This decoration with the diamond point was carried to great perfection in Silesia. Herr von Czihak has reproduced in his work on the glass of that country (p. [122]) two tall cylinders of this ‘gerissene glas’ (so it is called in contemporary inventories), which cannot be later than the sixteenth century. So, again, much of the glass of cristallo type made at Hall in the Tyrol was thus decorated.

But this process of drawing designs with a diamond point on the surface of glass required the sure hand of an artist; there was no room for any ‘pentimenti’—moreover, the result was not effective.[[206]] Before long, in Germany at least, except here and there by amateurs, it came to be used merely as supplementary to the newly introduced processes of cutting, engraving, and polishing—that is to say, to the combination of methods concisely indicated by the Germans as schliff und schnitt. This was, indeed, a return to a very old treatment of the material much in favour in later Roman times. We have recognised in the so-called Hedwig glasses the last efforts of an art already extinct in the West and decadent in the East; but we have no link with which to connect these rude, deeply carved goblets with the engraved glass of the German renaissance. The Germans were, indeed, familiar with the processes employed in polishing the surfaces of hard stones, especially of their native agates (as in the Hunsrück district). This they effected in early days by rubbing on a board, the schleif-platte, and already by the middle of the fifteenth century by means of a grindstone (schleif-stein) turned by water-power. There is, however, no evidence to connect this industry with the new art of engraving glass, which arose, it would seem, full-fledged at Prague and at Nuremberg just before the commencement of the seventeenth century.[[207]]

There is, indeed, every reason to accept the origin of this art given by contemporary writers—that it was learned from the Italian carvers of rock crystal, who in the last years of the sixteenth century were working for the Emperor Rudolph II., that moody recluse and most unsatisfactory ruler, who was, however, an eager and industrious inquirer into all the new arts and sciences of the day. This essentially cinquecento art of carving in rock crystal had been before this time carried to great perfection in the north of Italy. The most famous master was Valerio Belli (1479-1546), called Vicentino, from his birthplace. The finest work of this school is to be found in the caskets built up with plates of rock-crystal delicately carved in shallow intaglio.[[208]] Other artists carved in the round bowls and vases in the form of shells or other shapes, suggested, in the first place, by the outline of the original mass of crystal. If these men were in any way indebted to Greek artists from Constantinople or elsewhere, it can only have been for the knowledge of the mechanical processes, for there is no trace of Byzantine influence in their art. To judge by surviving examples, it was in the main the work carved in the round that found favour at the court of Rudolph II. We hear especially of two craftsmen from Milan, Girolamo and Caspare Miseroni, who worked for that prince.

As what we know of the early history of cutting and engraving on glass in Germany is chiefly derived from Sandrart’s famous work on the lives of German artists, I will here translate, with considerable abbreviations in places, what he says on this subject (Teutsche Academie, Nürnberg, 1675, Part II. book iii. chap. xxiv.).—It was during the reign of the most worthy Emperor Rudolph II. that the art of cutting glass was rediscovered and made public by Caspar Lehmann, Cammer-Edelstein und Glas-Schneider to his majesty. The emperor rewarded him richly for his discovery, and in the year 1609, at Prague, granted him certain privileges in a diploma which has been preserved:—‘Let all men know that our privy-precious-stone and glass-cutter Caspar Lehmann has informed us, that now some years since, with great strivings, with busy reflection, and not trifling cost, he discovered the art and practice of glass-cutting. And let it be known that the same C. L. shall have full liberty to carry on his art and work free and without let; and that no one, whoever he be, shall, without his consent, practise or deal in such art or work. And we request all the Electors, Princes, etc. etc., of the Empire to punish any infraction of this privilege with a fine of twenty marks of gold of true alloy.’

Lehmann, indeed, continues Sandrart, well deserved these privileges. Both he and his comrade Zacharias Belzer (they were both friends of Hans von Achen and Paul von Vianen, and for the most part they were lodged at court in one apartment) executed such excellent and artistic works in crystal and glass (some of which are still preserved in the Imperial Schatzkammer and also in the palace of the Elector at Munich) that they command the admiration of all connoisseurs.[[209]]

George Schwanhart the elder, says Sandrart, was the son of Johann, a skilful cabinet-maker and armourer, who made, among other things, exceptionally beautiful inlaid work of mother-of-pearl. George, who in his youth had learned cabinet-making and other arts from his father, acquired from the above-mentioned Lehmann a thorough acquaintance with the new art of glass-cutting. So much was he loved by Lehmann on account of his ingenious parts that the latter, before his death, bequeathed to him his privileges and rights as well as other property.[[210]] Schwanhart, after this time, further cultivated the art and much advanced it by various inventions, especially by the new ‘smooth or polished cutting’ (hellen oder blancken schneiden). His industry and skill obtained for him the praise and love of emperor, kings, and princes, as well as of all those who cultivated the arts and sciences. The late Emperor (Ferdinand III., 1637-1658) continued these privileges to his sons, Henry and George the younger, and gave to both of them appointments at court.

Now although, continues Sandrart, these artists had brought to perfection the art of glass-cutting as far as it depended upon judgment and drawing, yet in consequence of the too powerful and clumsy machinery made use of by them, even they were unable to give grace and charm to their work. When we consider the big heavy wheels that they were fain to employ—turned by those still flourishing weeds, their loutish assistants—we may well marvel at the work they turned out. Since that time the discovery of more convenient and efficient tools has brought it about that nowadays the art of glass-cutting is no longer a strenuous task, but rather a pastime. So that with intelligence and industry all the charm and softness of nature, whether trees, landscapes, animals, or portraits, may be by this art expressed. And yet these glass-cutters of to-day, with all their advantages, might obtain from their patrons still greater praise, were they to devote themselves more to the practice of drawing and to travelling about instead of marrying early and, as a consequence, having to work in the kitchen.[[211]]

Henry Schwanhart—I am still dependent upon Sandrart—who with his brother George inherited his father’s privileges, has not only distinguished himself as a philosopher and a poet, but has carried the art of glass-cutting to greater perfection. He has succeeded in tracing on glass, landscapes and complete views of towns—the city of Nuremberg above all—in correct proportion and cunningly retiring perspective, as in a painted picture. Nay, with his subtle wit he has done what before was held to be an impossibility, he has discovered an acid (corrosiv) of such a nature that the hardest crystalline glass yields to it, and like metals and stones, suffers itself to be corroded and eaten into.[[212]] He has quite lately given a complete proof of his skill in this art by etching all kinds of ornamental designs and inscriptions with the greatest neatness and precision. He has engraved, too, the human figure both nude and draped, and has brought it, as well as all kinds of animals and flowers, into high relief (in erheben zehr hoch gebracht).[[213]]

So far Sandrart, who was a contemporary of the younger Schwanhart, and I think that this long extract will give the reader some idea of the high esteem in which the art of engraving on glass was held at that time, as well as of the relation of the glass-engravers to the workers in other branches of art. The works of the Schwanharts are now, I believe, only to be identified in the case of certain examples of engraved glass in the Museum at Hamburg. Here may be seen a roemer, signed ‘G. S. 1660.’ The delicately engraved landscape on this glass, where the work of the diamond and that of the finest wheel are skilfully combined, would point to this being probably the work of the younger of the two Georges.

That even before the end of the sixteenth century there were engravers of glass in other parts of Germany, above all in Silesia, is very probable, but there can be no doubt that it was the connection of Lehmann and of the Schwanharts with the Imperial Court that first brought this style of decoration into favour with people in high station. In fact, for some time this engraved glass was made for the most part to the order of wealthy patrons. Besides those named by Sandrart, the Archbishop-Elector of Mainz and the Bishops of Würzburg and Bamberg are mentioned as patrons of the new art, and large prices were given for fine specimens of engraving.[[214]] One immediate consequence of the new fashion was to cause a demand for an absolutely clear white glass, and this led to such improvements in the manufacture that the glass of Silesia and Bohemia was soon recognised as the best in Europe.