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Coppa di cristallo con decoro a festoni di lattimo e bolla interna di vetro soffiato blu. Venezia, fine del XVII secolo. Murano, Museo del Vetro, Fondazione Musei civici, Venezia
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Study days on venetian glass. Approximately 1700's

With the support of Corning Museum of Glass Ecole du Louvre Fondazione Musei Civici Venezia Institut national du patrimoine Venice Foundation Victoria & Albert Museum

Veneto di Scienze, Lettere ed Arti

2nd , 3rd and 4th April 2014 

With the support of
Corning Museum of Glass
du Louvre
Musei Civici Venezia
Institut national du patrimoine
Venice Foundation
Victoria & Albert Museum

With the participation
of the UNESCO Regional Bureau for Science and Culture
in Europe Venice (Italy)
Organised with the collaboration of
- Association Internationale pour l'Historie du Verre – National Italian
– Laboratorio Analisi Materiali Antichi dell’Università IUAV
del Vetro, Fondazione Musei Civici Venezia

Co-financed by the Veneto Region

The “Study Days on Venetian Glass” are an opportunity for in-depth study on Venetian glass and are tuned to an audience of Museum conservators, collectors and experts. The programme includes lessons by experts who, after a general overview, will guide participants through the direct study of methods and pieces, encouraging participants to actively take part, also through presentations. Lessons and discussions will be held in English; contributions in Italian will be translated into English by the seminar curators. The topics that will be touched upon will include: General overview of the history and art history of glass; Raw materials and casting/processing techniques; Archaeometrics; Conservation and Restoration. The seminars will be completed by a tour of the Murano Glass Museum and by practical demonstrations in glassmaking studios. 

Scientific and Organizing Committee
SANDRO FRANCHINI, Cancelliere emerito, Istituto Veneto di Scienze, Lettere ed Arti
WILLIAM GUDENRATH, Resident advisor for the Studio of the Corning Museum of Glass
LINO TAGLIAPIETRA, Artist and glass master
MARCO VERITÀ, LAMA- IUAV University of Venice


Laura Padoan

Wednesday 2nd of April
Session 1
9.30 a.m.
10.00 a.m.
MARTINA FRANK, Decoration, glass and mirrors in EighteenthCentury Venice.
ABSTRACT: The paper aims to illustrate, on the background of an historical analysis, some fundamental aspects of Venetian culture during the last decades of the Seventeenth and the Eighteenth Century. In particular, it will investigate the role and the status Venetian society attributed to glass and mirrors and how those objects were used and exposed in the residential buildings of the Venetian patriciate. The discourse will consider topics as the form and the function of the spaces in Venetian palaces, decoration typologies and art collecting, Venetian historiography and their relation to descriptions made by foreign visitors.

11.00 a.m.Coffee break

11.30 a.m.
MARCO VERITÀ, Raw materials and glassmaking technology in the Murano glasshouses of the 18th century
ABSTRACT: Chemical analyses and ancient recipes are compared to reconstruct the main features and innovations of Venetian glass compositions during the 18th century. 

12.30 a.m.Lunch

Session 2 
Chairperson MARCO VERITÀ
2.30 p.m.
ROSA BAROVIER MENTASTI, CRISTINA TONINI, Tools for studying ancient glass: paintings and graphic works, inventories.ABSTRACT: Venetian glass of XVII and beginning of XVIII century: shapes and decorations related to dated inventories from Murano, Italy and Europe, and to figurative sources of the period. Both are used to suggest dating strategies, identify specific glass products and terminological references. 

WILLIAM GUDENRATH, The collection of Venetian glass given to King Fredrich IV of Denmark by the Doge during the King's Visit to Venice in 1709. Co-author Kitty Lameris.
ABSTRACT: On New Year's Day 1709, the Republic of Venice officially gifted the King over two hundred pieces of 'the finest Venetian glass'. A small room just off the throne-room in Rosenborg  Castle (Copenhagen) was fully outfitted with elaborately decorated shelves and the glass installed in 1714. Fully restored in the 1990s, the collection remains a unique 'standard reference' for scholars studying  Venetian glass of about 1700. Exploration of typology, parallels, and variations on Rosenborg objects will be the focus of this presentation.

4.30 p.m.Coffee break

4.45 p.m.
REINO LIEFKES Victoria and Albert Museum 
Venetian engraved glass of the 17th and early-18th century. 
ABSTRACT: In my paper for last year's Study Days I proposed the thesis that towards the end of the seventeenth century the emphasis in the output of the Murano glass-houses shifted from a greater diversity in shapes towards a smaller, more standardised, repertoire of forms. These standard forms became the vehicle for different decorative techniques. This time I will highlight diamond-point engraving as one of these decorative techniques. I will show some of the typical decorative elements that make up the engraved compositions and show how these are different from Netherlandish engraving of the seventeenth century.

SUZANNE HIGGOTT Wallace Collection
Venetian and façon de Venise enameled, gilded and millefiori glass made c. 1500-1550 and excavated from reliably dated contexts in Great Britain, 
ABSTRACT: As part of the current research project into Venetian Renaissance enamelled glass being coordinated by Françoise Barbe at the Louvre (Project CRISTALLO), I was asked to locate examples of enamelled and/or gilded Venetian Renaissance glass from reliably dated contexts in Britain. Selected examples would then be requested for analysis by Isabelle Biron or Marco Verità and the results would serve as references for the project. I will begin this paper by explaining how, last year, I located Venetian-style Renaissance glass finds from excavations. High status Venetian andfaçon de Venise enamelled and/or gilded glass, like the finds of millefiori glass that will also be discussed in this paper, are rare in British excavations. The glass finds will then be discussed, grouped according to their find sites, since these provide important information about the contexts in which these fragments occurred. 

7.30 p.m.
Reserved visit of the Basilica of Saint Marc
Saint Marc's Basilica is a monument made unique by both its wealth of history and the magnificence of its façade and interior. In essence, it is a splendid workshop, where, through the centuries, worked great Italian and European artists.To understand the Basilica's role through the centuries, the full extent of artistic, iconographic and religious content, combined with the wealth and variety of historical influence are exhaustively presented here, within a range of searchable subject areas.

Thursday 3rd of April
Session 3
9.30 a.m. 
MARCO VERITÀ, Venetian glass polychromy.
ABSTRACT: The analytical investigations on Venetian coloured glass are scant and fragmentary, although studies in this field are of greatest interest because colour and polychromy are among the strongest factors that brought fame and fortune to the Venetian glass. In the 18th century Muranese glass workshops were able to obtain an exceptionally rich variety of colours. The technology of the main colours is discussed with reference to available Venetian sources and scientific analyses.

10.30 a.m.Coffee break

10.45 a.m. 
Processing and decorating techniques.
ABSTRACT: Close scrutiny of small technical details in historical objects can help us better characterize a style or type, and alert investigators to similarities—and differences—with comparison objects. Specially-made video segments showing reconstructed manufacturing processes will aid in better understanding Venetian glassworking techniques practiced in the early 18th century.  The presentation will begin with a brief review of the findings presented at earlier Study Days symposiums (2012 and 2013) on the subjects of Venetian glass of about 1500 and 1600.

12.30 a.m.Lunch

Session 4
2.30 p.m.
ISABELLE BIRON Laboratoire du Centre de Recherche et de Restauration des Musées de France
Introduction aux enjeux des analyses chimiques élémentaires dans l'étude des verres anciens - exemples des verres vénitiens 
ABSTRACT: Dans l'étude scientifique des objets et fragments en verre du Patrimoine culturel, la composition chimique élémentaire du verre - obtenue par les analyses chimiques - occupe une place fondamentale.Elle détermine en grande partie les propriétés du verre et permet d'étudier les recettes et les méthodes de fabrication employées par les verriers, avec en particulier la nature, les proportions et les modes de préparation des matières premières, mais aussi leurs provenances. La variation de ces paramètres selon les périodes et les régions, permet en outre de distinguer différents groupes de composition et par conséquent d'authentifier une production, voire de la dater. Les analyses chimiques enrichissent donc non seulement notre connaissance des technologies verrières, mais nous éclaire aussi sur les circuits d'approvisionnement en matières premières, les échanges commerciaux du produit brut et des objets manufacturés, les transferts technologiques, ainsi que les liens culturels existants entre les divers sites de par le monde. Parmi ces thématiques, quelques exemples seront proposés. 

Découvertes archéologiques dans la Montagne Noire. Réattribution des verreries dites «de Nevers» à la verrerie de Peyremoutou, Montagne Noire, Languedoc. Fin XVIe - début XVIIe siècle.
A mosaic of colors. Comparing production technologies of Roman and Late-Roman glass tesserae from various sites of Northern-Eastern Italy.
The Venini Covered Cup, second half of the 16th century: a Recent Acquisition by The Corning Museum of Glass.
From Renaissance to the Barock Glass in Moravia: ca 1650-1700.
Conservation of Glass Objects in the James Jackson Jarves Collection", an Andrew W. Mellon Research Fellowship at The Metropolitan Museum of Art.
The Glass Museum of Altare and its activities. The restoration of two XVII-XVIII century furnaces.

6.00 p.m. 
Reserved visit at Palazzo Mocenigo
The visit of Palazzo Mocenigo, in the itinerary completely renewed and expanded at the end of 2013, winds its way through twenty rooms on the first piano nobile, therefore doubling the amount of exhibition area compared to when it opened in 1985. The layout was designed by Pier Luigi Pizzi, an internationally renowned set designer, whilst palazzo furnishings and paintings were integrated with a large number of works from different sectors and deposits of the Venice Civic Museums, thanks to the painstaking, intelligent process of restoring and valorizing canvases and pastels, furnishings and glass that had never been on display before.http://www.visitmuve.it/it/musei/

Friday 4th of April
Session 5 
9.30 a.m. Demonstration of workmanship at the Glassworks of the Abate Zanetti Glass School in  Murano 

12.15 Lunch

2.00 p.m.
Visit to the Murano Glass Museum 
The museum is housed in the ancient Palazzo dei Vescovi of Torcello. Since 1923 is part of the Musei Civici Veneziani. The collections are chronologically ordered: in addition to an archaeological section, which includes notable Roman finds from between the first and third century AD, it boasts the largest historical collection of Murano glass, featuring important pieces from between the fifteenth and twentieth century, including world-renowned masterpieces.Particularly important are the collections of Renaissance glass in the seventeenth and eighteenth centuries.During the visit, which will be directed by Rosa Barovier Mentasti and guided by the Director of the Museum Dr. Chiara Squarcina, it will be possible to have access to the deposits of the Museum to study  some of the most important pieces.http://www.visitmuve.it/it/musei/

6.00 p.m.
Sessione di Chiusura delle Giornate di Studio
Istituto Veneto di Scienze Lettere ed Arti
Interventi di:
GIAN ANTONIO DANIELI Presidente dell'Istituto Veneto di Scienze, Lettere ed Arti
ROSA BAROVIER MENTASTI Comitato Scientifico delle Giornate di Studio
KAROL WIGHT Director of the Corning Museum of Glass
MARIA GIUSEPPINA MALFATTI Presidente dell'AIHV-Association Internationale pour l'histoire du verre

Francesca Seguso, AIHV-Association Internationale pour l'Histoire du Verre, presenterà il volume 
Vetri artistici. Il recupero dell'antico nel secondo Ottocento. Museo del Vetro di Murano, 
a cura di Aldo Bova, Puccio Migliaccio, con la collaborazione di Vladimiro Rusca, Giovanni Sarpellon,
 edito da AIHV e Marsilio, Venezia 2013.

Saturday 5th of April
Reserved visit to the Museum of Ca' Rezzonico (requested booking)
The Museum is housed in the palace of Ca' Rezzonico designed by Baldassare Longhena and completed by Giorgio Massari. Since 1935 was sold to the Venice Town Council becoming the Museum of Ca' Rezzonico.On the first floor, eleven rooms exhibit paintings, sculptures, frescoed ceilings, collections of 18th century furnishings and an important collection of Venetian chandeliers of XVIII century.The second floor opens with a long central hall typical of Venetian palaces in which there are two early works by Canaletto; the rooms dedicated to the work of Pietro Longhi and the Giandomenico Tieopolo frescoes originally on the walls of Villa Zianigo are not to be missed.The third floor contains not only the three rooms of the Ai Do San Marchi Pharmacy, but also the noteworthy collection of paintings bequeathed by Egidio Martini.




Descending from one of Venice’s ancient glass making families, Rosa Barovier Mentasti was awarded a degree in Ancient Literature by the University of Padua in 1973 with a thesis on antique glass. Since then, she has been dedicated to studying the history of both ancient and modern Venetian glass. In addition to many articles and publications, including Il Vetro Veneziano dal Medioevo ad oggi published in 1982, she has curated several international exhibitions of ancient and contemporary glass, including Vetri. Nel Mondo. Oggi, hosted by the Istituto Veneto di Scienze, Lettere ed Arti in Venice in 2004.


Martina Frank is currently professor for Art History at the Università Ca’ Foscari in Venice. She has previous teaching and research experiences in several European universities (Vienna, Udine, Graz, Innsbruck) and in Canada (Montréal). Author of numerous essays concerning the history of art and architecture of the Republic of Venice from the 15th to the 19th Century. Among her books a study of the patronage of the Manin family (1996), a monograph on Baldassare Longhena (2004) and Giardini dipinti (2008). Editor of Da Longhena a Selva.Un’idea di Venezia a dieci anni dalla scomparsa di Elena Bassi (2010) and Santa Maria di Nazareth. Arte e spiritualità dei Carmelitani Scalzi a Venezia. Member of the scientific boards of « Carnets du Paysage » (Ecole Nationale Supérieure du Paysage, Versailles), « 1800-MDCCC » (Università Ca’ Foscari Venezia), « Intrecci » (Università di Bologna).


As resident advisor for the Studio of the Corning Museum of Glass, he teaches introductory and advanced courses in Venetian techniques. A glassblower, scholar, lecturer and teacher of glassblowing, he is an authority on historical hot glassworking techniques from ancient Egypt through the Renaissance and has presented lectures and demonstrations throughout the world. He demonstrates techniques he believes to have been employed by glassmakers of the past and these are described in a number of books and video segments including: Chronicle: the Portland Vase, Five Thousand Year of Glass, Journey through Glass: A Tour of the Corning Museum Collection and MasterClass Series II: Introduction to Venetian Techniques, Glass Masters at Work: William Gudenrath, Glassworking Processes and Properties, Roman cameo Museum Glass in the British Museum. 


 Exceptional glass master and well known world-round as glass artist. He was born in Murano and was just a young man when he first entered a glass makers shop: he became a glass maestro in the 1950’s and has worked for some of the most prestigious glass makers in the island. Since the late sixties his creativity resulted in models of great quality, both from the point of view of technique and beauty, that were a clear success on the market. He has been an independent glass artist since 1990 and is now committed to creating unique pieces that are exhibited in the most prestigious private collections and museums worldwide. In 2009, the Tacoma Art Museum dedicated a retrospective to his works with an exhibition that was then lent to other US museums. In 2011, the Istituto Veneto dedicated to him the exhibition Lino Tagliapietra, da Murano allo Studio Glass.


With a degree in History of Art awarded by the State University of Milan under the guidance of Prof. De Vecchi, from 1989 to 2004 she acted as Conservator for the classification and the new layout of the Bagatti Valsecchi Museum in Milano. Together with Rosa Barovier she published the catalogue of the museum’s Venetian glass. She also curated the catalogues of the Medieval and Modern glass collections of the Civic Museums of Pavia, of the Pinacoteca Ambrosiana in Milano and the Pogliaghi Museum in Varese, the latter is about to be published. Other articles on Venetian and Medicaean glass have been published by Decart and the Journal Glass Studies of Corning Museum of Glass. She is part of the Board of Directors of the Italian section of the Association Internationale Histoire du Verre. She is professor of art in the Orsoline Artistic Liceo in Milano.


Holding a degree in Chemistry, he worked for over thirty years in the Stazione Sperimentale del Vetro in Venice-Murano, performing research and assessments on glass materials, both modern and ancient, the latter for archeometric purposes and also to assess issues relating to conservation and restoration. Member of numerous international organizations, since 2009 he has been working with the Laboratory for the Assessment of Ancient Materials (LAMA) of the IUAV University of Venice.