The furnace’s two favourite techniques are, undoubtedly, the blowing glass and the massiccio, or massello, or full glass.These are the three synonym expressions that seek to define the marvellous sculpture process of the glass matter. Unlike the blowing one, capable of conferring lightness by the fusion of voids and filled spaces to the artwork, the massello technique is structured like the dynamic elaboration of one quantity of matter, or like a progressive addiction of vitreous graft around a primary central nucleus. The horizon of sculpture possibilities is limitless: from classic horses of roughly 20 cm to life-size animals; from miniatures of human figures to colossuses in the most disparate positions; from massive abstract artworks to elegant furniture capable of enriching any room with the spell of a form of art which cannot be found elsewhere.
The Master’s main tools…after his own hands
In Murano furnaces, the Master’s creative genius and ability are already revealed from centuries, constituting time to time a pantheon of names, faces, and moreover hands: heritage in constant expansion of the glass island, generation to generation. Fundamental support to the creation of an artwork by the massello technique is the arsenal of tools which the artist uses within his daily, fascinating work. Take a look at these tools underneath.
The Scagno is a particular seat on which the master frequently sits to facilitate his work. It is fitted with two large armrests cladded of metal sheets, on which the artist can put the rod in constant rotation, facilitating the manipulation of the bolo (the first quantity of incandescent glass extracted from the crogiolo) and the possible, viscous successive addictions.
In Murano furnaces, the Master’s creative genius and ability are already revealed from centuries, constituting time to time a pantheon of names, faces, and moreover hands: heritage in constant expansion of the glass island, generation to generation. Fundamental support to the creation of an artwork by the massello technique is the arsenal of tools which the artist uses within his daily, fascinating work. Take a look at these tools underneath.
The Scagno is a particular seat on which the master frequently sits to facilitate his work. It is fitted with two large armrests cladded of metal sheets, on which the artist can put the rod in constant rotation, facilitating the manipulation of the bolo (the first quantity of incandescent glass extracted from the crogiolo) and the possible, viscous successive addictions.
The Canna – a metal tube completely drilled, often simply called ferro – is roughly 1.5m long and with a diameter of 2/4cm. It is the main tool in both the blowing techniques and the massello ones. In the latter, such rod is used to pick on one extremity of the vitreous mass, to work it later with other tools. The rod is constantly kept in rotation for avoiding imperfections given by gravity.
The Puntello is a rod used by an assistant of the master ordered to put other agglomerates in contact with the present one on the rod of the Master, in order to create crafts of various dimensions and forms. The puntello can get to the Master’s hands in some particular phases of glassmaking.
The Borselle are metal pliers of main importance in the massello technique. They are used to stretch the viscous glass and there are many types of them, in accordance with the specific tasks that they have to carry out: da siègar – that is, to saw – for dividing two quantities of matter; da pissegar, to string the glass lengthening it in some points; a sculeoto or a scuregoto, ending with two protuberances similar to spoons; a gelosia, with the extremities bearded with a particular frame which is impressed on the glass; a spin de pesse with a frame similar to a fishbone; lissie if it has a plain structure, not intended to the pressure decoration, but only to the stretching action.
The Tagliente is similar to a robust scissor with straight or rounded blades, according to the desired cut which has to be done in the first stages of the glass processing.
The Tajòl is a kind of knife with a square tip used to engage with the vitreous mass aiming at shaping it.
The Magiosso is a tool which seems a small pot with a hollow hemispherical shape and a handle, completely in wood. It is used to round the hot molten glass, in combination with the constant rotation of the rod.
You can have more information on how Murano glass sculptures are made by visiting OriginalMuranoGlass.com – A Murano-based online shop owning a long-established Murano glass factory. This Venetian glass website offers a host of massello and blown glass figurines, Murano glass sconces and chandeliers, drinking glassware, Murano glass pendants and beaded necklaces, and original corporate gifts. So, start shopping at this web-based shop right away!
The Magiosso is a tool which seems a small pot with a hollow hemispherical shape and a handle, completely in wood. It is used to round the hot molten glass, in combination with the constant rotation of the rod.
You can have more information on how Murano glass sculptures are made by visiting OriginalMuranoGlass.com – A Murano-based online shop owning a long-established Murano glass factory. This Venetian glass website offers a host of massello and blown glass figurines, Murano glass sconces and chandeliers, drinking glassware, Murano glass pendants and beaded necklaces, and original corporate gifts. So, start shopping at this web-based shop right away!
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