[Illustration:
DEVICE FOR STOPPERING BOTTLES AND OPENING PANS.
_From a drawing in the Author's possession._]
Naturally the extraordinary cheapness of fuel in Ireland was a great
help to the owner of a glass-house, as wood was the chief thing
he burnt. But late in the seventeenth century an Act was passed
prohibiting the felling of trees for this purpose, so even in those
early days manufacturers had their troubles. However, I do not think
this interfered very much. If an Irishman wants a thing, it takes a
great deal more than an Act of Parliament passed by the Englishman _on
the other side of the water to stop him_.
As late as the nineteenth century, in my father's time, our village
carpenter would come and buy a good-sized ash tree for 1s. 6d. Those
not so well off freely helped themselves by the light of the moon. We
do not bring people to justice in Ireland for little slips of that
sort: we should have no time left to ourselves if we did.
=GLASS CUTTERS.=
Very simple and primitive were the instruments used by the
glass-cutters. Speaking broadly, the artist (for he _was_ an artist)
merely required revolving wheels, from 2 in. to 14 in. or 16 in. in
diameter, sand, water, powdered pumice, and "putty powder," a mixture
of whitening and other ingredients for polishing.
The wheels consisted of "mild steel" for cutting (many sizes), a "blue
stone" wheel for smoothing, and one of very hard wood for polishing.
Brush wheels were also employed.
The illustration of a very primitive glass-cutter's shed (from a
drawing in my possession) will explain better than words how the
work was done; the wheels were turned by the rough boards worked by
the cutter's foot, while with his unerring hands he would perform
marvellous feats of glass-cutting. Water and sand dripped slowly on to
his wheel while he worked, generally from a flower-pot hung above.
He worked from a rough design on paper beside him, and this design
he first _scratched_ on the piece of glass with a sharp instrument.
Much of the glass-cutting was done _outside_ the glass-houses by men
who had their cutting sheds in their own homes, as is shown in the
illustration, and this accounts for the "individuality" of the work
done. These men, dreamers and artists, were a "guild" with a very high
ideal. The old Irish silversmiths also worked at home in a similar
fashion, and, as all the world knows, executed the most perfect work.
In these days it is interesting to know that a strike ended the
industry in Cork previous to 1840. Some English workmen came over and
told the Cork men they were working too cheaply, though in fact they
were much better off than those in England (where machinery was now
well installed). The glass owners, who had become wealthy, but saw
little prospects of retaining their fortunes under changed conditions,
fought the men, and eventually closed down their factories.
Those in Waterford continued for some years later, and the last record
of this town is in the catalogue of the London Exhibition of 1851,
where Gatchell had some wonderful exhibits, including one centrepiece
of forty pieces of glass for a banqueting table, _no metal work of any
kind being used in it_.
In 1788 William Penrose made a celebrated service for their Majesties.
And as early as 1729 beautiful deep green glass was made at Waterford.
Interesting and romantic were the tales told by the last of the hand
glass-cutters, Barry Sheehan, who died a very old man in Cork in 1890.
He knew all the old glass-cutters, was an artist and enthusiast, and
always kept an old hand-cutting wheel at the back of his shop, a relic
of a past age of inspired workers.
According to this great authority, "lustre cutting" was the most
difficult of all, and very popular in Cork.
One old lady who lives in Cork, a sister of the late Mrs. Gatchell, who
is nearly 100 years of age, has a set of chessmen in old Irish glass,
and many children's toys and trumpets were made in her late husband's
factory.
One of the glass-houses in Cork was owned by "honest Joe Romayne,"
one time M.P. for Cork, and another by a family named Foley, and the
descendants of both of these people have some splendid pieces still.
Engraving was a different matter. This decoration was more often done
by men (chiefly foreigners) who wandered round the country carrying
with them a queer little box (one of which I have in my possession). A
few delicate copper wheels were used outside the box, which were driven
by a shaft, and two wheels inside. The handle was turned by a boy while
the engraver worked.
[Illustration: Glass Drops No. 1.]
[Illustration: Glass Drops No. 2.]