At South Kensington, in the Indian section, may be seen some native distilling apparatus of glass, which follows very closely in the line of these old Syrian drawings. Footnote 87: For the relation of Theophilus to his predecessor, Bishop Meinhart of Paderborn, and to the Greek influence still prevailing in Germany, see the Introduction by Albert Ilg to his edition of this treatise in the _Quellenschriften für Kunstgeschichte_, vol. vii.; Vienna, 1874. Footnote 88: Much of this latter sort, however, was to be greedily absorbed in Germany at a later date. Footnote 89: Are we to take this acquaintance with the Agia Sophia in a material as well as a symbolical sense? Does Theophilus in this passage claim to have visited Constantinople? Footnote 90: Not long after this a German poet writes to this effect— ‘_Gott hat erschaffen manchen Mann Der Glas aus Asche machen kann Und dass kan schöpfen wie er will._’ Footnote 91: This is, of course, the ‘marver,’ not yet of iron as in the thirteenth-century writer (cf. p. 76). Footnote 92: From the expression used, ‘_quam fistulam_,’ etc., it would seem that the identical hollow tube was used again and not replaced by a simple rod—the _pontil_; but perhaps this is merely a slip on the part of Theophilus. Footnote 93: The literal statement is that ‘the painted gold figures are covered with the clear fusible glass of which we have already spoken’; over this again the coloured designs are painted—a curious and elaborate process. We must, however, remember that although Theophilus may have seen specimens of Byzantine enamelled glass, he can have had little opportunity of learning how they were made. Footnote 94: There _annuli_ probably included also bracelets or bangles of glass. We may perhaps compare them to those still worn by Arab women. Margaret, Countess of Flanders, had in 1252 a casket full of glass rings. Footnote 95: Yet in France much of the old glass was sacrificed at the Revolution in order _to extract the gold_. See Appert, _Les Vitraux Anciens_, for the composition and colour of mediæval window-glass. Footnote 96: Early in the eleventh century, a saintly German bishop, Bernard of Hildesheim, is said to have made for himself a chalice of glass, and a few years later a bishop of Auxerre founded three prebendal seats, one for a painter, one for a goldsmith, and a third for a glass-worker (_vitrier_—probably a maker of glass windows). We must not, then, be surprised at the acquaintance with the practical arts shown by the monk Rugerus (Theophilus). Footnote 97: M. Schuermans, however, brings forward passages to show that in early days the term was applied to a small flask carried about the person. Footnote 98: