Cristallo versus crystal

In the late 17^th century, the invention of crystal challenged Murano’s centuries-long dominance of the European glass goblet industry.

In the mid-1600s, the glass makers of Murano created extraordinarily ornate and complex glass goblets, exploiting the great clarity of cristallo glass, which had been invented in the mid-15th century by glass master Angelo Barovier. The style of these goblets - Façon de Venise - has been admired and emulated ever since. (See “Competing tastes in glass goblets” on this blog 28^th November 2018)

Ranenscroft goblet 1677

Later in the 17^th century (1673), Englishman George Ravenscroft challenged Murano’s near-monopoly on glass technology with his invention - lead crystal, in which lead replaces the calcium of ‘standard’ (potash) glass.

The inclusion of lead results in glass that has greater ‘brilliance’ or shine and separates light into its component spectra, as a prism does. Further, crystal stayed clear even when thick, whereas cristallo tended to look dark unless it was blown thin. (The Ravenscroft goblet in the illustration is held in the National Museum of Warsaw.)

Another new fashion in glass
Ravenscroft and subsequent crystal manufacturers exploited these refractory properties of the relatively thick crystal, creating a new fashion that challenged the dominance of Façon de Venise. Indeed, the decline in the Façon de Venise style was a major contributor to the decline of Murano’s dominance.

Today, perhaps the best-known legacy of Ravenscroft's creation is Waterford Crystal, which is owned by WWRD Group Holdings Ltd., a luxury goods group which also owns and operates the Wedgwood and Royal Doulton brands, and which was acquired on 2 July 2015 by the Fiskars Corporation.

Source: Dunham, B. S. (2002) Contemporary Lampworking: a practical guide to shaping glass in the flame. Prescott, Arizona: Salusa Glassworks Inc.

This is the third in a series of blog posts about the centuries-old tradition of making glass goblets. Among the many and varied creations of our International Artist in Residence at the 2019 Festival of Glass - Davide Penso (Murano) and Credric Ginart and Karina Guevin (Montreal) - are extraordinary contemporary interpretations of this tradition.

Competing tastes in glass goblets - transparent or opaque?

When Murano (Venice) glass master Angelo Barovier  invented cristallo in the mid-1500s, it represented the 'holy grail' of goblet makers. 

Cristallo was exceptionally clear and  transparent glass, free of the impurities that had clouded its predecessors. What better material for drinking vessels (even the holy grail!)? Drinkers could now appreciate their tipple's appearance, as well as its taste and smell.

Murano Dragon Stem goblet, 1600s

Throughout the Middle Ages, glass goblets from Murano dominated the European market for glass drinking vessels - not least because of Cristallo. Murano's competing glassworks created goblets that were increasingly complex in design, decoration and creation; but they also increased in price, restricting their ownership to the wealthy.

 

Is it glass, or ...?

Despite the popularity of cristallo, it became popular or fashionable to create vessels from materials other than glass, especially precious and semi-precious stones. Faced with this threat to their hold on the European market, Murano’s glass makers created new types of glass that imitated chalcedony, opal, amethyst, emerald, sapphire and other precious and semi-precious stones.

Turquoise was especial popular. It was highly prized in the Islamic world

'Turquoise' goblet

and it was imported into Europe via Venice from eastern Iran. The bowl and foot of the late-15^th century Murano glass goblet in the illustration are made of imitation turquoise, while the darker blue stem imitates lapis lazuli. (The goblet is presently held in the British Museum.)

So while Murano’s glass makers celebrated the invention of cristallo and exploited its transparency in new versions of their traditional goblets, they also devoted time and skill to creating forms of glass that  ... well ... didn’t look like glass.

And now?

Of course, most glass drinking vessels are made today industrially. However, hand-made goblets in the Venetian style (façon de Venise) retain their allure. Many present-day glass artists take pride both in replicating the original designs and in creating new forms that showcase their skill and creativity. They include the three International Artists in Residence at the 2019 Festival of Glass - Murano glass master Davide Penso and glass artists Karina Guevin and Cédric Ginart from Montreal.

As visitors to the Festival will see, Davide, Karina and Cédric each creates hand-made goblets in the Venetian style, but each interprets "Venetian style" in their own very creative way.

This is the second in a series of blog posts about the centuries-old tradition of making glass goblets. Among the many and varied creations of our International Artist in Residence at the 2019 Festival of Glass - Davide Penso (Murano) and Credric Ginart and Karina Guevin (Montreal) - are extraordinary contemporary interpretations of this tradition.

‘Tiny Treasures' for Treasure Hunt businesses

Each business in the Festival’s 2019 Treasure Hunt is preparing to place its glass ‘Tiny Treasure’ – a small glass figurine for Treasure Hunters to find.

More than 30 businesses across the North Bellarine – from Curlewis to Portarlington – are taking part in the Treasure Hunt and each one has commissioned a ‘Tiny Treasure’ from a local glass artist.

The Tiny treasures will be delivered well in time for the official launch of the 2019 Treasure Hunt on 7^th January 2019, with a “High Tea” at Café Zoo (23 High Street, Drysdale).

Where's this 'Tiny Treasure"?

Even before the launch, eager Treasure Hunters can see what they’ll be looking for, because the ‘Tiny Treasures’ are on the Festival web site: www.festivalofglass.net.au

The web site also includes an interactive map giving information about each participating business.

... and this poor bandaged soul?

When a Treasure Hunter finds a ‘Tiny Treasure’, the business stamps their entry form. (Each business will have blank forms.); and every ten stamps earns the Treasure Hunter a place in the Treasure Hunt draw at the Festival Expo (Sunday 17^th February), with specially commissioned pieces of glass art as prizes.

Many businesses have found it so enjoyable to be part of previous Treasure Hunts that they were happy to sign up for the 2019 event.

In 2019, you won’t miss the Treasure Hunt – it will be advertised in all the local papers and on roadside signs; and each participating business will have a poster in its window.

Getting a taste of the 2019 Festival

Monday 3^rd December 2018 will see the opening of Glass Inspirations – an exhibition of glass art at Drysdale’s Café Zoo

Glass birds by students at Mauro
Viannello's workshop, 2018 Festival

Local glass artists have created large and small pieces of glass art jewellery and sculptures for Glass Inspirations, around the theme “Birds of the Bellarine Peninsula”. Each piece will be unique and hand-crafted on the Peninsula, making them ideal gifts.

Visitors to Glass Inspirations can admire the glass art, identify the birds and, perhaps, buy one of these delightful pieces. If the pressure of having to choose gets too much, Café Zoo can always supply a restorative snack!

 “Glass Inspirations gives people just a hint of what they’ll see during the three months of the 2019 Festival”, said Festival convenor Doug Carson. “Then in January, the start of our annual Treasure Hunt will see treasure hunters young and old searching businesses across the North Bellarine for glass ‘tiny treasures’.”

 

Glass Inspirations will run from Monday Dec 3rd to Monday February 11th 2019, between 9.00am and 5.00pm at Café Zoo, 23 High St, Drysdale.