“Of all the artificial beads, those with the greatest importance are the glass beads (also wax
beads). Marcasite beads are glass beads filled with the easily fusible, reflecting marcasite metal,
which is also used for making sulfuric acid and ferrous sulphate. Pearls are also made of mother-
of-pearl and similar nacreous Shells, of Steel (steel beads), gold or silver plated tombac (gold and
silver beads), of alabaster coated with wax and pearl essences (Roman beads), whereby the
coating soon wears off with wearing, of wood, resinous and other substances perfumed with rose
oil (oriental rose-pearls).” (Bücher 1883, p. 296).
While the Enciclopedia of Anfosso, 1889, includes the term “artificial pearl’’ in a
number of languages (Italian: “perle artificiali;” French: “perles artificielles;" English:
“artificial pearls;” German: “künstliche Perle;” Spanish: “perlas artificiales” [Anfosso
1889, Enciclopedia 6/1889, p. 698 ff.]), the term “false pearl”is also used in the English
(Sauzay 1870, p. 198), and in the French “perle fausse” (Sauzay 1868, p. 244).
Karmarsch-Heeren differentiate between “genuine pearls (perles fines)”and “artificial,
false pearls” (blown beads with pearl essence - essence d’orient = made from fish
scales); glass pearls are treated under a term of their own (“grain de verre, rassade,
perle artificielle - glass pearl”) (Karmarsch-Fleeren 6/1883, pp. 607, 608).
ABOUT THE NAMES FOR GLASS BEADS
When in 1874 the almost infinite variety of lampworked beads is referred to, then this
also applies to the glass bead in general (Zanetti 1874, pp. 135, 136).
This variety has so far successfully withstood any attempt to force all its types into one
single pattem; the only Classification System that will ever be possible is one of certain
representative types of beads, since every System has to standardize and thus
simplify.
Nevertheless, in the course of time a certain nomenclature for glass beads has built
up, although it offen seems better suited for creating confusion than clarity: the
differing usage of many terms, the changes in their meaning during the course of time
and - last but not least - a continuing lack of basic research, contribute to this
confusion. Beyond that, certain aspects defy exact labeling; because of the difficulties
of naming the material (“mass-bead” = glass or ceramic bead?) or the technique
(faceted bead = a bead faceted by cutting or one with a press-molded faceted shape,
ground over, fire polished?).
For North American research, the most important aspect for dividing beads into
categories is the production technique: “drawn, woundon drawn, moldpressed, blown
and Prosser molded.”Other important characteristics for differentiating are: “structure
(simple, compound, complex, composite), shape, decoration, color, diaphaneity,
lustre, size.” After providing a survey of the various Systems (Beck 1928, Kidd 1970,
Sprague 1971, Ross 1976) however, Karklins doubts that it is possible to include all
the variations: "... the practicability of recording varieties in a comprehensive
Classification System becomes doubtful when one considers that well over 100,000
varieties of glass beads have been produced in the world to date”( Karklins 1985, p. 87
ff.).
We find no consistency in terminology; it appears that certain beads were named at
will for their most striking characteristic, such as the technique (“wound bead”), shape
(“cube”), color (“golden bead”), function (“link bead”), surface treatment (“iris bead”),
etc. The way one differentiates between “genuine” and “false,” “natural” and “artificial”
beads, also appears to be arbitrary. As far as material is concerned, the “mass” bead
assumes a rather vague position compared with the glass or porcelain bead. The
starting material for the glass bead is usually divided into glass and “composition”
(“Kompositz,” “Comprsitz”), even though the latter is also glass. Therefore let us not be
unduly disturbed by the terms, “glass composition” or “composition glass!” And will we
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