^

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"^
 PUBLICATIONS OF
THE HISPANIC SOCIETY OF AMERICA
No. 102
"^
 SPANISH GLASS
IN THE COLLECTION OF
THE HISPANIC SOCIETY OF AMERICA

BY

EDWIN ATLEE BARBER, PhD.

DIRECTOR OF THE PENNSYLVANIA MUSEUM AND SCHOOL
OF INDUSTRIAL ART

ILLUSTRATED

G,R PUTNAM'S SONS

NEV YORK AND LONDON
Cbe Iftntcfterbocker ftrees

1917

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 ^

Copyright, 1917
by
THE HISPANIC SOCIETY OF AMERICA

TIbe Iknfcfterbocher ipress, H*ew Jgorft

* * *
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 LIST OF PLATES
PLATE

I. Vase ..... Frontispiece

PAGE

II. Pokal, or Goblet Barcelona, Late

Seventeenth Century . .
.27
Beaker, or Pokal Bowl
III.
Seventeenth Century ... Barcelona,
29

IV. Flask Maria, Province of Almeria .

31

V. Cup Probably Catalonian . .

33

VI. Sugar Bowl San Ildefonso . .

35

VII. Tumbler San Ildefonso ... 37

VIII. Bottle, or Decanter San Ildefonso 39

IX. Mug San Ildefonso . . .

41

X. Vase San Ildefonso . . .

-43

111

352418
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 SPANISH GLASS

INTRODUCTORY NOTES

glass-making was one of the earliest

ALTHOUGH and most important of the arts Spain and
in

has continued uninterruptedly down to the present

time, its complete history has not as yet been written.

Gerspach, who includes a brief review of the subject

in his VArt de la Verrerie, tells us that most of his
information was given him by Baron Charles Da-
whose death prevented the completion of
villier,

two works on the glass industry of Spain and painting

on glass. The literature of this craft in Spain con-

sists principally of the mention of manufacturing

centres by works of a general
earlier writers in their

nature, which statements have been gathered together

by Rico y Sinobas, Juan F.
later authors, such as

Riano, and Leonard Williams, but these accounts

furnish little information regarding the exact char-
acter of the several wares which were produced at
various places at different periods. The results

of Riano's researches and studies, which have been

summed up in a single chapter of his Industrial
 '
'
< I

?.*|.HV ':..; SPANISH GLASS

Arts in Spain, comprise practically all the informa-
tion on the subject we possess, which has been used

by the other recent chroniclers in their reference to

this art. The material for the intelligent study of
the subject is contained in the public and private
collections of glass in Spainand elsewhere, rather
than in the manuscripts and printed archives of
the past, and awaits the attention of a competent
specialist.

Through the fragmentary accounts which have

reached us since the fourteenth century, certain
important facts, relative to the condition of the art
in Spain, stand out prominently. Several distinct
influences appear to have been at work in different
from an early period, among
sections of the Peninsula

which, in their due order, were the Roman, the

Saracenic, the Venetian, and that of Western Europe.
The development of the industry in Spain appears
to have followed the course of trade from other
countries and to have maintained its distinctive
character through succeeding centuries, wherever it

found a foothold in the Iberian Peninsula. Thus we

find that in certain localities the principal characteris-
tics originally introduced, as a rule, survive.
The manufacture, however, was not confined to
useful and ornamental glassware, for we learn that
 SPANISH GLASS 3

several important establishments in Spain produced,

from an early time, large mirrors, lusters and painted
glass windows for the embellishment of cathedrals
and churches, of which may be mentioned the

important examples at Toledo, Seville, Leon, and

other places. Serlor Rico y Sinobas gives a list of

glass painters of the fifteenth, sixteenth, and seven-

teenth centuries, whose names have been preserved
in the records of the old Spanish churches and cathe-
drals. This phase of the subject, however, need not
claim our attention here.

ROMAN GLASS
writing in the first century A.D., informs
PLINY,
us that in his time glass was being manufactured
in Spain. Don Manuel Rico y Sinobas 1
asserts that
in the Iberian-Roman period glass was made in
various places in the interior, in the valleys which
run from the coast of Catalonia to the Pyrenees,
near the mouth of the Ebro, especially at Tortosa,
also in Valenciaand Murcia, in the valleys of Olleria,
Salinas, Busot, and Rio Almanzora. Among the
objects found in tombs of the Roman period he
1
Del Vidrio, Madrid, 1873, pp. 11, 12, and 15.
4 SPANISH GLASS
enumerates small jars with handles, cups, vials
without a foot but with a wide neck, pateras with
gold, plates, molded saltcellars, small amphorae,
lacrymatories of many varied forms, rings, red,

yellow, and gilded, beads, bracelets, and a multi-

tude of trinkets.
1
According to Kisa, the principal centre of glass-

making in the Iberian Peninsula in Roman times

seems to have been Taracco, where large quantities
of utilitarian glassware^are found, especially long-
necked flasks. At other places, besides a number of
engraved pieces, great quantities of ordinary glass-
ware have been found, of which unarranged collec-
tions are preserved in museums without notes as to
where found or other information as to their prove-
nance. It is true that glass had been imported from
the East long before the time of the Romans, iirst

through the Phoenicians and then through the Greeks.

In the Phocian colony of Rosas (ancient Rhoda)
and the Massilian Castellon de Ampurias (Emporion)
at the foot of the Pyrenees, there have been found,
besides glass beads, Egyptian alabastra and other
opaque glass with the fern design and wavy thread
decoration. A number of beautiful pieces from

Ampurias have found their way into the Zettler col-

1
Das Glas im Altertume, Leipzig, 1908, p. 189. .
 SPANISH GLASS 5

lection in Munich. With the downfall of the Roman

sovereignty, the glass industry of the country seems
to have declined; Isidor of Seville (who died in

636) speaks of the glass factories of the Romans as

belonging to the past.

Engraved glass is of Italian provenance. It
became scattered to Portuguese soil and was there
used to place in tombs. One, a small bottle with
engraved view of the coast of Puteoli (Italy) and of
Bajae was found in an old Roman mine at Odemira
(Portugal), in the province of Evora; others were
found at Tavira (Portugal). This leads one to sup-
pose that the industry was transplanted from the
Campania (Italy) from the oldest glassworks of the
,

West, to the Iberian Peninsula.

"
Riafio states that Glass vessels of the Roman
period found in Spain are similar in form and manu-
facture to those which we know were made in France
and Italy. This is not to be wondered at, if we
remember that the Romans imposed their artistic
forms on the countries they conquered. It is im-

possible to classify the specimens of this industry

into determined localities. The study of the glass

paste may, at some future period, give materials for

such a classification.

"One special characteristic of Roman glass may

6 SPANISH GLASS
be taken into account to be applied to Spanish glass
of a later period. We find ancient specimens con-
stantly ornamented with a sort of thread or line
which runs all over the vase. These lines are some-
times made of transparent glass, and sometimes of

white opaque glass, termed in Italy latticinio from

its milky whiteness. When the industry of glass

making was revived in Europe during the fifteenth

and sixteenth centuries, classical forms were copied
in this as in other industries ; this line ornamentation
was copied on a much smaller scale in Italy than in
Spain, where it constituted the chief and constant
characteristic of glass making. an interesting
It is

fact that objects of a traditional Moorish form have

the greatest amount of lines of this style of ornamenta-
tion. We cannot, until this subject is more thor-

oughly investigated, do otherwise than infer either

that the tradition of this industry was preserved in

Spain, or that the Arabs imported this style of decora-

tion from the same localities from which it had been
by the Romans
1
copied centuries before."
The collection of Roman glass in the Hispanic
Museum belongs to the second century and comes
from two localities Italica and Carmona. The
1
The Industrial Arts in Spain, South Kensington Art Handbook,
1879, p. 229
 SPANISH GLASS 7

material from the former place was exhumed from

Roman graves by Mr. Archer M. Huntington, and
consists of bottles, bowls, etc., of the same character
as the glass which has been found in Italy, and else-

where.
After the Roman period the glass produced in
Spain may be roughly divided into three classes:
(1.) Showing Eastern influence; (2.) showing Ital-

ian influence; (3.) showing Silesian or Bohemian

influence.
1. The Southern Spain reveals the influ-
glass of
ence of the nearer East. This is particularly true
of the products of the provinces of Granada, Andalu-
sia, Murcia, and Almeria.
2. On the northeastern coast, at Barcelona and

throughout the province of Catalonia, at Mataro,

Almatret, and Cervello, the glass of Venice, or Mu-
rano,was taken as model, the result of the extensive
importation of Italian glass and glassworkers in the
fifteenth century and later. The production of glass
in Venetian style also extended into the interior to

Cadalso, Recuenco, Cebreros, Valdemaqueda, and

San Martin de Valdeiglesias.
3. At La Gran j a de Ildefonso a style of glass was
developed in the eighteenth century which, while
presenting elements of originality, was evidently
8 SPANISH GLASS
derived from the cut and gilded glass of Bohemia or
Silesia.

While glass was made at many places, of more or

less importance, throughout Spain, the principal
centres of the manufacture, during the sixteenth

century and later, were Almeria, Catalonia, and

Cadalso.

ALMERIA (Province of Almeria)

glass was produced at Almeria and Maria

THATthe southeastern part
in of Spain during the

Mohammedan domination is shown by Al-Makkari

the Arabian author of Mohammedan Dynasties in
Spain (London 1840), quoting Ash Shakandi, an
Oriental writer of the thirteenth century, who wrote :

"
Almeria was also famous for the fabrication of
all sorts of vases and utensils, whether of iron, copper,

or glass." 1
The
produced in the provinces of
glass
Almeria and Granada was often of an Oriental char-
acter in which Persian forms were strongly marked,

revealing none of the influence of Italy. It was

usually of a dark green color, a striking peculiarity
being the multiplicity of handles, two, four, eight,
or more in number, which were serrated and covered
1
The Industrial Arts in Spain, by Juan F. Riafio, p. 230.
 SPANISH GLASS 9

with rustic projections, irregularly branched like the

twigs of a tree. This exuberance of ornamentation
suggests the method employed by modern glass-
blowers of melting canes of glass over a flame and
attaching them to the surface while in a plastic state.

Among the forms produced there are globular jars,

vases, bowls, and pilgrim bottles, profusely decorated
with spines and ridges, buttons, trellis-work and
encircling threads.
"At Almeria, which was celebrated for its glass
'

industry as early as the thirteenth century,' says

a recent writer, "a peculiar style of glassware was
made, the forms of which have been partially pre-
served down to the present day. Here we find the

original forms of the native glass mingled with

Oriental forms and decorative motives. The most

popular are examples of bulbous shape decorated

with knobs, threads, and rosettes, with wide funnel-
shaped necks and a number of handles, which latter
are decorated with an irregular, pinched, comb-like
ornamentation. . . . The collection of the Berlin

Museum contains several of these bizarre, fantastic

however, probably date from

pieces, all of which,
the seventeenth to the eighteenth century. The

composition of this glass is poor; the colour varies

from the palest olive green to the deepest blue green;
io SPANISH GLASS
violet (purple) and brown decorations are not rare." 1
In the collections of Sefior G. J. Osma of Madrid
de
and the Victoria and Albert Museum of South Ken-
sington are numerous examples from Maria. These
are distinguished by four marked features, viz.:

Green or olive colored glass; threads of glass encir-

cling the surface; handles with serrations or rustic

projections; and, most characteristic of all, a chain
pattern in relief, which encircles many of the vases
and bottles (see Plate IV.).

According to Leonard SWilliams: "Almeria was

probably the most important centre of Spanish-
Moorish glass-making, and is mentioned in connection
with this craft by Al-Makkari. The oriental shape
of the older vessels which were made in this locality
is still preserved in certain objects such as jars,

bowls, flasks and aguardiente-bottles, which are still

manufactured, or were so until quite recently,

throughout a region extending from Almeria to the
slopes of the Alpujarra.
11
None of the original Moorish glass of the Alham-
bra has survived till nowadays. Most of it was
destroyed by the explosion, in the year 1590, of a
powder factory which lay immediately beneath the
Das Glas, Handbook of the Kunstgewerbe Museum,
1
Berlin,
1912^.367, by Robert Schmidt.
 SPANISH GLASS n
palace and beside the river Darro. In the Alhambra
archives particular mention is made of the circular
' '

glass windows or only the corresponding holes

eyes,
of which remain, in the baths of the same palace.
This glass, which may have been in colour, was also
destroyed by the explosion, as were the windows,
*

painted in colour with fancy devices and Arabic

lettering' of the Sala de Embajadores, those of the
Hall of the Two and certain windows,
Sisters,
1

painted with many histories and royal arms/

x
belonging to the church of the Alhambra."

BARCELONA (Province of Catalonia)

was produced at several places in Catalo-

GLASS
nia, in northeastern Spain, particularly at

Barcelona, an early period. Sefior Juan F.

at
2
Riafio states that as far back as 1324 an edict was
issued prohibiting the establishment of glass factories
inside the city limits. A glass-makers' guild was^
formed in 1455, which was in existence at least until
1659, St. Bernardino being its patron saint. Jeroni-
mo Paulo wrote in 1 491 that glassware, which could
compare favorably with that of Venice, was exten-
sively exported to Rome.
x
The Arts and Crafts of Older Spain, p. 231 et seq.
2
The Industrial A rts in Spain, South Kensington Museum Art
Handbook, 1890 Edition, p. 234.
12 SPANISH GLASS
1
Gerspachinforms us that on June 8, 1475, the
Catholic Queen Isabel conceded to the monks of the
convent of San Geronimo de Guisando the privilege of
establishing a glass furnace at Venta de los Toros de
Guisando, with exemption from the duties, or tax
on sales, and in 1503 Ferdinand the Catholic sent
to Queen Isabel two hundred and seventy-four pieces
of glass of Barcelona which were worthy of their

high destination. This glass attracted the attention

of the Venetian Ambassador, Navagaro, who visited

Spain in 1523 where he-^aw several pieces presented

by the princess to the royal chapel in the Cathedral
of Granada. An inventory taken during the reign
of Philip II. mentions, under the heading "Bidrios
"
de Barcelona, one hundred and nineteen pieces of
glass of various forms, among which were some
enameled lamps.
This fabric is referred to in the highest terms by
other authors, among whom was Marineus Siculus,

who, writing early in the sixteenth century, stated

that "the best glass made in Spain is that of Barce-
lona." Vases, rose-water vessels, cups, and other
objects were provided with crinkled and serrated
ornamentation and handles which varied in number
from two to four or more. The rose-water sprinkler
1
UArt de la Verrerie, p. 300.
 SPANISH GLASS 13

(borracha) was often diagonally striated and pos-

sessed two tubes (one for filling and one for emptying)
and a ring handle at the top. These vessels were
carried by women to sprinkle rose water in religious
processions. This Spanish glass, however, was
usually thicker and heavier than the Italian and of

more clumsy modeling.

Rare specimens of glass with enamel painting have
been found in Spain which have been attributed to
Barcelona. They date from the latter part of the

fifteenth to the beginning of the seventeenth century.

This variety of glass suggests an Eastern origin

both in the shapes and the colors of the enamels,
which include dark red, brown, black, yellow, blue,
green, and white. The green color predominates
and is usually of a peculiar yellowish tint. The
Saracenic influence is shown in the designs, such as

dogs, hares, deer, birds, and foliage. Fine examples

of this variety are preserved in the museums of

London, Hamburg, Amsterdam, Paris, Venice, and

Berlin. In the Kunstgewerbe Museum of the last

city a tazza or circular dish decorated with figures

is

of dogs and birds and foliage in enamel colors and in

Saracenic style. Similar examples are in the collec-

tions of Sefior G. J. deOsma of Madrid and Senor
Emilio Cabot of Barcelona. The Victoria and Albert
14 SPANISH GLASS

Museum, London, contains a tazza with a white

bird as the central ornament, surrounded by festoons
of lily-like flowers and foliage in green, blue, and yel-
low. Two stags and two hounds in white enamel

occupy the outside space, arranged alternately at

equidistant points, while a second piece, of similar
character, bears a white mask in the centre with

surrounding flowers and leaves in green and yellow.

All of these are attributed to the sixteenth cen-

tury.
Edward Dillon, in his book on Glass mentions a
beautiful example of Spanish enameled glass in the
Museo Civico at Venice. It is a small flask which
came from the Maglione collection at Naples. The
characteristic apple green enamel is relieved by
yellowish foliage and red and white birds.

Two-handled circular flasks, or vases, of flattened

form, with bell-shaped mouth, surmounting a spread-

ing foot are among the most characteristic objects
of this provenance and period and examples are
fine

included in the Osma, Cabot, and South Kensington

collections (see Frontispiece).

At Barcelona, during the eighteenth century,

opaque milk-white glass with rudely painted decora-
tions was produced quite extensively, and much of
this was made for exportation to the East, to Mexico
 SPANISH GLASS 15

and other countries. The principal forms were

drinking mugs, flasks, etc.

CADALSO (Province of Toledo)

1517, Marineus Siculus stated in his De las Cosas

"
IN Memorables de Espana that Glass was made
in several towns of Castile, the most important of

them being Cadalso, which supplied the whole king-

dom." The glass made there was, as described by
1

Mendez Silva in 1645, "of beautiful colours and

1
forms, which can compete with the Venetian."
"In the latter end of the seventeenth century this
industry began to fall off, until it was revived by
Don Antonio Obando in 1692, and glass of all sorts

was made there as before. This revival lasted until

the middle of the last century, at which time glass

ceased altogether to be worked there." 2
A vase of
the seventeenth century, in the Victoria and Albert
Museum, is richly mottled in various colors, having
two large scroll-shaped handles terminating at the
lower ends in rosettes. Ewers, bowls, cups and
saucers, drinking cups, and bottles were among the

1
Quoted by Riano, p. 238.
2Introduction to the Catalogue of the Art Objects of Spanish
Production in the South Kensington Museum by Senor Juan F.
Riano, 1872.
1 6 SPANISH GLASS

objects produced there which reveal a strong Vene-

tian influence. Some of these possess considerable
elegance of form and are quite thin, a favorite style of
ornamentation being pebbled effects, bands and lines
of red, blue, and green on a milk-white ground.
Imitations of precious stones were also among the
productions of Cadalso.

SAN MARTIN DE VALDEIGLESIAS (Province

of Madrid)

of fine quality, in the Venetian style,

GLASS
was being produced in 1680 at San Martin
de Valdeiglesias, under the direction of a Belgian
glass-worker, Diodonet Lambot, at a factory estab-
lished by the Duke of Villahermosa. After his death
in 1683, Lambot was succeeded by Santiago Vando-
leto, under whose management the manufacture
declined, but under the superintendency of Don
Antonio Obando, a few years later, the quality of the

Valdeiglesias products was greatly improved.

Glass in the Venetian style was also produced in
the seventeenth and eighteenth centuries at Cebreros,

province of Segovia; Valdemaqueda, province of

Avila; and at Mataro, Almatret, and Cervello, in
Catalufia. The glass of Mataro was so celebrated
that when foreign princes travelled in Spain the king
 SPANISH GLASS 17

had a galley conduct them to that place to visit the

glassworks there.

LA GRANJA DE SAN ILDEFONSO

important manufactory was established by

AN Don Juan de Goyeneche in 1 720 in the province
of Toledo at a place called Nuevo Baztan. Much of

the glass made there was exported to America, princi-

pally to Mexico and to other foreign parts. Ven-
tura Sit, who had been employed there, as stated by
Leonard Williams, x decided to found a glassworks at
La Granja. "Here is the royal summer residence of
San Ildefonso, and Sit was fortunate enough to
secure at the outset that is, in 1728 the firm

protection of Philip the Fifth and of his consort,

,,
Isabel Farnese. Here mirrors, chandeliers, and
other objects were produced for royal use. In 1771,
one Eder, a Swedish glass-worker, and Sivert, a
Frenchman, directed the work of making the smaller
and more elaborate articles and the productions of
the factory were greatly improved. Bottles and
other objects of a useful and ornamental character
continued to be made and a characteristic style was
developed after the French and German methods.
1
The Arts and Crafts of Older Spain, vol. ii., p. 252.
18 SPANISH GLASS
The glass itself was of a somewhat inferior quality

but the decorations were elaborate, consisting of

richly cut and engraved devices such as flowers,
inscriptions, and views, reheightened with gold, the
invention of Sigismund Brun, who originally came
from Hanover and directed the manufacture of the
plainest glass. A large number of workmen and
artistswere employed there until about 1828, when
the works passed into private hands and were closed
about 1849. Among the cut and gilded articles

produced at La Gran j a under royal protection were

vases with two handles and covers, bottles, tumblers,

drinking mugs, and covered bowls. The flattened

four-sided bottles with cut or engraved decorations

bear a strong resemblance to the large flasks of

German or Dutch origin, which, in the eighteenth

century, were made to be fitted into liquor cases in

sets of six to twelve. Some of the Spanish bottles are
of enormous size and elaborately ornamented with
richly cut patterns.
Swinburne, writing in 1776, describes the walls of
the great audience-chamber of the royal palace at
Madrid as being "hung with large plates of looking-
glass in rich frames. The manufactory of glass is
at Saint Ildefonso, where they cast them of a very

great size, but I am told they are apt to turn out

 SPANISH GLASS 19

much rougher and more full of flaws than those of

1
France."
This style of glass was introduced into Mexico
by the Spaniards, some of whom may have come
from La Granja. be presumed that glass
It is to

of this character was sent from Spain into Mexico,

but it is certain that it was also, at a little later date,
made in Puebla in great quantities and today it is

found throughout Mexico in abundance. Among the

prevailing forms of Spanish glass are pulque tumblers
of enormous size, many of them being twelve inches

or more and two-handled vases varying

in height,
in dimensions from six to fifteen inches.
These
objects were ornamented in three ways. 1. They
were simply cut into decorative designs, such as
rosettes, floral and foliated patterns, birds, etc.

without gilding or coloring. 2. The cutting was

frequently covered with gilding. 3. The pieces,

probably at a later date, were superficially painted

over the gilding in various colors. A large tumbler
in the Pennsylvania Museum, Philadelphia, is em-
bellished in this manner with floral subjects and
medallions enclosing polychrome heads of some of
the more noted rulers of Mexico.

1
Quoted by Leonard Williams in The Arts and Crafts of Older
Spain, vol. ii., p. 253.
20 SPANISH GLASS
The collection of glass in the museum of the His-

panic Society of America, while limited in extent, is

fairly representative of the Roman period and of the
various styles which originated at the principal
seats of Spanish manufacture in the sixteenth,
seventeenth, and eighteenth centuries.
I take this opportunity to acknowledge my in-
debtedness to Excmo. Sr. Don G. J. de Osma, of
Madrid, for helpful suggestions in the preparation
of these pages.
 CATALOGUE
i. VASE
Height, g}4 inches.

Flattened disc-like body, with long funnel-

shaped neck, from which spring two slender
figure 2 -shaped handles, and resting on a small
spreading foot. The decoration on either side
consists of crudely painted figures, a bridal

pair, standing between fir-like trees, above which

are birds. The costumes of the figures are those
of the sixteenth century. The enamel colors

light green, yellow, and white have been applied

thickly and stand out in marked relief, the handles
being touched with gold.
Barcelona, Spain, sixteenth century.
See Frontispiece.

2. POKAL, OR GOBLET
Height, 7K inches.
Bell-shaped bowl and stem with central bulb,
terminating in a trumpet-shaped foot. The deco-
21
22 SPANISH GLASS
ration consists of bands of enamel in flame-like

ornaments, alternating with vertical dashes, at

upper and lower edges of the bowl, and on the
stem; beneath the upper rim are two bands of
conventional scroll and festoon designs; sur-

rounding the stem bulb is a circle of S-shaped

motives separated by dots, while around the
expanded foot are bold ornaments resembling
conventionalized fleur de lis. The color of the

glass blue, the ornamentation being green, rose,

is

and white enamel, with touches of gold. This

chalice-like form of cup occurs in Arab glass, and
is frequently found in the productions of Murano,
of the seventeenth century and later. Ger-
1
spach figures two enameled glasses of this type
with Arabic inscriptions, which he attributes to
the thirteenth century. One is in theChartres

Museum, the other in the museum at Douai. The

former is decorated in white and blue enriched
with gold. The inscription is in gold in Neski
characters and has been translated "Enduring
glory, long life exempt from disease, favorable
'
fortune always, great prosperity.' The inscription
on the Douai chalice has, on account of its fantastic
character, not yet been deciphered. The form
1
UArt de la Verrerie, Paris, 1885.
 SPANISH GLASS 23

appears to have been copied at some of the Spanish

glass centres where the Italian influence was

strongly marked. The decoration of the Hispanic

cup, in colored enamels, is bold and heavy and

indicates Spanish treatment rather than Venetian,
and we are inclined to attribute it to Barcelona
or one of the Catalonian factories of the late seven-
teenth or early eighteenth century.
Plate II

3. BEAKER, OR POKAL BOWL

Height, 4 inches; Diameter of Brim, $34 inches.

Of clear, colorless glass, with widely flaring

sides and small flat base. The reticulated surface

pattern is traced in white enamel, with brown,

green, and yellow dots in the meshes. The brim

is embellished on the under side with green oak
leaves surrounded by white traceries, touched with
gold. Evidently the upper part of a goblet,
whose stem and foot are missing. The scar on
the base plainly shows that it has been broken
from its support. Probably of Barcelona origin,
in Venetian style, showing Arabic influence, and
may be ascribed to the seventeenth century.
Plate III
24 SPANISH GLASS

4. FLASK
Height, 6^ inches.
Flattened form, spiral threads around shoulder,
chain-like band of triangular figures below.
Thick, olive green glass.
From Maria, province of Almeria, early seven-
teenth century. Plate IV

5. CUP
Height, 53^8 inches.

Globular body, standing on flat, circular foot.

Band of chain pattern^around lower part, in relief.

Crimped and winged handle. Colorless glass of

yellowish tint, showing Venetian influence.

Spanish, probably Catalonian, eighteenth century.

Plate V
6. SUGAR BOWL
Height, 7^ inches.

Standing on foot, having cover and two handles.

Colorless glass, cut and gilded festoon design
around centre.
La Granja de San Ildefonso, Spain, eighteenth

century. Plate VI

7. TUMBLER
Height, 5K inches.

Cylindrical form, fluted below; cut and gilded

decoration.
 SPANISH GLASS 25

La Granja de San Ildefonso, Spain, eighteenth

century. Plate VII

8. BOTTLE, OR DECANTER ,

Height, 12^8 inches.

Tall, slender form. The decorations consist of
bold floral designs, cut and gilded; on neck a
circle of gilded stars.

La Granja de San Ildefonso, Spain, eighteenth

century. Plate VIII

9. MUG
Height, $}4 inches.
Flaring at top; one handle; decorated with floral
sprays in gold.
La Granja de San Ildefonso, Spain, eighteenth

century. Plate IX
10. VASE
Height, 12 inches.
Bulbous body; cylindrical collar; spreading foot ;

two handles; cut and gilded festoon decoration on

sides.

La Granja de San Ildefonso, Spain, eighteenth

century. Plate X
(Vases of this type are found in abundance in
Mexico, many which have been brought from
of

Spain, while some were produced, under Spanish

influence, at Puebla, Mexico.)
"^J
 Plate II

pWV>>>S31U>>>2m
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Pokal, or Goblet
Barcelona
Late Seventeenth Century

27
^
 Plate III-

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i?i*

mmm
Beaker, or Pokal Bowl
Barcelona
Seventeenth Century

29
^
 Plate IV

Flask
Maria
Province of Almerfa

3i
>
 Plate V

Cup
Probably Catalonian

33
^
 Plate VI

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;

W:

(
:
:

Sugar Bowl
San Ildefonso

35
^
 Plate VII

<g f *j .
.

Tumbler
San Ildef onso

37
 Plate VUl

Bottle, or Decanter
San Ildefonso
39
"^
 Plate IX

Mug
San Ildefonso

4i
=*
 Plate X

ft

;<

Vase
San Ildef onso

43
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LD 21-S0 J. S ,. 33
UNIVERSITY OF CALIFORNIA LIBRARY