little decomposition, is apparent on the upper surface; and under the cement, no decomposition whatever has taken place.

Fig. 2. Has the same variety of colours as the above, but with a regularly foliated rosette-like design, in yellow, red, and white, upon a dark blue ground. This has a mosaic granular appearance, and shows its pattern in front and reverse, in an oblique direction. The acute angular fracture on the edge, exhibits a partial section of the pattern and colours, and leaves no doubt of the whole being formed by threads of coloured Glasses, fused together in masses and veneered, by cutting through at right angles, or obliquely, as more fully explained in the manipulatory portion of this work.

Fig. 3. This fragment, a miniature effigy of the Egyptian idol Isis, appears to have been pressed into a metal mould while the Glass was soft. The colour was of the richest azure blue, tolerably transparent. (See Klaproth's analysis, which defines its chemical constituents; the colouring oxide was, no doubt, iron.) This specimen, the production of Alexandrian, or very ancient, furnaces,. was most probably suspended about the person of its owner by the perforated loop at the top, and worn as an amulet.

Fig. 4. A small lachrymatory vase, of the same rich azure blue as the Isis fragment; the handle and mouth of the vessel are crudely formed, and the white enamel on its body is welded to the blue, and may have had some hieroglyphical meaning. It is as perfect as originally manufactured, with the exception of a very slight decomposition of surface.

Fig. 5. Fragment of an Ethiopian effigy, or statuette, of a clear amber colour. Its colouring constituent was probably iron, in a different proportion of oxygen to that of the azure blue.