VITREOUS COLLECTION. 
129 
acquired a wide reputation, and for a long time, defying imita- 
tion, enabled Venice to maintain a monopoly of the manufac- 
ture. The case No. 72 contains a fine collection of these skilful 
productions. 
The Vetro di trina is a fine lace work, with intersecting lines 
of white enamel or of transparent glass, forming a series of 
diamond-shaped sections, the centre of each having an air 
bubble of uniform size; this glass was executed almost with the 
precision of engine lathe turning. 
The art of making frosted glass appears to have been lost 
until it was revived at the Falcon Glass Works about 1850. Mr. 
Apsley Pellatt says : “ Suddenly plunging hot glass into cold 
water produces crystalline convex fractures, with a polished 
exterior like Derbyshire spar, but the concave intervening fissures 
are caused, first by chilling and then reheating at the furnace, 
and simultaneously expanding the reheated ball of glass by 
blowing, thus separating the crystals from each other, and leaving 
open fissures between, which is done preparatory to forming 
vases or ornaments. Although frosted glass appears covered with 
fractures, it is perfectly sonorous.” The ancient frosted glass is 
represented in Case 72 ; the modern in Case 52. 
In making filigree glass canes of plain, coloured, or opaque 
white glass are arranged in a mould, and a solid ball of flint 
glass is then heated so that the canes of glass adhere to it ; these 
are marvered or rubbed into a uniform mass, which is then 
covered with a gathering of white glass, and is formed into any 
shape. 
“ The Venetian Ball,” says Mr, Pellatt, te is a collection of waste 
pieces of filigree glass conglomerated together without regular 
design ; this is packed into a pocket of transparent glass, which 
is adhesively collapsed upon the interior mass by sucking up, 
and thus producing outward pressure of the atmosphere.” 
“ Millefiore is more regular in design than the ball, but of the 
same character. It was formed by placing lozenges of glass, 
cut from the ends of coloured filigree canes, ranging them in 
regular or irregular devices, and encasing them in transparent 
glass.” 
Schmeltz Glass, the character of which may be seen in the 
specimens in Case No. 71, was formed by welding together 
variously tinted glasses until the colours become irregularly 
blended, and the mass assumed somewhat the appearance of a 
variegated marble. 
The Venetian Plate and another specimen of opaque glass 
appear to resemble in many respects Feaumur’s porcelain 
(p. 126). 
Old German Glass, &c. Case 71. — This Case contains several 
interesting examples of early German glass. The tall cylindrical 
beakers, ornamented with escutcheons and other designs in 
opaque enamel colours, were peculiar to Germany during the 
