ANCIENT AND MODERN GLASS OF MURANO. 237 
of glass of different colors, giving great brilliancy of effect to the roughened sur- 
faces. 
Fourth. The kind now common, but expensive, known as aventurine glass, 
was first made in the seventeenth century. But before this the fashion of imitat- 
ing stones had begun, as also the opaque, variegated, marbled glass, commonly 
known as schmelz. The old specimens of jasper, lapis lazuli, tortoise-shell, agate, 
onyx, chalcedony, and mixed colors, chiefly in shape of essence and tear bottles, 
vases, jars, jugs, urns, ejc, are extremely well done, colors intense and harmoni- 
ous; but the modern are fast rivalling them, although, as we shall see, as yet not 
equal to Miotti's brilliant chalcedony, with its transmitted ruby light inside, or 
the earlier, softer, and more diversified aventurine. The modern is of a uniform, 
tiresome, mechanical, even sparkle, with no relief of tint and shade. 
Fifth. In the fifteenth century, or perhaps earlier, began the attempts to 
revive the varieties of the old Roman and Etruscan mosaic glass^ or that known 
as the millefiori, or thousand flowers, which is made by the combinations of canne, 
or rods, in fusion and union of colors in divers patterns. The old Venetians were 
successful, but not the extent of quite equalling the taste and beauty displayed 
by the Romans in this line of art. 
Sixth. The Venetians, however, surpassed the ancients in lace or reticulated 
and filigree glass — vetro di irina, reiicelle, filigrana, and the milk-white (Jatticinio) 
varieties, in the manipulation of which they acquired great skill. 
These divisions by no means include every species of work done by the old 
Venetians in this material. As early as the fifteenth century we have specimens 
of elaborate architectural compositions, like temples or tabernacles, and of cabi- 
nets, coffers, altars, crucifixes, and other objects of the most diversified, quaint, 
ornate, and complicated character, constructed of glass. Not only these, but 
statuettes and groups of figures in enamelled glass, beautifully modelled, were 
fashioned; mirrors, frames, lamps, candelabra, beads and chandeliers of costly 
elegance and variety of ornamentation also were largely produced, not to men- 
tion the grotesque and picturesque shapes given to articles of common use. In 
the seventeenth century, engraving with the diamond point began to be practised, 
generally in delicate lace pattern. The famous Giuseppe Briati in the next cent- 
ury successfully imitated the German and Bohemian cut and engraved glass to a 
certain extent, and was renowned for his glass-framed mirrors and chandeliers, 
ornamented in intaglio, and with foliage, fruits, and flowers. He revived also 
the best forms of the sixteenth century, especially the filigree and lace glass, with 
equal lightness and brilliancy, while his glass was of superior purity and clearness. 
His works were so much admired as to be put on a par at entertainments with the 
gold and silver plate. He died in 1772. With him passed away the best period 
of glass-making. Subsequently its forms became heavy and rococo. The fall of 
the Republic gave the death-blow to the industry, which virtually became a lost 
art until 1838, when Signori Bupolin, Bigaglia, Tosi, Radis, and others sought 
to re-establish it, with, however, but indifferent success. 
It was not until 1864 that any serious attempt with sufficient capital was 
