It is chiefly on the ground of the coats-of-arms found on a few examples that we are enabled to attribute to Nuremberg artists a variety of enamelled glass which differs in many respects from the heavily painted _humpen_ and _pass_ glasses of which I have been speaking. In the British Museum may be seen certain tall cylindrical beakers which may be taken as examples of this South German glass. The metal is colourless but somewhat grey, and, as in the northern glasses, a delicate scale pattern of gold with scattered pearls of enamel forms a ring below the upper margin. But now we find the gold used freely in the rest of the decoration also, replacing the coarse yellow enamel of the northern beakers. The colours are purer and more effectively combined, and we see among them a green of good quality. In the case of the two beakers from the Slade collection in the British Museum, the figure of Jacob Praun on one glass, on the other that of his wife, stand detached in the field; there is no other decoration apart from the heraldic bearings of this Nuremberg family (these are on the other side of the glass) and the above-mentioned gold band. I may add that the Nuremberg enamellers showed a superlative skill in the treatment of these elaborate coats-of-arms backed with fluttering mantlings. Of the larger _humpen_ and _pass_ glasses painted with allegorical or sometimes comic subjects, we have no good examples in our English collections. A beaker in the Germanic Museum at Nuremberg, showing the ten ages of man in as many compartments, is an exceptionally good example of such work. The drawing and composition of the subjects on these larger South German glasses are carefully carried out—the colouring, however, is generally poor; in the later examples, indeed, it tends to pass over to the monochrome or _grisaille_ class, of which I must say a word before finishing with these enamelled wares.