replaced by a similarly applied slip ornament. This pottery is still manufactured for local use, but I do not know whether any of the rude green glass is produced at the present day. We have little or no information about the glass made in Spain during the Moorish domination. There is a vague tradition that the manufacture was carried on in Murcia and Andalucia, and Al Makari, the historian, states on the authority of an author of the thirteenth century, that Almeria was famous for its vessels of glass as well as for those of iron and copper.[182] It is the district lying inland, some distance to the north of Almeria, that has long, probably from Moorish times, been the centre of the glass industry of the south of Spain;—this is especially true of Pinar de la Vidriera and of Castril de la Peña. At this latter town, Don Juan Riaño tells us, glass has been made from time without memory, and indeed is still made there. ‘A gallery one mile long which exists at the entry of the town from which sand has been extracted for this manufacture, gives an idea of the antiquity of this industry’ (_Industrial Arts of Spain_, p. 232). There is only one other centre of the manufacture of glass in Spain that need detain us. This lies in the coast district of Catalonia, above all around Barcelona; for this town we have direct evidence of the manufacture as far back as the early part of the fourteenth century.[183] At this time the Catalan mariners were the boldest and the most skilful in the whole Mediterranean, and active rivals of the Venetians in the ports of the Levant. Now there is one variety of enamelled glass formerly attributed to Venice, which, as is at present generally acknowledged, has its origin in the Peninsula: much of it was made at Barcelona. The prevailing note of the enamel on this glass is a very beautiful apple-green, of two tints, one passing into yellow. This colour is sometimes found alone, at others associated with a few touches of other enamels—a lavender blue, for instance, but these other colours are of no great brilliancy. The green much resembles that found on the enamelled glass of the Saracens, where, however, this colour was always sparingly applied. The patterns on the Catalan glass are generally of a formal floral character, often built up of sprigs radiating from a centre. But technically the most noticeable point in this enamel is the method of its application. As in the case of the Saracenic glass, it is laid on with a loaded brush; it lies in thick semi-transparent masses on the surface. As a result we have a rich and jewel-like effect that we may look for in vain in the flat opaque painting that we see on so many European wares. There are several pieces of this glass in the British Museum, but the most beautiful example that I have seen is in the Museo Civico at Venice. This is a little flask lately acquired from the Maglione collection at Naples; the dominant green enamel is here relieved by some yellowish foliage