Stangenglas | Techniques of Renaissance Venetian-Style Glassworking

This video shows retortoli canes being made and cut, then placed on a ceramic place-holding plate and then pre-heated. Next, a thick cylindrical bubble of glass is rolled over the canes, thus embedding them in its surface. Glassblowing is then used to make the vessel and its foot. Learn more about this object in The Techniques of Renaissance Venetian-Style Glassworking by William Gudenrath renvenetianstyle.cmog.org/nod...
Between about 1500 and 1725, Venice was nearly the sole supplier of fine luxury glass to the royal and aristocratic, the wealthy and powerful, throughout Europe. The Venetian government went to extreme measures to protect its lucrative and prestigious monopoly by isolating the highly skilled workers on the nearby island of Murano and severely restricting their movements. However, with the promise of personal freedom and the hope of fortune, they gradually fled the lagoon to set up workshops in a variety of locations on the Continent and in England.
The Techniques of Renaissance Venetian-Style Glassworking - renvenetianstyle.cmog.org - presents detailed 360° photography and high-definition video related to objects from nine glassworking centers influenced by Venetian style as researched by master glassmaker and scholar William Gudenrath.
The resource is a follow-up to Gudenrath's popular Techniques of Renaissance Venetian Glassworking (2016) also available free online at renvenetian.cmog.org.

[@mollym6408]

Bill Gudenrath makes it look so easy, he is my favorite to watch. And that studio, umph, so wonderful.

[@corningmuseumofglass]

Bill is one of our favorites too! Thanks for watching!

[@scatarie49]

This man is so talented! A pleasure to watch him work.

[@corningmuseumofglass]

Thanks for watching!

[@ATMAtim]

Bill, I really like your style of narration and your skills are top notch. This is another beautiful piece.

[@corningmuseumofglass]

Thanks for watching!

[@peggyt5409]

Beautiful work and narration as usual, Mr. G! I have been wondering how difficult it is to blow the initial bubble through the blow pipe, as well as the rubber tube? Is it like a stiff balloon?

[@corningmuseumofglass]

The initial bubble take a bit more effort to get started; you must hold pressure in the pipe to allow the bubble to expand past the cooler glass around the end of the blowpipe. once the bubble is there, the blowhose or by mouth pressure is minimal and has much more to do with the temperature of the glass. Hotter means the glass will expand more easily. neither is prohibitively difficult and requires more patience than strength.

[@cctwinkles]

Am I the only one that gets nervous when they put the punty on and remove the blow pipe?

[@corningmuseumofglass]

You're definitely not the only one; some people on staff still get a little nervous and quiet when it's time for a punty transfer. Thanks for watching!

[@peggyt5409]

cctwinkles I always hold my breath 😂

[@joshschneider9766]

I've not made any glass in ages but I used to solo cups a lot and even though I always "cheated" and set a construction in with a gentle diamond shear squeeze and cold worked a dished bottom I was nervous every time lol

[@joshschneider9766]

Mr gudenrath has been practicing for literally decades his process is without peer. never solo worked anything near as complex as a lot of his work but sure have learned a lot from his vids

[@eGEIGS]

Why don't the canes crack or shatter if they aren't cooled in the annealing oven?

[@corningmuseumofglass]

Erin, the canes are small enough in diameter that they survive just fine without annealing. Primarily this is possible because of the form of the cane - cylindrical and solid - which allows the stress of cooling quickly to be distributed evenly along the surface and put the core into compression. This works well with our glass until the cane exceed about 8mm, after which it doesn't break well or outright cracks and fractures.

[@rxcrcfllptrs]

Does the vessel bubble not just melt off of the blowpipe since it's resting in the furnace?

[@corningmuseumofglass]

Good question! Bill has it placed in the cooler side of the furnace so that it maintains its heat, but doesn't get so hot that it would fal off. Thanks for watching!

[@istvanmartonfi1309]

Igen,ilyen szépen lehet dolgozni,kell tudás,gyakorlat,és ,hogy ez a kettő meglegyen,kell kemence ,üveg,kéz ,fantázia.Ezek mind, a mai világban,pénzbe kerülnek.A fejlődést,a tudás átadását,semmilyen pénz -NE KORLÁTOZZA-Mert az később hasznot hoz.a meglévő tudást át kell adni.Így lesz - a jövő alapja lerakva.Az alapra lehet építeni. Európában az üveges szakmát -alapszinten-csak Csehországban tanítják!Ott nem számolták fel a nem jövedelmező szakiskolákat.Aki nem hiszi nézzen utána.A kézi üveggyártás a művészet egy ága!Az üveg nem rothad meg,szép porlasztani iszonyatos ,És ha törik össze sokáig meg van.És a szép az mindig szép lesz.Legyen a TREND-olyan amilyen.Tisztelettel Mártonfi István

[@isabeldieguez4734]

Traduzcan !!!!

[@nickynarbin]

Have they ever found something that they could not replicate.

[@corningmuseumofglass]

Hi Nicky, we passed your question to Bill Gudenrath, the glassmaker you see and hear in this video, and here is his response: "There are many unanswered questions concerning the technology of old glass manufacture! I'll list a few of my favorites that I've been thinking about lately. I'm actively carrying out research on many more. 1. Snake-thread decoration: these objects were made by Roman glassmakers operating in Cologne, Germany in the fourth century. To my knowledge, efforts to replicate these began in the nineteenth century and continued into the twentieth century. I believe I can safely say no one has gotten close to the workers' skill. www.cmog.org/artwork/beaker-dolphins and www.cmog.org/artwork/goblet-345. 2. Roman cameo glass: our Museum has the only, surviving, unbroken example from the first century A.D. when these objects were made called the Morgan Cup (www.cmog.org/article/morgan-cup). The most famous example is the Portland Vase in the British Museum. Since the middle of the nineteenth century, there has been conjecture about how these objects were made and controversies continue to this day--there has been a lot published on this question in the last thirty-five years. One of the most recent is called "Roman Cameo Glass in the British Museum" (published in 2010). I'm one of the authors; for what that's worth. In my part of the book, I review the different ways I think these were likely made. 3. Cage cups: They have been a point of fascination with glass historians for many decades. These extremely rare objects were probably made by a glassblower making a thick blank and workers cutting away the exterior to create its decorative cage. But, controversy seems to swirl around these objects. Some believe they were made by a yet-unproven casting process. Each camp has its ardent supporters. For a full discussion, see David Whitehouse's "Cage Cups: Late Roman Luxury Glasses" (published in 2015). www.cmog.org/artwork/cage-cup" Thanks for watching!

[@spok9180]

U left a cane

[@dlwatib]

*centrifugal force.

[@jhb1493]

If you are going to correct someone, you should make sure you're right. Because you're not. Have some humility and educate yourself before you correct others in future.