This characteristic, despite the endeavour of local manufacturers to do away with it, appears to have continued for something like a century. Mr. Dudley Westropp, in his important work on "Irish Glass," page 162, mentions a "letter from Exeter, dated December 7th, 1832," in which "Elizabeth Walpole, one of the partners in the Waterford Glass Works, says she had a conversation with Edward Eardley, a glass merchant of Exeter and Plymouth, about some glass she was getting over from Waterford, with a view of selling. She says that Eardley stated that all the Irish glass he had ever seen was dark coloured; but she told him she had sent for some Waterford glass, so that he might see for himself."

This statement throws a light on the somewhat equivocal reputation enjoyed by Irish glass until well on in the second quarter of the nineteenth century, and also shows that at that time the Waterford makers considered that they had entirely freed their metal from the dark tone formerly characterising it. It is indeed a curious irony of human endeavour that the makers of Waterford glass, now deservedly famous for its beautiful and dark grey-blue tone, tried to eradicate it from quite an early date. They endeavoured to make their glass whiter and clearer, like that of Bristol, and in this they succeeded after 1830. The late glass of Waterford, i.e., made 1835 or afterwards, was actually whiter than that of Dublin. Little did these glass artists think that a century later people in all parts of the world would be trying to reproduce the early dark colour without success.

The poor reputation for colour that Irish glass suffered under during the eighteenth century must in itself have greatly interfered with the export trade in the finer pieces. That there was an immense export trade during that period is shown from contemporary statistics, but this appears to have been largely confined to commoner wares, such as bottles, glasses, vials, and other articles in constant use and requiring frequent renewal. The finer and more fragile pieces were generally kept at home. The country gentry considered it the proper thing to support local factories by buying the wares made at them, though they did not always appreciate their purchases, and in many instances supplemented them with imported English glass, which they used in preference. Thus it happens that in many old Irish country houses choice specimens of Irish glass have been discovered stored away in garrets and cupboards practically unused since they were made.

There is little or no documentary evidence to establish the origin of these pieces, for, as a race, Irish land-owners are not addicted to keeping receipts of century-old bills, but tradition and the appearance of the surviving pieces confirm the fact that they were originally of Irish manufacture. It must be remembered that the tradition is the more likely to be true because until comparatively recently Irish glass was only lightly valued, so that it was more to the interest of the owner to consider it of English rather than of native manufacture. The tradition, however, is confirmed by the colour and other characteristics of the pieces. It is interesting to note that in many instances missing pieces in sets have been replaced by later productions of English manufacture. The differences between these and their originals are generally easily discernible, the rich depth of tone, which is such a beautiful characteristic of Irish work, being almost altogether absent from the former.

It must not be thought from these remarks that old Irish glass is plentiful. The commoner wares, such as wine glasses, tumblers, and bottles, which were manufactured in such profusion during the eighteenth century, have practically disappeared; and though a larger proportion of the finer and more valuable pieces, used less frequently and treated with greater care by successive generations of owners, have survived, they are still comparatively rare. Nine-tenths of the so-called old Irish glass offered for sale have no claims to be considered as genuine, but are either old pieces from other countries or modern fakes—chiefly the latter.

Glass Factories in Ireland

From time to time humorists over here state that "no glass was ever made in Ireland," so that the following list of localities where a few of the best known glass-houses stood will be of interest:—

Antrim: (Ballycastle) 1755 to 1790.

Bottles, heavy rummers, and very coarse but useful glass.

Belfast: 1781 to 1870.

Fine flint glass, heavy, rather white handsome deep cutting and very fine bold engraving. Glass was brought here from other parts of Ireland to be decorated. Foreign engravers were employed and excellent work done. Very fine lustres, candlesticks, etc., were made here by McDowell, following chiefly Adam and Georgian designs.

Cork: 1782 to 1844.

Finely cut glass of every description, delicate engraving on blown ware, gilding; particularly famous for its rummers, heavy and light-blown decanters, and, after 1800, whole dessert services of beautiful colour and various cutting. Black glass was made here in 1785, and window glass in 1782.

As the card of membership of the Cork Glass Cutters' Union (shown on Plate I.) proves, "lustre" cutting was popular here.

Dublin: Circa 1630 to 1896.

Window glass was made here from about 1630 and onwards, and as early as 1729 the Round Glass House in Dublin produced choice specimens of glass, such as salvers and dessert baskets, with handles and feet, of particularly fine workmanship and design, but now exceedingly rare and difficult to find. Very beautiful glass was made in Marlborough Street, Dublin, by the firm of Williams, about 1771. They appear to have specialised in chandeliers, candlesticks, salvers, bowls, decanters, bottles, bells, and épergnes. During the last quarter of the eighteenth century and onwards there were numbers of houses here in which every kind of white and coloured glass was made. Many fine specimens still exist, of which Pugh's productions (though rather late) are worthy of note, particularly his "lustre" cutting. The early moulded pieces were very elegant and quaint, very much like Bristol, but so far as I have observed, heavier, and, of course, richer and darker in tone.

Drumrea: (Dungannon) 1771 to 1776.

Much the same kind of glass as Cork, but clearer; noted for fine green and amber coloured glass both in bottles, drops for chandeliers, jelly glasses, wine glasses, and épergnes.

Newry: 1790 to 1847.

A great variety of flint glass, both cut and plain, very heavy. A great deal of table glass was made here.

Waterford: 1729 to 1852.

Produced every possible kind of glass of the most beautiful colour and cutting. The chandeliers, candelabra, boat-shaped and turnover bowls, were perfect. The finest period was just after 1780. After 1830 the glass became much whiter. About 1815 some wonderful deep "step" cutting was done, which made the glass, in some lights, look like silver plate; while dessert services were a great feature, and I constantly come in contact with parts of these services (tucked away in cellars and odd places) of the most surprisingly beautiful workmanship and colour.