in the collection, as well as one of the gold stands made to support them (No. 10).

To a later period of the Sidonian workshops may probably be referred a number of small bottles of various forms, blown in moulds, and which have been chiefly found in Syria, and the neighbouring islands. The specimens are in the shapes of dates, grapes, heads, &c. A handle, once forming part of a small cup, is stamped with the name of its maker, Artas the Sidonian, in Greek and Latin letters.

The making of glass at Rome is said to have been introduced by Egyptian workmen, and must have been much practised there, as specimens of Roman glass are very numerous. The material was

applied to a great number of uses, and the processes seem to have been quite as varied and well understood as in later times. The common clear glass has generally a greenish or bluish hue, though sometimes it is as white and brilliant as rock crystal; this latter kind was much valued by the Romans; the other transparent colours are, generally, various shades of blue, purple, yellow, and green. A delicate pink is supposed to derive its colour from gold. The opaque colours are less commonly employed singly, but they occur in shades of yellow, blue, green, and black. The beautiful iridescence with which many vases are covered is not intentionally produced, but is the effect of time, which has partially decomposed the surface of the glass.

The simpler vases are only blown, with handles, feet, or ornamental fillets subsequently added; others are blown into moulds, and exhibit various designs in relief; some of the bowls have projecting ribs, and have been termed pillar-moulded. (No. 203). On some vessels, chiefly belonging to a late period, shallow engraving, executed on the wheel, has been added; others are cut in regular patterns (see 171 and 321). Sometimes a coloured ground was coated with white opaque glass, which was afterwards cut away, so as to produce a cameo, as in the celebrated Portland Vase, exhibited in the Ornament Room, and in the Auldjo Vase (Case 58). In other instances, a number of different colours were employed, sometimes, as in the Egyptian specimens above noticed, forming regular mosaic designs, sometimes blended into a mass of scrolls, rosettes, &c., and at others imitating onyx, agate, madrepore marble, or porphyries and other hard stones, though generally in more brilliant colours. Of these designs the variety is inconceivable, as may be seen by two bowls (Nos. 86, 387,) and numerous polished fragments. Occasionally gold-leaf was introduced, and at a late time the insides of cups and shallow bowls were decorated with patterns in gold-leaf, sometimes on the surface, sometimes enclosed between two layers of glass. To this class belong the fragments with Christian designs found in the catacombs of Rome (Case H), as well as the remains of a large disc from Cologne (No. 317), on which, though much broken,

eight Christian subjects may be distinguished. The mosaic glass, and especially that imitating various stones, was much used to line the walls, or to form the pavements of rooms. Very clever imitations of gems were made, and the glass intaglios and cameos have preserved to us designs of some of the greatest gem engravers; being generally moulded from gems, and not themselves engraved.

After the fall of the Roman empire the glass works of the West must have gone to decay; of glass of the Anglo-Saxon period there are in the Slade Collection only three specimens, a tumbler with a convex base, from Selzen (No. 319), and two cups found in Kent. Those from the General Collection (Case 52, 53) are more numerous. In the East, glass making was still continued, probably in the neighbourhood of Damascus. There are in the collection some very fine specimens, all decorated with enamel and gilding. (Case 44, 45). Two lamps from mosques, made, according to the inscriptions, for Seifeddin Takuzdemur, Viceroy of Egypt, A.D. 1341, and Governor of Damascus in 1343, who died at Cairo in 1345. A third lamp was made for the Emir Skeykhoo, who died in 1356. There are likewise two fine bottles. To a later period belong some Persian specimens (Nos. 341-3), and a few Chinese; two of the latter bear the name of the Emperor Keenlung, 1736-95.

The old known specimens of Venetian glass are of the fifteenth century. The earlier examples seem to have the forms of silver plate, and are frequently massive, and richly gilt and enamelled. One of the largest examples in the collection is a covered standing cup, with gilt ribs (No. 362). Two of the earliest, and also most elaborate specimens, are a green goblet with portraits (No. 361), and a blue cup with a triumph of Venus (No. 363). The shallow ribbed bowls, or dishes, are very handsome, and have frequently coats of arms in the centre; on one of them (No. 371) are the arms of the Doge Lorenzo Loredano, 1501-21, another (No. 372) has those of Leo X., 1513– 21; a third (No. 374), those of Fabrizio Caretto, Grand Master of the Order of St. John, 1513-25.

The vases of blown glass are frequently very elegant, especially those in uncoloured glass; the stems are very often decorated with knots, wings, and fantastic additions in blue glass. Vases were also made entirely or partially of coloured glass, generally blue, purple, or green; sometimes a milky opalescent colour was produced, due, it is said, to arsenic; also an opaque white, derived probably from tin, which is further diversified with splashes of other colours. Another kind of variegated glass, which was called calcedonio, exhibits the streaky hues of the onyx, and was occasionally sprinkled with avanturine spots.

Great use was also made by the Venetians of rods of glass enclosing threads of opaque white glass (laticinio), arranged in various patterns. Thus was produced the elegant lace glass (Vetro di trina) in which Venice was unrivalled. Another variety (à reticelli) is ornamented with a network of opaque white lines, enclosing at the intersections bubbles of air. A goblet of this kind (No. 682) has in the foot a half

sequin of Francesco Molino, Doge of Venice in 1647, marking the period at which it was made. The opaque white decoration is sometimes applied in parallel lines, sometimes in a wavy pattern, and exhibits endless variety.

The Venetians were great makers of beads, with which, for many centuries, they supplied the world. These were very often formed from sections of rods, with mosaic designs. Such sections were also sometimes worked up into vases (as by the ancient Romans), thence termed millefiori. Of these there are good examples in the collection. In France, glass making was long practised, but it is difficult to distinguish the productions of that country. A remarkable goblet (No. 824) has on it the names of Jean and Antoinette Boucault, as well as their figures and device in enamel. It was probably made about 1530.

The earliest dated specimen from Germany in the collection has the year 1571; it is a large cylindrical cup (wiederkom) with the Imperial eagle, bearing on its wings the arms of the states, towns, &c., composing the German Empire. The German specimens are heavy in form, and often richly enamelled with heraldic devices and figures. Some specimens are painted in grisaille or colours, like window glass; such is a goblet (No. 859) dated 1662, on which is represented a procession in honour of the birth of Maximilian Emanuel, afterwards Elector of Bavaria. The engraved specimens are well executed; one of them is signed by Herman Schwinger of Nurnberg. The Ruby glass for which Germany was renowned is said to have been invented by Kunckel; one of the specimens bears the cypher of Frederick the Great, King of Prussia.

In Flanders, glass seems to have been made in early times. In the sixteenth century many glass vessels (whether of native make or not is uncertain) were etched with various designs. Some of the specimens in the collection have portraits of historical personages, such as Philip IV. King of Spain, William II. of Orange, his wife Mary of England, Olden Barnevelt, and others. At a later time a delicate etching in dots was introduced; of this there are specimens signed by F. Greenwood, and several attributed to Wolf. Some of the Dutch engraved goblets are well designed, and show much richness of pattern.

The earlier Spanish examples resemble closely the Venetian, the later ones have numerous handles, and frilled excrescences, copied apparently from the cooling vases in terracotta, which were probably introduced into Spain by the Arabs. (Case K.)

Drinking-glasses seem to have been made in England in the sixteenth century, having been apparently then introduced by foreigners into Sussex and Surrey. Later, there were works in and near London, and the glass works of Bristol attained some reputation. To these last are attributed some specimens in the collection, which is not, however, rich in examples of English glass.

The collection of glass bequeathed by Mr. Slade consisted of about 960 specimens; but additions have been made since his death out of a fund bequeathed for the purpose, making a total of 1750 specimens. AUGUSTUS W. FRANKS.

WITT COLLECTION.

Cases 62, 63. This is a series of antiquities, illustrating the Bath of the ancients, presented by George Witt, Esq., F.R.S., to which have been added the strigils from the general collection.

It includes specimens of the tiles and flues of which the hot chambers were constructed, a fine series of strigils used for scraping the skin, ointment vases of various materials, and other appliances of the bath. Among them may be noticed a set of bath utensils, found in a Roman sarcophagus near Crefeld, Rhenish Prussia, consisting of a pair of strigils, an oil vase, a glass patera, præfericulum, &c.

ROMAN POTTERY WITH VITREOUS GLAZE.

Case 64. It was long considered that the Romans were unacquainted with the art of applying a vitreous glaze to pottery. Specimens, however, have from time to time been discovered which remove all doubt on the subject. It will be seen that they are not numerous, and that the glaze was more often applied to fine and ornamental wares than to coarse pottery.

ROMAN RED WARE.

This collection, which is placed in Cases 38, 39 and beneath Table Case F, consists of specimens of a peculiar bright red ware, made at various places, but which was termed by the ancients Samian, having been probably first made at Samos. It was the earthenware most in use at the tables of the ancients, and exhibits great variety of ornamentation.

The principal sites of the manufactory were Capua and Aretium in Italy, Auvergne in France, where kilns have been found, the borders of the Rhine, and Spain: The various designs were impressed with small separate stamps on a concave mould, so that the patterns were in relief on the vase; the potters' names were very commonly added.

EARLY ITALIAN AND ETRUSCAN POTTERY.

Cases 33-37. Very ancient black and red ware. The earliest specimens, of coarse black or brown earth, ornamented with hatched lines or raised ridges and bosses, and imitating probably wooden vessels, Occupy Cases 33, 34. No. 79, found in Monte Albano, 1817, and No. 79A (Blacas Coll.), found at Marino, represent the tugurium, or hut of the early inhabitants of Italy.

Cases 35, 36, contain specimens of the later period when a finer