The school of _grisaille_ painters on drinking-glasses, founded towards the middle of the seventeenth century by Johann Schaper, is in many ways closely associated with the contemporary engravers on glass. Like the latter, the _grisaille_ painters followed the pseudo-classical, the ‘Italianising’ style, rather than the old German traditions. Schaper, who came from Harburg on the Elbe, settled in Nuremberg in 1640, and died there in 1670. His manner of work, founded on copper-plate engravings, was much admired at the time, and he is in the next century mentioned among the famous artists of Nuremberg by Doppelmayr in his _Nachricht von den Nürnbergischen Künstlern_. Schaper, he says, ‘_auf die Trinkgläser ... gar delicat mahlte_,’ burning in his work afterwards so successfully that he surpassed all his contemporaries. He painted—round the sides of small tumblers and wine-glasses, for the most part—landscapes, figures, and heraldic bearings, either in black or a warm sepia, signing his work with his initials. There are some small examples of the glass enamelled by him at South Kensington. The large goblet in the British Museum (Slade, No. 860), painted with a cavalry combat, is of a considerably later date, but it shows that Schaper’s influence continued into the eighteenth century; in this case, however, the _grisaille_ is heightened in places by touches of colour. The tall _pass_-glass (Slade, No. 859), painted with an elaborate procession celebrating the birth of a Bavarian prince, belongs, on the other hand, to quite another school. It is dated 1662, and Schaper’s influence had probably not reached Munich by that time. PAINTED AND GILT GLASS Before passing on to the many-sided subject of engraved and cut glass, a word must be said of certain applications to glass of painting and gilding which were much in favour in Germany in the seventeenth century. I have here to deal with a miscellaneous class of objects; indeed the chief connecting-link between them is the fact that the decoration is in no case fixed by fire. Single sheets of glass may be simply painted at the back, and ‘fixed’ by means of a transparent varnish. Such plates, painted with Biblical or allegorical subjects, may be seen let into the panels of the elaborately carved and inlaid cabinets of the time. It cannot be said that the effect of this _pausch glas Malerei_, as it is sometimes called in Germany, is very satisfactory. It is indeed merely a debased variety of what used to be known in France as _verre églomisé_; the term _fixé peint_ has also been used for work of this kind. The gilding that was so plentifully applied to the German engraved glass of the seventeenth and eighteenth centuries was fixed by a ‘cold’ process, by simply attaching the gold-leaf by means of a varnish. For the most part it is only when applied to the sunk part of an _incavo_ decoration that this gilding has survived.