One of the more common decorations seen in glass rose bowls are those round spots or dots that we all love. I thought an article exploring the variations of this technique and showing some examples with proper identification would be of interest. In the beginning, dating to Victorian times, would have been what we call the thumbprint - pressed into the glass object as if pushed in by the thumb from the outside. Following that, perhaps, came the reverse thumbprint where the imprint would be made from the inside - thus producing a "bump" on the outside surface. (I find it easier to feel the inside of a rose bowl to feel which way the prints go as the outside is often flattened by the mold surface.) Thumbprints were then arranged in rows to form a more intricate overall pattern. Of course, in modern times, manufacturers liked to give their thumbprint type glass specific pattern names to differentiate from the competition.. The lower two bowls in Figure 1, for instance, are in Fenton’s version of a "baby" thumbprint. I believe the Jamestown Blue Transparent bowl on the left was made first (1957-59) and the pattern was called "Polka Dot Optic". At a later date, the Ruby Overlay color on the right was introduced - the pattern then seems to be called "Fine Dot". The bowl in the back in Figure 1 is L. G. Wright’s "Honeycomb" in satin finish opalescent cranberry. At the bottom of Figure 2, we have somewhat similar bowls by Fenton and Wright. To the left, with the staggered dots not coming up as close to the top - we have Fenton’s "Coin Dot". On the right is Wright’s "Eye Dot". Both pieces are in cranberry opalescent. The bowl at the top of Figure 3 is from Intaglio Glass Co. and dates from the 1970s. As far as I can determine - it does not have a specific name. (An interesting sidelight is that the owner of Intaglio had earlier been a partner in Levay which had a business relationship with Fenton).