Taking a walk down memory lane, 25 years ago in August we made our first buying trip to Venice. Now why our Italian son-in-law never thought to tell us that Italy is “Closed” in August is still a mystery. We arrived with our little indexed list of glass blowers, indexed by location and type of…
Effetre aka Moretti is the Beginning Our beads all (except for the few borosilicate) start with the canes that Effetre produces in much the same fashion they have been doing since the late 1800s. That is not to say that Venetians and Muranese did not make beads before Vincenzo Moretti began his production of Murrine…
This August marks 23 years that we have been working in Murano and Venice with our wonderful bead makers. It started as a hobby, well not even that, friends wanted the beautiful necklaces that I had bought in Murano. Little did I know that loading my bags with goodies for friends would lead 1)a change…
Calcedonia Murano Glass was developed in Murano during the mid fifteenth century. In the glossary of glass, written in Murano, Angelo Barovier is attributed with developing this polychrome glass in 1460. The secret of this glass was closely guarded and entirely lost when the Venetian Republic fell. It was once again rediscovered by Lorenza Radi…
Roberto Donà created this tool making video in honor of his late father Carlo Donà, his family has been making tools for the furnaces and bead makers of Murano for 90 years. The tools must be strong, created for specific uses in production furnaces on Murano, and must survive the daily use in the furnaces. Roberto…
Cane Glass is really a evolution of the old Rosetta Canna – just a whole lot less complicated. The furnaces in Murano have been blowing and pulling glass rods for centuries. It’s something they do for example:
1) when they need to make the “s” curves for chandeliers
2)when they want to make chevrons – the Rosetta 3)when they want to make the glass rods for silver serving pieces.
Just pointing out that cane glass was NOT invented in the US by ANYONE!
This is a working furnace in Murano and the one where we produced the cane glass, our blown filigrana beads, wine glasses, vases, bowls, and bottles and a few thousand drawer pulls, wine stoppers, Christmas Balls, Glass Slippers and almost anything you can dream. This furnace has been making glass since the 1960s. It is a production furnace, supplying handmade Murano Glass all over the world. It’s hot, it is heavy, it’s dangerous and it is not for tourist.
And who better to make this glass, or so at least that is what I thought when I began a project with my dear friends at the furnace. Partly the owner humored me, and partly he thought it was a good idea as well. Neither of us knew that the stubborn nature of Muranese and tradition would get in our way.
It is the same process as making the zanfirico or the latticino which is used in all furnaces as decorations. Many of these furnaces also pull their own mosaic – millefiori or murrine. It just makes sense to “do it in-house”, you have the glass, the workers and then you know it is done properly and will be absolutely compatible with your other glass.
Here you see Claudio – who, over the years, worked as a glass blower and a waiter. Some of you who have been to Venice to the demonstrations of glass blowing may have seen him there as he moonlighted on the weekends earning a little neri (cash under the table). He spoke about 5 languages and arrived on the vaporetto each morning from Pt Sabbione – not a native Muranese. He is preparing the blow pipe to bring out the mass of glass that becomes the bubble.
The bubble is crucial, because that bubble becomes the hole inside our cane glass. Now as you see, it is darn right difficult for us to control the exact size of the bubble and therefore the hole! Once the bubble in inside, the next work, like making mosaics is to add on the layers of color or decoration. With the cane glass, we next add the color which is a thin layer when viewed from a cross section.
The ball become quite large and it’s a lot like making taffy (just at a much higher temperature). The size of the ball will determine how much glass rod you yield, a delicate balance between making production and being able to control the cooling process so you don’t break the glass. When the ball is at the size you want, another glass blower arrives with a hot punti which he uses to attach to the other side of the ball, with the blow pipe still attached on the ball as well. Then it’s a ballet of blower and the glass to pull this ball out before it begins cooling.
I might point out here that this is also the reason our can glass varies in diameter, exact shape as well as hole size. A bed of insulation is prepared to drop the cane for cooling.
Next comes the conflict of tradition and need. The traditional way for canes to be cut is chopping, that’s right, like a guillotine. If you use this glass in the furnace, you do not need straight cuts, you heat it up and it become the decoration on an art piece.
But our jewelry makers want nice straight ends so their earrings, necklaces, etc hang just right. It was a loosing battle against centuries of “that’s how we do it”. We did come to terms on fire polishing the ends, probably a major concession in Muranese history.
Here’s our inventory of glass waiting to be cut – no make that chopped!
So if you want to use our cane glass be prepared for a few irregularities on these absolutely – doesn’t get more authentic – Murano Cane Glass. Enjoy them!