The simplicity of the manufacture has also given rise to hosts of modern imitations, largely from the Continent. In a great number of these the spirals turn to the left, which has given rise to an idea that all glasses with right-handed opaque spiral stems are modern imitations, which is by no means the case. All such specimens, however, are sufficiently suspect to demand careful scrutiny, and the amateur, before purchasing a right-handed spiral opaque-twisted glass, will do well to submit it to the judgment of an expert. Points to be considered are the colour of the metal, the perfection of the twist, its opacity, and the character of the foot. The colour and weight of the glass are probably the best criteria. The forgeries are generally light, and the beautiful mellow tone of the real old English glass is replaced by a cold white tint or even a tinge of green. The twist is often more translucent than in the genuine pieces, and is frequently imperfectly produced, becoming looser as it descends, the loosening being particularly pronounced just before its junction with the foot. The appearance of the foot is of the utmost [Illustration: FIG. 9.--OPAQUE TWIST STEMS AND “ROSE” GLASSES. (From the Rees Price Collection, by permission of the Connoisseur.)] value. Before the nineteenth century the scar, where the piece after manufacture was broken away from the pontil, was invariably left rough, instead of being ground down. The foot in the genuine glasses is never flat, there being always a slight slope downwards towards the edge. In the imitations, too, it is apt to be less in diameter, compared with the bowl, than in the genuine specimens, whilst there is frequently an absence of “ring.” This last fact, however, must not be unduly emphasised, since many undoubtedly authentic specimens of this period, including some of the finest, share the defect. Another test is to note the edge of the bowl, whether it is well rounded off or whether it has been left hard and sharp.