Of the application of enamels of this class to a deep green ground, there is no finer example than the standing cup from the Debruge and Soltykoff collections (Slade, 361). This, too, is without doubt a _Coppa Nuziale_, and in the heads in the two medallions we may again recognise the bride and bridegroom. On a scroll by the latter head we read, AMOR VOL FEE—‘Love needs faith.’ The quaint head-dress of the woman calls to mind certain figures in Carpaccio’s pictures of contemporary Venetian life. In the enamelled cups of this class the technical imperfections of the deep-coloured glass ground should be noticed. This is seen above all in the irregular outline of the margin. We have here a class of imperfection of quite a different nature from the tendency to collapse so often seen in large pieces of Saracenic glass. In the case of the Venetian glass the unevenness appears to arise from the imperfect fluidity of the metal when in the hands of the blower. The date of this enamelled glass is fairly well fixed by the style in which the figure subjects are treated. The processions—the _trionfi_—are but rudely executed reproductions of those found on fifteenth-century marriage coffers, the heads in the medallions we meet with again on the contemporary mezza-majolica. Both may be seen in the woodcuts of the earliest printed books. We find the source of the gadroons and imbricated patterns in the _repoussé_ forms given by the Venetians to their enamelled copper-ware. There is somewhat more difficulty in determining the date of another class of Venetian enamelled glass. I refer to that on which the opaque enamels are painted with a brush upon a ground of thin colourless glass. In this decoration, especially in the conventional foliage, the drag of the brush loaded with the thin, somewhat intractable pigment, may often be clearly traced. There are some early examples of these ‘painted’ enamels which we may regard as the prototypes of a style of decoration on glass which soon obtained almost a monopoly among enamelled wares. We see the same technique and the same opaque colours on the French glass of the sixteenth century, and the faults are exaggerated and the palette even heavier in the case of the German glass of a still later time. We must seek the origin of this school in the Italian painters on majolica; on the other hand, in the eighteenth century the methods of the enamellers on glass no doubt influenced the decorators of porcelain both in Germany and elsewhere.