. Glass. ve beeninseparably bound up with the use of these same enamels,and the impossibility of overcoming these defects mayhave been one of the causes of their abandonment and ofthe general adoption in their place of the painted decora-tion—mere thin skins of colour—which they were nowable to apply to their white cristallo, the typical glassof Venice. After the commencement of the sixteenthcentury, indeed, the use of the solid enamels was almostconfined to headings and subsidiary ornament sparinglyapplied. To return after this long digression to our class ofthinly painted enamels. We find th
. Glass. ve beeninseparably bound up with the use of these same enamels,and the impossibility of overcoming these defects mayhave been one of the causes of their abandonment and ofthe general adoption in their place of the painted decora-tion—mere thin skins of colour—which they were nowable to apply to their white cristallo, the typical glassof Venice. After the commencement of the sixteenthcentury, indeed, the use of the solid enamels was almostconfined to headings and subsidiary ornament sparinglyapplied. To return after this long digression to our class ofthinly painted enamels. We find that the use of thesepainted colours came in at quite an early date. I willtake as typical examples a pair of goblets or wine-glassesin the British Museum, one from the Slade collection(No. 391), the other presented by the late Sir A. These are both conical cups of simple outline,of which the bowl passes directly into the spreading edge of this foot is turned over to form a sort of198.
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