made from glass tubes. Bohemian glass beads made from glass canes which were 
“squeezed by means of a mold, pierced and lined up.” The Venetian embroidery 
beads are made from thin glass tubes that are chopped off; they lose their sharp edges 
over the fire (Loth 1859, p. 72). The beads that imitate real pearls are the glass beads 
with shiny, silvery pearl essence [made of fish scales]; glass corals are coated inside 
with colored wax and the reflecting beads are given an inner coating of an easily 
fusible metal mixture (Loth 1859, p. 73). 
Benda pays more attention to the processing: he divides the Gablonz beads into 
blown, broken and press-molded beads (Benda 1877, pp. 283, 284). Lilie also speaks 
of three groups of “production methods:” lamp beads, press-molded and broken beads 
(Lilie 1895, p. 165). 
Finally, in 1911 Gustav E. Pazaurek decides on a division into four categories: 1. The 
wound bead / 2. The press-molded bead / 3. The drawn and chopped bead / 4. The 
hollow bead. 
In regards to finishing he establishes a difference between: 1. Stringing / 2. Sewing 
and embroidering / 3. Braiding and weaving / 4. Knitting and crocheting / 5. Gluing 
onto and into / 6. Mounting in metal (Pazaurek 1911, pp. 1,2). 
With only minor differences, this basic division of Pazaurek’s has proven to be usable 
and has been taken over by most of the authors who followed him - with or without a 
source reference. Parkert devotes a special chapter to the following bead categories: 
wound beads, chopped beads, broken and seed beads, hollow glass beads, press- 
molded beads. His (technologically thoroughly justifiable) Separation of broken and 
chopped beads is worth pointing out (Parkert 1925, pp. 139, 146). 
Pörner again simply lists the categories of beads, although he does place the 
production methods at the beginning: “One differentiates glass beads according to 
their types and shapes. There are innumerable terms for them: broken, press-molded, 
hollow, silvered, wound, fine gold, genuine gold, silver beads, etc.; those referring to 
shapes are acorns, toggles, bottles, pendants, sticks, olives etc., those referring to 
production are blown, press-molded (solid), wound, in regards to decoration there are 
cut, colored, lined, gold lined, silver lined beads, etc.”{Pörner n.d., p. 2). 
There is an extremely rare sample collection from the first half of the 19th Century that 
documents the most important terms, types of cut, colors and sizes of Biedermeier 
beads from the Gablonz area. The terms handed down in this source are probably 
valid in general for the whole region. The System presented with the chart by 
Ferdinand Unger from Liebenau (Technical Museum Vienna, TH 43431) is very brief 
but all the more vivid. It includes both the shape (round = beads, oval = olives) and the 
color (coral) or the surface appearance or production method (satin): coral beads, 
coral olives; satin beads, satin olives, garnet olives (faceted dark red olives). Company 
sample cards with later dates are much more abundant. The terms they use are not 
universally valid, if only for the reason that in addition to the terms usually used in the 
business, such as “rocailles,” “oriental beads,” etc., expressions used only by the 
specific Company are also used. Frequently a certain kind of bead is not listed by name 
but by an article number, and with few exceptions, colors around the turn of the Century 
are generally indicated by numbers. Methods for listing sizes also vary, depending on 
whether the beads are subected to the number System (starting point: the null bead = 0 
bead); measurements are given in millimeters or lines. 
On the Redlhammer sample cards, to which this book devotes a special chapter, we 
often find article numbers as well as bead names in the export languages, English or 
French: “Oriental Beads, ‘Knebel’ Beads, Rocailles, Scale Beads, Ring Beads, Shell 
Beads, Snake Beads, Link Beads, Chain Beads, Demie Olives, Feather Beads, Perles 
ä facettes, Coraline Beads, Molars, etc.” 
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