Wine glasses and other drinking vessels of glass may best be classified according to the shape or decoration of the stem.
The oldest English drinking glasses are those which have lumpy, knobby, bulbous stems, of wavy outlines imitating the stems of Tudor and Stuart silver goblets, and rather resembling the shape of balusters in stair or terrace balustrades, or the uprights in some old gate-leg tables; perhaps among the baluster stems we should class those which rather resemble an inverted obelisk, the broad part just under the bowl and the point within the foot (see illustration, page 84); this long remained the favourite shape (and is almost the characteristic shape) for what are called sweetmeat glasses on stems, and for comports or glass stands for sweetmeat glasses; it gives a kind of shoulder to the stem. Sometimes the lower part of such a stem as this is square in section.
Often the stem does not directly join the bottom of the bowl, but has a “neck,” with an outstanding ring of glass or “collar” around the neck; sometimes the collar is double or triple; the neck and collar were often used later, in other than baluster stems. Sometimes the collar is near the foot; sometimes there are two collars. Around some stems a fillet is found; these are very rare.
The stouter and lumpier the older the baluster stem, as a rule; after the accession of William and Mary, the baluster stems grew more and more refined and less heavy as the years went on. But baluster-stem glasses are prized by most collectors according to their bigness and lumpiness of outline; the older the better, from this point of view. The massive stems are very handsome; where they touch the bowl the bowl is very thick, and because the stem and pontil-mark were big, the foot is often domed; so that the curves of the bowl, the undulations of the stem, and the domelike or high-instep-like curve of the foot make a matched and pleasant outline for the whole. Almost invariably baluster-stem glasses have folded feet.
Two things may be looked for inside these stems—coins and “tears.” Sometimes one of the swelling-out parts of the baluster stem was large enough to enclose a small silver coin; a coin glass is exceedingly rare and correspondingly valuable, but the date of the coin does not necessarily indicate the date of the glass.
Many baluster stems enclose a separate blob or bubble of glass, called a “tear.” It has been thought that this was an accidental feature, due to imperfect mixing of the metal and the presence of air in the molten glass. Obviously, that is an unlikely cause, and in the Diary of Mr. Pepys I have discovered a passage which seems to show how these “tears” in the stem would begin. Writing little more than twenty years before 1689, Pepys refers to the “chymical glasses which break all to dust by breaking off a little end; which is a great mystery to me.” These were called lacrymæ Batavicæ, or “Dutch tears,” and were made by letting drops of molten glass fall into water; hissing, the glass became tearlike in shape, a blob with a long slender tail, and hollow. Probably such as these were the “tears” which appear as ornaments within the old drinking-glass stems, distinctly visible and separate from the rest of the glass in the stem, though of the same tinge and quality of material. The name “tear” is to this extent a misnomer, that nearly always the “tear” is bigger at the top than the bottom; whereas a tear proper swells out more the lower it slips on the cheek. But I own a baluster-stem glass in which the lower part of the “tear” is the bigger, and in some such glasses the “tear” swells out or in to match the shape of the stem. Sometimes three or five or more very small “tears” appear in one of the bulbs.
“Drawn glasses” were made at twice—the bowl and the stem in one, the foot added later. To understand better this meaning of the word “drawn,” imagine a soap-bubble with the extra suds adhering to one part of it, and suppose that the extra suds could be drawn out to make a stem; that was the method used in glass. The plain, round stem resembles a solid cylinder, but it is part of the bowl, in fact it is a continuation of the bowl. The end of the cylinder, around which the foot was welded, made a pontil-lump, and therefore the plain stem glass has either a high instep or a dome foot.
The plain round stems were made stout because of insobriety, though that had begun to lessen when this second type of stem came into vogue. “Tears” are often seen in the plain round stems.
Stems which are ornamented by outside spirals, or series of small ridges and grooves alternating, are usually old Dutch; but some of them are English, though of inferior quality and ring. The quality is so poor and the make so unsatisfactory that probably they were a “cheap and nasty” contemporary imitation and substitute for glasses adorned with the air spiral, the type which succeed the plain round stem. It is hardly likely that the corrugated stem preceded the air-spiral stem; or, if at all, for more than a few years. With these corrugated stems one expects to find, almost without exception, that the bowl of the glass is shaped like an inverted, incurving, waisted bell.
At any rate, out of the “tears” in the baluster and plain round stems was developed the idea of ornamenting stems by internal spirals or twists, and whether these should be number four or number three in the chronological order is not very important. By twisting while drawing out the stem from the surplus metal of the bowl (which contained several small “tears”) the graceful and beautiful effect of the air spiral inside the stem was produced. Sometimes the spiral starts within the bowl; sometimes it winds round the base of the bowl; but always the ornamentation becomes a trellis-work or network when it fills up the whole stem; when it does not fill up the whole stem, it meanders down it medially, in one substantial spiral, like a corkscrew or a rope, or in two that interlace: and in the finest examples the finger can feel no ridging of the surface at all, though a slight ridging is palpable in many glasses. Now all this meant splendid workmanship—English aptitude at handicraft, the best of its kind in the world.
Sometimes the spiral is so very brilliant that it seems as if it were made of quicksilver, and collectors call it “silver spiral” or “brilliant air-twist”; but this is probably an effect of light. In all cases the air spiral is glass colour, the tint of the rest of the glass; red, cotton-white, and blue spirals belong to the type of stem to be mentioned next. Sometimes, it is true, a white thread is seen running down the centre of the stem, within the network of air spirals; but oftener when this central thread occurs, it is “air-colour” itself.
Air spirals are often seen in stems of knobby or baluster form; sometimes air-spiral stems have “necks.” This probably means that long rods of glass containing air spirals were made, with the baluster shape recurring at regular intervals of suitable length, so that the rod could be cut up into lengths and each length welded on to the bowl and the foot of a glass. These are the air-spiral glasses most sought after. Sometimes the stem of a drawn glass was welded to a foot of which a bulb was the upper part, this bulb sometimes containing beadlike “tears,” but these are very rare: sometimes the upper part of the stem is plain, and the lower part, beginning with a knob, is air spiral, or vice versa. Sometimes old air-spiral glasses with small feet are found; this was due to a practice of grinding away the edge, when the feet had become chipped by much use, and re-polishing the feet of these much-valued glasses; the folded foot for these glasses was not the rule.
Tall, slender-bowled air-spiral glasses for champagne are sometimes found, in shape resembling the glasses called flûtes; I own one of this sort not less than 9½ inches high. Rarer still are spiral-stemmed glasses for ale; I own one 11 inches high (see illustration, page 60). The former I gave 7s. 6d. for, the latter 10s., a tithe of their West-End prices. But these are very exceptional glasses.
Air-spiral stems are found in cordial and spirit glasses, firing glasses, and goblets with short stems.
During the latter half of the eighteenth century the air-spiral glasses continued to be made, but the opaque or cotton-white spiral stems came into fashion and general use. These were not “drawn” stems; they could not be, because the white glass was not inherent in the metal. The stem was made by lining a long cylindrical mould with wirelike “canes” of cotton-white and other glass alternately. Then melted plain glass was poured into the cylinder. The canes adhered to the warm metal, and when the whole was reheated, it could be twisted into spiral designs. Then the parti-coloured rod thus made was cut into stem-lengths. By this means a great variety of designs in the spirals could be produced, and indeed, the countless differences in English-made cotton-white spirals, hardly any two alike, are one of the features of a collection. Sometimes the design spreads like the air-twist; sometimes it circles around a central, wavy tube; sometimes the cotton-white is tapelike, in a “Greek key” pattern; sometimes an outer spiral runs around the inner corkscrew; but always the effect is pleasing, and rather striking, though perhaps not quite in the reticent good taste of the air-spiral stems.
Dome feet or folded feet are hardly ever found under cotton-white or other coloured spiral stems; any example of that should at once be acquired; but the pontil-mark is always found—if the glass be old. The white in English-made glasses is generally a pure, vivid, cotton-white; in Dutch glasses it is usually a dull greyish hue. (This is why I use the term “cotton-white” as descriptive of these English stems.)
The next step, to coloured or “mixed” spirals, was obvious, but not very often taken at English glassworks: most of the red and white spiral stems now seen came from Holland or Liège. However, at Bristol red and white, and blue and white, spiral stems were made; they are known by the ruby red and the peculiar Bristol blue. Yellow and white, purple and white, and green and white spirals are known; rare indeed is a three-colour spiral. Coloured twist stems were only made in England about the end of the eighteenth century. An almost constant feature of tri-coloured stems made in Holland or at Liège is a wavy central tube of white, with coloured spirals around it, swelling or contracting to suit the usually bulbous shape of the stem.
These seem to have been in fashion during the period 1775–1825. Usually the stems are hexagonal, and the cutting had, of course, to be continued, in a shallow way, on the lower part of the bowl. “Thistle” glasses are those in which the cutting of the stem and bowl to some extent suggests the thistle in shape and appearance. The stems were often knopped—this is a feature of Waterford glass cut stems—but towards the end of the period mentioned above the stems became cylindrical except for the cutting, and the cutting did not so much produce facets as long grooves.
The dates just given would suggest that the dome foot and the folded foot are not to be looked for under cut stems, but they are met with, the dome foot having been kept in use for ornament’s sake, probably. Nor is the pontil-mark present, if the cutter removed it; except that sometimes he left just the faintest trace of it, which the finger can detect.