There is no doubt that much of its popularity was due to the superiority of the material itself, and this was maintained by the most scrupulous care in the selection and purification of the ingredients. The sand, in particular, was most carefully washed and burned so as to destroy all impurities. In practice, most of it was obtained from Alum Bay in the Isle of Wight, from Lynn or from Reigate. Sandpits have also been discovered at Coulsdon and Redhill. The fusing of the ingredients was also a matter demanding the greatest care so as to ensure the correct colour. It was found that, generally speaking, the quicker the operation the better the result. Any delay, too, in the blowing or rolling of the glass was apt to interfere with the purity of the colour and even the precision of shape and the accuracy of the measure. Few persons troubled to consider whether shapes that depended upon the process of blowing were the most suitable for their purpose, or whether the cutting and engraving were not sometimes overdone. On the whole, it is difficult to overrate the beauty of Georgian glass--of the early or the late period--either as regards grace of shape or style or the cutting and engraving. Collectors, too, have plenty of scope, for though Georgian glass is comparatively rare and fine pieces command big prices, yet the amateur is not faced at the outset, as in the case of glass of a period prior to this, with two very serious propositions--an almost prohibitive price and a more or less doubtful authenticity. The illustrations shown of eighteenth-century glass will make it clear that, although they are some of the most satisfactory specimens of the time, not even an amateur could mistake them for modern, their shapes alone being almost a guarantee of the date of their origin. Even if the shape be imitated, the peculiar dark, pearly look of the old flint glass cannot, and it forms a simple and definite test. The pair of decanters on the right (Fig. 14) are almost unique--the deep cutting, the curiously shaped stoppers, the long or rounded necks, and the flat-cut shoulders being absolutely characteristic. But it is not unusual to find these graceful shapes copied; and again the collector must beware. Some of the quart decanters have, as will be seen from the two on the left of the illustration, hollow bottoms in which are inserted tiny musical boxes. When the decanter was raised the box started playing some familiar air, generally “Home, Sweet Home.” Whether the intention was to remind [Illustration: 18th CENTURY CUT SWEETMEAT GLASSES IN OLD SHEFFIELD PLATED STANDS.] [Illustration: 18th CENTURY DECANTERS, SHEWING VARIETY OF DESIGNS IN CUTTING. FIG. 14.] the holder that he was at home, or to hint that he might think of going there, probably depended upon circumstances.