the chemistry of colours, or other
constituents of Glass; and still less upon the modes of blowing, shaping,
or moulding, this artistic manufacture. One of the chief objects of the
present work is to supply this defect, by concentrating within a practical
focus the rays of information to be found in the works of Neri, Merrett,
Kunkell, Blancourt, Loisel, Deaudenart, Bontemps, and others; and to
blend with their researches certain Curiosities of Glass Manufacture,
familiar to those practically engaged in Glass Works, but comparatively
little known to amateurs of the Art, and those who take interest in its
very elaborate details; this portion of the present volume being the
result of my own experience and investigation.
The value of researches
into the skill of by-gone ages in order to benefit the arts of our own
times—more especially with the powerful aid of the present state
of chemical science—is strikingly illustrated in Glass Manufacture.
But for the existence of the Portland and Naples Vases, part of an ancient
Vase in the possession of Mrs. Aldjo, and some interesting fragments from
the ruins of Thebes, Pompeii, Rome, and Roman London, we should have
been unacquainted with the high art of ancient Glass Cameo Engraving;
ad many Glass colouring constituents and manipulatory processes which
now excite our admiration and imitation.