The gigantic cinerary urns from Kentish cemeteries are only rivalled in size by some of the Pompeian glass at Naples. Among the glass from cemeteries in Southern Britain in the British Museum are many jugs and bottles of quaint and original form, and others which for grace and purity of outline it would be difficult to rival elsewhere (Plate IX.). Notice especially the handles, and above all the insertion of the lower end of these handles into the side of the vessel. It is the neglect of attention to this point that so often gives an impression of weakness to the handles of modern ware, whether of pottery or of glass. But here the ribbed handle terminates in spreading lines that clasp the flank of the jug like the claws of a bird of prey; I do not know of any happier or simpler application of the viscous material. At times the central rib of the handle is prolonged into a wing-like flange descending nearly to the base of the vase, or may be ending in a long trail of glass worked by the _pucella_ into quills or teeth. A greater variety of forms is naturally found in glass made for domestic use than in specimens destined for the tomb. It is this variety that gives a special interest to the collection at Naples. M. Froehner has described nearly thirty different forms of glass vessels (_Collection Charvet_, pp. 76-80), and has attempted to apply to each of them the distinctive classical name, both Greek and Latin. But many of these terms are rather names of Greek fictile ware than of Roman glass, and as to the remainder, it is rather to the Byzantine scholiasts of later times than to writers of a good period, where allusions to glass are rare and vague, that resource has been had. The richest mines for information of this kind are the works of Petronius and Athenæus—this last author gives a list of a hundred varieties of drinking-vessels. But in both cases it is of vessels of silver or of pottery rather than of glass that the writer is generally thinking. As a rule, the shapes and methods of decoration of Roman glass follow a line of their own, dependent on the ‘habits’ of the material. It is, however, easy to recognise forms derived from pottery, and even from bronze, in any large collection of Roman glass. Just as the so-called Samian ware is imitated in the moulded glass bowls, so we find that a class of pottery, common in England, in which the soft clay has been pressed in, perhaps with the fingers, to form on the sides vertical trough-like depressions, has been closely imitated in blown glass—such rounded depressions are easily given to the _paraison_ by means of a blunt piece of wood. Again, the decoration of white slip, equally common on Romano-British fictile ware, is imitated by means of ‘trailed stringings’ on glass, if indeed in this case the imitation is not in some measure the other way—from glass to pottery.