chamber, with loops on three sides and the doorway on the fourth; a very perfect example, the wooden floor and roof being the only things wanting; the entrance to it is through the jamb of the end windows, by a short passage, with a door to the left hand.

The large pit under this garderobe, forming in fact the ground-floor of this tower, is commonly called the Prison; and the same mistake is very common in other places in Ireland, and in other countries also. Those who are acquainted with the garderobe of New College, Oxford, built in the fourteenth century, and still in use, or with the remains of that of the Monastery of Christ Church at Canterbury, or Beaumaris Castle, or indeed many other examples when the real clue to the apparent mystery has once been obtained, will have no doubt whatever on the subject. The same mistake is common to one half of the medieval habitations, whether monasteries, castles, or houses. It was the usual custom to have the garderobe upstairs, and to occupy the ground-floor as the pit to it, and this pit is continually mistaken for the prison.

The windows looking into the cloister court are small, singlelight, square-headed, little more than wide loops; these run round three sides of the court; on the fourth side the windows are larger, and of two lights, opening into the refectory. There is a singular, long, narrow, horizontal opening from the cloister through the wall into the vaulted chamber under the refectory, splayed within, evidently to pass something through, but it is difficult to say what; the length of the opening is 2 ft. 5 in., and the width 5 in.; the most probable conjecture seems to be that it was connected with the lavatory, usually situated in the cloister.

The vaulted chamber under the dormitory has a fireplace in one corner, and a garderobe in the opposite corner, perfect. The windows are those of a habitable chamber, but only single lights, and very narrow, square-headed, and widely splayed: the one next the fireplace is smaller, and has a very oblique opening, like what is commonly called a Squint; the others are large enough to admit of seats. This long narrow chamber was probably divided, by wooden partitions, into two or three small ones; it is now very dark, but this is partly caused by the trees which have overgrown the whole of these buildings.

Ir seems necessary to point out the following errata in the previous papers of this series:

Page 9, line 24, dele "at that time."

It should be explained that the tradition mentioned on page 9 is found in the manuscript known as The Black Book of Christ Church," and is as follows:

"The vaults or crypts of the church were erected by the Danes before St. Patrick came to Ireland, the church not being then built or constructed as at the present day; wherefore St. Patrick celebrated mass in one of the crypts or vaults, which is still called 'the Crypt or Vault of St. Patrick.' And the Saint, observing the great miracles which God performed in his behalf, prophesied and said, that after many years here shall be founded a church, in which God shall be praised beyond all the churches in Ireland.”—From Gilbert's History of Dublin.

This, as is well known, is contrary to history, and is here merely given as a tradition. St. Patrick is said to have commenced his mission in Ireland about the year 432, and to have died in the latter half of the same century, though the exact date seems uncertain; while the Danes, or Ostmen, did not make their first descent on Ireland until the early part of the ninth century, and did not establish themselves in Dublin until about forty years afterwards. But this tradition is valuable as shewing that one of the primitive churches existed here before the time of the Ostmen, by whom it was probably plundered and destroyed, and that for that reason the spot was selected as the site of the future cathedral. The Ostmen in Ireland, after they had settled in the country and become Christians, were probably very zealous, and great church builders, like their countrymen, the Danes, in England under Canute. As the churches then built are the earliest buildings now remaining in England after the time of the Romans, it is probable that the same history applies equally to Ireland. Whether the Ostmen became Christians at an earlier period than the Danes or not we have no distinct evidence, but as the foundation of some monasteries and churches in Ireland is recorded towards the end of the tenth century, it seems probable that their conversion may have taken place perhaps half a century earlier. It is well known that the Ostmen had been settled in Dublin long before the time of the invasion of the English, or AngloNormans, and were the most formidable enemies they had to contend with.

The scale to the Plan of the Cathedral, Glendalough, p. 287, has inadvertently been drawn twice the size it ought to have been; every ten feet on the scale must therefore be read as twenty.

ART APPLIED TO INDUSTRY.-II.

GLASS.

BEFORE entering on the subject of the present lecture, it may be as well to say a few words as to the manner in which I propose to treat the various arts mentioned in the programme.

There are two great uses of antiquarian studies. One of them is to enable us to conjure up as if by the magician's wand the dress, furniture, architecture, &c., of past ages, so that we can live, as it were, in many centuries almost at the same moment. This is a very great and a very pleasant species of knowledge, but it is not particularly useful in this work-a-day world; and it sometimes, like other knowledge, renders its possessor far from happy, more especially when he goes to the theatre, and sees all sorts of anachronisms and impossibilities ".

The other use of antiquarian studies is to restore disused arts, and to get all the good we can out of them for our own improvement: this is the light in which I propose making use of it in the present lectures. I shall, therefore, not give a continuous history of any one art, but take up one or more phases of it when it was most flourishing, and when we can learn most, and so compare what was done then with what is done now.

In considering the art of glass-making we may at once omit the well-known story of the discovery of it by the Phoenicians, as told by Pliny; it may, or may not be true; most probably it is not true at all events it does not matter to us. What is important to us to know is, that the Egyptians are supposed to have made glass from a very early period; that the Phoenicians pro

One glaring error in costume I have observed perpetrated everywhere in the most unblushing manner, even in places where the rest of the costume has been tolerably correct, and that is the way in which the shield is held. Anciently, the knight supported his shield on his bended arm: one strap secured it to the upper part of the arm, and the left hand grasped another strap in the dexter corner. At the theatre, and in popular woodcuts, the shield is invariably held on the straightened arm, so that the first blow would probably break the limb or dislocate the shoulder. This is only one example out of many, and it is easy to see why a theatre is not quite the place to make an antiquary happy.

b Nat. Hist., bk. xxxvi. ch. 65.

bably learnt it from them, and, availing themselves of the very excellent sand of their country, established manufactories, principally at Sidon, which Pliny tells us was formerly famous for its glass-houses ".

Now it is well known how the Phoenicians were the great commercial nation of ancient times as much as we are in the present, and one of our most distinguished antiquaries, Mr. Franks, is of opinion that those beautiful glass bottles found in such profusion in Italy, Syria, Sardinia, Greece, and the Greek islands, are in reality the products of the glass-houses of Sidon, and that the various shapes were made to suit different customers, those for Greece being the most elegant. These vases are generally of a dark-blue colour, decorated with pale yellow, blue, green, and white lines disposed in zigzags; these lines do not go through the glass, and have evidently been put on the surface, and worked flat, before the vessel was blown. The zigzag appearance might have been obtained by pulling the paste various ways while hot and before its being finally blown, which process, from the flutes, might possibly have been done in a mould. These little bottles, specimens of which are found in most collections, are supposed to have contained perfumes. Now just contrast them, with their beautiful and yet deeptoned colours, supported on little golden stands, with the modern fashionable smelling-bottle, a polygonal cylinder of transparent glass, finished at each end with an ugly gold top ornamented with hideous engraving.

We now come to Roman glass. It is usually the fashion to believe that the Romans had no glass at all, the consequence of the wretched books on Greek and Roman antiquities which until of late years were exclusively current in our schools. A hundred years ago they represented the knowledge of the times, painfully picked out of the classics by such men as Erasmus and Scaliger. But since those days Pompeii has been discovered, archæology has become a science, and we read the classics with very different lights to what our forefathers did. We shall therefore find, if we pursue our investigations into ancient glass by means of the contents of the public and private collections, that the Romans were as well off, if not more so, in

e Nat. Hist., bk. xxxvi. ch. 66.

A little vase with its golden stand may be seen in the British Museum.

this respect than ourselves. It is true that hitherto no such large sheets of plate-glass have been discovered as we see in fashionable shop-windows in Regent-street and elsewhere, but plate-glass in very considerable pieces has been found, and the article must have been in very considerable use, as anybody may see, at Pompeii, where there is a piece remaining in situ closing the window of a porter's room in one of the houses: we must, moreover, remember that Pompeii was by no means a very important place, being a sort of Roman Margate. Pliny also tells us that in his time glass drinking-vessels superseded those of silver and gold. Let us now see what the Romans have left us. First of all, we have colourless glass, which Pliny informs us was in his day considered as the most valuable. This white glass was decorated in various ways. It was sometimes crackled: thus in Mr. Slade's collection there. is a cup which has artificial cracks all over it, and exactly resembles the white fluor spar-a curious fact when we remember that some antiquaries assert the murrhine vases to have been made of the coloured fluor spar, or what we call blue jack.

The Roman workman was also perfectly master of the art of making what we term filagree glass, and what the Venetians call latticinio. In the British Museum, in the Temple collection, will be found a saucer made entirely in this manner, and exactly like Venetian work. It is needless to say that the Romans produced all sorts of coloured glass, both opaque and transparent, some of exceeding beauty: thus the glass dish known as the Santo Catino, and kept in the cathedral at Genoa, was believed in the Middle Ages to be an immense emerald. It was taken by the Crusaders at the siege of Cæsarea in 1101, and the legend ran that it had been given to King Solomon by the Queen of Sheba; that it had contained the paschal lamb eaten at the last Supper of our Lord; and, finally, that it had received His blood: in fact, it was the Sangreal, so celebrated in the Mort d'Artus. Many of these coloured glass vessels have been turned on a wheel, or cut and polished afterwards. In the collection of Felix Slade, Esq., is a vessel of Greek glass, in the shape of a boat, which has been thus finished, the colour exactly resembling the Santo Catino. Very frequently different-coloured glasses were used in the same vessel, sometimes in an irregular manner, as in the imitations of onyx, or in those examples which resemble the Venetian smeltsh; but GENT. MAG, 1864, VOL. I.

3 F