In Figs. 124 to 135 I give a number of shapes of decanters and jugs, such as may be seen in our best shop-windows, and such as I consider desirable forms for such vessels; and in considering-the shape of such vessels, the character of the upper portion of the neck (the lip) must be regarded, as well as that of the body and base. Notice also whether the centre of gravity is high or low, and the position and character of the handle; but respecting the application of handles to vessels I will speak when considering silversmiths' work [(see page 140)].
Besides decanters and bottles, glass is formed into tumblers, wine-glasses, flower-holders, and many other things; but the principles which we have already laid down will apply equally to all, for if the objects formed result from the easiest mode of working the material, and are such as perfectly answer the end proposed by their formation, and are beautiful, nothing more can be expected of them.
Many objects of fancy shape have been produced as mere feats of glass-blowing, and with some of these efforts I sympathise. Wherever the work produced is truly adapted to use, or where an artistic effect is achieved, the glass-blower has my warm sympathy; but if the effort is made at the production of novelty merely, the result gained is sure to be unsatisfactory. Much of the Venetian glass will illustrate these last remarks.
Fig. 136 is a very excellent and picturesque spirit-bottle; it is easy to hold, and quaint in appearance.[27] Figs. 137, 138, and 139 are Venetian glass vessels, wrought entirely at the furnace-mouth, and neither cut nor engraved—they are artistic, and of interesting appearance; while Fig. 140 is a work of Roman glass, in which the upper distension is useful if the liquid contains a sediment which it is not desirable to pour out with the liquid.
There is one thing pertaining to table-glass that we do not now sufficiently consider, which is its capacity for colour. Our one idea in the formation of glass vessels is the imitation of crystal, unless we happen to produce a vessel of the strongest tint. With the exception of hock-glasses, which are generally either ruby-colour, dark green, or intense yellow-green, we rarely employ tinted glass on our tables. These three colours, which we usually employ in hock-glasses, are all too strong in tint for ordinary purposes, and they are coarse and vulgar. It is curious that we should confine ourselves to these colours when glass is capable of assuming the most delicate of shades, of appearing as a soft, subtle, golden hue of the most beautiful light tertiary green, lilac, and blue, and, indeed, of almost any colour.
Why, then, should we employ only two or three colours, and those of the most crude character? If the Roman and Greek glass of the British Museum be inspected, it will be seen that the Romans employed various soft and delicate tints, and why we should not do so I cannot see. For many reasons the colours of our hock-glasses are highly objectionable, but especially for two. First, as already stated, the colour is so strong that they appear as mere dark spots on the cloth, and altogether fail in imparting to the table a pleasant colour-effect; and, secondly, they utterly destroy the beauty of appearance which the wine would otherwise present.