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Curiosities
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·Cover ·20 ·47 ·74 ·101 §128
·Title ·21 ·48 ·75 ·102 ·129
·iii ·22 ·49 ·76 ·103 ·130
·iv ·23 ·50 ·77 ·104 §Plate 1
·v ·24 ·51 ·78 ·105 ·131
·vi ·25 ·52 ·79 ·106 ·132
§Contents ·26 ·53 §80 ·107 ·Plate 2
·viii ·27 ·54 ·81 ·108 ·133
§1 ·28 ·55 ·82 ·109 ·134
·2 ·29 §56 ·83 ·110 ·135
·3 ·30 ·57 §84 ·111 ·Plate 3
·4 ·31 ·58 ·85 ·112 ·136
·5 ·32 ·59 ·86 ·113 ·137
·6 §33 ·60 ·87 ·114 ·138
·7 ·34 ·61 ·88 ·115 ·Plate 4
·8 ·35 §62 ·89 ·116 ·139
·9 ·36 ·63 ·90 ·117 ·Plate 5
·10 ·37 ·64 ·91 ·118 ·140
·11 ·38 ·65 ·92 ·119 ·Plate 6
·12 ·39 ·66 ·93 ·120 ·141
·13 ·40 ·67 ·94 ·121 ·142
·14 ·41 ·68 ·95 ·122 §Index
·15 ·42 ·69 ·96 ·123 ·144
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·17 ·44 ·71 ·98 ·125 ·146
·18 ·45 ·72 ·99 ·126
·19 ·46 §73 ·100 ·127
 
PLATE IV · ANCIENT VENETIAN SPECIMENS.
Figs. 5, 6, 7, 8. Are specimens in the British Museum of the delicate and beautiful mosaic pictures worn, probably, as rings or brooches, when mounted in gold, by the ancients.
Fig. 9. The formation of this pattern differs from the mosaic; and it is somewhat difficult to imagine the manipulations of the Glass-maker in working out its peculiar design.
Fig. 10. Curious specimen of ancient cased Glass, of the same class as the Portland vase, also from the British Museum.



PLATE IV.

ANCIENT VENETIAN SPECIMENS.

Fig. 1. Ancient Venetian cup and cover, called Vitro di Trino. This specimen was purchased about the year 1836, at the sale of the collection of Lady Bagot. The position of the entrapped air-bubbles varies, when the mass is stretched out of its original structure, they are upon the diamond crossings of the white enamel threads, as fig. 3; although, usually, between the junction of the angles, as fig. 4. The foot is made by a ring neatly cast upon the bottom of the cup, within which all the white enamel lines concentrate to the centre, with the accuracy of lathe or engine turning.
Fig. 2. Ancient Venetian frosted vase; formerly the property of Lady Bagot, subsequently of the author. The satyr heads have been impressed by a seal or die, after the vase was frosted, the gilding of which, as well as the border or rim, has been fixed by burning. The frosting manipulation and the Vitro di Trino are explained at pages 113 and 114.