I must in conclusion just say one word about a source of information for the sixteenth and seventeenth century glass of the Low Countries which is for the most part wanting in the case of other countries. We have seen how little can be learned from the works of contemporary Venetian painters, of the famous glass of Murano (p. 202). But in the north it is quite otherwise; not only in the pictures of the still-life painters, but in _genre_ scenes, and sometimes even in paintings of a devotional character, we meet with carefully drawn examples of glass. It thus happens that the works of the Flemish and Dutch painters of the sixteenth and seventeenth centuries throw a great deal of light upon the kinds of glass to be found both in the village alehouses and on the buffets of the wealthy. We can take note of the competition of the old heavy Teutonic forms with the Italian _cristallo_, a competition which continued in force during all this period. It is, however, from a work of the Cologne school, from a picture of the early sixteenth century, now in the Louvre, representing the Last Supper,[180] that I will take my first example. Here on the table we see a decanter with tall neck, delicately gadrooned, of distinctly Venetian type. The drinking-glasses also are apparently of _cristallo_ of the well-known fifteenth-century form, without stem or knop. The cup of Christ alone has a cover. But there are also on the table several cups or beakers of a deep green glass, studded with small bosses—‘prunted’ glass, in fact, of a pure Teutonic type.