I have purposely gone to older works for these technical details, that is to say, to works written before the general introduction of modern mechanical processes; for example, to Apsley Pellat’s _Curiosities of Glass-making_, and to the treatise on glass by Porter in Lardner’s series (1832). For the _materials_ used in England in the eighteenth century see Dossie’s _Handmaid of the Arts_, 2nd edition, 1764. Footnote 264: This is the more strange, as in all the recipes of the time for making the white enamel, even in one relating apparently to this very Bristol glass, arsenic plays an important part. Footnote 265: Dossie, in his _Handmaid of the Arts_, 2nd ed., 1764, tells us that at that time much white opaque glass, in imitation of porcelain, was made near London. The glass, he states, was rendered opaque by tin, by antimony, or by arsenic. Much of this material was doubtless employed for enamelling on metal. Footnote 266: Chardin was a French dealer in precious stones who supplied the Shah with European jewels. The materials for the account of Persia from which the extract given in the text is taken, were collected during a voyage in that country in the years 1671 and 1672. Chardin, who was of an old Protestant family, settled later on in England and was knighted by Charles II. I quote from the English translation of 1724, checking it by the contemporary French edition. Footnote 267: At Vienna, in the Museum for Art and Industry, there is a small collection of glass from Hebron. Besides the bangles of opaque glass which belong to the old primitive family, there are some small vessels of a deep amber-coloured glass similar to that brought from Rhodes, and finally a few vases of Persian type of a bluish-green metal; among the last group may be found some lamps with glass tubes similar to those mentioned in the text. Footnote 268: The miscellaneous beads, found chiefly in the neighbourhood of Benares and Cawnpore, are associated for the most part with Buddhist remains of the time of the Gupta dynasty, which reigned in Northern India shortly before our era, but very few of these beads are of glass. Of great interest are the spindle-shaped beads, decorated with intersecting lines of enamel—black, grey, or white—on a ground of quartz, or sometimes of carnelian. A series of these beads may be seen in the ‘Gallery of Religions’ in the British Museum. They are described by Mrs. J. R. Rivett-Carnac in the _Journal of Indian Art_, vol. ix. Footnote 269: At the Indian Exhibition held at Earl’s Court a few years ago, some of these Indian glass-makers were at work in a little hut, and here the native processes could be watched. Footnote 270: