“Historical revival” does not necessarily content itself with the slavish copy of bygone styles. Instead, surprisingly new results can be achieved by the combination of styles from entirely different sources. This goblet is a meticulous copy of the most accomplished type of Nuremberg vessels of the 17th century. However, the decoration of the bowl and cover refer to ancient Roman cameo glass. The latter posed an enormous challenge for Biedermeier glass factories in Bohemia and Silesia: the engraving required the complete mastery of carving into the outer layer of colored glass, turning it lighter as more glass was removed. Also, the glassmakers had to solve the problem of tensions in the glass caused by incompatible expansion coefficients of different glass colors. The Josephinenhütte seems to have started its attempts in the mid-1840s, and employed in Ernst Simon (1817–1894) an exceptionally gifted glass engraver. He transformed the ornamental subject into a vivacious scene, and emphasized the contrast between the playful putti—sweet chubby children that have ancient ancestors and became popular in 16th-century arts—and their stern determination to hunt down a wild boar.