Now it is not too much to affirm that, as a whole, the enamelling on German glass is in every way bad. The colours are opaque; when not crude they are muddy and dull. It is almost too high praise of them to say that they look as if they had been painted on in oil-colours. Take, for example, an average _adler-humpen_, such a one as the big beaker in the British Museum (Slade, No. 835). A mustardy yellow, that takes the place of the gilding that is absent in the main painting, is predominant; there is then an opaque blue, crude and unpleasant, and a dull maroon, which—and this is universally the case on these glasses—is the nearest approach we get to red. Apart from these colours we find only browns and drabs of undecided tints. So much for the main decoration; but if we now look carefully we find round the neck something that takes us back to Venice—a delicate scale pattern of fine powdered gold, and above this a line of beading with little pearls of various colours. This band of exotic ornament is seldom absent, at least in the earlier specimens.[198] There is no need to say much of the shapes of these enamelled glasses, for they are almost invariably of a more or less cylindrical form, with a foot of the simplest character; covered glasses are comparatively rare. They may be divided for our purpose into the broader beakers (often with curved sides and sometimes of great capacity) on the one hand, and on the other the narrower straight-sided tall cylinders. Much ingenuity has been devoted by German writers to the identification of the names by which these glasses were known in the sixteenth and seventeenth centuries, and they have attempted to distinguish between the _spechter_, the _bröderlein_, the _Krautstrunk_, the _pass-glas_, the _humpen_ and the _willkomm_. On the other hand, the term _wiederkomm_ or _vidrecome_, given by so many English and French writers to the large broad forms, is unknown in Germany, so that I think the expression may be definitely abandoned and replaced by the word _humpen_ or _willkomm humpen_. _Narren-gläser_—fools’ glasses—says Mathesius, would be a better name for these huge beakers that a man can hardly lift. The tall, narrow cylindrical form, when divided by horizontal lines, is known as a _pass-glas_. The _spechter_ of Mathesius has been identified with a glass of this shape, sometimes decorated with square nail-headed studs. These _spechter_ came from the Spessart forest district (west of Würzburg), and they form, as it were, a link between the prunted green glass of the Rhine and the enamelled beakers of Central Germany.