The glass melting process can be considered the heart of what is the tradition of the artistic glass of Murano – the starting point from which all the specific glass making techniques will branch off. Procedures have been the same over the centuries. However,innovation in instrumentation, scientific nomenclature and lively jargon used by workers goes together in an extraordinary dance that swirls inside a world that deserves to be discovered.
1. Metal crucibles of different sizes are used to contain the composition of elements and to accommodate the melting step.The larger crucible is called "Palato", the smaller ones "Ninfe" and those of still lesser ones " Ninfette". A fresh crucible cannot be used immediately; it should be accustomed within the furnace to a gradually increasing heat and in the matter of a week or a little more, the crucible will be able to withstand temperatures that can reach 1400 degrees.
2. At one time, the depositing operation of the Palato on the bottom of the oven had a specific name, the so-called "Calada". In fact, the period of preparation for the heat took place on the top of four glass stones (in order to put the entire crucible under thermal stress, also the part below) that did not melt too. Hence, it was therefore necessary to use a hook and a jemmy for moving the four bases and slowly accompanying the Palato until it touched the base of the oven. An evolution of this delicate and difficult operation that could involve four men given the weight of the crucible was the introduction of glassy rocks that could melt gradually, so as to gradually bring the Palato to recline on the bottom.
3. Another practice, which is useful as an additional protective measure for the crucibles that must withstand the highest temperatures, is called "Invariatura". This is an application of crystal glass along the inner walls of the crucible, so as to obtain a vitreous coating for the protection of metal surface.
2. At one time, the depositing operation of the Palato on the bottom of the oven had a specific name, the so-called "Calada". In fact, the period of preparation for the heat took place on the top of four glass stones (in order to put the entire crucible under thermal stress, also the part below) that did not melt too. Hence, it was therefore necessary to use a hook and a jemmy for moving the four bases and slowly accompanying the Palato until it touched the base of the oven. An evolution of this delicate and difficult operation that could involve four men given the weight of the crucible was the introduction of glassy rocks that could melt gradually, so as to gradually bring the Palato to recline on the bottom.
3. Another practice, which is useful as an additional protective measure for the crucibles that must withstand the highest temperatures, is called "Invariatura". This is an application of crystal glass along the inner walls of the crucible, so as to obtain a vitreous coating for the protection of metal surface.
4. At this point, when they are ready for the fundamental "First fusion", in the composition that you want to melt is added the "Rottura", scrap elements of the same chemical type derived from previous mergers that facilitate the unfolding of what you want to get . From the second fusion onwards, it will always be kept as a waste, the Rottura precisely, inside the crucible, and there will be no need to add Rottura from the outside.
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