505:
541:
434:
664:
214:
529:
517:
557:
418:
28:
619:
158:
394:
406:
324:
351:, in 1732, were glass versions of the standard brass designs long used in England, imported or locally-made versions of a Netherlandish and north French design style that had been developed since the 15th century. Around the mid-century, designs took up the use of multiple faceted pendants, which had been used in the enormously expensive chandeliers of the French court, where instead of glass carved clear
20:
457:("sweetmeat glass" is a term used by collectors), and for bowls and trays either for use at the table or in the drawing room. These larger shapes allowed the room for cutters to produce many of the most interesting and characteristic cut designs, which experts can often date rather precisely, as they passed through several different styles. Starting with the
116:. Cut glass requires relatively thick glass, as the cutting removes much of the depth, and earlier clear glass would mostly have appeared rather cloudy if made thick enough to cut. For both types of object, some pieces are still made in traditional styles, broadly similar to those of the 18th century, but other glassmakers have applied modern design styles.
489:
in the cut glass style began as early as the 1820s, and grew greatly in the 1830s, but the
British cut glass industry continued to expand. In 1845 a commentator stated "cut-glass is now comparatively cheap". The ability of British glass designers to patent their designs after 1842 was a help; the
465:
and
Regency styles, and finally one with "Gothic" arches by about 1840. The Regency style added to the 18th-century diamond shapes zones with many parallel bands, furrows, or flutes, either vertical or horizontal, initially rather narrow, but later wider, in the "broad flute" style. From about 1800
169:
described how patterns may be cut on glass vessels by pressing them against a rotating wheel of hard stone. The process of cutting has stayed the same in modern times apart from changes in details since that description in the middle of the first century AD. It has always used a small rotating wheel
674:
At the end of the century the market for expensive decorative glass appears to have slumped, perhaps because so much was now being made and traded internationally. Corning's cut glass industry peaked in 1905, when a directory recorded 490 cutters there, and 33 engravers, though the quality of some
185:
Typically the design is marked with paint on the glass before cutting β in
England red is usually used. One advantage of cut glass for the manufacturer is that it can very often be arranged for the small flaws such as bubbles that are inevitable in a proportion of glass pieces, and would lead to a
477:
On wine glasses and similar shapes, the rim where the drinker's mouth would touch was left smooth, but the bowl, especially the lower part, the stem, and the foot might be cut. A starburst on the underside of the foot was common. On jugs, cups for eating desserts from, and bowls the rim was often
343:
edges to large mirrors became fashionable in
England, achieved by rubbing with abrasives, but also by "cutting". The making of "looking glasses" was a different branch of glassmaking from the makers of drinking glasses, and it seems to have been in the former that "the craft of cutting was born",
682:
in the early 20th century did not do much to change this, and in 1923 an
English expert complained that "to the aesthetic soul is still a thing accursed ... a striking testimony to the persistence of Ruskin's influence". He tried to do a survey of likely owners of 18th-century cut glass such as
602:
long charged on glass was abolished in 1845, which both encouraged the development of exciting new styles of decorating glass, and also made glass cheaper, leading to a flood of pressed glass imitations of cut glass style that tended to devalue the prestige of the style. Nonetheless, cut glass
580:
firm of F. & C. Ostler. Cut glass had dominated both its main market niches for several decades, but a number of factors were about to challenge it, at least as far as vessels were concerned. The
Victorian taste for over-ornamentation was beginning to take over, and some of the cut glass
490:
mould makers (often called "die-sinkers" in the trade) were apparently often independent of the glass factories. At least in
America, where the cut glass industry was growing rapidly, "cutting shops" were also often, or usually in the 19th century, independent operations buying
610:: "its most complex brilliant cutting involved covering the glass surface with intersecting cuts that created innumerable, often fragmentary shapes making up larger patterns. Basic motifs used were stars, hobnail or polygonal diamonds, strawberry diamonds and fan scallops...".
1136:, designer of the most celebrated Arts and Crafts glass, was deeply influenced by the mid-nineteenth-century movement to reform the design of English glassware, As Andy McConnell explains, this began with Ruskin's violent reaction against cut glass.." The Free Library. 2005,
148:
and spread the light in way that was new, and were enthusiastically embraced by makers and their customers. The main skeleton of the chandelier was very often metal, but this was often all but hidden by a profusion of faceted glass pieces, held in place by metal wire.
119:
Expensive drinking glasses had previously mostly concentrated on elegant shapes of extreme thinness. If there was decoration it was mostly either internal, with hollow bubble or coloured spirals within the stem ("twists"), or surface decoration in
647:
which is then cut through, giving a colour contrast. Similar effects were sometimes used in the West, especially in continental Europe. Cut glass vessels remained popular, but an increasingly conventional and conservative taste, little used for
197:
powder and water". In the late 19th century, an alternative method using fluoric acid was introduced; this made the process of polishing faster and cheaper. However, it "gives a dull finish and tends to round off the edges of the cuts".
310:
developed a cheap and reliable lead "crystal" glass with a high refractive index in
England, which various other glassmakers adopted. After some time, the potential of cut glass using this basic material began to be realized; a high
750:
The best contemporary sources mostly use "cut glass" (especially
British ones) as a noun, but often "cut-glass" as an adjective. In the 19th century "cut-glass" as a noun was perhaps more common, as in the first use cited in the
278:
were probably made by
Islamic artists, but perhaps for the European market. Perhaps from the 12th century, they are either very late examples of Islamic glass-cutting, or isolated ones of medieval European use of the technique.
170:
of, or coated with, some abrasive substance, and usually with a liquid lubricant such as water, perhaps mixed with sand, falling onto the area being worked and then being collected below. The wheels were originally powered by
298:
decoration, water-powered and imitating rock crystal. Typical pieces were cups and goblets with coats of arms surrounded by rich Baroque ornament, with the background cut away to leave the reliefs raised. This is called the
378:
By 1800 it was already common to dismantle chandeliers and reconfigure them into a more fashionable shape, and subsequently most old chandeliers have been converted from candles to electricity, often after a period as
61:
on small hanging pieces, often all over. Historically, cut glass was shaped using "coldwork" techniques of grinding or drilling, applied as a secondary stage to a piece of glass made by conventional processes such as
186:
clear piece being rejected, to be placed in the areas to be cut away. Conversely, if imitation cut glass using moulds is made, the complexity of the mould shapes greatly increases the number of faults and rejects.
714:, a whisky or cocktail tumbler. In chandeliers, however, the clear cut glass style has been adapted successfully to modern styles and still holds its own, especially for large public spaces such as hotel lobbies.
221:, donated in 1732, one of the earliest datable cut glass examples. The shape follows contemporary brass examples, with glass branches but no "drops"; only the pieces down the stem are cut, mostly with flat facets.
638:
in France, and other innovations. Cut glass, especially in the brilliant style, did not mix well with these β the great majority of it has always used clear glass. An exception is the distinct Japanese style of
358:
Over the rest of the 18th century, and the early part of the next the number of drops increased, and the main stem of the chandelier, typically in metal, tended to disappear behind long chains of them. By the
363:
there might be "some thirty drops in perhaps six or eight graded sizes, and each drop might have 32 facets on each side. Costs soared." The dominance of cut glass in other lighting devices such as
698:, were sympathetic to linear and geometric decoration and made use of the technique, often as one of a number of techniques used in a single piece. This continues to be the case in the recent
504:
1163:
Battie & Cottle, 1188 (quoted); Osborne, 409: Sinclaire, 13β14. A "strawberry diamond" is a set (usually four) squares inside a diamond, the squares with further ornament inside,
1381:
1443:
591:, denounced the whole technique, writing "We ought to be ashamed of it" and "all cut glass is barbarous, for the cutting conceals its ductility and confuses it with crystal".
108:
and other light fittings. Both began to be made using the cut glass style in England around 1730, following the development there of a reliable process for making very clear
730:, where "words are pronounced very clearly and carefully". The accent is agreed to be less common now than it was several decades ago, with even leading exponents such as
57:
vessels, the style typically consists of furrowed faces at angles to each other in complicated patterns, while for lighting fixtures, the style consists of flat or curved
540:
594:
At the same time, and further stimulated by the Great Exhibition itself, the British style was spreading across the Western world, and in particular cut American and
347:
A London glassmaker advertised in 1727 that he sold "Looking Glasses, Coach Glasses and Glass Schandeliers". The earliest examples, like that given to the chapel in
466:
to 1840 "almost all British luxury table glass was cut", and the style spread to Europe and North America. English cutters were instructing French workers at the
205:
in 1888, a leading figure in the American industry claimed that "We take a piece of glass .... costing 20 cents and .... in many cases put $ 36 of labor on it".
528:
225:
Technically, the decorative "cutting" of glass is very ancient, although the term "cut glass" generally refers to pieces from the 18th century onwards. The
1143:
1436:
663:
417:
606:
In the 1870s the "brilliant", "brilliant cut" or "American Brilliant" style emerged, perhaps first seen in America in glass exhibited at the 1876
660:, which both took on board Ruskin's criticisms, and preferred sinuous curving forms that emphasized the flowing, frozen liquid nature of glass.
1730:
270:, a clear mineral), and this style was also produced in glass, which was cheaper and easier to work. Cameo glass was also produced. Similar
405:
1429:
433:
581:
displayed at the Great Exhibition was described as "prickly monstrosities". In the year of the exhibition, the hugely influential critic
213:
49:
is a technique and a style of decorating glass. For some time the style has often been produced by other techniques such as the use of
516:
1662:
626:
The last decades of the 19th century saw exciting new developments in glass design, with much use of colour, the Victorian version of
1311:
607:
482:
above, and by the 1840s it was popular to have areas of "frosting", rubbing the glass with abrasives to reduce its transparency.
467:
236:
used a variety of techniques, but mostly large amounts of drilling, often followed by polishing, to produce the deeply under-cut
393:
1348:
1315:
1297:
707:
290:, but there was very little use of deeper cutting which, however, continued to be used in rock crystal and other forms of
1775:
1269:
348:
218:
274:
effects were also achieved even more cheaply in mould-blown glass. The 13 or 14 surviving examples of the so-called
576:
of 1851 in London was a huge glass fountain (8.25 metres or 27 feet high), including much cut glass, by the leading
1607:
1524:
1816:
1164:
229:
128:. Outside Venice and Spain, lighting fittings had not previously made much use of glass in Europe; the enamelled
1722:
1692:
1504:
1499:
1334:
657:
495:
294:. In Germany in the late 17th and early 18th centuries there was a revival, for "two generations", of cut
727:
556:
368:
710:
includes examples. Traditional cut glass designs are still used, for example in what Americans call the
96:
There are two main types of object made using cut glass: firstly drinking glasses and their accompanying
53:, but the original technique of cutting glass on an abrasive wheel is still used in luxury products. On
1376:
Sparke, Penny, "At the Margins of Modernism: The Cut β Crystal Object in the Twentieth Century", 1995,
1119:
An often quoted but rarely attributed description. It certainly appears (without quotation marks) in
478:
cut with zig-zags or other ornament. Especially in the 18th century, cutting was often combined with
27:
1811:
1677:
1597:
711:
233:
1806:
1745:
1534:
1353:
1133:
731:
569:
307:
1252:
81:
has long been misleadingly called "crystal" by the industry, evoking the glamour and expense of
652:, a new term for decorative glass with artistic aspirations. This was even more the case with
1652:
1637:
1582:
1577:
1344:
1307:
1293:
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471:
291:
50:
69:
Today, the glass is often mostly or entirely shaped in the initial process by using a mould (
1567:
1479:
1452:
688:
618:
573:
157:
113:
1780:
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1529:
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1138:
723:
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328:
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125:
121:
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remained a staple in most prosperous British households, and was still widely exported.
323:
1801:
1759:
1754:
1712:
1612:
1395:
Jewels on the Cut: An Exploration of the Stourbridge Canal and the Local Glass Industry
703:
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438:
360:
283:
178:. Today electric power is used. For cutting flat facets a turntable device called a "
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82:
63:
1409:
American Cut and Engraved Glass of the Brilliant Period in Historical Perspective
1371:
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Labour was the main cost in making cut glass. Arguing against the reduction of
175:
137:
136:
was a different matter. But cut glass "drops", faceted in a style derived from
133:
129:
77:. Traditional hand-cutting continues, but gives a much more expensive product.
726:, a "cut-glass accent" is an especially clipped version of British upper-class
1667:
1489:
1421:
577:
561:
226:
145:
109:
105:
78:
32:
1083:, "Cut", as past participle, 3, the oldest usage the original OED could find.
1749:
1740:
1562:
1557:
679:
649:
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372:
141:
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A second operation polishes the cut glass, traditionally using a wooden or
19:
1697:
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684:
384:
380:
237:
97:
498:, one of the centres of the industry, supplementing English immigrants.
494:
from the glassmakers. In the 1870s Bohemian cutters began to arrive in
344:
and the mirror makers were the workshops who expanded into chandeliers.
454:
179:
174:, but by the mid-19th century workshops had several stations linked to
171:
74:
1672:
458:
295:
271:
267:
245:
202:
86:
445:
Starting out by decorating mainly wine glasses, decanters and other
675:
work was falling; by 1909 the number of cutters had fallen to 340.
262:
in Egypt, valued bowls and other objects in "carved", that is, cut
662:
617:
555:
432:
375:, and lamps was never as complete, but all were often made in it.
340:
322:
212:
194:
156:
58:
26:
18:
1735:
312:
1425:
1402:
The American Cut Glass Industry: T.G.Hawkes and His Competitors
1416:
Irish Glass: Waterford, Cork, Belfast in the Age of Exuberance
1080:
872:
Sinclaire, 19β20; Battie & Cottle, 191 (quoted); Farr, 107
752:
702:
movement. In mid-20th-century England there was a revival in
101:
1378:
Bulletin of the John Rylands University Library of Manchester
944:
Battie & Cottle, 94; Osborne, 403; Davison and Newton, 40
1257:
The Cambridge Advanced Learner's Dictionary & Thesaurus
706:, which was often accompanied by some cutting; the work of
1370:(New York State Series), 1997, Syracuse University Press,
449:, by the 19th century cut glass was used for a variety of
1189:, Cooper Hewitt, Smithsonian Design Museum; Farr, 108β110
232:
made glass beads that were engraved with simple shapes.
1121:
European Glass: A Brief Outline of the History of Glass
1025:
Battie & Cottle, 110β111 (110 quoted); Osborne, 403
89:, and most manufacturers now describe their product as
1418:(Faber monographs on glass), 1981, Faber & Faber
734:
having softened their pronunciation over the years.
1768:
1721:
1543:
1460:
1123:, 1926, by Wilfred Buckley and Ferrand Whaley Hudig
1325:Design in British Industry: A Mid-century Survey
1110:Battie & Cottle, 111; Davison and Newton, 71
691:, but found very few would admit to owning any.
598:was attacking the British market. The previous
23:Bowl of a wine glass in typical cut glass style
1154:Battie & Cottle, 112β120; Osborne, 403β404
1437:
1185:Battie & Cottle, 143β161; Sparke, 31β33;
423:Large modern chandelier being worked on, Iran
182:", already used in gem-cutting, was adopted.
8:
485:Competition from cheaper, but lower quality
1341:The Oxford Companion to the Decorative Arts
622:Contemporary Czech cut glass in two colours
315:content also made the glass easier to cut.
1444:
1430:
1422:
1368:Complete Cut and Engraved Glass of Corning
1270:"Has the Queen become frightfully common?"
755:, from 1845. But Ruskin used "cut glass".
809:Powell, 140β141; Battie & Cottle, 110
1234:Sparkes, 33β37; Battie & Cottle, 170
989:History; Davison and Newton, 71; History
908:Battie & Cottle, 40β43; Osborne, 670
1290:Sotheby's Concise Encyclopedia of Glass
743:
500:
411:Detail of cut glass "drops" or pendants
389:
16:Glass with geometrical incised patterns
643:, which adds a thin layer of coloured
470:by 1781, and later Belgian cutters at
1304:Conservation and Restoration of Glass
1176:Battie & Cottle, 120β123, 128β135
854:Powell, 141; Battie & Cottle, 191
694:But some glassmakers, for example in
453:shapes, mostly those associated with
7:
1360:, 1923, Cambridge University Press,
1327:, 1955, Cambridge University Press,
1132:Sparke, 32; "Revolution in glass:
568:The centrepiece at the crossing of
244:in two colours, and objects cut in
1485:Extrusion / Drawing (glass fibers)
1302:Davison, Sandra and Newton, R.G.,
980:Davison and Newton, 69β70; History
971:Davison and Newton, 69β70; History
14:
1480:Blowing and pressing (containers)
1380:, 1995 , 77 ( 1 ) : 31β38,
608:Philadelphia Centenary Exhibition
441:above, England, late 18th-century
437:Wine rinser with cut fluting and
399:Oddly-sited Victorian chandelier
1187:"Wine Glass (England), ca. 1900"
539:
527:
515:
503:
416:
404:
392:
282:Very shallowly scratched or cut
510:Dessert glass, England, 1760β80
1306:, 2008, Taylor & Francis,
1272:, BBC website, 3 February 2016
1:
1411:, 1986, Gazelle Book Services
1335:"A History of the Chandelier"
534:Irish jug, early 19th century
252:is the outstanding survivor.
240:, objects of extreme luxury,
1663:Machine drawn cylinder sheet
1259:, Cambridge University Press
1007:Battie & Cottle, 103β104
286:was revived by at least the
217:Chandelier in the chapel of
1776:Glossary of glass art terms
349:Emmanuel College, Cambridge
339:In the early 18th century,
219:Emmanuel College, Cambridge
1833:
306:In the later 17th century
161:Czech glass-cutter at work
1288:and Cottle, Simon, eds.,
1142:, accessed 10 May. 2021,
1016:Davison and Newton, 68β69
560:American "brilliant cut"
546:English (?) vase, c. 1835
468:Saint-Louis glass factory
260:that of the Fatimid court
230:Indus Valley civilization
165:In the first century AD,
1693:Satsuma Kiriko cut glass
1505:Overflow downdraw method
1500:Precision glass moulding
1495:Drawing (optical fibers)
1292:, 1991, Conran Octopus,
1198:Battie & Cottle, 128
1092:Battie & Cottle, 110
1070:Battie & Cottle, 128
1061:Battie & Cottle, 110
1043:Battie & Cottle, 128
1034:Battie & Cottle, 127
998:Battie & Cottle, 103
962:Battie & Cottle, 102
890:Battie & Cottle, 102
818:Battie & Cottle, 102
658:Arts and Crafts Movement
355:(quartz) had been used.
85:, or carved transparent
73:), or imitated in clear
1746:Shock metamorphic glass
1400:Spillman, Jane Shadel,
1366:Sinclaire, Estelle F.,
1358:Glass-making in England
935:Battie & Cottle, 84
917:Battie & Cottle, 44
899:Battie & Cottle, 35
1339:Osborne, Harold (ed),
728:Received Pronunciation
671:
623:
565:
522:Bowl, 1820β30, English
442:
336:
222:
162:
39:
24:
1407:Swan, Martha Louise,
1404:, 1999, ACC Art Books
1397:, 2010, Sparrow Books
926:Osborne, 395β397, 690
791:Osborne, 398β399, 403
666:
621:
559:
436:
326:
216:
160:
30:
22:
1608:Cylinder blown sheet
687:colleges and London
303:("high cut") style.
1731:Radiative processes
1546:historic techniques
1470:Float glass process
712:Old fashioned glass
234:Ancient Roman glass
1525:Chemical polishing
732:Queen Elizabeth II
672:
624:
570:the Crystal Palace
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443:
337:
308:George Ravenscroft
223:
163:
40:
25:
1789:
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1723:Natural processes
1638:Fourcault process
683:historic houses,
668:Waterford Crystal
654:Art Nouveau glass
496:Corning, New York
472:Val Saint Lambert
292:hardstone cutting
91:cut crystal glass
1824:
1817:History of glass
1453:Glass production
1446:
1439:
1432:
1423:
1414:Warren, Phelps,
1393:Fisher, Graham,
1354:Powell, Harry J.
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1207:Sinclaire, 7, 17
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718:Cut-glass accent
689:livery companies
656:and that of the
574:Great Exhibition
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420:
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193:wheel "fed with
114:refractive index
1832:
1831:
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1781:Glass recycling
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1623:Enamelled glass
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1530:Diamond turning
1520:Flame polishing
1462:
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1388:Further reading
1323:Farr, Michael,
1282:
1277:
1276:
1268:Robson, David,
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1225:Powell, 139β140
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678:The arrival of
670:factory in 2001
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588:Modern Painters
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480:glass engraving
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331:chandeliers in
321:
248:, of which the
211:
167:Pliny the Elder
155:
126:glass engraving
122:enamelled glass
104:, and secondly
17:
12:
11:
5:
1830:
1828:
1820:
1819:
1814:
1809:
1804:
1794:
1793:
1787:
1786:
1784:
1783:
1778:
1772:
1770:
1766:
1765:
1763:
1762:
1760:Volcanic glass
1757:
1755:Vitrified sand
1752:
1743:
1738:
1736:Opal formation
1733:
1727:
1725:
1719:
1718:
1716:
1715:
1713:Tempered glass
1710:
1705:
1700:
1695:
1690:
1685:
1680:
1678:Polished plate
1675:
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1218:
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1191:
1178:
1169:
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1125:
1112:
1103:
1101:Sinclaire, 2β6
1094:
1085:
1079:Quoted in the
1072:
1063:
1054:
1045:
1036:
1027:
1018:
1009:
1000:
991:
982:
973:
964:
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928:
919:
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874:
865:
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838:
829:
820:
811:
802:
793:
784:
775:
766:
757:
742:
741:
739:
736:
719:
716:
704:engraved glass
641:Satsuma kiriko
615:
612:
596:Bohemian glass
564:on stand, 1895
553:
550:
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538:
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430:
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415:
413:
410:
403:
401:
398:
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361:Regency period
320:
317:
284:engraved glass
276:Hedwig glasses
210:
207:
154:
151:
15:
13:
10:
9:
6:
4:
3:
2:
1829:
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1703:Stained glass
1701:
1699:
1696:
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1688:Rippled glass
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1676:
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1628:Flashed glass
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1475:Fritted glass
1473:
1471:
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1346:
1343:, 1975, OUP,
1342:
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1322:
1320:
1317:
1313:
1312:9781136415517
1309:
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1299:
1295:
1291:
1287:
1286:Battie, David
1284:
1283:
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923:
920:
914:
911:
905:
902:
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893:
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884:
881:Sinclaire, 11
878:
875:
869:
866:
860:
857:
851:
848:
842:
839:
836:Farr, 108β109
833:
830:
824:
821:
815:
812:
806:
803:
797:
794:
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701:
697:
692:
690:
686:
681:
676:
669:
665:
661:
659:
655:
651:
646:
645:flashed glass
642:
637:
636:opaline glass
633:
632:glass etching
629:
620:
613:
611:
609:
604:
601:
597:
592:
590:
589:
584:
579:
575:
571:
563:
558:
551:
542:
537:
530:
525:
518:
513:
506:
501:
499:
497:
493:
488:
487:pressed glass
483:
481:
475:
473:
469:
464:
461:, there were
460:
456:
452:
448:
440:
435:
428:
419:
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407:
402:
395:
390:
388:
386:
382:
376:
374:
370:
366:
362:
356:
354:
350:
345:
342:
334:
333:Saltram House
330:
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318:
316:
314:
309:
304:
302:
297:
293:
289:
285:
280:
277:
273:
269:
265:
261:
258:, especially
257:
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243:
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215:
208:
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199:
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187:
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177:
173:
168:
159:
152:
150:
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139:
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127:
123:
117:
115:
111:
107:
103:
99:
94:
92:
88:
84:
80:
76:
72:
71:pressed glass
67:
65:
60:
56:
52:
48:
44:
38:
34:
29:
21:
1708:Studio glass
1683:Porous glass
1648:Glass mosaic
1633:Forest glass
1602:
1544:Artistic and
1415:
1408:
1401:
1394:
1377:
1372:google books
1367:
1362:google books
1357:
1340:
1329:google books
1324:
1319:google books
1303:
1289:
1264:
1256:
1248:
1239:
1230:
1221:
1212:
1203:
1194:
1181:
1172:
1159:
1150:
1137:
1134:Harry Powell
1128:
1120:
1115:
1106:
1097:
1088:
1075:
1066:
1057:
1052:Osborne, 403
1048:
1039:
1030:
1021:
1012:
1003:
994:
985:
976:
967:
958:
953:Sinclaire, 8
949:
940:
931:
922:
913:
904:
895:
886:
877:
868:
859:
850:
841:
832:
823:
814:
805:
796:
787:
782:Osborne, 153
778:
773:Osborne, 403
769:
764:Osborne, 403
760:
746:
721:
708:Keith Murray
700:studio glass
693:
677:
673:
625:
605:
593:
586:
572:holding the
567:
552:1850 onwards
492:glass blanks
484:
476:
463:Neoclassical
444:
377:
365:candlesticks
357:
353:rock crystal
346:
338:
305:
300:
281:
264:rock crystal
254:
250:Lycurgus Cup
224:
200:
188:
184:
164:
118:
112:with a high
95:
90:
83:rock crystal
68:
64:glassblowing
46:
42:
41:
1812:Chandeliers
1658:Lampworking
1598:Crown glass
1593:Cased glass
1588:Caneworking
1583:Broad sheet
1578:Blown plate
1333:"History":
1253:"cut glass"
1216:Powell, 138
628:cameo glass
600:excise duty
583:John Ruskin
319:Chandeliers
301:Hochschnitt
288:Renaissance
256:Islamic art
242:cameo glass
176:steam power
138:gem cutting
134:Islamic art
130:mosque lamp
106:chandeliers
1796:Categories
1668:Millefiori
1568:Beadmaking
1490:Glass wool
1463:techniques
1461:Commercial
1455:techniques
1349:0198661134
1316:1136415513
1298:1850296545
1280:References
578:Birmingham
562:punch bowl
373:girandoles
227:Bronze Age
110:lead glass
79:Lead glass
33:chandelier
31:Cut glass
1807:Drinkware
1750:Impactite
1741:Sea glass
1653:Glassware
1613:Engraving
1603:Cut glass
1563:Glass art
1558:Art glass
1553:Δina-kΔri
845:Farr, 113
827:Farr, 107
800:Powell, 3
680:Modernism
650:art glass
585:, in his
474:by 1826.
451:tableware
447:drinkware
439:engraving
381:gasoliers
335:, England
238:cage cups
153:Technique
146:refracted
142:jewellery
98:decanters
55:glassware
47:cut-glass
43:Cut glass
37:Edinburgh
1698:Slumping
1510:Pressing
696:Art Deco
685:Oxbridge
455:desserts
385:lamp oil
341:bevelled
327:Pair of
172:treadles
51:moulding
1769:Related
1618:Etching
1573:Blowing
1535:Rolling
1515:Casting
1243:History
1165:example
863:History
614:Decline
429:Vessels
369:sconces
329:Regency
209:History
203:tariffs
75:plastic
1673:Mirror
1643:Fusing
1347:
1310:
1296:
1144:online
630:using
459:Rococo
383:using
296:relief
272:relief
268:quartz
246:relief
93:.
87:quartz
59:facets
1802:Glass
738:Notes
195:putty
1345:ISBN
1308:ISBN
1294:ISBN
313:lead
191:cork
102:jugs
100:and
1382:PDF
1081:OED
753:OED
722:In
180:lap
140:in
132:of
124:or
66:.
45:or
35:in
1798::
1356:,
1314:,
1255:,
634:,
387:.
371:,
367:,
144:,
1748:/
1445:e
1438:t
1431:v
1167:.
266:(
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
