Rubino: Gold in the Glass, Uncertainty in the Supply
The beautiful pink and ruby tones of gold-based Rubino glass depend on gold as an ingredient in the glass itself. This is different from the decorative gold foil used inside many of our beads: here, gold helps create the color.
Effetre has communicated with customers by email regarding Rubino. In our efforts to obtain this glass, they will not quote a price—even when we offer to purchase an entire batch. For us and the bead makers we work with, that makes planning future production especially difficult.
Without a confirmed price and an obtainable supply of glass rods, we cannot calculate the cost of new beads or promise when a favorite Rubino design will return. The cost of gold adds another layer of uncertainty to a color that already requires specialized glassmaking knowledge.
Finished beads and glass rods from earlier batches may still be available, but those remaining supplies do not guarantee that we can replenish them. If Rubino is an essential part of your design, we recommend purchasing enough of the available beads to complete your project together.
Cadmium and Our Opaque Whites and Pinks
The color shortages also affect some of our opaque white and pink glasses. Cadmium is an essential ingredient in the traditional formulas for these many of our opaque glasses as we use it as a base over which we apply transparents and decorations.
European rules place strict controls on occupational exposure to cadmium and its compounds. These requirements affect the conditions under which manufacturers handle those ingredients during production. They do not amount to a blanket ban on every opaque glass color.
For our bead makers, the difficulty begins with obtaining the glass rods they need. When a familiar opaque white or pink is unavailable, it can affect an entire design—from the white base beneath a floral heart to the soft pink petals decorating a bead.
Changing a traditional glass formula is more complicated than mixing a new shade of paint. A replacement must produce the desired appearance and work successfully with the other glasses used in the bead. Even when an alternative becomes available, we cannot assume it will match earlier batches exactly.
Together with the uncertainty surrounding gold-based Rubino, these shortages limit which beads our artisans can make and which colors we can restock.
We continue working directly with our Venetian and Murano bead makers to find available materials and beautiful alternatives. We know these colors are special to our customers—they are special to us, too.
There are places where inspiration seems to be everywhere you look.
Venice is certainly one of them.
During The Venice Glass Week, you begin to see the city a little differently.
Rather than just canals, bridges, and old buildings, you notice the glass in windows, exhibitions, workshops, and galleries.
Murano Beads appear in the hands of makers, adding a local highlight.
The 2026 edition was particularly special because it marked the 10th anniversary of The Venice Glass Week. Additionally, from September 12–20, Venice, Murano and Mestre hosted more than 200 events. These events celebrated glass through exhibitions, installations, demonstrations, workshops, talks and guided tours.
I spent some time exploring this year’s events, and as someone who is especially interested in beads, I naturally found myself looking beyond the finished pieces to the materials and techniques behind them.
And that is what I wanted to share with you.
Where the beads begin
One of my favorite sights was something that might seem fairly ordinary if you don’t work with glass.
Glass rods.
Lots and lots of glass rods.
But when you work with beads, a collection like this is anything but ordinary.
There are colors everywhere — transparent, opaque, delicate pastels, intense blues and reds.
Additionally, greens, yellows, blacks, and whites are difficult to describe, yet they are immediately recognizable once you see them.
And then there are the shapes.
Some rods are straight and orderly. Others have been bent, pulled or worked in some way before they’ve even become part of a bead.
Looking at them reminded me that a finished Venetian bead is really only the end of a much longer story.
First there is the glass.
Then there is the heat.
The tools.
The technique.
And, perhaps most importantly, the person making it.
The beauty of the workbench
I could happily spend far too much time looking at a glassmaker’s workbench.
There is something wonderful about seeing the evidence of the process rather than just the finished object.
Tools sitting where they were last used.
Small pieces of glass waiting to be incorporated into something else.
Containers full of color.
And everywhere, possibilities.
This is one of the things I love about glassmaking.
There is an incredible amount of skill involved, but there is also experimentation.
A beadmaker starts with an idea, but the glass has a say in what happens next.
The temperature changes.
The colors react.
The shape evolves.
And sometimes the little surprise that wasn’t planned becomes the best part.
Venice Glass Week: looking at glass from every direction
One of the wonderful things about Venice Glass Week is that it isn’t simply a series of exhibitions.
The program brings together exhibitions and installations with demonstrations, workshops, guided tours, talks and other events. The 2026 program stretched across Venice, Murano and Mestre.
There was plenty for anyone interested in the history of glass.
It covers 1948–1958 Murano Glass and the Venice Biennale.
Additionally, LE STANZE DEL VETRO hosted an exhibition on the period’s importance for Murano glass and the Biennale.
Nevertheless, there was also a strong focus on what is happening now.
That balance is important.
Venetian glass has an extraordinary history, but it isn’t simply something preserved in a museum.
Artists and glassmakers are continuing to experiment with it, reinterpret it and find new ways to work with an old material.
And then there are the beads
Of course, this is the part that really inspires me.
One of the 2026 events was Glass Beads from Around the World, an exhibition in Mestre featuring finalist beads from previous editions of Your Bead for Venice. The exhibition brings together work by glass bead artists from around the world who have been inspired by Venetian techniques and traditions.
Venetian beadmaking is a very specific tradition, rooted in a particular place and history — but its influence doesn’t stop at the edge of the Venetian lagoon.
Beadmakers around the world have learned from these techniques, adapted them and made them their own.
And that brings us to one of the projects I was especially happy to see connected with Venice Glass Week.
Your Bead for Venice
Your Bead for Venice is an international competition celebrating Venetian glass beadmaking and the artists who continue to be inspired by it.
The 2026 competition invited beadmakers around the world to submit a bead inspired by Venetian beads or Venetian glass techniques. The finalists’ work is being exhibited during Venice Glass Week.
There is something particularly nice about the idea of one bead carrying a connection to Venice.
It doesn’t have to be an exact reproduction of an historic bead.
It can be a new interpretation.
A different color combination.
A familiar technique used in a new way.
A personal response to Venetian glass.
In fact, the 2026 competition introduced a special Venetian Star prize recognizing a bead that most closely reflects traditional Venetian design, techniques and Venetian glass. The judging also considered three areas: connection with Venice, quality of the bead and technique used.
And that’s really what makes the project interesting to me.
Fall/Winter 2026 Jewelry Colors: A Murano Glass Bead Guide
Each season brings new color inspiration, and Fall/Winter 2026–2027 offers a beautiful combination of expressive brights, rich earth tones, and calming shades inspired by nature. This year, we are particularly excited about the striking contrast between vibrant hues and the grounding tones that reflect the changing landscape during these months. In this blog, we explore ten leading colors from the season’s fashion forecast and interpret them through authentic Venetian and Murano glass beads, emphasizing the unique craftsmanship that goes into each piece. For each color, we have selected handmade beads that capture its character—not as exact standardized color matches, but as artistic interpretations brought to life through transparent and opaque Murano glass, 24-karat gold foil, sterling silver foil, and traditional Venetian glassmaking techniques. The interplay of these materials not only enhances the colors but also adds depth and texture, making them truly stand out. Click any featured bead photograph to visit its product page, learn more about the inspiration behind each selection, and shop the color for your next jewelry design, ensuring that your creations are as vibrant and dynamic as the season itself.
Taupe and topaz create a warm, versatile color story inspired by natural stone, amber light and the softly weathered architecture of Venice. Taupe provides a calm, earthy neutral, while transparent topaz adds golden-brown depth and warmth. In Murano glass, these colors pair beautifully with 24kt gold foil, avventurina, ivory, chocolate brown and rich autumn reds.
Rooted in nature yet distinctly modern, Burnt Olive, Green Envy, and Acacia create a sophisticated progression of greens for Fall 2026. Burnt Olive brings an earthy, grounded depth with its muted olive undertones, while Green Envy introduces a fresher, more energetic yellow-green. Acacia completes the palette with a bright, luminous chartreuse that adds an unexpected spark. Together, these shades move beautifully from subdued and organic to vivid and contemporary, making them especially striking when translated into Murano Glass, where transparent color, gold foil, and avventurina can add even greater depth and brilliance.
Vibrant yet beautifully feminine, Festival Fuchsia and Foxglove bring warmth and energy to the Fall 2026 palette. Festival Fuchsia is bold, saturated, and exuberant—a rich jewel-like pink that immediately commands attention. Foxglove softens the story with a dusty, romantic rose pink that feels elegant and refined. Together, they create a wonderful balance of dramatic color and gentle sophistication, especially beautiful in Murano Glass where transparent pinks, gold foil, silver foil, and delicate Fiorato details can bring these shades to life.
These Murano Glass beads are just a few examples of how you can bring the colors of Fall 2026 into your jewelry designs. Use them as inspiration rather than rules—mix the season’s rich earth tones, sophisticated greens, vibrant pinks, ocean-inspired blues and warm neutrals with beads you already love. Add the shimmer of 24kt gold foil, sterling silver foil or avventurina, introduce the delicate flowers of Fiorato and Millefiori, or combine transparent and opaque glass for greater depth and contrast. With thousands of colors, shapes and styles of authentic Murano Glass to choose from, the possibilities extend far beyond the examples shown here. Choose the colors that speak to you, experiment with unexpected combinations, and make the Fall 2026 palette entirely your own.
The journey begins with a vaporetto ride to the Homo Faber exhibits in Venice, sparking inspiration for a new collection of Murano glass beads. Influenced by various artistic styles, colors, and textures, beadmakers creatively translate these ideas into unique designs that celebrate both tradition and innovation. Each bead reflects Venice’s rich craftsmanship.
It all begins with a vaporetto ride. Sometimes, the adventure starts with wading through high water just to leave the apartment. But the allure of the Homo Faber exhibits on the island of San Giorgio makes it all worthwhile. These incredible showcases of artistry spark boundless inspiration. So, off we went—with two of our beadmakers and a camera—to capture the magic.
In the world of Murano Glass, creativity is a dance between tradition and innovation, and for our studio, inspiration comes from everywhere. Our latest collection of beads owes its origin to a remarkable journey—one that started at the Homo Faber exhibit in Venice, where craftsmanship, artistry, and imagination collide.
A Visit to Homo Faber: The Spark of Creativity
Walking through the Homo Faber exhibit was like stepping into a living museum of art and tradition. Each room displayed breathtaking works from artisans around the world, from intricate textiles to finely crafted ceramics and, of course, extraordinary glassworks. What captivated us most were the colors, textures, and patterns that seemed to speak directly to the heart of Murano’s glassmaking heritage.
As we explored, we were struck by the diversity of designs—soft, ethereal hues juxtaposed with bold, geometric patterns, and textures that mimicked natural elements like woodgrain or rippling water. These visual treasures stirred something in us, and we knew instantly that these inspirations would breathe new life into our bead designs.
Our first spark of inspiration came from the mesmerizing work of artist Tuesday Riddell, who masterfully uses the Japanese lacquer technique. Her collection is nothing short of breathtaking—take a moment to explore her artistry for yourself. Tuesday Riddell
We were captivated by the striking interplay of black and gold, tones we frequently feature in our Venetian beads. Inspired by this elegant combination, our beadmakers were immediately motivated to craft new designs, bringing their own creative vision to life. Below are some of our bead maker’s first tries. I feel incredibly fortunate to have bead makers who can bring our ideas to life. I’m constantly amazed by their ability to craft entirely new and unique designs using the same tools, glass canes, and millefiori techniques that have been cherished for centuries.
From Vision to Reality: Working with Our Beadmaker
Back in the studio, they began translating these inspirations into tangible designs with the help of our incredible beadmaker. Armed with a treasure trove of photos, detailed sketches, and notes from our time at Homo Faber. They reviewed the patterns, colors, and textures that had spoken to us the most.
Designs: Abstract lines, geometric forms, and organic swirls all made their way into our sketches. Every detail was considered to ensure that the final product would not only look beautiful but also feel authentic to Murano’s legacy.
Colors: From the soft pastels of Venetian sunsets to the rich jewel tones of antique glass mosaics, we carefully selected a palette that reflected both the timelessness of Murano traditions and the bold innovation of modern design.
Textures: Many of our new beads feature layers—transparent glass over opaque bases or flecks of avventurina for sparkle and depth—echoing the intricate layering techniques we saw at the exhibit.
This collection is just the beginning as we explore new colors and expand on the inspiring themes from Homo Faber. We even had the privilege of getting a behind-the-scenes glimpse into the design processes of legendary houses like Cartier, Mercier, and Van Cleef & Arpels—a rare and fascinating experience that continues to fuel our creativity. A look at the sketch book reveals their process so similar to ours.
After countless hours of experimentation and collaboration, our beadmaker brought the sketches to life. The result is a collection of beads that celebrate the beauty of Murano’s craftsmanship while nodding to the innovative spirit we saw at Homo Faber. Each bead tells a story: the story of Venice, of our studio, and of the creative journey that began with a single spark of inspiration.
Whether it’s a delicate pink bead with avventurina shimmer or a bold black-and-gold design inspired by the exhibit’s contemporary installations, these beads are a testament to the power of collaboration and the endless wellspring of inspiration that is Venice.
An Invitation to Create
As we launch this collection, we’re excited to share these designs with you. We hope they inspire your own creations, just as Homo Faber inspired us. Each bead is a tiny piece of Venice—a city where artistry is woven into every canal and calle.
Thank you for joining us on this journey. Together, we keep the traditions of Murano alive, one bead at a time.
Giorgio Giuma Maestro of Murano in Sculptures and Wax Cating
Giorgio is not a glass artist in the traditional sense, though he possesses the ability to make ordinary vases, animals and figurines you find all over Murano. Giorgio’s talent lies in making the extraordinary. In his vision, Cinderella doesn’t have only glass shoes, but Cinderella has a Glass Castle and he boasts an entirely glass Greek Temple. He works both traditionally (with the blow pipe) for his animals, dragons and chandeliers.
He uses lost was casting for a variety of pieces of art. Lost wax kiln casting is a versatile method for making glass pieces in almost any form imaginable. The process involves creating a refractory mold around a wax model. The wax is then removed—or “lost”—creating a cavity. Glass is cast into the cavity, resulting in a fully sculptural finished piece.
His work shop covers a rambling acreage on the island of Serenella in the Murano islands bringing his ideas to life away from the busy tourist paths of Murano. It also includes fruit trees and bees. Inside, the workshop is a glimpse into the mind of a true artist. He is a large, gentle Muranese who speaks in a soft voice and loves discussing his art. He is not involved in the “tourist” furnaces and works in the background. He creates glass pieces for the who’s who of fashion and is the go-to for large pieces like this.
The Greek Temple is about 5 feet tall. In the forefront, you can see other projects evolving. The flowers are pieces of a chandelier, while the blue mold appears to be a soccer field.
His lost wax casting is used in the creating of glass Red Square. Here you can see the evolution of his creation with the small version and to the right the wax for the casting of Red Square, Moscow. Behind on the shelves are previous projects and ideas for the future.
And yes, the cluttered background is typical of all production furnaces. 50+ years of tools and moulds are on the shelves. The knowledge of how to make the glass is in his head. The ingredients are seen here in the sleds of sand and soda. And at one point, he takes a blow pipe to one of the furnaces and shows me his pride, his incredible red – a blood red!
The furnace stays on 24/7 to maintain the glass at the correct temperature. Pots of colors are in the smaller furnace door.
The fixtures on the left are annealing ovens. The number of them gives you an idea of the number of workers Giuma had in the past as does the quantity of blow pipes surrounding the furnace. Blow pipes are used to make hollow glass articles like vases, bowls and bottles. While the Pontil (Punt, Punty Rod) is a long rod used when sculpting animals and also to transfer a blown piece to the annealing oven. Some of the items made on the end of the punty are shown
I am always in awe of the artistry of the Murano Glass Maestri, their imagination, their ability to turn an idea into a sculpture, a castle makes you believe in magic! And Giuma makes the magic come to life!
For more of his work and his unique story, visit his website Giorgio Giuma
The Pink Basilica Necklace, Bracelet, and Earrings offer a tribute to Venetian artistry with Murano glass and gold foil. The necklace combines vibrant millefiori patterns with pink white gold rounds, while the bracelet’s lamp work squares exude opulence with 24kt gold foil. The earrings, adorned with millefiori slices, emanate elegance in a soft pink hue.
Make this Pink Basilica Necklace
Imagine a necklace that whispers stories of Venetian charm and artisanal mastery. This 17-inch marvel is a symphony of Murano Glass Squares and discs, each infused with the essence of ancient glassmaking techniques passed down through generations. Picture tiny slices of millefiori mosaics, meticulously arranged like vibrant confetti, captured beneath a translucent surface, shimmering with life, in this Murano Glass Jewelry design.
But the magic doesn’t end there. Set against a backdrop of luxurious 24kt gold foil, these glass treasures gleam with an unparalleled radiance, each piece a testament to the fusion of tradition and innovation. The warm embrace of the gold foil accentuates the intricate details of the millefiori patterns, adding depth and opulence to every glance.
And then, like delicate jewels adorning a royal garment, the necklace is adorned with Pink White Gold Rounds in varying sizes – 6mm, 8mm, and 10mm. Their lustrous sheen and gentle blush harmonize with the kaleidoscopic hues of the Murano Glass, creating a symphony of colors that dance with every movement.
For the Free Instructions and components list: Click Here
Make this stunning Basilica Bracelet
The bracelet features intricate pink and white mosaic Murano lamp work squares that are each a miniature masterpiece in their own right. These squares, meticulously handcrafted by skilled artisans, showcase a mesmerizing blend of hues, creating a harmonious symphony of color that captivates the eye.
Adding a touch of luxury and opulence to the design is the presence of 24kt gold foil delicately infused within the glass. The shimmering gold foil lends a radiant glow to the bracelet, catching the light with every movement and casting a warm, ethereal glow.
To complement the beauty of the Murano glass squares, the bracelet is adorned with gold fill bead caps. These bead caps add a touch of sophistication and refinement to the piece, enhancing its overall allure and ensuring that it stands out as a true statement of style.
For free instructions and list of components: Click Here
To complete the set: Make these beautiful earrings.
These pink Murano glass earrings exude elegance and charm measuring approximately 40mm ( 1 3/4 Inches)
At first glance, they catch the eye with their soft pink hue, reminiscent of blooming cherry blossoms. Each earring is adorned with tiny, intricate slices of millefiori, adding a kaleidoscopic burst of colors like a miniature garden captured within glass.
The millefiori slices are delicately placed over 24kt gold foil, lending a luxurious shimmer and depth to the design. This gold foil backdrop enhances the warmth and richness of the pink hues, creating a captivating play of light and color with every movement.
To complement the exquisite Murano glass focal pieces, the earrings feature gold fill ear wires. These ear wires ensure both durability and elegance, allowing the earrings to dangle gracefully from the ears. At 42mm in length, they strike the perfect balance between subtlety and presence, making them ideal for both casual outings and formal occasions.
It is an online magazine that you can subscribe to for free and enjoy stories of all the regions of Italy, places to visit, history of the area. And for me above all are the beautiful photographs.
And read Brenda’s article on her view of the history of Murano and the issues of today. Visit our website to browse our Murano Glass Home Decor
Watching these guys makes it look like play. Watch as they make authentic mouthblown Murano Glasses. Glass blowing is teamwork, the Maestro (the one who sits at the bench) and his servente, basically anyone not sitting at the bench. In more complicated pieces there may be 4 or 5 who comprise the Piasa, in dialect or Piazza in italian. Watching a Piazza in action is like watching a ballet, just with glass heated to about 1900 Fahrenheit being swung around.
Father and son work on this team in a classic family business in Murano. The father owned his own furnaces until he retired and the son was a Maestro at some of the most well known furnaces in Murano. Additionally, they make some of our most beautiful beads. As you see them here working they do not have a traditional furnace, they work with Cotisso (shown below) which is chunks of glass which have been premade and they just need to melt it in order to blow the glass. The chunks are bought from the same Murano furnace that makes canes for our beads. It just saves a step in the process.
Their years in the furnace making vases, wine glasses, animals, all the things in the furnace have given them the experience to make even our small beads. We all love their outside spirals beads shown below. They are the specialty of the son. His work in the Venini furnace taught him all about control of the glass. They are so perfect they look like a machine made them.
When we were working with our bead maker, we made this short video. It gives you some idea of the steps involved in making a complicated bead like this. But even before she sits down to turn on the “canello” the torch used in Murano, she has already assembled the fragments of mosaic canes, color fragments and the 24kt gold foil used on the bead. And she has preheated these fragments so they do not shock the base bead when they are attached. The slices of millefiori are added individually. The tool attached to the cane in the beginning is just a way to use even the short pieces of cane. The tools used to create the shape are made by a tool maker in Murano who is following in his father’s footsteps and without whom, we would be lost.
Making our Basilica Murano Glass Beads
Why are they called Basilica? If you have ever been to Piazza San Marco just looking at the mosaics above the huge doors will give you a clue. And once you enter into the Basilica San Marco, taking a look at the incredible gold and mosaic work on the domes you can definitely see the similarities.
Basilica San Marco with over 8,000 of Meters of Mosaics
The gold is exterior on these fabulous beads and the colors are perfect for the summer season. We made a bracelet with the blues and the design instructions are free.
You can find the instructions on the link to the photos as well as below on that page, you can order the beads. Here are a couple other examples of jewelry (design available on our website, just click on the photo).
Gold and Multi Mosaics Basilica Bracelet
And this over-the-top necklace in Aqua is equally as easy to make.
Aqua Basilica Necklace (Click on Photo for Design Instructions)
The latest crisis facing Murano furnaces is the exorbitant increase in Methane prices. Methane is the gas used to melt the sand into glass in most of the furnaces in Murano. It is piped under the lagoon directly to Murano.
The latest is a double whammy occurring on the tails of the shut-down for COVID. During 2019, 3+ months of complete lock-down where residents were only allowed outside their house for essential services, grocery shopping, visits to the doctor or the pharmacy. No workers were allowed inside the furnaces. During this time we were fortunate to have a few bead makers who work from their home and could continue making beads.
Tourism died as travel to Italy was not allowed. In fact it was only in the summer of 2021 that US residents were welcomed and then only those vaccinated and with negative Covid tests. Tourist from other reciprocal countries in the European Union were allowed earlier as was the travel between regions in Italy.
But Murano doesn’t receive a lot of money from the Italian tourist, for the most part, the Italian tourist is just on a day outing, perhaps buying lunch at a restaurant, but rarely large works of glass art. The same is true from EU tourist who arrive in the summer holidays with their families, often camping at Jesolo, across the lagoon spending much of their time on the sunny beaches.
Delivery Boat Murano
The tourist who are apt to purchase at the “glass factories” arrived in the past on tours by large tour companies, like Trafalgar, or other organized tours which included visits to various furnaces, especially a tourist furnace on the Island of Giudecca where the tourist were shuttled by boat from Tronchetto directly there. Tourist were also sent by hotels to specific furnaces where the furnace agreed to pay a fee for delivery. This so-called free taxi to Murano often backfired on tourist who didn’t get the point that in return for delivering them to the furnaces, the furnaces expected them to purchase (and not 10 Euro items). So sometimes these tourist found themselves learning public transportation to return to Venice.
Murano
Just as the furnaces were seeing an increase in tourist and sales, the news of the increase in gas prices has skyrocketed, from 0.23 cents to 0.90. A surge of 400%. Consider that the furnaces burn 24 hours a day otherwise the costly crucible inside the ovens will break a broken crucible cost about $2,300 US.
A medium-size glassblowing business consumes ~12,000 cubic meters (420,000 cubic feet) of methane a month to keep seven furnaces glowing at temperatures over 1,000 degrees Celsius (1,800 degrees Fahrenheit) 24 hours a day.
Monthly bills normally range from 11,000 to 13,000 euros ($12,700 to $15,000) a month, on a fixed-price contract that expired on Sept. 30, 2021. Now exposed to market volatility, an increase is projected in methane costs to 60,000 euros ($70,000).
And even those furnaces who are lucky enough to have volume orders from shops, markets abroad are now facing a certain loss on orders they are working to fill as they have already negotiated prices for the orders and those prices did not include this unexpected increase.
HOW DOES THIS AFFECT OUR BEADS?
Unfortunately, this increase in gas prices will manifest itself two ways in our beads. First, the furnace that produces all the glass canes our bead makers uses volumes of gas to keep its furnace glowing with each batch of just one color being about 250 Kilo (~500 Pounds). This furnace provides glass canes to the world. More importantly, it provides all the canes to our bead makers.
The Second Increase
Then, the torches (canello) that the bead makers use all are powered by gas. So they too are experiencing a huge increase each time they replace their cylinders of gas.
Tanks of Gas being delivered in Murano
The Confartigianto, the artisan association has pleaded to government in Rome to assist in negotiating better rates with the alternative that an artist craft active in Murano since 1291 will be in peril. Even now, furnaces are being leveled and hotels rising up. One of the latest to fall to the hotel industry is the old factory of Moretti along Fondamenta Manin just down from the boat stop Colonna. Profits are good for the hotels (not necessarily the workers and certainly not for the population of Murano) and they do provide some jobs and create some tax income for the Italian government. The downside of all this is that once the furnaces close it will be virtually impossible for the island to continue to maintain its place in the world of glass. As of now, already 7 more furnaces have closed.
Bead Making Torch Murano Glass Beads
Murano holds a treasure of artisans, world class glass blowers whose names remain unknown because they just go to work each day and blow glass. They do not think of themselves as artist but they are responsible for the largest part of the glass sold. Murano is a legend in our world of glass – since 1291. I hope that the Italian Government comes to the aid of the furnaces in Murano otherwise Italy will be losing the history of Venice and Murano. Along with one of the reasons that tourist come to Venice.
