From the _cultur-historisch_ point of view, perhaps the most striking claim to attention of this family of German glass lies in the fact that here we come across the one original and artistic form of wine-glass that has been developed in modern times—apart, that is, from the stemmed glass of Italian origin, about which there will be a good deal to say in a future chapter. The typical _roemer_—for this of course is the glass of which I am speaking—consists of three parts: a bowl of ovoid outline, shaped like the flower of a tulip; a hollow cylindrical stem, studded with mulberry-like prunts (often flattened out to discs); and a hollow conical foot, formed by coiling a rope of glass round a core of wood (Plate XXXVII.). Here we have the _roemer_ in the fully developed form of the seventeenth century, as we see it in fact in the still-life pictures of the Dutch painters of the time, or again—this time in actual use—in the marksmen’s banquets (_schuttersmaaltyd_) of Van der Helst and Frans Hals. In the earlier forms, however, the foot is either entirely missing or is present only as a zig-zag or toothed ring of glass applied to the base of the stem. In these early examples again the broad hollow stem is not divided from the bowl by a diaphragm of glass, but forms an integral part of the cup.[188] On the other hand, before the end of the seventeenth century the cylindrical stem was more and more encroached upon by the spun-foot, while the coiled threading with which in earlier days the conical foot was entirely built up was, in late examples, twisted round a glass support so as to become a mere ornament[189] (Czihak, _Schlesische Gläser_, pp. 75 _seq._, and Hartshorne, _English Glasses_, pp. 66 _seq._). [Illustration: _PLATE XXXVII_ ROEMER OF GERMAN GREEN GLASS ABOUT 1600, A.D.] Of the Rhenish green glass, the only other forms that I shall mention are the upright barrel-shaped beaker covered with prunts of various forms, in which the _Mai-trank_, a kind of ‘cup,’ was brewed, and finally the _Krautstrunk_ or cabbage-stalk, a tall cylindrical glass bristling with formidable thorny prunts. Mathesius, who is responsible for the picturesque name, already in the seventeenth century calls the _Krautstrunk_ an old form. The form is indeed noticeable, for among this family of green glass it is the only important instance of the cylindrical shape so much in favour for the enamelled ware. The green glass as a group is very poorly represented in our London museums; as I have said, it can best be studied in the works of the Dutch painters. The handsome _roemer_ in Jan van de Velde’s still-life piece (National Gallery, No. 1255) may be taken as a typical example. VENETIAN INFLUENCE IN GERMANY