236 KANSAS CITY REVIEW OF SCIENCE. 
men often years' experience, if they honorably failed, and had no other means 
of subsistence, were entitled to pensions of seventy ducats annually. When there 
were more master-workmen than could be profitably employed, it was forbidden 
to increase their number from the apprentices untill there was a real call for new 
hands. Whoever became a member of the guild was obliged to take an oath of 
fideUty. No one who had not a regular discharge from his employer could be 
received into the service of another, and every proprietor was obliged to seal- 
his cases with his own trade-mark. It was forbidden to employ strangers under 
any pretence. If there were not enough of the Muranese at times for labor, or 
to exercise the art, Venetians only might have the privilege, but they must be 
duly quahfied. No employer could hire a master-workman who was in debt ta 
another of the guild. Such were some of the regulations to keep the art in a high 
state of efficiency, and which for more than five centuries gave it an incontestable 
superiority in its special aim over all other establishments in Europe. In fine, 
Murano became as artistically famous for its glass as Urbino, Pesaro, Gubbio, or 
Chaffagiolo at the same time for their majolica, but with far greater commercial 
development. 
Mr. Franks, somewhat incompletely but conveniently, so far as he goes,, 
classifies the decorative glass as follows, in six divisions : 
First. The transparent and colorless glass, or of single colors, commonly^ 
black, purple, blue, ruby, green, opalescent, amber, etc. Sometimes there are 
two colors in the body of the same vessel — one inside and the other on the out- 
side. Frequently in the handles and external ornamentation a variety of colors- 
twisted in light fantastic forms of extreme delicacy, or laid on in threads, is used, 
especially in drinking-vessels. 
Second. The heavier Gothic or classical forms, originating in the fifteenth 
century, before the fashion changed to the extremely light and capricious shapes 
of the sixteenth, were profusely gilt and enarnelled. As these processes required 
considerable strength of material, they were confined to the heavier objects, in 
the form of bowls, cups, tumblers, salt-cellars, nuptial and other gift goblets. 
The decorations consisted chiefly of pictorial scenes, such as processions, portraits, 
coats of arms, inscriptions, allegories, scroll and lace work, and various intricate 
designs : sometimes merely flowers, garlands, or flower-like ornamentation in gold, 
diversified with many dots in lines representing pearls and precious stones, or 
scale decorations. In later times, cups and dishes, instead of the more expensive 
and difficult enamelling, were painted on their under surfaces in oil-colors. As 
this form of glass requires not only great skill in its material preparation, but 
but equal artistic talent, and is liable to many accidents in the furnace, it was 
always expensive and not common. Good specimens of the ancient are very 
rare, and the finest valued at thousands of dollars each, especially those done by 
Berovier, of whose work the nuptial cup at the Correr Museum at Venice is a. 
noteworthy example, of about A. D. 1450. 
Third. In the sixteenth century, glass with a rough surface, as if frosted or 
frozen, called crackled, first came in vogue ; also the kind incrusted with fragments. 
