This collection, which contains many fine examples of ancient glass, has been bought _en bloc_ by Mr. Pierpont Morgan, and is likely to follow the still more famous Charvet collection (so carefully described in M. Froehner’s great work), and to find its way to America. Footnote 25: The basis of this collection was formed by Mr. Nesbitt many years ago; it was presented to the Museum, in 1887, by his brother-in-law, the late Sir A. W. Franks. Mr. Nesbitt was the compiler of the catalogues both of the Slade collection (privately printed, 1871) and of the glass at South Kensington (1878)—magnificently illustrated works, but now in a measure out of date. Footnote 26: The evidence, however, on this point is very conflicting. Footnote 27: The pale rosy tint seen in a few rare specimens of classical glass, as in some pieces lately brought from Egypt, I should rather attribute to a skilful use of manganese. Footnote 28: The presence of tin in this glass which I have already mentioned in speaking of its Egyptian prototype (p. 27), has been confirmed by analyses made at Sèvres by M. Salvétat. I do not know whether the researches of this chemist into the composition of the glass of the ancients have ever been published. Footnote 29: In the Roman floor mosaics the tesseræ are almost invariably of stone, but occasionally fragments of glass are found, as in the famous ‘Mosaic of the Philosophers’ in the museum at Cologne. Here the ground is built up of a smeltz-like greenish glass. Footnote 30: We may compare this use of glass with the _kyanos_ studs of the Mycenæan period, or again with the blue glass inlaid between the volutes of the capitals in the temple of Minerva Polias at Athens, described long ago by Hamilton. Footnote 31: In the glass coffin from the Temple collection in the British Museum we have an example of the use of such glass on a comparatively large scale. Footnote 32: Mr. Kennard has a plaque of clear white glass, some six inches in length, with the bust of a faun in high relief. This plaque is pierced on either side, as if for fixing upon some object of furniture. Footnote 33: We may regard the little ovoid vase in the British Museum, made by blowing a thin vesicle of deep blue glass into a casing of silver, pierced by oval apertures, as an example of moulded glass where the mould has not been removed. If the silver casing were stripped off, we should have a good imitation of ‘prunted’ glass; not that this is to be taken as a model of the way in which these prunts were made (see below, p. 110). Footnote 34: