What Murano Glass IS and What It Is NOT - Facts, Myths and Deceitful Tricks That You Need to Know About IF You Are Planning a Purchase Outside of Murano-Lite Store!
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Laminated Glass Insulating Glass Fire Rated Glass Burglar Resistant Glass Sound Protection Glass Decorative Glass Curved Glass
Envelopes in Architecture (A4113) Designing holistic envelopes for contemporary buildings Silvia Prandelli, Werner Sobek New York A4113 ENVELOPES IN ARCHITECTURE - FALL 2016 Supply chain for holistic facades 2 Systems Door systems Media Facades Rainscreen facades Dynamic facades Mesh System Structural glass/Cable Glass floors Multiple skins Shading systems Green facades Panelized systems Stick/Unitized systems 3 Curtain wall facades 4 What are the components of a façade system? 5 What are the components of a façade system? 6 What are the components of a façade system? 7 Glass 8 Glass Types Base Glass (float glass) Heat Treated Glass Laminated Glass Insulating Glass Fire Rated Glass Burglar Resistant Glass Sound Protection Glass Decorative Glass Curved Glass 9 Base Glass (Float Glass) 10 3500 BC Glass Making: Man-made glass objects, mainly non-transparent glass beads, finds in Egypt and Eastern Mesopotamia 1500 BC Early hollow glass production: Evidence of the origins of the hollow glass industry, finds in Egypt 11 27 BC - 14 AD Glass Blowing: Discovery of glassblowing, attributed to Syrian craftsmen from the Sidon- Babylon area. > The blowing process has changed very little since then. 12 Flat Glass Blown sheet 13 15th century Lead Crystal Glass: During the 15th century in Venice, the first clear glass called cristallo was invented. In 1675, glassmaker George Ravenscroft invented lead crystal glass by adding lead oxide to Venetian glass. 14 16th century Sheet Glass: Larger sheets of glass were made by blowing large cylinders which were cut open and flattened, then cut into panes 19th century Sheet Glass: The first advances in automating glass manufacturing were patented in 1848 by Henry Bessemer, an English engineer. -
Glassblowers of Venice Kept Their Art So Secret That It Almost Died out by Associated Press, Adapted by Newsela Staff on 02.11.16 Word Count 620
Glassblowers of Venice kept their art so secret that it almost died out By Associated Press, adapted by Newsela staff on 02.11.16 Word Count 620 Glassblower William Gudenrath puts enamel on a bowl with techniques used by Renaissance Venetians at the Corning Museum of Glass in Corning, New York, Jan. 22, 2016. Gudenrath spent decades researching how Renaissance glassmakers produced objects that are now considered works of art. Photo: AP/Mike Groll ALBANY, N.Y. — A modern-day glassblower believes he has unraveled the mysteries of Venetian glassmaking that was crafted during the Renaissance. The Renaissance was a cultural movement in Europe that lasted from the 1300s to the 1600s. During that period, glassmakers' secrets were closely guarded by the Venetian government. Anyone who spoke of them could be killed. Specially Skilled Craftsmen Today's glassblowers work with gas-fired furnaces and electric-powered ovens called kilns. Their studios are well lit and have proper air ventilation. The craftsmen of Murano, an island near Venice, Italy, did not have such technology. Yet they turned out pieces of art popular in museums today. The techniques, or the methods they used to make the objects, remained sought after for centuries. William Gudenrath spent years studying Venetian glass collections at American and European museums. He compared them with newer glasswork from Venice. He experimented on his own and traveled to Italy many times. Gudenrath combined all of his knowledge to produce an online guide. Guiding Modern Artists The guide is called "The Techniques of Renaissance Venetian Glassworking." It was recently posted on the website of the Corning Museum of Glass in New York. -
ART HISTORY of VENICE HA-590I (Sec
Gentile Bellini, Procession in Saint Mark’s Square, oil on canvas, 1496. Gallerie dell’Accademia, Venice ART HISTORY OF VENICE HA-590I (sec. 01– undergraduate; sec. 02– graduate) 3 credits, Summer 2016 Pratt in Venice––Pratt Institute INSTRUCTOR Joseph Kopta, [email protected] (preferred); [email protected] Direct phone in Italy: (+39) 339 16 11 818 Office hours: on-site in Venice immediately before or after class, or by appointment COURSE DESCRIPTION On-site study of mosaics, painting, architecture, and sculpture of Venice is the primary purpose of this course. Classes held on site alternate with lectures and discussions that place material in its art historical context. Students explore Byzantine, Gothic, Renaissance, Baroque examples at many locations that show in one place the rich visual materials of all these periods, as well as materials and works acquired through conquest or collection. Students will carry out visually- and historically-based assignments in Venice. Upon return, undergraduates complete a paper based on site study, and graduate students submit a paper researched in Venice. The Marciana and Querini Stampalia libraries are available to all students, and those doing graduate work also have access to the Cini Foundation Library. Class meetings (refer to calendar) include lectures at the Università Internazionale dell’ Arte (UIA) and on-site visits to churches, architectural landmarks, and museums of Venice. TEXTS • Deborah Howard, Architectural History of Venice, reprint (New Haven and London: Yale University Press, 2003). [Recommended for purchase prior to departure as this book is generally unavailable in Venice; several copies are available in the Pratt in Venice Library at UIA] • David Chambers and Brian Pullan, with Jennifer Fletcher, eds., Venice: A Documentary History, 1450– 1630 (Toronto: University of Toronto Press, 2001). -
Guide to Places of Interest
Guide to places of interest Lido di Jesolo - Venezia Cortina Oderzo Portogruaro Noventa di Piave Treviso San Donà di Piave Caorle Altino Eraclea Vicenza Jesolo Eraclea Mare Burano Cortellazzo Lido di Jesolo Dolo Venezia Verona Padova Cavallino Mira Cà Savio Chioggia Jesolo and the hinterland. 3 Cathedrals and Roman Abbeys . 10 Visits to markets Concordia Sagittaria, Summaga and San Donà di Piave Venice . 4 From the sea to Venice’s Lagoon . 11 St Mark’s Square, the Palazzo Ducale (Doge’s Palace) and the Caorle, Cortellazzo, Treporti and Lio Piccolo Rialto Bridge The Marchland of Treviso The Islands of the Lagoon . 5 and the city of Treviso . 12 Murano, Burano and Torcello Oderzo, Piazza dei Signori and the Shrine of the Madonna of Motta Verona and Lake Garda. 6 Padua . 13 Sirmione and the Grottoes of Catullo Scrovegni Chapel and Piazza delle Erbe (Square of Herbs) The Arena of Verona and Opera . 7 Vicenza . 14 Operatic music The Olympic Theatre and the Ponte Vecchio (Old Bridge) of Bas- sano del Grappa Cortina and the Dolomites . 8 The three peaks of Lavaredo and Lake Misurina Riviera del Brenta . 15 Villas and gardens The Coastlines . 9 Malamocco, Pellestrina, Chioggia 2 Noventa di Piave Treviso San Donà di Piave Eraclea Caorle Jesolo Eraclea Mare Lido di Jesolo Cortellazzo Cavallino Jesolo and the hinterland The lagoon with its northern appendage wends its way into the area of Jesolo between the river and the cultivated countryside. The large fishing valleys of the northern lagoon extend over an area that is waiting to be explored. Whatever your requirements, please discuss these with our staff who will be more than happy to help. -
Chapter 4: the Wedding: Glasses and Glazes
CHAPTER 4 The Wedding (Glasses and Glazes) Therefore, thou gaudy gold, Hard food for Midas, I will none of thee Nor none of thee thou pale and common drudge Tween man and man: but thou, thou meagre lead Which rather threaten’st than dost promise aught, Thy palidness moves me more than eloquence and here chose I. Joy be the consequence Shakespeare Merchant of Venice his chapter examines two interrelated high concentrations of Sn and Zn are also present.. uses of lead: glass technology and The low Na2O content implies that Anglo- Tglazes. Why was lead and not some Saxon glass technology did not derive directly from other material used in these technologies? How did the that of the Roman period, which utilized soda glass. technologies spread? The high Sn/Zn content suggests the use of recycled It will be shown that lead was used for similar metallurgical material. This hypothesis is supported by reasons as in metallurgy (energy conservation, among the similar composition of early medieval red enamel others) and that transmission of technology follows an glass to that of 3rd century A.D. German slags. In the East/West and West/East configuration, consistent with German metallurgy of the time, a regular cupellation trends discussed in the preceding chapter. Time lines was blended with scrap metal to produce litharge up to of events in the “Mesopotamian”, “Egyptian,” and 2% ZnO and 10% SnO2. A 10th century Anglo-Saxon “Classical” worlds are given in Appendix J, Tables 4.1- site shows evidence of a similar metallurgical process 6-9. -
Glass Circle Publications
INDEXOF GLASS CIRCLE PUBLICATIONS by Hazel Bell Incorporating and modifying the previous indexes by Peter Lole Indexed publications Key Glass Circle News Issues 1-140 (1977–2016) 1.1 (Issue no.page no(s);) The Glass Circle Journal 1-11 (1972-2009) JL The Centenary Supplement (2004) CS GCN (2004) Ex. ExFromcerpts Palace from to the Parlour first 99(2003) issues of PP The Glass Circle Diamond Jubilee 1937–1997 DJ Glass Collectors and their Collections (1999) Col. Strange and Rare: 50th Anniversary Exhibition 1937–1987 SR Major references to a topic are given in bold type Abbreviations used: c. GCN for Glass Circle News. Notesexh. for exhibition; for century; GC for Glass Circle; Short forms of article and book titles are used. Article titles, and titlesin ofitalics talks reported, are given ‘in quotes’ under the names of the speakers. Book titles are given under the names of the authors, except for multi-author books, listed under their titles. GlassReviewers Circle of books,News andreferences writers of are letters given and in obituaries, the form: are rarely included. Issue number.page number(s) with the Issue numbers followed by stops; page numbers in the same issue separated by commas; Issue numbers separated by semi-colons. Newsletters for April and July 1983 are both numbered 26; references to those issues are given in the index as 26A and 26Jy. The first page of Issue 115, 2 June 2008, shows Issue number as 114. Announcements of coming events, advertisements, auctions, fairs, and sales reports are not indexed; of exhibitions, only major ones are indexed. -
The Boundaries of Venice: Digitally Mapping Historical Venetian Borders and Their Modern Day Implications Dimitar M
Worcester Polytechnic Institute Digital WPI Interactive Qualifying Projects (All Years) Interactive Qualifying Projects December 2016 The Boundaries of Venice: Digitally Mapping Historical Venetian Borders and their Modern Day Implications Dimitar M. Vouldjeff Worcester Polytechnic Institute Jessica Lynn Wey Worcester Polytechnic Institute John W. Devine Worcester Polytechnic Institute Marcus Patrick Lundgren Worcester Polytechnic Institute Follow this and additional works at: https://digitalcommons.wpi.edu/iqp-all Repository Citation Vouldjeff, D. M., Wey, J. L., Devine, J. W., & Lundgren, M. P. (2016). The Boundaries of Venice: Digitally Mapping Historical Venetian Borders and their Modern Day Implications. Retrieved from https://digitalcommons.wpi.edu/iqp-all/3242 This Unrestricted is brought to you for free and open access by the Interactive Qualifying Projects at Digital WPI. It has been accepted for inclusion in Interactive Qualifying Projects (All Years) by an authorized administrator of Digital WPI. For more information, please contact [email protected]. The Boundaries of Venice Digitally Mapping Historical Venetian Borders and their Modern Day Implications An Interactive Qualifying Project Report submitted to the faculty of the WORCESTER POLYTECHNIC INSTITUTE in partial fulfillment of the requirements for the Degree of Bachelor of Science Submitted by: John DeVine, Jr. Marcus Lundgren Dimitar Vouldjeff Jessica Wey Submitted to: Prof. N. Aaron Deskins Prof. Fabio Carrera Sponsor: Venice Project Center [email protected] https://sites.google.com/site/ve16bound/ This report represents the work of WPI undergraduate students submitted to the faculty as evidence of completion of a degree requirement. WPI routinely publishes these reports on its website without editorial or peer review. For more information about the projects program at WPI, please see http://www.wpi.edu/academics/ugradstudies/project-learning.html The Boundaries of Venice Authorship John DeVine, Jr. -
Technical Research Bulletin
Technical Research Bulletin Volume 8 2014 SUMMARY A Venetian enamelled and gilded goblet (WB.55) is part of Technical study of a the collection bequeathed to the British Museum by Baron Ferdinand Rothschild in 1898. Conservation treatment in 1994 provided the rare Venetian turquoise opportunity to remove a small sample containing some opaque white as well as rare turquoise glass. These fragments were analysed glass goblet from the using scanning electron microscopy with energy dispersive X-ray spectrometry and by laser ablation inductively coupled plasma mass Waddesdon Bequest spectrometry. Further analyses were carried out on the enamels and blue glass knop of the goblet using surface X-ray fluorescence. Dora Thornton, Ian Freestone, William This contribution locates the object in the context of Venetian glass of the Renaissance as well as the history of collecting. The Gudenrath, Martina Bertini, Andrew conservation history and the processes employed to conserve the Meek and Denise Ling object prior to its redisplay in the new Waddesdon Gallery at the British Museum in 2015 are described. Careful macroscopic and microscopic observations are combined with the chemical analyses to outline a comprehensive chaîne opératoire for the object. Technically, it is fully consistent with current understanding of glass production in Venice in the late fifteenth century. The goblet The Venetian turquoise goblet (WB.55), which is the focus of this contribution, is one of the finest Renaissance glasses to be seen anywhere in the world, Figure 1. It came to the British Museum as part of the Waddesdon Bequest, a treas- ury collection formed over two generations by Baron Anselm de Rothschild of Frankfurt and Vienna, and his son Baron Ferdinand Rothschild, MP. -
Murano Energy Reduction an Investigation of Technologies to Reduce Fuel Consumption in Artistic Glass Furnaces
Murano Energy Reduction An Investigation of Technologies to Reduce Fuel Consumption in Artistic Glass Furnaces An Interactive Qualifying Project submitted to the faculty of Worcester Polytechnic Institute in partial fulfillment of the requirements for the Degree of Bachelor of Science Submitted By: Keith Ferry Nicholas McMahon Andrea Portnoy Jacob Troiano Sponsoring Agency: Stazione Sperimentale del Vetro Project Advisors: Fabio Carrera Scott Jiusto December 15, 2006 [email protected] Acknowledgements The Murano team would like to thank the following people for guidance and assistance over the course of our project: Dr. Bianca Maria Scalet Charles Correll Professor Scott Jiusto Professor Fabio Carrera The Venice Project Center Staff Alberto Deste Dr. Roberto Dall’Igna Antonio Tucci Guido Ferro Farnea Mariangelo Our Parents i Abstract This project, sponsored by the Stazione Sperimentale del Vetro, a research laboratory funded by the glass industry located in Murano, Italy, assessed the technologies available for increasing fuel efficiency in artistic glass furnaces. The project team collected and analyzed data on natural gas consumption and emissions for different technologies and compared it to data from furnaces currently in operation to model the expected savings for each technology. The results show the potential for a 35% increase in efficiency but warrant further studies. The project concludes by recommending a testing procedure to further assess both oxycombustion and recuperative burners. ii Executive Summary The focus of this project was the reduction of energy use for the glass industry of Murano, Italy. Murano has been known for glass manufacturing since the industry moved there from Venice in the late thirteenth century. -
Annual Report 2015
Collecting Exhibiting Learning Connecting Building Supporting Volunteering & Publishing & Interpreting & Collaborating & Conserving & Staffing 2015 Annual Report 18 6 12 2 A Message from the Chair 3 A Message from the Director and the President 4 Collecting 10 Exhibiting & Publishing 14 Learning & Interpreting 18 Connecting & Collaborating 22 Building & Conserving 26 Supporting 30 Volunteering & Staffing 34 Financial Statements 36 The Year in Numbers Visit philamuseum.org/annualreport for expanded content. Cover: Stacking Chairs, designed c. 1960–67 by Verner Panton, 24 made 1968–79 by Vitra GmbH, Basel, Switzerland © Vitra, Inc.; this spread, clockwise from top left: Pickle Stand, 1770–72, by the American China Manufactory (Bonnin and Morris), Philadelphia (Gift of a 7th-generation Philadelphian, 2014-166-1); East Passyunk residents admire Manne-Porte, Étretat (1885) by Claude Monet during the summer 2015 installation of Inside Out; Art Splash; Smoking My Pipe, 1934, by Samuel Joseph Brown, Jr. (Public Works of Art Project, on long-term loan to the Philadelphia Museum of Art from the Fine Arts Collection, U.S. General Services Administration); Nandi, the Sacred Bull of Shiva, c. 1200–50, India (Purchased with the Joseph E. Temple 14 Fund, 1966-123-1) Photography by the Philadelphia Museum of Art Photography Studio except page 21, lower right, by Elizabeth Leitzell A Message A Message from the from the Chair Director and the President This past year has been an astonishing one at the Philadelphia Museum of Art. There’s Fiscal year 2015 was marked by several ambitious initiatives that reflect our shared vision been a dynamic energy in the building, fueled by our Strategic Vision and Facilities for the future Philadelphia Museum of Art—from the implementation of the renewal and Master Plan and felt by all who work in the Museum and those who come to visit. -
San Servolo L'isola Del Design
SAN SERVOLO L’ISOLA DEL DESIGN Progettazione e coordinamento interventi_ Planning and coordination Diego Giallombardo Ufficio comunicazione VID_ SAN SERVOLO VID Communication Office by Luisa De Salvo per Arzanà srl SAN SERVOLO srl società in house della_in house company of Traduzioni_Translations L’ISOLA DEL DESIGN Città metropolitana di Venezia Traduzioni Prime Referenze fotografiche_Photographic material courtesy of San Servolo srl Amministratore Unico_Sole Director Progetto grafico_Graphic Design Andrea Berro Maretti Editore Sindaco Unico_Statutory Auditor Fabio Dario Direttore Generale_General Director Fulvio Landillo © Maretti Editore 2018 Staff © Gli Autori_The Authors Luigi Armiato Tutti i diritti riservati. Nessuna parte di questo Chiara Ballarin libro può essere riprodotta o trasmessa in qualsiasi Ilaria Baù forma o con mezzo elettronico, meccanico o altro Manuela Cracco senza l’autorizzazione scritta dei proprietari dei Carlo Castiglioni diritti e dell’editore. Mara Fabris Fiora Gaspari All rights reserved. No part of this publication may Michela Guggia be reproduced or transmitted in any form, whether Matteo Tassan by electronic, mechanical or other means, without Michela Tommasini written permission from the right-holders and the publisher. Liana Trevisanato Ennio Vianello ISBN 978-88-98855-99-5 Con il patrocinio di_Under the patronage of Con la collaborazione di_In cooperation with I nostri partner_Our partners Interior Design � & C ontract � La Città metropolitana di Venezia: The metropolitan City of Venice: ospitare e offrire eccellenza hosting and providing excellence Luigi Ospitare e offrire eccellenze. È questa la vocazione dell’Isola di San The metropolitan City has staked a great deal on the relaunch Luigi Brugnaro Servolo. Un luogo in cui possono trovare spazio iniziative, attività e of this corner of the Lagoon, with its own history and very dear Brugnaro Sindaco della Città realtà che si distinguono per essere ciascuna leader nel proprio settore. -
Study of the Ecosystem of the Lagoon of Venice, with Emphasis on Anthropogenic Impact
MARINE ECOLOGY PROGRESS SERIES Published October 3 Mar Ecol Prog Ser , Study of the ecosystem of the lagoon of Venice, with emphasis on anthropogenic impact Yu. I. Sorokinl, P. Yu. Sorokinl, 0.Giovanardi2,*, L. Dalla venezia3 'Southern Dept. of Oceanology, Gelendzhik-7, Krasnodar district, 353470 Russia 'Istituto Centrale per la Ricerca Scientifica e Tecnologica Applicata al Mare (ICRAM), viale della Stazione 5, 1-30015 Chioggia, Italy "stituto di Biologia del Mare, CNR, Riva Sette Martiri 1364, 1-30122 Venice, Italy ABSTRACT: The parameters of the structure and functioning of the ecosystem in the lagoon of Venice (Italy) were estimated in September-October 1993 at 36 stations. Phytoplankton was dominated by its nano- and pico-fractions, which comprised 60 to 99":# of the total phytoplankton biomass. Phytoplank- ton wet biomass varied between 100 and 600 mg m-.' and its primary production between 30 and 90 mg C m ' d.' The nume~icalabundance of bactel-ioplankton (3 to 6 X 10" cells ml-'l and its wet biomass (0.3to 1 g m-" was 2 to 3 times greater than in adjacent waters of the Adriatic. Bacterial production was 20 to 40 mg C m-'d.'. hdicrozooplankton was dominated by cillates with blo~nassesof 30 to 700 mg m-', while the density of rotifers and nauplii was low. The composition of mesozooplankton resembled that of the Adriatic complex only near the port entrances connecting the lagoon to the sea, while in polluted areas it was drastically depleted. Its average wet biomass was 80 to 300 mg m-', attaming 700 to 1100 mg m-' near the port entrances.