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Search the descriptions of Technical Glass Terms |
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| alati | glasses or goblets with lateral glass wings attched to the sides above the handles for decorative purposes. Known in Germany as Flugel glàser, these were manufactured during the 16th and 17th centuries |
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| allume catino | sodic plant ash which was imported under this name from Syria and used as flux |
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| amalgama | a technique used right up to the end of the 18th century for silvering mirrors. It consist of the application of tin leaf amalgamated with mercury onto a sheet of glass |
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| anzinello | an iron hook attached to the ANZIPETTO strong enough to support the weight of the blow-pipe with glass deposited at one end, and fixed above a perpendicular shelf at the BOCCA DEL FORNO (glory-hole) |
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| anzipetto | a table made of thick wood usually covered in metal shetting and placed at the left side of the glory-hole to protect the glassmaker from the heat |
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| ara | (also "era") long ago this term was applied to the rear of the Murano furnace, which was also used as an annealing oven where completed object were left to cool |
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| asio | a gently sloping horizontal shelf underneath the glory-hole of the furnace; a sort of tray onto hich melted glass often drips when it is being removed from the pots |
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| attaccagambi | a traditional task in the manufacture of drinking glasses or other stemmed objects. The job is usually entrusted to a skilled craftsman who is only slightly less qualified than the master |
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| avolio | a spool-shaped piece of glass, which, as a rule, is used to unite a bowl with its base. In a drinking glass, it connects the uper portion (known in Muranese as bevante) with the stem (in Muranese , gambo) |
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| avventurina | an especially prized glass paste, invented by Murano glassmakers during the first half of the 17th century. It was given this name because its manufacturing process was tricky and of uncertain success, for even the most experienced glassmaker, and was therefor a ventura or chance. The preparation of "aventurine" is long and delicate, resulting in the formation of small copper crystal, foliated and shining. It was kept a closely guarded secret across the centuries by a small number of skilled glassmakers. The glass is removed from the furnace in blocks, after having been slowly cooled, and its characteristic apperance can be seriously impaired during remelting. Once cold, it is cut like a hard stone or worked hot with special care. Ordinary "aventurine" is a brownish colour with stelle, whilst an even more highly valued type, known as verderame, takes on a copper green colour of superb effect |
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| ballaton | a metal die given a cross-relief effect on glass. Inside the die are small square-capped "points" which, when the glass is blown, result in the cross-relief pattern. By cevering a PEA stamped in this way with a layer (coperta) of glass, using the sommerso technique for example, an effect is obtained whereby hundreds of minute air bubbies are trapped between two layer of glass |
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| besegnacco | an ancient term which probably referred to a type of blown glass |
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| bevante | the name given to the upper section of a drinking glass, i.e the part intended to hold liquids |
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| boccar | ectangular aperture, the upper side of which is rounded. This is the main outer "entrance" to the oven, and it may vary in dimension, according to the size of the object being made, which is placed in the oven using pipes (CANNE) or punties (PUNTELLI) which are rested in turn on the ANZINELLO |
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| bolo | a Murano word referring to the first lump of molten glass, just after removal from the melting pot, before work on it begins. Pastone (paste), pareson and levada have the same meaning |
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| bronzino | a large slab, which is nowadays made of iron, but was once of bronze (hence its name). It is placed horizontally across a table or trestle, and allows various stages of the glassmaking process to be carried out. It is used for rounding off and preparing the PEA before blowing. Originally, marble was also used, leading to the name malmoro |
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| buffador | the old name for a Murano glassmaker of modest professional standing, usually amployed to make glassware for ordinary use (such as tumblers and jugs) |
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| buffaria | used long ago to describe blown glassware for ordinary use |
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| calcedonio | vitreous paste with a dark base, red when transparent, with multicoloured veins, imitating a variety of natural chalcedony, zoned agate. Invented at Murano in the mid-15th century, its difficult preparation requires the addition of various metallic compounds to the glass mixture, in specific ways and at specific intervals. The secret of its manufacture, lost between the end of the 18th century and the first half of the 19th, was rediscovered by Lorenzo Radi, during the last century |
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| murrina | the technique for making the murrina consists in forming different glass rods of various colors into a preset pattern and then heating them to obtain a sigle road. This rod is the cut crosswise to have a series of small discs, that arranged in certain order and re-heated give rise to a finished object, which is blowing and worked in handmade until the glass rich the final shape.
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| scagno | It's the sit of the glass Master, used to let the artist work. Nearby the sit, the Master keeps all the tools needed to handmade the glass products. dove il Maestro Vetraio siede per lavorare il vetro. Attorno alllo scagno tiene gli strumenti necessari per la lavorazione. |
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Glossary V2.0 |
Technical Glossary 
