removed by inserting a knife between the plates of glass. Perhaps the ingenious avarice of the Jewish “dealers in broken glass,” 364 notorious even in the days of Martial,[616] may have largely contributed to the destruction of these curious remains of Christian antiquity. It was thought that the manufacture of these glasses was known only at Rome; but in the year 1864 a fragment of a glass plate, with a number of small gilt medallions bearing scriptural representations imbedded in it, was discovered beneath the surface of the ground near the church of St. Severin at Cologne; and in 1866 another of similar character was found, accompanied by some charred bones, in a stone chest near the same place. Buonarotti regarded these fragments as having all formed part of sacramental vessels; but the character of the designs seems frequently to preclude that idea. Several of these are derived from the fables of pagan mythology, and seem to indicate, if not heathen origin, at least the influence of pagan types. Among them are found the figures of Achilles, Hercules, Dædalus, Minerva, Mercury, the Three Graces, Cupid and Pysche, and other groups still less congruous with Christian thought. Other scenes represent various industries, as men sawing, planing, and carving wood; a ship-builder with his men at work; a tailor, druggist, and money-coiner, in their respective shops. Hunting scenes, men boxing, and charioteers encouraging their horses, also occur. A more numerous series represent domestic groups, portraits of husband and wife, frequently accompanied by their children, groups of children playing, or sometimes a lady in rich costume, with cupids holding her mirror and other toilet adjuncts. Frequently occurs what 365 seems to be a marriage scene, with the bride and bridegroom joining hands over an altar, above which Christ is often depicted as placing crowns on their heads. Sometimes is expressed in gilt letters the beautiful wish VIVATIS IN DEO--“May you live in God.” In one instance it is a winged cupid that bestows the crown. The majority of the scenes, however, are of a distinctively Christian character, comprising most of the subjects in the symbolical and biblical cycles already described; but from the conditions of space, which are often exceedingly limited, the design is frequently of a very rudimentary type. In the large _patera_ of Cologne the medallions contain the separate parts of different groups, which are only intelligible as a whole. Besides the ordinary scenes from Old and New Testament history there is a unique example of the triumph of Christ, in which he appears in fulness of glory holding the globe of sovereignty; while opposite to him stands a figure, interpreted by Garrucci as Isaiah prophesying the advent of the Light of the World. Perret also figures one example of Christ on the cross, with Mary and John beside it, which he thinks is later than the sixth century.