74 
House & Garden 
The MACBETH GALLERY 
■•NIGHT SILENCES” by ELLIOTT DAINGERFIELD 
Announcement of 
ANNUAL EXHIBITION 
THIRTY PAINTINGS 
by THIRTY ARTISTS 
The gallery "Art Notes" will be 
mailed on request 
WILLIAM MAGBETH 
Incorporated 
450 Fifth Avenue {at Fortieth streeo NewYorlc City 
** The Bachelor” appeals 
to tke man of the home. 
With its tra:9 for the pipe, 
cigar or cigarette, it is just 
the sort to drai)? up to 
the sofa and furnish the 
light for a good book on 
a cold v^inter’s evening. 
KiajI we mail you our Read-RigKt Booklet ? 
MaxvJell-Rail Co., 25 W. 45th St., He's? York City 
Factory at \iilwaukee, V7is. 
The 
Bachelor 
When to Use Curtains and Shades 
{Continued from page 37) 
In the use of curtains and shades al] 
things have their place, but we must 
discriminate and determine with sanity 
where that place may be. We must 
recognize that fact, which is too often 
forgotten, that there are windows that 
ought not to be shaded nor curtained. 
If we are going to adopt a working 
rationale to guide us in the matter of 
shades and curtains we should heed 
these considerations: 
(1) Study the architectural nature of 
the window and see what it requires. 
(2) If it really needs shading, but is 
physically unsuited to roller shades, 
make hangings or curtains perform that 
function. 
(3) Do not let window appointments 
interfere with the primary purpose of 
the window—the admission of light and 
air. 
(4) Do not be a slave to the blind 
obsession for uniformity. Deal with 
each window according to its own in¬ 
dividual needs, and if several windows 
in a room invite or admit of different 
treatment from the other windows in 
the same room, do not hesitate to follow 
the lead of a direct simplicity and 
sanity. 
(5) Light, and plenty of it, is nor¬ 
mal; do not fear to let it in. Do not 
forget that it is one of our common 
American failings to cry out for plenty 
of large windows and then proceed to 
block them up. 
(6) Beware of loading any window 
with a terrifying complexity of ap¬ 
pointments unless it be so ugly that it 
requires all the disguise that human 
ingenuity can contrive. And even then, 
be careful what you do. 
(7) Conformable to the foregoing 
memoranda, see what a window really 
needs and in supplying the needs keep 
an open mind, be suspicious of and 
question convention, and remember the 
value of restraint. 
Beginning With Bohemian Glass 
{Continued from page 27) 
upon the local German glass—of this 
last, indeed, practically nothing is 
known. It would seem that it was not 
until the 16th Century was well ad¬ 
vanced that any attempt was made in 
Germany to compete with the Venetian 
cristallo. Like the mediceval glass of 
France and England, the earlier German 
glass was doubtless a mere household 
ware, of all descriptions the least likely 
to be preserved.” 
Italian Influence in Germany 
This Italian influence naturally ex¬ 
erted itself first and most strongly on 
the glass of Southern Germany. By 
1531 Nuremberg was granting a subsidy 
to promote glassmaking after the Vene¬ 
tian methods, Augustin Hirchvogel hav¬ 
ing, perhaps, brought back from 
Murano the secrets of the Venetian 
craftsmen. Thence onward glassmaking 
in the northern countries developed 
rapidly. 
It was then that the workers began 
to experiment with colored glass. The 
pure crystalline glass was desired in 
red hues free from flaws. The Ger¬ 
man artists finally came to employ gold 
and copper in its manufacture. Says 
Dillon “Ruby glass was a most re¬ 
markable production; though it might 
have been produced in ancient days, it 
was certainly reinvented and brought to 
perfection by Kunckel, 1679. . . . He 
never left full directions for making 
ruby glass, but affirmed that he could 
produce it without gold. It is now 
known that a perfect ruby color can be 
got with copper, but the manipulation 
is difficult and the result uncertain, a 
little more or less exposure to heat pro¬ 
ducing different tints.” 
Ruby has been a prized color in en¬ 
graved Bohemian glass, one that, with 
the claret-color, we have come immedi¬ 
ately to associate with the name. The 
first half of the 18th Century was the 
flourishing period for glass in Bohemia 
(and in Silesia as well). The towns of 
Haida and of Steinschoenau rose to 
great importance in glass production. 
Under the patronage of Count Kinsky 
the manufacture of Bohemian glass in¬ 
creased and became an extremely valu¬ 
able article of commerce, being exported 
to Spain, Portugal and even to the In¬ 
dies. It even supplanted the glass of 
Venice in the Levant, although the 
Venetian glass held its own against Ger¬ 
man glass in the main. 
From Sandrart we learn something of 
the art of engraving or cutting glass. 
He tells us in his Deutsche Academic 
(published in 1675) that during the 
reign of the Emperor Rudolph H, the 
art of cutting glass was rediscovered 
and made public by Caspar Lehmann, 
gem-engraver and glass-cutter to the 
Emperor, who richly rewarded him for 
this in the year 1609, at Prague. Sand¬ 
rart also tells us of George Schwan- 
hart the elder, who learned glass-cut¬ 
ting from Lehmann, who bequeathed to 
him his secrets and his privileges upon 
his death, 1622. So skilful a glass- 
cutter did he become that he in turn 
received court favor up to his death in 
1667, after which the imperial patron¬ 
age was continued to Schwanhart’s sons, 
George the younger and Henry. Henry 
Schwanhart was credited with the dis¬ 
covery of an acid “of such a nature that 
the hardest crystalline glass yields to 
it, and like metal and stone, suffers it¬ 
self to be corroded and eaten into.” 
This was about the year 1670. There 
soon appeared numerous skilful glass- 
cutters, Herman Schwinger and others, 
and as a consequence improvements in 
the Bohemian glass were demanded un¬ 
til it was soon recognized as the best 
production in Europe, so esteemed, in 
fact, that Giuseppe Briati of Murano 
spent three years in Bohemian glass- 
factories disguised as a porter, learning 
the secrets which he carried back to 
Venice, receiving a patent in 1736 for 
making glass after the Bohemian fash¬ 
ion. Henry Schwanhart’s three sisters, 
Sophia, Maria and Suzanna are said to 
have learned glass-cutting, applying 
themselves to decorating the glass pieces 
with flowers and other ornaments and 
being especially skilled in the calli¬ 
graphic decoration so fashionable at that 
period. 
Glass Cutting Machinery 
As to the improvements in glass-cut¬ 
ting machinery claimed for the Schwan- 
harts, we cannot determine exactly what 
these were. In artistic and delicate 
work, the glass was pressed against the 
edge of a minute revolving copper 
wheel, and thus was its pattern cut 
into or engraved. With coarser work 
the glass was ground down on a larger 
iron wheel, was then smoothed at a 
stone wheel and finally polished by a 
revolving disc of wood, abrasives being 
used with each of these wheels at the 
various stages of the process. While 
the engraved glass is most clearly as¬ 
sociated in our minds with the products 
{Continued on page 76) 
