We may also recommend those curious imitations of antiques, on which bas-reliefs light as soap-bubbles were traced round the body of the vases, representing amorini, nymphs, and the richest foliage.

We have already alluded to those antique glasses, ornamented between two sheets of glass with engravings traced on gold-leaf. The Italians carried this style still further, executing on thin glass a picture relieved with "graffiti" or engraved lines and heightened with gold. This they then covered with a second thin layer of glass, forming a lining to the first, securing the durability of the work by soldering together these two pieces by the action of heat. Executed in this manner, arc found at the bottom of glasses, large subjects sometimes borrowed from the compositions of Raffaelle. Works of this sort, known in the trade as "verre eglomise," a word without any real meaning, were also executed in Germany about the second half of the sixteenth century. In modern times, something equivalent has been produced by painting laid on to the so-called "fixed" glass.

There may also still be found some of those extremely slender Murano glasses, embellished with delicate arabesques, engraved with the point of a diamond. This excessively rare description was doubtless the starting point of the glass engraving with the lathe, later practised in Germany with such rare boldness and perfection.

It is scarcely credible that records connected with the Murano glass manufactures, are not to be found even in Venice. It is known that, so early as the twelfth century, the mosaic workers were already decorating the churches. From the year 1268, the workers in glass had formed themselves into a guild, and Miotto Domenico had already invented the coloured beads, thereby giving a great impulse to the trade in rosary working. In the same thirteenth century, the "libro d'oro" of Murano, besides the Berovieri and the Ballarino, mentions Bigaglia, Cristoforo Briani, Gazzabin, Motta, Muro, Seguso and Vistosi. In 1459, Angeli Borromeo was already attempting to introduce the Venetian art into Florence, an attempt which was renewed in the sixteenth century by Giacomo and Alvise Luna. In 1528, Andrea Vidaore perfected the art of blowing beads; Vicenzo Roder devised the first mirrors; which Liberale Motta perfected in 1680, thereby establishing their permanent use. Vicenzo Miotti, inventor of aventurine, had an amazing success in 1605, shared by Girolamo Magagnati with his imitations of precious stones. In 1686, the Morelli gave their last finish to false pearls, and in 1730, Giuseppe Briati enriched his country with the secret processes stolen from the Bohemian factories.

Thus had the Murano furnaces largely contributed for six centuries to the prosperity of Venice, spreading the glory of its name to every part of the world. But it must not be supposed that other countries also made no attempt to compete with Italy in this branch of industry. Amongst her most zealous rivals was France, as shown by the subjoined chronological table of names occurring in various records, and in the writers dealing with this industry: -

1088. Robert, glass worker at Maillezais.

1307. Wilhelmus Giraud, la Roche.

1207. Simon le Joui, do.

1249 Guillaume Gaudin, les Moustiers.

1331. Andrd Basge, "Calot,' Aulnay.

1338. Guionet, Dauphine.

1382. Guillaume.

1382. Jehan, forest of Dotte.

1399 Philippon Bertrand. pare de Mouchamp.

1416. Jehan Fouquaut.

1442. Colin Bonjeu, Bichat.

1442. Catherine Chauvigne, Bichat.

1442. Pierre Musset, do.

1445. Colin Ferre, la Bouleur.

1456. Jehan Bertran, la Roche sur-Yon.

1456. Pierre Maigret, do.

1456. Lucas Rillet, do.

1468. Philippon and Jehan Boyssiere, la Puye.

1477. Guillaume Barbe Rouen.

1486. Jacques and Jean Bertrand. le Rorteau.

1491. Estienne de Salles.

1507. Geoffroy Poussart, la Motte.

1536 Pierre Wiswalle, Lorraine.

1543. Maurice Gazeau Jacob Morisson. and Francois Gaudin. modern glass-ware.

1550. Teseo Mutio, Saint-Germain-en-Laye.

1562. Francois Galliot, la Puye.

1572. Fabriano Salviati, from Venice.

1600. Thomas Bartholus and Vincent Busson, Rouen

1605. Francois de Garsonnet, Rouen.

1635. Ambroise Duquesne, Paul d'Annezel. Fourmies (window-glass).

1665. Nicolas du Noyer, Saint-Gobain Lucas de Nehon (plate-glass casting). de Sarode (Poitou).

It would be difficult to establish the accuracy of this long list. Amongst the workers in glass, many were doubtless engaged in the preparation of the window-glass, now everywhere superseding the oiled paper of former times, while others were mere blowers in coarse glass of bottles to contain wine. Still there is the old saying, "voirre de Vendome," and we take the following curious passage from the notice of the Correr Museum, by Vicenzo Lazari: "It seems that in the first years of the fourteenth century, the vast trade carried on in Venice, bringing with it enormous wealth, induced the French government to encourage in every way the national manufactories, But the success did not correspond with its efforts, and the trade in Murano glass-ware, was actively carried on with France during this and the following centuries." Philip of Valois had, in fact, established a workshop near Bezu, in Normandy, and here Philip Cacqueray earned a patent of nobility by his invention of glass dishes. King John founded other glass works at Routieux, and at Heliet near Dieppe. Goult, in Provence, had also its glass factories, where King Rene purchased glass objects, "moult bien varioles et bien peints," which he presented to Louis XI. Collectors may therefore search for any relics still in existence of these interesting essays, made during the fourteenth and fifteenth centuries.