The above represents a German decorative drinking vessel of the early part of the seventeenth century. It is a stork bearing in its beak an infant; in accordance with the old German nursery tale that the king of the Storks is the bringer and protector of babies. It is of silver, chased all over; the eyes are formed of rubies; and one wing takes off that liquid may be placed in the body, and imbibed through the neck, by a hole in the crown of the bird. It was probably a quaint fancy for some German noble nursery.
EXAMPLES OF ANCIENT VASES.
The Vases which are grouped in the annexed engraving are highly deserving of a place in our collection of curiosities, inasmuch as they are truly unique and beautiful specimens of the degree of perfection to which the art of glass-making had been carried at the period when Rome was mistress of the world. They all belong to that period, and in elegance of form and skill of workmanship they equal—we had almost said, surpass, the most artistic productions of the present day.
Figure 1 is that celebrated vase which for more than two centuries was the principal ornament of the Barberini palace at Rome. It was thence generally known as the "Barberini Vase;" but having been purchased by Sir W. Hamilton, and then sold by him to the Duchess of Portland, it was at her death munificently presented by her son, the Duke of Portland, to the British Museum, where it has ever since remained as one of its choicest gems, and is now known as the "Portland Cinerary Vase." It was found about the middle of the sixteenth century, enclosed in a marble sarcophagus, within a sepulchral chamber under the Monte del Grane, two miles and a half from Rome, on the road to Frascati. The tomb is believed to have been that of the Emperor Alexander Severus, and his mother Mammæa. The vase is made of purple glass, ornamented with white opaque figures in bas-relief. The execution of the design is most admirable. In the first place, the artist must have had the aptitude to blow in purple glass a beautiful form of vase, with handles attached: and, even thus far, this is considered in our day a masterpiece of skill at our best glass-houses. Secondly, with the oxide of tin forming an opaque white glass, the artist managed to cover the whole of the purple vase with this white opaque glass, to at least the thickness of a quarter of an inch. The artist then, in the manner of cutting a cameo on the onyx stone, cut the opaque glass away, leaving the white figures and allegory embossed upon the purple. The figures in relief are in two groups: in the former of these, a female is represented in a recumbent posture, with a cupid hovering above her head, and a serpent in her lap; a young man on one side supporting her stretched out arm, and on the other a bearded personage of more mature age, attentively regarding her. The latter group, on the opposite side of the vase, consists of a female reclining on a pile of tablets, with her right hand placed on her head, and holding in her hand a lighted torch with the flame downwards—a young man being seated on a pile on one side of her, and a female, holding a rod or staff in the right hand, sitting on the other. The subject of the bas-relief has created much difference of opinion, but it is generally supposed to have reference to the birth of Severus. A few years ago this vase was broken by a madman, but it has since been repaired in a most artistic manner.
Figure 2 is the "Alexandrian Vase," of the Museo Borbonico, Naples.