The drinking glasses (Fig. 12) are also undoubtedly Irish, of about the same period, and probably came from Waterford. The reader should carefully note the cutting of the two end pieces; they are of totally different types, each being perfect in its own style. That on the left has the hobnail cutting common in England about the time when the Irish factories were first established. It was probably imitated from an English model or made by one of the English craftsmen who were largely responsible for the introduction of glass manufacture into Ireland. The end glass on the right-hand side is an excellent example of the grace, beauty, and simplicity associated with the best Waterford pieces; its flat-cut sides are characteristic of its place of origin. I have occasionally seen similar specimens in London, and they have always appealed to me as the most perfect examples of the Irish drinking glass of the eighteenth century. The other two specimens are of the same type as the English rummers or punch glasses; they are prettily engraved, and make an effective contrast to the other glasses of the same period. Irish cut-glass decanters and stoppers, such as the specimens illustrated in Fig. 34, are not difficult to find nowadays if one is expert enough and careful enough to avoid the many imitations that exist. High prices are demanded for genuine pieces in which the cutting and colour are good, and which satisfy the tests by which the connoisseur judges the antiquity of his finds. The centre decanter has a finger-fluted base, and the length of the neck makes it an unusual specimen. Possibly the idea was to enable it to be more easily grasped and held when full; but the design is undoubtedly graceful, and this is one point which the amateur collector should never ignore when seeking to make a worthy collection. It is well to bear in mind both artistic merit and intrinsic worth. Two other fine early specimens of Waterford glass are illustrated in Fig. 31. The “collared” or turn-over flower bowl is a fine example of eighteenth-century work. The cutting, it will be seen, is entirely different from that of the piece on the right; for whereas the latter is entirely flat cut, with the exception of its finely scalloped edges in the former, the whole design is finished in the “fluted” style. In both, as in most pieces of the kind and period, the “dome” or hollow foot is found.