With the coming of the Murano glass chandelier,it is felt that the quality has stepped up, at least as far as the richness of the aesthetic elements and the complexity of the production are concerned. Noble father and unrivaled master of this fundamental piece of glass tradition is – without doubts – Giuseppe Briati, who was able to raise the prestige of the Murano art again, which collapsed by the end of XVII under the competition from the Bohemian and English crystal.
He was responsible for the creation of a crystal close to the bohemian one for the brightness, but more suitable to the hot working, and consequently the production of varying chandeliers which can count on the possibility of having bigger dimensions and aesthetic experimentations and shapes prior unimaginable.
He was responsible for the creation of a crystal close to the bohemian one for the brightness, but more suitable to the hot working, and consequently the production of varying chandeliers which can count on the possibility of having bigger dimensions and aesthetic experimentations and shapes prior unimaginable.
The Rezzonico chandelier (primarily made during ‘700) can be considered the prince of the illumination sector. It was made for the homonym family, who lived in the luxury Ca’ Rezzonico on the Grand Canal, nowadays the Venetian eighteen-century museum. This type of chandeliers can have many variations with 5, 6, 8, 9, 10, 21, 36 or more lights, even up to 60 since the great chandelier of the Murano Glass Museum is having 398cm height, 226cm maximum diameter and 330kg weight.
The chromatic combinations can be roughly unlimited; the classical style is distinguished by articulate forms of floral sort with branches, fronds, leaves and flowers which cross in magnificent curls, a harmonic whole wherein hundreds of glass pieces, blown and handmade,can be placed on the metal structure. Another aesthetic solution from the eighteen-century tradition is the so-called “cioccaalla Chinese”, the introduction of oriental motifs which resemble the form of a pagoda.
The chromatic combinations can be roughly unlimited; the classical style is distinguished by articulate forms of floral sort with branches, fronds, leaves and flowers which cross in magnificent curls, a harmonic whole wherein hundreds of glass pieces, blown and handmade,can be placed on the metal structure. Another aesthetic solution from the eighteen-century tradition is the so-called “cioccaalla Chinese”, the introduction of oriental motifs which resemble the form of a pagoda.
The typical elements of the Rezzonico, quantifiable also in more than 500 handmade-pieces, are placed on the metal structure in order to cover it completely, following a procedure called Investiture.
The concave section, placed in the lower handle of the arms, is called tazzaorcoppa; its old function was to save the wax of the candles, while nowadays with the electric illumination it is used to protect the light refraction shades. Vertical elements usually in a floral style contain the central part of the Rezzonico, called gabbia, in which one can find many other floral motifs, known as the giardino. With the term cornucopia, we define the glass piece which upholsters the handle of the arm. Usually very elaborate, it gives a great valorto the Rezzonico and opening the opera, through the reciea (namely the linking curl) to the use of pendants – decorations hanged on the lower edges of the arms.
To end the technical overview of the Rezzonico, itis important to mention the bossola which is the basic element of the chandelier, a glass cylinder which is slipped all around the metal structure, according to the investitura process. Secondly, there is thecimiero, ausually very rich and gorgeous cover on the summit of the central body.
The concave section, placed in the lower handle of the arms, is called tazzaorcoppa; its old function was to save the wax of the candles, while nowadays with the electric illumination it is used to protect the light refraction shades. Vertical elements usually in a floral style contain the central part of the Rezzonico, called gabbia, in which one can find many other floral motifs, known as the giardino. With the term cornucopia, we define the glass piece which upholsters the handle of the arm. Usually very elaborate, it gives a great valorto the Rezzonico and opening the opera, through the reciea (namely the linking curl) to the use of pendants – decorations hanged on the lower edges of the arms.
To end the technical overview of the Rezzonico, itis important to mention the bossola which is the basic element of the chandelier, a glass cylinder which is slipped all around the metal structure, according to the investitura process. Secondly, there is thecimiero, ausually very rich and gorgeous cover on the summit of the central body.
Vintage Murano glass is well-known for its place of origin, its factories and its artisans. You can now buy luxury chandeliers in styles like Rezzonico, Classic, Modern, and Maria Theresa online, without worrying about their authenticity and quality. OriginalMuranoGlass.com is the leading destination for Murano glass shopping, thanks to the website’s huge collection of lighting fixtures, blown glass figurines,vases, mirrors, drinking glass sets,plates, tableware, glass photo frames, glass earrings, and so on. Visit the site to experience the charisma of this unique glass for yourself! If you’re planning to visit Venice in general and Murano in particular, then book a free tour of a glass factory at the website and witness live Venice glass blowing demonstration for lifelong memories.
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