SINCE the South Kensington Museum purchased the largest collection of old and modern Spanish glass in Europe, the taste for and study of this branch of industry has increased to a very great extent. It is evident that this manufacture attained great importance during the three last centuries, and possibly existed at an earlier period; and that glass objects made in Spain possess a special and distinct character, different to those made in other countries. Before the objects at the Kensington Museum were collected, the existence of this industry in Spain was comparatively unknown.

The earliest mention of glass works in Spain will be found in Pliny, who, while explaining the proceedings which were employed in this industry, says that glass was made in a similar manner in France and Spain: "Jam vero et per Gallias Hispaniasque simili modo harenae temperantur."—L. XXXVI. cap. 66.

The next allusion to this industry will be found in the works of San Isidoro. This eminent man lived in the 7th century, and after quoting the observations of the Roman author, gives us to understand that this industry existed before his time in Italy, France, and Spain: "Olim fiebat et in Italia, et per Gallias, et Hispaniam arena alba mollissima pila mola que terebatur." [Divi. Isid. Hisp. Etymologiarum, I. XVI. cap. 16.] It is evident, therefore, from this passage, that glass was made to a large extent in the Spanish Peninsula during the Roman period. This is confirmed by the number of specimens which are constantly found in ruins. We learn also that the manufacture had ceased to exist in the seventh century.

Glass vessels of the Roman period found in Spain are similar in form and manufacture to those which we know were made in France and Italy. This is not to be wondered at, if we remember that the Romans imposed their artistic forms on the countries they conquered. It is impossible to classify the specimens of this industry into determined localities. The study of the glass paste may, at some future period, give materials for such a classification.

One special characteristic of Roman glass may be taken into account to be applied to Spanish glass of a later period. We find ancient specimens constantly ornamented with a sort of thread or line which runs all over the vase. These lines are sometimes made of transparent glass, and sometimes of white opaque glass, termed in Italy latticinio from its milky whiteness. When the industry of glass making was revived in Europe during the fifteenth and sixteenth centuries, classical forms were copied in this as in other industries; this line ornamentation was copied on a much smaller scale in Italy than in Spain, where it constituted the chief and constant characteristic of glass making. It is an interesting fact that objects of a traditional Moorish form have the greatest amount of lines of this style of ornamentation. We cannot, until this subject is more thoroughly investigated, do otherwise than infer either that the tradition of this industry was preserved in Spain, or that the Arabs imported this style of decoration from the same localities from which it had been copied by the Romans centuries before.

The comparison of these different styles of glass making can be carried out in a most satisfactory manner in London by examining the fine specimens of glass in the British Museum (Slade collection), and the old Spanish glass at South Kensington.

We have no specimens of glass of the Visigothic period. If, as is most probable, glass was used by the Visigoths, they may have imported it from the East, for the text I have quoted from the works of St. Isidore seems to prove that this industry had ceased to exist in his time. The glass paste of different colours must, however, be mentioned, which is set in gold in the Visigothic crowns found at Guarrazar, near Toledo. It imitates precious stones, and was very generally used during the Byzantine period; its occurrence here makes it appear probable that at any rate the tradition of this industry existed in Spain.

From the 8th to the end of the 15th century, during the Mahomedan domination, I infer that the industry of glass making became as important in Spain as that of pottery. No specimens, however, of the earlier period have reached us, and we must judge of what it was from the glass vessels in the Kensington Museum, belonging to the Renaissance period, which preserve their Oriental form, and are of a different style to that of Venice and other localities in Europe.

A most interesting fact, which confirms this theory, will be found in a translation made from Hebrew to Arabic of a work which treats of the virtues of precious stones, Lapidario [MS. Biblioteca del Escorial], quoted by Rico y Sinobas in "Almanaque de la Industria," 1873. We do not know exactly when the author Abolais lived, but in the prologue to this MS. it is mentioned that Dⁿ. Alfonso el Sabio found this book at Toledo, and gave orders to a Jew called Juda Mosca, and a priest, Garci Perez, to translate it into Spanish. The translation was terminated in 1250. Technical details are given in this volume concerning the substances which are employed in glass making, and some of the minerals found in Spain which are used in painting or enamelling it, but as this work was written to explain the properties of minerals, as they were understood in the author's time, he does not enter into any interesting details, or describe the forms of these objects. Another allusion to glass making in Spain will be found in Al Makkari, the Arabian author of "Mohamedan Dynasties in Spain," [London, 1840, 2 vols. 4to], who quotes an Oriental writer of the 13th century, who says, "Almeria was also famous for the fabrication of all sorts of vases and utensils, whether of iron, copper, or glass." (Vol. I. p. 51.)

The tradition of this industry has been undoubtedly preserved at Almeria until the present day, for in this province, and in the adjoining villages of the province of Granada, we find that specimens are to be met with, which possess a marked Oriental form, and are completely free from the influence of Italian models which existed in other localities. The most characteristic specimens consist of jars of two, four and eight handles, bowls with ribs and handles, pilgrim's bottles, etc., of which interesting examples exist at the South Kensington Museum. Woodcuts of several of these are given.

All these objects are decorated with a serrated ornamentation of buttons, trellis-work, and the lines to which I have already alluded which were placed there after the object was made, in the Roman style. The paste is generally of a dark green colour, and when we find these same features in vessels of white clear glass, we may affirm that they are contemporary imitations made at Cadalso or elsewhere, for they are very seldom to be met with in the provinces of Almeria and Granada, and are generally found at Toledo and other localities; it is, moreover, a common condition of Oriental art that its general form complies with a geometrical tracery, and we never find as in Italian works of art, forms and capricious ornamentations which interfere with the symmetry of the general lines, and sacrifice them to the beauty of the whole.

GLASS VASE.—SPANISH, 16TH CENTURY.
GLASS VASE.—SPANISH, 16TH CENTURY.

I have been unable to find the glass industries of this period mentioned by any contemporary author, but I owe to the courtesy of S^r. Romero Ortiz some interesting details which have been taken from the archives of certain villages, which although of a more modern date prove that this industry existed in these localities. At about 14 miles from the Puebla de Dⁿ. Fadrique, there is a locality called Pinar de la Vidriera, where traces of ovens and scoriÆ exist belonging to an ancient glass manufactory, which is likewise mentioned in documents of the municipality as continuing to work in 1620. At Castril de la PeÑa, a manufactory yet exists where glass is still made, and which has existed from time immemorial in the village. The building itself is decorated with the escutcheon of the family of Hernando de Zafra, one of the secretaries of Queen Isabel, late in the 15th century, who must have purchased it with other lands which he possessed there, towards the year 1492. A gallery, one mile long, which exists at the entrance of the town from whence the sand has been extracted for this manufacture, gives an idea of the antiquity of this industry in this particular locality. It has been calculated that about two tons of sand were used at these glass works every month. At Royo Molino, in the province of Jaen, a very ancient building still exists, now half in ruins, which has been used until very lately as a glass factory. At Maria, in the province of Almeria, several glass manufactories have existed. The oldest, it is believed, was about two miles from the town, and is called traditionally "del Campo," but I have not found mention of it in any document. Three glass ovens existed inside the town: one was established by Vicente Botia, towards the year 1750, which lasted until 1790. Juan Martinez established at about this period an industry of a similar kind near the former one, which continued to work until 1854. The same green glass has been constantly made in these localities, the same forms have been copied, the only difference between the older and more modern specimens consisting in the coarser and heavier quality of the glass.

PILGRIMS' GLASS BOTTLE.—SPANISH, 17TH CENTURY.
PILGRIMS' GLASS BOTTLE.—SPANISH, 17TH CENTURY.

In treating of the glass manufactures in Spain, where Italian models were imitated to a very great extent, we find very few allusions in contemporary authors of the Middle Ages; it may be because glass vessels were chiefly used with wooden and pottery utensils by the poorer classes, and metal utensils of all kinds by those who were able to afford them. At any rate, it is only towards the end of the Middle Ages that we meet with information concerning this industry, which continues uninterrupted until the present day.

Barcelona is one of the towns distinguished for the antiquity and excellence of its glass. In a municipal edict of 1324, we find a special prohibition that the glass ovens should not be inside the city, owing to the danger they might cause to the rest of the population. In 1455, permission was granted to the vidrieros, glassmakers, to form a guild under the patronage of St. Bernardino, and from this period some of its members figure as holding municipal charges. Capmany, "Memorias," Vol. I. p. 134. According to this author, the special Ordinances of this corporation are not known, but only those which were given by the municipality in 1659. He adds that the master vidrieros required six years of apprenticeship and practice to be admitted to work.

From the 15th century several authors praise the glass made at Barcelona. In a MS. by Jeronimo Paulo, who writes in 1491, a description in Latin of the most remarkable things at Barcelona, he says, "they also send to Rome and other places many glass vessels of different sorts and kinds which may well compete with those of Venice." In the account of Philip le Bel's journey to Spain on his marriage with Queen Joanna we find the following mention of the town of Barcelona: "Et sont lÀ faicts les plus beauls ouvrages de voires (verres) et de cire qui soient faicts au monde. Le Jordi (19 Janvier, 1503) Monsigneur alla au dehors de la ville vioir ung jour oÙ on faict voires (verres) de cristallin trÈs beaus." ["Collection des Voyages," Bruxelles, 1876, Vol. I., p. 257.] Marineus Siculus, who writes early in the 16th century says, "the best glass made in Spain is that of Barcelona," and Gaspar Barreiros in his "Chorographia," [Coimbra, 1569,] tells us, "they made excellent glass at Barcelona, almost equal to the Venetian." At the beginning of the 17th century the authors, Jaime Rebullosa, in his "Descripcion del mundo," [Barcelona, 1603, 8vo,] and Luis NuÑez in "Hispania," [AntverpiÆ, 1607, 8vo, p. 279,] continue to praise the glass made at Barcelona, and from that period we find its merit and the vast quantity which was exported constantly alluded to. The fame of Spanish glass must have been justified, for in the "Viage del Cardinal Infante," by Aedo, printed in 1639, we find it stated that when the Infant Cardinal was at Barcelona, in 1632, he went with his galleys to MatarÓ, four leagues from Barcelona, to see the "glass made there which was so abundantly sold all over the country." The Spanish translator of "La Piazza universale di tutte le professioni," [Madrid, 1615,] adds the name of Barcelona to the Italian author's mention of glass objects made in Venice, saying, "This industry has reached such a degree of excellence at Murano and Barcelona that nothing can be compared to it; there is nothing now which cannot be made of glass and crystal, even cabinets have been made, and castles with their towers, battlements, artillery, and fortifications." Mendez Silva in his "Poblacion de EspaÑa, [Madrid, 1654, p. 243,] repeats the same idea when he says they made at Barcelona, "fine glass which might compete with the Venetian." This industry continued in CataluÑa to a great extent in the last century, and was praised by the following writers. The author of the "Atlante EspaÑol," [Vol. IV., Madrid, 1778-1795,] tells us that "they continued to make excellent glass at Barcelona, in imitation of the Venetian, with which it might compete," and that this industry was carried out to a great extent at MatarÓ, CervellÓ, and Almatret, all three towns of CataluÑa; he says that in this last mentioned town the glass made was "so excellent, and the number of workmen employed was so large, that an oratory had been built in order that the workmen should hear mass there."

The constant comparisons which we find between the glass made at Barcelona with that of Murano suggests two things—that Spanish glass must have been of a first-rate order, and that the form of the glass vessels was similar to those made at Venice. It is highly probable that a great part of the specimens of glass of different kinds which are classified as Italian in several collections, are really Spanish, although it is extremely difficult to point out the difference. In this, as in other branches of industry, the mania for classifying has gone too far, and comparative studies of a more concrete order are necessary; until these are made, the principal fact to be borne in mind in classifying glass vessels is to compare them with objects of a similar manufacture which have been made until very lately in CataluÑa, and of which an extremely interesting collection exists at the South Kensington Museum, proceeding from Barcelona, MatarÓ and CervellÓ, (Nos. 149 to 193) which will enable the amateur to see how the industry of glass-making has continued traditionally to be preserved in that province. See woodcut opposite representing a glass bottle, also the central vessel in woodcut on p. 238.

Among the specimens of old Spanish glass we may consider to have proceeded from CataluÑa the following examples, forming part of the collection acquired in 1873. Bottles, Nos. 249 to 262, cups, Nos. 336 to 339, and tumblers, Nos. 303 to 305, 312 to 314, and 328, '29. Among these, there are some which are undoubtedly still made in the locality. The most characteristic are the arruxiadÓs, or borracha, a vessel spirally ribbed with several narrow spouts, used by the peasant girls of the villages to sprinkle rose water in the festival of the patron saint of the district; the porrones, a bottle with a long spout, used by the peasantry for drinking wine; the cantaro, a jug, funnel shaped with wide mouth, handle and curved spout, and the pilas de agua bendita, a holy water vessel of different shapes.

GLASS BOTTLE.—MODERN SPANISH.
GLASS BOTTLE.—MODERN SPANISH.

Very few details have reached us of the famous glass works which existed at Cadalso, in the province of Toledo; we know, however, that the glass made there was as excellent as that made at CataluÑa, and was compared in a similar manner to the Venetian. The unknown author of "El Crotalon," published by the Spanish Bibliophiles, from a rare MS., in 1871, writing in the time of the Emperor Charles V., mentions "the fine glass made at Cadalso." Marineus Siculus also writes in 1517 in his "De las Cosas Memorables de EspaÑa," [Alcala de Henares, 1539, fol., Vol. I.,] that "Glass was made in several towns of Castile, the most important of them being Cadalso, which supplied the whole kingdom." It would appear therefore that this glass manufactory was already established in that locality in the 16th century, and we frequently meet with allusions to the excellence of its productions in contemporary authors. The town itself has continually been called "Cadalso de los vidrios." Mendez Silva in his "Poblacion general de EspaÑa," [Madrid, 1645, p. 40] says: "They make in three glass ovens fine glass of beautiful colours and forms, which can compete with the Venetian." At the South Kensington Museum, there are two fine specimens of glass made at Cadalso—No. 1068, '73, a drinking vessel of white glass, the upper part in form of the Spanish vessel called "bucaro," ribbed and streaked with colours; the stem pineapple shape, with remains of gilding (this is represented in the woodcut); and No. 1082, '73, a bowl of plain glass, the lower part spirally waved, and decorated with scale pattern in gold and coloured dots. Both these objects proceed from a nunnery in a village near Cadalso.

GLASS VESSELS FROM SPAIN, IN THE SOUTH KENSINGTON MUSEUM.
GLASS VESSELS FROM SPAIN, IN THE SOUTH KENSINGTON MUSEUM.

Larruga says in his "Memorias," [Madrid, 1791, Vol. X., p. 53,] that "two glass ovens existed at Cadalso, which belonged to the Marchioness of Villena; they are worked by the inhabitants of this town. One of the ovens has fallen into disuse from the beginning of the present (18th) century, and the fame of the glass made there, formerly so renowned for its clearness and variety of the objects made, has declined. In examining the state of this industry during the reign of Charles II. we find how much it had fallen off, for Dn. Antonio de Obando in 1692, undertook to reestablish it, and to make glass vessels, and window glasses as had been made there formerly. It appears that 200 dozens of objects of different kinds were sent out from there yearly." The vase, No. 333, '73 represented in the woodcut is an example of the coloured glass of Cadalso.

GLASS VASE.—SPANISH (CADALSO), 17TH CENTURY.
GLASS VASE.—SPANISH (CADALSO), 17TH CENTURY.

Glass ovens existed from a very early period in the central provinces of Spain, which probably imitated from the 16th century the productions of Cadalso. We know from papers at the Archives of the Convent, of two of these which paid a yearly rent to the monastery of San Jeronimo de Guisando, from 1478 to 1480. One of these glass works was situated at the Venta del Cojo on the borders of Escalona, and the other at the Venta de los Toros de Guisando.

It is evident that a glass manufactory existed at Toledo, from some accounts which I have found in the Archives of the Cathedral, in which BartolomÉ Lopez, vidriero, is mentioned in 1546—Pedro Fernandez in 1590, and Tomas NuÑez in 1660; as furnishing glass vessels, principally lamps for the cathedral. Tomas NuÑez is also paid for "three crosses of crystalline glass." In a letter written in 1690 to Count Gondomar, the celebrated ambassador to James I., (Archives of the Palace at Madrid), I find a glass manufactory mentioned which existed at Cebreros in the province of Segovia. The writer says, "Your lordship knows we have a glass oven here; this week we have made the glass called crystalline, of which I send in a basket sixteen specimens for my lady Dna. Costanza."

Larruga tells us in his "Memorias," [Madrid, 1792, Vol. XVI., p. 222,] "That in 1680 a glass manufactory was established at San Martin de Valdeiglesias, where glass in the Venetian style was made—the glass was excellent. This manufactory was under the direction of Diodonet Lambot a native of Namur. He was succeeded by Santiago Bandoleto, who was by no means as skilful. Glass ovens were also established at the Torre de Estevan, Hambroz, under the direction of Guillermo Torcada." At Recuenco, in the province of Cuenca, glass works existed at the beginning of the 16th century; but in 1722 Don Fernando Lopez de Aragon established a manufactory on a large scale. The glass made there was used by the king and the greater part of the rich people at Madrid. In 1739 two other glass works existed there, which continued their operations during the rest of the century. In the same province several glass ovens existed towards the middle of the last century. The principal ones were established in the villages of Arbetota, Vindel and Armallones; only coarse specimens were made there, but at an earlier period their productions had been, Larruga tells us in the nineteenth volume of his "Memorias," very important. The glass works which we find mentioned in the "Atlante EspaÑol," [Madrid, 1795,] were also of a very inferior quality; they were established at the end of the last century at Busot, in the province of Alicante, Hinojares and Carolina, province of Jaen. The "Correo de EspaÑa," [Vol. I. Madrid, 1771,] mentions an important glass manufactory which existed at Andorra near AlcaÑiz, and one where glass of an inferior quality was made at Cabra, in the province of Cordova. Cabanilles, "Historia y descripcion del reino de Valencia," Barcelona, mentions the existence from a very early period of glass works at Olleria, a village of the kingdom of Valencia.

The only mention which I have found in which Seville appears as a centre of this industry, is an interesting allusion to the village of Cala, which was represented in a festival which was given to Philip II. in 1578, "with a crystal glass in its hand, and several others at its feet, because a famous glass oven existed there." ["Recibimiento que hizo Sevilla al Rey Don Phelipe." Por Juan de Mallara, Sevilla, 1570, p. 89.]

In the 17th century, during the reign of Philip IV., the glass made at Valdemaqueda in the province of Avila was very celebrated. In a royal schedule, dated 1680, which states the price at which things were sold at Madrid, "the glass made at Barcelona, Valdemaqueda, and Villafranca" are mentioned. We find the glass of Valdemaqueda was sold for a higher price than that made at the other localities.

The principal value of these extracts is to prove that the industry of glass-making existed in these localities; none of the authors mentions the principal characteristics by which the vessels made may be classified. Those made at Almeria and Barcelona are more easily known, for they have kept until very recently their general character; while at Cadalso and other localities of the centre of Spain, the tradition of the Italian models has quite disappeared. In one fact every author agrees, namely, that the glass made in those provinces closely resembled the Venetian, and was completely different to the system followed by the Arabs. It is, therefore, highly probable, as I have already stated, that a large number of objects of glass of different kinds, which have been hitherto considered Italian, were made in Spain.

VASE OF GREEN GLASS, WITH BLACK HANDLES AND RIBS.—SPANISH, 17TH CENTURY.
VASE OF GREEN GLASS, WITH BLACK HANDLES AND RIBS.—SPANISH, 17TH CENTURY.

The following observations may serve as a guide in the difficult task of classifying this group. The specimens of glass vessels most generally met with in the neighbourhood of Cadalso are:—

Objects of white transparent glass, sweetmeat dishes ornamented with ribs, buttons, and reticulated rims with touches of gold.

Objects of clear greenish glass of a paler hue than is made in the province of Almeria, decorated with blue, or some opaque colour (see woodcut); in some instances part of the object is decorated with a rough crackled surface.

Objects of opaque glass with different colours, vases, glasses, cups and saucers, of thin milk-white texture with blue spots, or imitations in the Japanese style of different colours. Vases for holding flowers, and other objects, of dark blue glass, milk-white cups, glass and other objects ornamented with lines of red or blue of a thicker paste than the preceding ones.

Although these objects are copied from Venetian models, they are coarser in every detail, they are heavier and thicker, and the delicate and elegant ornamentation which we find on Italian specimens is almost always wanting, we seldom find examples of the beautiful millefiori chalcedony or tortoise-shell paste, and the outline of these objects is symmetrical and Oriental in style.

The royal glass manufactory at La Granja de San Ildefonso, was founded on the remains of an important one which had been established some years before, under the protection of Philip the 5th, at the Nuevo Bastan, in the province of Madrid.

Towards the years 1712 to 1718, this king commissioned Dⁿ. Tomas del Burgo and Dⁿ. Juan B. Pomerague to establish glass-works at the Bastan; twenty foreign workmen were brought over with this purpose, with their families, and the necessary implements. These gentlemen did not carry out the undertaking to the king's satisfaction, and in 1720 his majesty gave Dⁿ. Juan de Goyeneche special privileges that he might "make every kind of glass manufacture up to the height of twenty inches, and have these glasses worked and polished, embroidered and covered with metal; to make looking-glass and similar decorations, and every kind of glass vessels, and white glass for window-panes, and every sort of glass vessel of different kinds and forms which have been invented in the present time, or likely to be invented in this art." In order to carry this out, the king allowed them to have as many foreign masters and workmen as they might require, with the sole condition that a fourth part of the workmen employed should be Spaniards. It was prohibited that any industry of a similar kind should be established in Spain for thirty years, or that glass made abroad should be imported into the country.

After a long series of annoyances of every kind, Goyeneche succeeded in meeting with the king's approbation, but as fuel was very scarce at the Bastan, he removed the glass works to Villanueva de Alcorcon, in the province of Cuenca. From the ruins of this glass manufactory, Larruga says in his "Memorias," [vol. xiii., p. 274], "was founded the splendid glass manufactory of San Ildefonso."

Ventura Sit, a native of Catalonia, constructed an oven there, which worked from 1728 to 1736 with great success. Queen DoÑa Isabel encouraged Sit, and the king ordered him to make some glasses which might serve for mirrors. Those he made at first were small, but Sit began by making them 30 inches long and ended by making them as large as 145 inches. The machine for polishing them was invented by a Catalan called Pedro Fronvila.

The section of glass vessels of a superior quality began to work in 1771. Glasses, bottles, and objects of all kinds were made there under the direction of a glass worker called Eder, a Swede, and Sivert, a Frenchman. Another section where the same quality of glass was made was directed by Don Segismundo Brun, a native of Hanover, but who had been brought up from a very early age at La Granja. It was this artist who invented gilded glass a feu. A large number of foreign artists worked at this manufacture; they impressed their special style on the objects they made, which were similar to those of the same kind manufactured in France, England, and Germany.

From the time of Ventura Sit, towards the year 1734, the manufactory of glass at La Granja belonged to the crown, and continued under the protection of the Spanish kings, who spared no expense to obtain its development. Early in the present century this industry began to decay. Towards 1828 it passed into private hands, and continued to work until 1849. The manufactory is now closed, although there is some talk of reviving this industry.

GLASS VESSELS FROM SPAIN, IN THE SOUTH KENSINGTON MUSEUM.
GLASS VESSELS FROM SPAIN, IN THE SOUTH KENSINGTON MUSEUM.

The glass objects made at La Granja possess a very marked French style, which renders them liable to be mistaken for French and German productions of a similar kind. The greater part of the objects which were made were of white clear transparent glass, richly cut and engraved, or ornamented with gold (see woodcut). The cut glass is generally engraved with inscriptions, views, flowers, and devices, and until very lately has been made there in a rougher style. Coloured and enamelled glass has also been made there, but not to so great an extent. Glass for window panes and mirrors were ordered for the Royal palaces. Lustres of all kinds of white and coloured glass were also made there in the Venetian style, richly ornamented with coloured flowers. A small chandelier of this kind is in the South Kensington Museum (No. 998, '73), the only example I have seen of a lustre of latticinio glass. In the collection of old Spanish glass at the Museum will be found a sufficient variety of specimens of this manufacture to give an idea of the different styles made at La Granja. A fac-simile of one of the engraved mirrors and a fine cut glass will be found in "Museo EspaÑol de Antiguedades, vol. IX."

Besides glass vessels and objects of a similar kind, painted glass windows have been made in Spain from a very early time, of which most important specimens exist at Toledo, Leon, and other Spanish cathedrals. The proceedings employed in this industry are too well known to require repetition in this volume. The industry was undoubtedly imported by foreign workmen from France and the north of Europe, and as was the case with other industries it took root in the country, and a large number of Spanish artists followed and took part in this industry.

In order to convey an idea of the height of this industry in Spain, I give a list of the painters who worked on glass which I have collected from the following works, to which I refer the student who may wish for further details on the subject. Cean Bermudez, "Dicc. Hist. de los mas ilustres Profesores de las Bellas Artes en EspaÑa. Madrid, 1800." Villanueva, "Viage Á las Iglesias de EspaÑa." Piferrer, "Recuerdos y Bellezas. Mallorca." "Documentos Ineditos." Zarco del Valle.

GLASS PAINTERS IN SPAIN.