e the glass shade with its contents so inartistic,
although removed from its place of honour on the parlour table, found a
niche where it is preserved. Under such shades were preserved wool-work
baskets filled with artificial flowers, among which were often small
porcelain figures, butterflies and birds. Sometimes a Parian vase has
been filled with wax flowers, the making of which was a favourite
pastime half a century ago. The dried plant called "honesty" was
frequently covered with a glass shade. Glass ships were exceedingly
popular in seaport towns, and little miniature replicas of household
furniture in glass are met with; indeed, there seems to have been no
limit to the fancies and freaks of the glass blower, who has at
different periods provided the present-day collector with curious, if
very breakable, curios.

Enamels on Metal.

The art of enamelling on metal has been practised from very early times.
In its earlier forms it was chiefly an art applied to jewellery and the
ornamentation of ecclesiastical metal work. In time, however, it was
applied as a convenient method of decorating utilitarian household
articles such as fire-dogs and candlesticks. Those who frequent the more
important museums often associate enamels with the costly and rare
enamels of Limoges, and the choice bits of Italian enamels seen in the
cases of metals where the most valuable curios are gathered together.
Such vessels as those marvellous effects produced by the enamellers of
Limoges are indeed rarely found among household curios; it is well,
however, to note that the processes by which those effects were produced
changed as time went on. The earlier translucent enamel of the Italian
artists was laid over an incised metal ground, the design previously
prepared showing through. In the later Limoges enamels the surface with
which the copper base was overlaid was painted, very much in the same
way as the miniature painters on enamels operated in after-years.

The process of covering metal with enamels made of a species of glass is
very ancient, but the basis of all enamels is the application of fusible
colourless silicate or glass in pattern or design, mixed with metallic
oxides, the prepared surface being afterwards fired until the enamel
adheres firmly to the copper or other metal. The processes varied, but
the firing or fusing was the same throughout. The name "enamel" is
traceable to the French word _enail_ and the Italian _smalto_,