Is there something about glass you’d like to know? Ask a Librarian!

Posted on January 18, 2013 by Amy De Simone

Have you ever wondered what raw materials are combined to make a batch of glass? Are you looking for information on a certain glass artist? Is glass a liquid or a solid? Do you know where to look to try to figure out what company made that glass piece that was passed down to you from your great grandmother? These are all examples of the types of questions that the Rakow Research Librarians answer quite frequently. There are currently over 700 question and answer pairs viewable online and that number is constantly increasing as over 4,000 reference questions are asked each year. Ask us your questions through our customized online reference service, LibAnswers.

Screenshot of the Rakow LibAnswers landing page

Tag cloud for browsing questions by subject

Questioners can choose if they would like their question viewable by the public. Public answers show up as search results in Google and allow other researchers to further explore the topic. For those interested in browsing the questions, there is a tag cloud to allow topical browsing or a keyword search can be done.

The Rakow Library focuses on the art and history of glass and glassmaking. We have many topical bibliographies to share ranging from glassmaking techniques to glass companies, types of glass, glass artists and beyond. Though our collection does not circulate, we are happy to loan second copies of books or send copies of articles to your local library through Interlibrary Loan.

The Rakow Research Library is open from 9-5, Monday – Friday | Telephone: 607.438.5300
Email: rakow@cmog.org

Two Significant Acquisitions of Ancient Glass

Posted on January 3, 2013 by Corning Museum of Glass

Today’s post is from Karol Wight, executive director and curator of ancient and Islamic glass.

The Museum’s collections of ancient glass show great chronological breadth and depth, and include indisputable masterpieces and works of high aesthetic quality. The opportunity to work with these objects was one of the reasons I came to Corning as the Museum’s new executive director just over one year ago. But as my title also includes a second line, that of curator of ancient and Islamic glass, I am continuously scanning the art market for objects that can add significantly to our already great holdings of ancient glass. Two such opportunities arose this past year. With the support of our Board, and in compliance with our policy for the acquisition of archaeological material, I was able to enhance our holdings of Egyptian and Roman glass with two significant acquisitions. I hope you enjoy these new objects as much as I do.

Face Inlay of the Pharaoh Akhenaten, Egypt, New Kingdom, Amarna Period, Dynasty XVIII, about 1353–1336 BC. Cast, then cold-worked to refine the sculptural quality of the portrait and to create cavities for additional inlays for the eye and eyebrow. Overall H: 4.2 cm, Th: 0.6 cm; Ear to Nose W: 2.9 cm. Gift of the Ennion Society (2012.1.2).

The first is a portrait inlay of the pharaoh Akhenaton, which is now on view in the permanent collection gallery. The artist who created this inlay was part of a large group of workers who constructed and decorated the city of Amarna, the new capital of the pharaoh Akhenaton (d. 1336 or 1334 B.C.). As this is a royal portrait, the inlay is of the highest aesthetic quality and craftsmanship.

Inlays like this were used to decorate pieces of jewelry, furniture or for relief sculpture. They were inset into carefully carved cavities, and formed parts of highly colorful figural compositions in which parts or the entire figure were made of separate glass elements. The best surviving examples of glass inlays from this period are found in the artifacts preserved in the tomb of Tutankhamen, the son of Akhenaten.

The works of art created during the reign of Akhenaten broke the long-standing traditional style of Egyptian art which was idealized and severely formal. Human figures were always shown in the same manner, with few individualizing elements. The works of the Amarna period, while often called “naturalistic,” are instead also highly stylized in that the human form seems to be an exaggeration, with sagging bellies, thin arms and legs, sumptuous lips, long oval eyes, and high, carefully carved cheekbones. These physical characteristics are present in the inlay. The long neck, high cheekbone, full lips and long, slanted eye are typical of portraits of the ruling family in the Amarna style.

Hemispherical Bowl with Inlaid Nilotic Scene. Roman, 4th-5th century A.D. Cast, inlaid glass technique to add scenic elements, ground, polished. Overall H: 4.4 cm, Diam (max): 20.2 cm. Purchased in part with funds from the Ennion Society and the Houghton Endowment Fund (2012.1.1).

The second acquisition is a hemispherical bowl. Presented against a background of dark purple glass is a landscape scene showing the flora and fauna of the Nile River. Eight colorful birds and a dragonfly are displayed amid a variety of plant life, including the nelumbo lotus. Each of the birds is different from the other, and the plumage, beaks and feet are carefully articulated in glass of different colors. Most easily identified is the flamingo on the left side of the bowl. This scene is characteristic of later Roman art, and similar Nilotic landscapes can be found on the floor mosaics and wall frescoes that decorated Roman houses.

The bowl was constructed by first creating the glass disc that forms the background for the scene. The elements of the composition were arranged on the disc, and then heated and pressed down until they were embedded in the purple glass. The disc was then placed over a hemispherical form and slumped into its curved, bowl shape. After annealing, the bowl was ground and polished.

The bowl is currently undergoing treatment in conservation.

Karol Wight became executive director of The Corning Museum of Glass in 2011, after 26 years at the J. Paul Getty Museum. A specialist in ancient glass, Wight received her Ph.D. in Art History from the University of California, Los Angeles. She has curated numerous exhibitions on ancient art and glass, including Molten Color: Glassmaking in Antiquity (Getty Villa), Athletes in Antiquity: Works from the Collection of the J. Paul Getty Museum (Utah Museum of Fine Arts during the 2002 Winter Olympics). In 2007, she co-curated the exhibition, Reflecting Antiquity, with David Whitehouse, which was shown both at the Getty Villa and The Corning Museum of Glass.

Of Ants and Alcohol: Adventures in Early Microscopy

Posted on December 17, 2012 by Megan McGovern

Early use of the microscope was plagued by several issues, especially the artisanal and imprecise nature of lens grinding. There was no scientific means of producing and evaluating lenses until Ernst Abbe (1840-1906) developed them in the 1870s. Thus, lens grinding was frequently a trial-and-error process. Before the early 19^th century, lenses often created blurry regions or color halos around the specimens being viewed. The first photomicrographs weren’t taken until the early 19^th century, which meant that early scientists had to draw what they were seeing through microscopes by hand. The challenges faced by the first microscopists are so legion, the title of a 2011 article by Francisc Szekely in the journal, Parergon, even begins, “Unreliable Observers, Flawed Instruments”!

The Rakow Library is fortunate to own one of the most famous books of early microscopy, Micrographia (1667), by Robert Hooke (1636-1703). This book (bibl 97629) is especially celebrated for its full-page, beautiful illustrations of objects Hooke examined under his microscope. These included linen and silk fabric, plant seeds and cross-sections, fungus, and striking images of insects like fleas, ants, head lice, and silverfish.

Illustration of 'blue mould' from Hooke's Micrographia. Image by the Rakow LIbrary.

Hooke also describes the many challenges he faced in his microscopic investigations, including one that caught me by surprise. Given my understanding of early microscopy, I expected all Hooke’s stories would be about making and grinding glass for his lenses. Instead, I turned a page and read about Hooke’s frustration when trying to view ants. The creatures would run off the stage and out of view or struggled so much when pinned in place by pincers that Hooke couldn’t get a good look at them. He tried killing some, but they shriveled quickly, making them (naturally) not life-like. What was a microscopist to do?

Here is Hooke’s solution:

Having insnar’d [ensnared] several of these [ants] into a small Box, I made choice of the tallest grown among them, and separating it from the rest, I gave it a Gill [approximately half a cup] of Brandy, or Spirit of Wine, which after a while e’en [even] knock’d him down dead drunk, so that he became moveless [motionless], though at first putting [the ant] in [the brandy] he struggled for a pretty while very much, till at last, certain bubbles issuing out of its mouth, it ceased to move; this ( because I had before found them quickly to recover again, if they were taken out presently [right away] ), I suffered to lye [lie] about an hour in the Spirit ; and after I had taken it out, and put its body and legs into a natural posture, remained moveless [motionless] about an hour;…

Picture of passage from Micrographia in which Hooke describes his method of inebriating the ants.

Passage from Micrographia, page 204. Image by the Rakow Research Library.

What Hooke is basically saying is that he figured out that putting his ant specimens in brandy for an hour knocked them out long enough for them to be examined under his microscope! Therefore, some of our first and best-known microscopic images of ants are actually of drunk ants.

Illustration of an ant from Hooke's Micrographia.

Illustration of a (presumably drunk) ant as seen under a microscope in Micrographia, page 203. Image by the Rakow Research Library.

This amusing anecdote highlights one of the wonderful things about studying the history of glass and glassmaking at the Rakow Research Library: frequently you also learn about other subjects, such as the history of science or the economics of an industry. And, every once in a while, you come across a tidbit like this that makes for great conversation at your next holiday dinner party.

The Osler Candelabrum and incipient crizzling

Posted on December 6, 2012 by Astrid van Giffen

We recently had parts of a huge candelabrum in the lab. The piece was made by the English glass company, F. & C. Osler, around 1883, and stands almost 10 feet tall. Luckily the whole object did not need to come to the lab; only the tulip shaped shades were brought so that they could be washed.

The Osler Candelabrum (96.2.10)

The candelabrum's shades waiting to be washed.

Some of the shades are replacements for missing original ones. These replacement shades are made from a different glass than the originals, one that has an unstable composition. They are in the first or incipient stage of a degradation process known as “crizzling,” sometimes referred to as glass disease.

Two of the candelabrum's shade. The original on the left is clear, while the replacement on the right has become hazy because of incipient crizzling.

Crizzling is affected by two main factors, the composition of the glass and the climate in which it is kept, especially the relative humidity. During the crizzling process, moisture in the air leaches out the alkali elements of the glass which accumulate on the surface. The alkalis on the surface attract more moisture, sometimes to the point of forming droplets on the surface. This symptom of incipient crizzling is known as “weeping.” If the climate is drier, the alkalis can form as crystals. The alkalis also turn the surface hazy and slimy and have a distinct smell which I like to describe as dusty vinegar. A buildup of alkalis on the surface not only looks bad, it is also bad for the glass because it creates an alkali solution that starts breaking down the silica network of the glass. If the crizzling continues, the structure of the glass is eventually so compromised that the glass falls apart. The composition of the glass plays a huge role in how long it takes to reach the final stage of crizzling. Usually it takes many centuries, but if the composition is really unstable the glass can disintegrate in just a few years.

One of the shades being washed. The conservation lab has a plastic sink for washing glass to help prevent damage from accidental bumps.

Unfortunately, there is no way to reverse the crizzling process; the best we can do is slow it down. We do this by washing the glass to remove the alkali buildup and by making sure crizzling objects are kept in a stable environment. Air circulation around the objects also helps evaporate moisture on the glass surface.

The replacement shades on the Osler Candelabrum turn hazy about every 5 years which is when we bring them into the lab and wash the alkalis off the surface. The washing is done with tap water and a mild, conservation grade detergent, followed by thorough rinsing in de-ionized water to remove the minerals left by the tap water. The original shades were a little dirty, so we washed those as well.

The clean shades back on the candelabrum in the galleries.

More on crizzling: http://www.cmog.org/article/crizzling
View the Osler Candelabrum in the collections browser: http://www.cmog.org/artwork/candelabrum-0

The Glass Coffin

Posted on October 25, 2012 by Amy De Simone

American Casket with Stand by DeCamp Consolidated Glass Casket Co., Factory

Constructed in the 1920s, the Museum’s glass casket (2001.4.234) weighs between 400 and 500 pounds. The type of pressing machine that was used to make it weighed approximately 31,000 lbs. The American Glass Casket Company claimed that their casket press, measuring 13 feet tall, 25 feet long with a width of 5 feet was the largest glass press in the world in 1921. Glass coffins, which were cushioned with yards of fabric, were not meant to display the body but rather to hygienically protect it from the elements.

Glass was being used in casket construction as early as the 1850s and patents are seen starting in 1859 for glass caskets, but DeCamp did not patent his two piece adult sized casket until 1915. In 1921, the American Glass Casket Company owned “the exclusive right to manufacture and sell the DeCamp Glass Casket in the states of Oklahoma, Texas, Arkansas and New Mexico and [was] the parent-producing company in the making of this glass casket under the DeCamp patents” ([Glass casket catalog] Bib # 74869, page 12) while other plants each had their own respective territories.

Patent Information Plate on CMoG Casket for DeCamp Consolidated Glass Casket Co., Factory

Patent Information on Casket Plate for DeCamp Consolidated Glass Casket Co., Factory

Of the trade catalogs in the Rakow Library’s collection, one on glass caskets is fully viewable online. The catalog for Crystal Glass Casket Company, Washington, DC describes their caskets as “hermetically sealed by applying a composition which renders the casket air-tight, water-tight, vermin-proof and absolutely sanitary, thus assuring a perfect burial receptacle” (page 7). The makers explain that the strength of glass is greater than other materials commonly used in coffin or casket production including woods and metals. The catalog contains interesting photographs documenting the production facilities and can be seen online here.

DeCamp trimming room, Cut No. 13 from Bib 52588 - DeCamp Consolidated Glass Casket Co., Muskogee, OK, USA.

After the glass bowl and lid of the casket were pressed, they had to be annealed for approximately six hours to relieve stress from the glass. Dealing with pieces of such a large size, cracks were often a problem. In the trimming room at the factory, felt or fabric was applied to the outside of the glass to prevent the metal handles from coming in direct contact with the glass surface. Silk or brocade was used to decorate the caskets as can be seen in the photos above and below. Small caskets were used as samples since they were easier to produce. It is unknown how many full size caskets were produced, but today only two 6′ 3″ caskets remain intact, both in museum collections.

Glass casket from Bib 45886 - DeCamp Consolidated Glass Casket Co., Muskogee, OK, USA.

Many questions still surround the history of glass casket production. Some accounts relate that certain factories did not produce any full size glass caskets at all, but were merely a front to attract investors. In 1923, several company representatives were indicted and charged with conspiracy in connection to the sale of company stock. Most investors saw no returns and bankruptcy came for companies rather quickly. For further information, or to view additional catalogs from other firms, including the DeCamp Consolidated Glass Casket Company, contact or visit The Rakow Research Library.

The Rakow Research Library is open from 9:00 a.m. – 5:00 p.m., Monday – Friday

Telephone: 607.438.5300 | Email (general inquiries): rakow@cmog.org
Explore the collection online using the classic catalog or the Library’s collection browser.

Photographing Glass: Coffee Pot by Studio Job

Posted on August 22, 2012 by Andy Fortune

Glass sculptures always pose challenges when it comes to photography, but we recently had an object in the studio for photography that presented some interesting ones. Coffee Pot by Studio Job (Job Smeets and Nynke Tynagle) may appear functional at first glance but a longer look reveals it to be utterly non-functional. The artists appropriated an unused cased and cut lead glass vessel from the Val St. Lambert storerooms and added a cast, polished, and gilded bronze top. Finally, they created a gloss white pedestal decorated with gilded wood elements. The result is something that looks like an absurdly fancy Pyrex coffeepot on steroids. In fact, the coffeepot alone weighs in at over 64 pounds.

Coffee Pot by Studio Job (Job Smeets and Nynke Tynagle) 2012.3.30.

Our first challenge was to convey the size of the sculpture in a photograph. That is difficult enough with any sculpture, but when the object is something as instantly familiar as a coffeepot, we have to overcome the viewer’s assumption of a certain size. Of course, this dynamic between expectation and experience is part of what makes Smoots and Tynagel’s design work, so it is especially important to communicate the scale for that reason. Photographing the sculpture on a wooden floor rather than a neutral backdrop establishes a scale reference for the overall view. For the tighter views, keeping the object large in the frame and choosing a slightly high angle helps convey its mass and size, as well as the thickness and weight of the metalwork.

over-sized cut green glass coffee pot with gold handle on a white pillar stand

Photographing the sculpture on a wooden floor helps with scale

The second challenge was dealing with a highly polished metal surface which acts like a mirror. Aside from not wanting to mirror the camera in the image, the gold only appears correct when it is mirroring something white. We frequently deal with this this type of lighting with white cards or white tenting around an object on a photo table, but in this case we had to build eight foot high white foam core “walls”. The images below show the object without and with the white cards.

showing the difference with and without the white cards reflecting light onto the object

Left: without the white cards / Right: with the white cards

This image shows the studio with the “room” built around the sculpture.

a room is constructed around the object to photograph without glare

Gold only appears correct when it is mirroring something white

The third challenge was making the cut glass look good. The cut glass requires contrast, but the foam core walls diffuse and soften the light. A bright Fresnel spot (visible on the right in the above image) is focused on the wall behind the glass to provide some “pop”.

For the tighter views, even more foam core was required.

A "room" is constructed around the object

When all was done, it was time for a coffee break.

Museum photographer Nick Williams holds up a coffee mug next to the object

Museum Photography Department Manager Nick Williams

Uniting the worlds of glass and racing: Corning Museum crafts trophy for Watkins Glen International

Posted on June 21, 2012 by Mandy Kritzeck

This morning, the Museum announced an exciting partnership with Watkins Glen International and unveiled the trophy for the 2012 NASCAR Sprint Cup Series race.

Created by Museum glassmaker Eric Meek, the trophy both references the raceway and captures the nature of the Finger Lakes region.

“When you look at the side of the trophy, it almost looks like a waterfall,” says Meek, “That’s an important part of our region, going into the Finger Lakes there are many beautiful glens, gorges and waterfalls.”

Viewed from the top, you can see the trophy’s core which was hand sculpted to the outline of the racetrack. The blue is a match to the color of the racetrack’s guardrails.

2012 NASCAR Sprint Cup Series trophy for Watkins Glen International

2012 NASCAR Sprint Cup trophy

“The Corning Museum of Glass has provided Watkins Glen International a truly unique and beautiful trophy for our NASCAR Sprint Cup Series race in August,” Watkins Glen International President Michael Printup said. “This one-of-a-kind work of art captures the essence of our partnership, uniting the world of art and speed. I cannot wait to see it held high in Gatorade Victory Lane by 2012 Sprint Cup Series race winner for the world to see!”

Eric Meek, Michael Printup, George Kennard, and Ryan Mosher

Watch the making of the trophy in this behind the scenes video on the process of creating this one-of-a kind glass trophy.

An Adventure in Glass Archaeology: The Beth She’arim Slab

Posted on May 29, 2012 by Megan McGovern

Dr. Robert Brill excavating beneath the Beth She'arim slab, Israel, c. 1966. Photograph by Paul Perrot. (Rakow item 128612)

In 1956, an enormous slab of a concrete-like substance was discovered by an excavation crew preparing to build a museum in Beth She’arim, Israel. Seven years later, in 1963, The Corning Museum of Glass and the University of Missouri sent a team of experts to Israel to study ancient glass and discovered the 6.5 x 11 x 1.5-foot slab at Beth She’arim was actually made of glass. At the time, the slab was the third-largest piece of man-made glass known to exist in the world. (See The Mystery Slab of Beth She’arim for more information and a video about the slab.)

Almost 50 years after the Museum and the University of Missouri sent their joint team to Israel, the Museum’s Research Scientist Emeritus, Dr. Robert Brill, had some of the slides from his personal archive digitized for the Rakow Research Library’s collection. These slides of Dr. Brill’s work at Beth She’arim offer a glimpse of the hard work that goes on behind any discovery.

The glass of the Beth She’arim slab weighs almost 9 tons. When discovered, it lay atop limestone blocks that formed the floor of the tank in which this glass was melted. As part of the process of researching the slab and its environment, Dr. Brill had to crawl into a space underneath the tank floor – with over 9 tons of material overhead –to obtain a sample of the limestone blocks. When talking about the picture, Rakow item 128612 (above), Dr. Brill explained that this crawlspace was in an area of the site called “millipede alley,” so named because of all the insects swarming around. Luckily, he remembered, the millipedes did not bite.

Polished core section of Beth She'arim slab, 7th-9th century, Israel. Section is approximately 11cm in height. Photograph by Robert Brill, c. 1966. (Rakow Item 127879)

While the scientists working with the Beth She’arim slab may have had to contend with millipedes to collect their samples, these samples were critical in providing much of what we know today about the slab.

The slab was found to be glass with a beautiful raspberry color. Dr. Brill recounted, “The intention had probably been to make glass that could be broken up and shipped elsewhere to be formed into artifacts.” In other words, the makers of this raspberry glass were not going to be making vessels, jewelry, or other objects themselves. They were making the raw materials that would be sent to other glassworkers to turn into objects.

Unfortunately, said Dr. Brill, chemical analyses of the raspberry glass showed that it contained too much calcium. This caused crystals to form during the annealing process, turning the glass opaque. This is probably why the slab was abandoned, said Dr. Brill.

The crystals that formed due to too much calcium ruined the glass for the ancient workers creating the batch, but another slide from Dr. Brill’s collection, Rakow item 127941, shows that even mistakes can be beautiful: below is an image of the raspberry glass crystals under a microscope.

Photomicrograph of the crystals in the Beth She'arim slab.

Photomicrograph of crystals formed by devitrification of the glass of the Beth She'arim slab. Photograph by Robert Brill. (Rakow item 127941)

The team of researchers at Beth She’arim performed the hard work of archaeology and running chemical analyses in order to discover the truth about the Beth She’arim slab and why it was abandoned. To read the fruits of their labor and their final reports, the Rakow Research Library holds copies of two articles, “A Huge Slab of Glass in the Ancient Necropolis of Beth She’arim” and “A Great Glass Slab from Ancient Galilee,” along with many other resources.

Re-fusing a Bomb

Posted on May 25, 2012 by Astrid van Giffen

The installation of exhibitions always requires a lot of glass to be moved in a short amount of time. Although our preparators are excellent at moving glass without damage, sometimes gravity happens. During the installation of our Making Ideas exhibition that opened May 19, the fuse was broken off of one of the glass bomb prototypes designed by Steven and William Ladd. Luckily it was just one break and the piece was treated in time for the opening.

Glass bomb with the broken fuse before treatment.

Glass bomb prototype with the broken fuse before treatment.

Glass bomb prototype during treatment. The bomb had to be positioned in such a way that the fuse would stay where it needed to be because the adhesive we use takes a long time to set.

If you visit the Museum, look for the bomb in the Making Ideas: Experiments in Design at GlassLab exhibition, now on view through January 6, 2013.

Honoring National Poetry Month at the Rakow Research Library

Posted on April 26, 2012 by Megan McGovern

What better way to honor National Poetry Month than to focus on the collection of glass-related poetry at the Rakow Research Library? The Library has a modest group of poems about glass or glassmaking collected from various sources over the years, including direct submission by the poet. It even has a poem written about the Museum!

A file full of poems at the Rakow Research Library

Poems about glass collected by the Rakow Research Library. (Photograph by The Corning Museum of Glass)

One example of a glass-related poem is by the esteemed Amy Lowell (1874-1925), an American poet who won the Pulitzer Prize for poetry in 1926, a year after her death. Her poem, “Fragment,” was first published in 1912, in a book of her poetry called A Dome of Many-Colored Glass. In the piece, Lowell compares poetry to mosaics (which are created by building a pattern or picture from raw materials – glass stones or fragments for mosaics and words for poems) and to glass vessels (which are created, like poems, from hard work into objects of art and beauty).

Image of a mosaic glass tabletop, CMoG accession 97.3.10

Mosaic Glass Tabletop, about 1866. (97.3.10)

Fragment

What is poetry? Is it a mosaic
Of coloured stones which curiously are wrought
Into a pattern? Rather glass that’s taught
By patient labor any hue to take
And glowing with a sumptuous splendor, make
Beauty a thing of awe; where sunbeams caught,
Transmuted fall in sheafs of rainbows fraught
With storied meaning for religion’s sake.

Another noteworthy example of a glass-related poem was published in a 1713 book called Miscellany Poems on Several Occasions Written by a Lady. The poem, called “Glass,” is by English noblewoman Anne Kingsmill Finch (1661-1720). In this poem, she marvels at windows (which divide light and air, letting light into homes while blocking wind), mirrors (which provide reflections), and vessels such as wineglasses.

Image of a mirror, CMoG accessioin 98.3.18

Reverse Painted Mirror in Gilded Wood Frame, about 1720-1730. (98.3.18)

Glass

O Man! what Inspiration was thy Guide,
Who taught thee Light and Air thus to divide;
To let in all the useful Beams of Day,
Yet force, as subtil Winds, without thy Shash to stay;
T’extract from Embers by a strange Device,
Then polish fair these Flakes of solid Ice;
Which, silver’d o’er, redouble all in place,
And give thee back thy well or ill-complexion’d Face.
To Vessels blown exceed the gloomy Bowl,
Which did the Wine’s full excellence controul,
These shew the Body, whilst you taste the Soul.
Its colour sparkles Motion, lets thee see,
Tho’ yet th’ Excess the Preacher warns to flee,
Lest Men at length as clearly spy through Thee.

Although by no means comprehensive, the Library’s collection of glass-related poetry contains a variety of poets, styles, and subjects, as well as a date range of over 200 years. Check it out the next time you visit. The Library also welcomes you to submit a glass-related poem of your own, any time, to reference@cmog.org.

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