Closely based upon this _latticinio_—for the threads in a vast majority of cases are of an opaque white—is the famous _Vetro di Trina_ or lace-glass. At the beginning of the last century the art of making this net-work decoration appears to have almost died out, but in the thirties and forties it was revived by Domenico Bussolin, and when later on more interest began to be taken in the Murano glass, it was to this _vetro a reticelli_ that at first most attention was given. The details of the manufacture were described and illustrated by the well-known director of the Choisy glass-works, M. Bontemps (_Exposé des moyens employés pour la fabrication des verres filigranes_, 1845). There is, however, a simpler and perhaps easier application of these bands of _lattimo_, in which they are applied in a series of festoons to the surface. In this case the opaque white enamel appears to have been laid on to the _paraison_ at an early stage and dragged into crescent-shaped waves, so as to resemble closely the decoration of the little flasks of coloured glass from Egyptian and early Greek tombs—to those later examples more especially, from Rhodes and Cyprus, on which the colours are only applied to the surface (p. 37), the resemblance in technique is very close. There are many interesting specimens of this festooned _latticinio_ in the British Museum. In the case of the little _biberon_ (Slade, No. 628) the festoons are worked into a palm pattern, identical with that often found on the little primitive vases. I shall not attempt to follow in detail the manner of preparation of the true _vetro di trina_,—suffice to say that it is built up of a number of juxtaposed rods; these rods are arranged perpendicularly, side by side, so as to form a hollow cylinder, and into the midst a small vesicle of molten glass is inserted; to this the rods adhere, and the whole mass is then worked into the desired form. The rods themselves—they are similar to the _canne_ supplied to the _suppialume_ workers (p. 187)—may be either of opaque or clear glass, or they may be formed of elaborate combinations of the two (_canelle a ritorto o merlate_); the most complicated patterns are thus obtained. When two series of these rods are arranged to cross one another at an angle, we get a reticulated pattern, and within the _reticelli_ thus formed a bubble of air may be caught up. There is, indeed, little opportunity for finding in this kind of work any free play for the decorative feeling of the artist, and the result of all these ingenious combinations of crossings and interlacings is only too often to give a tame and machine-made air to the finished vase or tazza.