From a drawing in the Author's possession.
Naturally the extraordinary cheapness of fuel in Ireland was a great help to the owner of a glass-house, as wood was the chief thing he burnt. But late in the seventeenth century an Act was passed prohibiting the felling of trees for this purpose, so even in those early days manufacturers had their troubles. However, I do not think this interfered very much. If an Irishman wants a thing, it takes a great deal more than an Act of Parliament passed by the Englishman on the other side of the water to stop him.
As late as the nineteenth century, in my father's time, our village carpenter would come and buy a good-sized ash tree for 1s. 6d. Those not so well off freely helped themselves by the light of the moon. We do not bring people to justice in Ireland for little slips of that sort: we should have no time left to ourselves if we did.
[GLASS CUTTERS.]
Very simple and primitive were the instruments used by the glass-cutters. Speaking broadly, the artist (for he was an artist) merely required revolving wheels, from 2 in. to 14 in. or 16 in. in diameter, sand, water, powdered pumice, and "putty powder," a mixture of whitening and other ingredients for polishing.
The wheels consisted of "mild steel" for cutting (many sizes), a "blue stone" wheel for smoothing, and one of very hard wood for polishing. Brush wheels were also employed.
The illustration of a very primitive glass-cutter's shed (from a drawing in my possession) will explain better than words how the work was done; the wheels were turned by the rough boards worked by the cutter's foot, while with his unerring hands he would perform marvellous feats of glass-cutting. Water and sand dripped slowly on to his wheel while he worked, generally from a flower-pot hung above.
He worked from a rough design on paper beside him, and this design he first scratched on the piece of glass with a sharp instrument. Much of the glass-cutting was done outside the glass-houses by men who had their cutting sheds in their own homes, as is shown in the illustration, and this accounts for the "individuality" of the work done. These men, dreamers and artists, were a "guild" with a very high ideal. The old Irish silversmiths also worked at home in a similar fashion, and, as all the world knows, executed the most perfect work.
In these days it is interesting to know that a strike ended the industry in Cork previous to 1840. Some English workmen came over and told the Cork men they were working too cheaply, though in fact they were much better off than those in England (where machinery was now well installed). The glass owners, who had become wealthy, but saw little prospects of retaining their fortunes under changed conditions, fought the men, and eventually closed down their factories.