In the case of the English glasses that followed in the same lines, the greatest care seems to have been given to the metal employed; next to that, the construction of the stem and the outline of the bowl received attention; on the other hand, the engraving on the bowl, compared to the contemporary work in Germany and the Netherlands, was for the most part of a summary, not to say rude character. As for the foot, the margin was generally slightly ‘welted’ or folded over from above, so that the glass stands only on the rim; by this the solidity of the foot is at the same time increased.[254] Otherwise the only variation of importance in the shape of the foot depends upon its greater or less flatness; in the earlier glasses the central part generally rises up to form a dome, upon which rests the base of the stem. The square bases with plinth-like steps belong to a much later time and are generally associated with facetted ware. It may be noted that the glasses of the eighteenth century stand on the whole on a relatively wider foot than those now made. The first point of importance in considering the stem is to distinguish those that are drawn—these are the ‘straw-shanks,’ formed of the same piece of metal as the bowl—from the ‘stuck-shanks’ that are made of a separate piece of glass. The latter form by far the larger class. As regards the outline, the stem may be either a plain rod or cylinder, or again of baluster shape—this last but a modification of the double knops that constitute the whole shank of some seventeenth-century glasses. In other cases the stem is marked by spiral lines in relief—that is to say, it is ‘rib-twisted,’ or, finally, it may be cut into flat facets. But perhaps the most important division of the stems of our English glasses is that based upon the nature of the spiral lines of greater or less complexity so generally found in the interior of the cylinder of glass. These lines may be formed either by strings or bands of opaque white, or more rarely of coloured glass, or again by empty threads formed by drawing out a bubble of air. These are the opaque-twisted and the air-twisted stems respectively. If now we turn to the outline of the main division of the glass, the bowl, this has been made the basis of a division that classes these bowls as straight-sided, waisted, bell-shaped, and finally, bowls with a curve resembling either the ogee or the double ogee of the architect. [Illustration: _PLATE XLIV_ ENGLISH WINE GLASSES EIGHTEENTH CENTURY 1. WITH SIXPENCE OF QUEEN ANNE WITHIN THE HOLLOW KNOP 2. ENGRAVED WITH PORTRAIT OF THE PRETENDER AND JACOBITE MOTTO 3. THE ULSTER “IMMORTAL MEMORY” GLASS]