VI. Situlæ, or bucket-shaped vases, 1st, A situla of clear glass of a violet tint. The design—somewhat rudely cut with a wheel—consists of a series of figures, with pastoral and Bacchic emblems. The decoration is similar in style to the engraved work found on some late Roman glass from the Rhine district (hgt. 8 in.) (liii. 121). 2nd, The famous situla that I have already described when treating of the _diatretum_ glass (p. 72). The Canonico Passini thinks that the rings of glass have been fitted on subsequently, and that is the impression that I formed when examining the vase (hgt. II in.) (liii. 122). (Plate XIV.) VII. The vase enamelled with classical medallions which has already been described in connection with the enamelled glass of the Romans (p. 66). Although, as I have said, the figures are purely classical in style, yet the scroll-work reminds one of the decoration on Coptic bowls and fragments brought from Egypt (xl. 78, and xli. 82). VIII. There remains the turquoise basin, richly mounted in gold and gems, presented in 1472 by the Shah of Persia to the Signoria of Venice. The only ornament is a conventionalised hare carved in low relief on each of the five compartments that divide the sides. On the base is a brief dedication in Arabic to Allah. As to the material of this vase, all I can say is that it is _carved_; this is seen by the light reflected on the somewhat unctuous surface; it is therefore not porcelain or other ceramic ware, as some have thought. The slightly waxy lustre is in favour of its being a natural stone of the turquoise order. Some, however, have held this dish to be of a glass paste, on the ground of the minute bubbles on the translucent edge; but the existence of these bubbles is denied by others, and I myself failed to discover them (hgt. II in.) (liii. 122). I have dwelt in some detail on this little-known Byzantine glass at St. Mark’s, for it is, as a group, of unique interest for our history, throwing light on so many obscure problems. [Illustration: _PLATE XIV_ SITULA OF LATE ROMAN OR BYZANTINE GLASS _DIATRETUM_ WORK] We may obtain some slight hints as to the commoner kinds of glass in use by the Byzantine Greeks from the illustrations of contemporary manuscripts. I will give an instance of frequent occurrence. The Evangelist who on the opening page is represented seated at his desk engaged in writing his gospel, dips his pen into a little flask of clear glass, of cylindrical body and straight neck. This is a simple form, easily turned out by the blowing-tube, without the use of the pontil. We may trace it all through the Middle Ages, and a flask very similar in shape is still used in the laboratory of the chemist.