[197] A separate muffle-stove for this purpose was, it would thus appear, not yet available.
[198] This part of the decoration we may indeed regard as a survival of the Venetian influence that was dominant in the middle of the sixteenth century. Of this I have already spoken.
[199] This flower, the Mai-glöcklein, is frequently seen on German enamelled glass, and is the more conspicuous as it is almost the only flower realistically treated. I may note that M. Schuermans would appear to regard the presence of these tiges de muguet, executed in enamel, as essentially a sign of Low Country origin; they are, however, frequently accompanied by inscriptions in German.
[200] Notice to the heraldic right of the birds’ heads a shield bearing a cross and the inscription Potestat zu Rom.
[201] On a small humpen, or rather kanne, of this class in the British Museum, dated 1611, we find only three secular electors—those of Saxony, the Palatinate, and Brandenburg; the place of the fourth (Bohemia) is occupied by the imperial eagle.
[202] Herr von Czihak mentions that he has seen in the museum of Freiberg, in Saxony, a covered humpen, painted in oil-colours, protected apparently with some kind of lacquer. The glass is dark green, and the Gothic character both of the metal cover and of the painting points to a date not later than 1500. The subject, according to a quaint inscription, has relation to ‘Eneaspius der Babst’ (the Pope Pius II., 1458-1464), and to the ‘Roemischer Kaiser Friderich der dritt’ (Schlesische Gläser, p. 101).
[203] What Mathesius states is, ‘The white [i.e. colourless] glasses have now become common over which white threads of white colour are carried; these glasses are made in Silesia.’ Herr von Czihak (p. 96) says that he has seen many such glasses of somewhat rude make in that province. It will be remembered that some of the vetro di trina made at Murano is also only superficially decorated.
[204] On the other hand, the technique of the cemetery glasses differs essentially, as in these the two plates of glass are fused together, on the edges at least (p. [92]).
[205] We often find similar defects developed on glass lenses. To ensure achromatism and accuracy of definition these lenses are built up of two layers, one of crown, the other of flint glass, cemented together by a varnish.
[206] This art was carried to the highest perfection in Holland by a group of cultured amateurs in the seventeenth century (see p. [295]).