Note that the use of cobalt as an _overglaze_ enamel on Chinese _porcelain_ did not come in until the seventeenth century, and that this enamel at first gave more trouble than any other. Footnote 111: I use this term for the writing with tall perpendicular strokes, although much of it, I understand, should not strictly bear the name. Footnote 112: A good example may be seen in a large picture of the Circumcision by Marco Marziale in the National Gallery. Footnote 113: Glass lamp-cups of this form are still made in India; Mr. Forrest, ex-Director of Records at the India Office, has shown me a specimen brought from Gujerat. Glass lamps of a similar construction seem to have been in use in bedrooms in Germany in the fifteenth century; they may be seen in contemporary pictures. Footnote 114: The magnificent specimen of enamelled glass with geometrical decoration, which belonged to the late Baron Alphonse de Rothschild, figured in Schmoranz’s work as a lantern, is, of course, a stand for a candle. It resembles in every respect, except material, the well-known cylindrical candle-stands of inlaid bronze. Footnote 115: A good example of the first is reproduced by M. Gerspach (_L’Art de la Verrerie_, p. 100) from a manuscript of the famous story-teller Hariri. For an instance of the second, see the side subjects on the Würzburg flask in the British Museum. Footnote 116: The construction, indeed, closely resembles that of the Cairo cup-lamp described above. Footnote 117: The oldest of these ballads only dates back to the time of the Duke of Wharton, at the beginning of the eighteenth century. The ‘wicked Duke,’ it is said, when in his cups would toss the ‘Luck’ into the air and catch it in his hand. Footnote 118: This is the goblet figured in Schmoranz, p. 29. It belonged at the time, he tells us, to an unknown collector, who gave £1600 for it at Christie’s in 1881. Footnote 119: Illustrated in _Archæologia_, vol. lviii., where it forms the starting-point of the paper by Mr. C. H. Read, that I have quoted from above. Footnote 120: In this respect differing from the other cup in this collection to which the same date and origin are ascribed. I refer to the Aldrevandini goblet, with the armorial shields, described in the next chapter. The glass of this cup is already quite of a Venetian type, approaching to a true _cristallo_. Footnote 121: He reigned during the temporary deposition of Malek Nasir. Footnote 122: This lamp also has, I think, passed into the Pierpont Morgan collection. Footnote 123: The badge of a sword is very frequent upon these later lamps, but it can hardly in all cases refer to the same sultan or emir. Footnote 124: