The materials having been procured, they were fused together in a crucible or melting-pot by the heat of a powerful furnace.

A blowpipe was then introduced into the viscous mass, a portion of which readily attached itself to the implement, and so much glass was withdrawn as was deemed sufficient for the object which it was designed to manufacture.

The blower then set to work, and blew hard into the pipe until the glass at its lower extremity began to expand and gradually took a pear-shaped form, the material partially coolling and hardening, but still retaining a good deal of softness and pliability.
While in this condition, it was detached from the pipe, and modelled with pincers or with the hand into the shape required, after which it was polished, and perhaps sometimes cut by means of the turning-lathe.
Sand and emery were the chief polishers, and by their help a surface was produced, with which little fault could be found, being smooth, uniform, and brilliant.

Thus the vessel was formed, and if no further ornament was required, the manufacture was complete--a jug, vase, alabastron, amphora, was produced, either transparent or of a single uniform tint, which might be white, blue, brown, green, &c., according to the particular oxide which had been thrown, with the silica and alkali, into the crucible.

Generally, however, the manufacturer was not content with so simple a product: he aimed not merely at utility, but at beauty, and proceeded to adorn the work of his hands--whatever it was--with patterns which were for the most part in good taste and highly pleasing.