July, 1923 
45 
Bowl of Cork glass. The pattern 
is also found in Waterford glass, 
making this an unreliable means 
to serve as a sure identity 
Some typical examples of Cork 
glass from the collection of Mrs. 
Bram Stoker. These glasses of 
all sizes show the usual cutting 
tone (or “ring”), texture, and certain pecu¬ 
liarities of cutting and finish. Its value de¬ 
pends on the condition and the rarity of the 
piece. The color is a debatable ciuestion. 
It is commonly stated that ^^’aterford cut- 
glass is distinguished by a peculiar gray- 
blue tinge which cannot be mistaken or 
imitated, and “without which none is genu¬ 
ine”. It is difficult to account for the 
tenacity with which the idea persists, de¬ 
spite the fact that in a good deal of marked 
between old Irish and Georgian glass has 
led to some confusion. English, Scotch, 
and Irish patterns were used indifferently 
by cutters in Ireland, and though subtle in¬ 
dications crept in later, pattern, in the 
earlier pieces, is not a sure guide. Also, 
wdiilst Ireland was exporting her own glass 
she was importing a good deal from Eng¬ 
land, and it is quite possible to mistake 
for genuine Waterford some of the hand¬ 
some cut-glass which is found in Ireland 
to this day. 
The points to be considered in determin¬ 
ing the quality or the genuineness of 
Irish glass are as follows; color, weight. 
Waterford the tinge is entirely absent. All 
old Irish glass is dark compared with 
Bristol or wdth modern products, and a 
fairly large amount is distinctly blue in 
tone; but this applies wdth equal or even 
greater force to the glass of Cork and Dub¬ 
lin than to that of Waterford. However, 
this blueness is highly prized, and is, in¬ 
deed, so charming that we may feel thank¬ 
ful that the old glass-workers W'ere unable 
always to eliminate the impure oxide of 
lead or to prevent whatever happy accident 
brought it about. A more reliable sign of 
genuine \\"aterford is the deep, fine, sharp 
{Continued on page 86) 
Waterford was made up into a host of necessary 
and decorative objects. Humble but beautiful ex¬ 
amples are found in these knife rests and salt cellars 
decanters were made in 
enormous number s, many 
perfect specimens survive 
from which to make choice 
A flower vase elaborately 
cut, leaving no plain surface. 
The graceful pattern on the 
rim is repeated on the base 
