Appendices

Notes

  1. See, for example, William Gudenrath, "Techniques of Glassmaking and Decoration," in 5000 Years of Glass, ed. Hugh Tait, London: British Museum Press, 1991, pp. 213-241.

    Used In: Preface

  2. To search the library’s book and periodical holdings, go to rakow.cmog.org. For books and periodical articles on glass made in the Venetian manner, go to cmog.org/askalibrarian.

    Used In: Preface

  3. David Whitehouse, “William Gudenrath: The Art of Experiment,” GLASS Magazine (New York Experimental Glass Workshop), no. 41, Fall 1990, pp. 40–43.

    Used In: Preface

  4. For a concise yet thorough general history of Renaissance Venetian glass, see Hugh Tait, The Golden Age of Venetian Glass, London: British Museum Publications Ltd., 1979, and, more recently, Erwin Baumgartner, Reflets de Venise: Gläser des 16. und 17. Jahrhunderts in schweizer Sammlungen = Reflets de Venise: Verres des XVIe et XVIIe siècles de collections suisses, Bern: P. Lang, and Romont, Switzerland: Vitrocentre Romont, 2015.

    Used In: Introduction

  5. Tait [note 4], p. 7.

    Used In: Introduction

  6. R[obert] J[esse] Charleston, English Glass and the Glass Used in England, circa 400–1940, London: George Allen and Unwin, 1984, pp. 53–56, 58–60, and 66–69.

    Used In: Introduction

  7. Richard Lassels, The Voyage of Italy, Paris: printed by Vincent du Moutier, 1670, pp. 423–424 (available on Google Books).

    Used In: Introduction

  8. Marie-Laure de Rochebrune, “Venetian and Façon de Venise Glass in France in the 16th and 17th Centuries,” in Jutta-Annette Page, with contributions by Ignasi Doménech and others, Beyond Venice: Glass in Venetian Style, 1500–1750, Corning: The Corning Museum of Glass, 2004, pp. 142–191, esp. p. 146.

    Used In: Introduction

  9. Dedo von Kerssenbrock-Krosigk, personal communication, June 14, 2018.

    Used In: Introduction

  10. For the Swiss Goblet, see Baumgartner [note 4], pp. 242–272. For the Winged Glass, see Majolica and Glass: From Italy to Antwerp and Beyond. The Transfer of Technology in the 16th–Early 17th Century, ed. Johan Veeckman and others, Antwerp, Belgium: Stad Antwerpen, 2002, pp. 95–124 and 161–172.

    Used In: Introduction

  11. Gudmund Boesen, Venetianske glas på Rosenborg = I vetri veneziani del castello di Rosenborg = Venetian Glass at Rosenborg Castle, Copenhagen: I kommission hos G.E.C. Gads Forlag, 1960, pp. 63–79.

    Used In: Introduction

  12. Jutta-Annette Page, “Introduction,” in Beyond Venice [note 8], pp. 18–19.

    Used In: Introduction

  13. For an overview of the Venetian glass industry and its competitors during the Renaissance, see Ada Buch Polak, Glass: Its Tradition and Its Makers, New York: Putnam, 1975, pp. 53–80.

    Used In: Introduction

  14. Page [note 12], pp. 5–6.

    Used In: Introduction

  15. Nikolina Topić, U traganju za renesansom: Staklo iz arheoloških istraživanja na dubrovačkom području = In Search of Renaissance: Glass from the Archaeological Excavations in the Dubrovnik Area (exhibition catalog), Dubrovnik: Dom Marina Držića, 2017; Topić, “Goblets of the Late- to Post-Medieval Period from Archaeological Excavations in Dubrovnik,” Annales de l’Association Internationale pour l’Histoire du Verre, v. 20, Fribourg and Romont, 2015 (Romont, 2017), pp. 482–489.

    Used In: Glassworking Centers Overview

  16. See “Preface,” Fig. 8.

    Used In: Florence

  17. Cristallo is a glass of exceptional clarity that was first made on Murano by Angelo Barovier during the mid-15th century. Barovier named the glass cristallo because of its intentional similarity to rocca di cristallo, Italian for “rock crystal.”

    Used In: Florence

  18. Giovanni Maggi, Bichierografia, 4 vv., Florence: Studio per Edizioni Scelte, 1977.

    Used In: Florence

  19. Detlef Heikamp, “Ein Brückenschlag: Höfische Glaskunst und experimentelle Wissenschaft in Florenz,” in Heikamp, Studien zur mediceischen Glaskunst: Archivalien, Entwurfszeichnungen, Gläser und Scherben, Florence: Kunsthistorisches Institut, 1986, pp. 235–246.

    Used In: Florence

  20. Museo Galileo, Florence, www.museogalileo.it. These objects were on display during my two visits: about 1978 and in 2016.

    Used In: Florence

  21. William Gudenrath, The Techniques of Renaissance Venetian Glassworking, The Corning Museum of Glass, 2016. See renvenetian.cmog.org, “Dragon-Stem Goblet.”

    Used In: Florence

  22. The Corning Museum of Glass attribution is “possibly Spain, Catalonia; probably Italy, Tuscany.” See Anna-Elisabeth Theuerkauff-Liederwald, Venezianisches Glas der Kunstsammlungen der Veste Coburg: Die Sammlung Herzog Alfreds von Sachsen-Coburg und Gotha (1844–1900). Venedig: A la façon de Venise, Spanien, Mitteleuropa, Lingen: Luca Verlag, 1994, pp. 374–376, cat. nos. 399–403.

    Used In: Florence

  23. Jutta-Annette Page, “Venetian Glass in Austria: The Court Glasshouse in Innsbruck, 1570–1591,” in Beyond Venice [note 8], pp. 42–55.

    Used In: Austria

  24. See renvenetian.cmog.org, “Aspersorium.”

    Used In: Austria

  25. See cmog.org/video/roman-mold-blown-glass.

    Used In: Austria

  26. See renvenetian.cmog.org: “Enameled Goblet,” “Enameled Bowl,” and “Enameled Tazza.” See also William Gudenrath, “Enameled Glass Vessels, 1425 B.C.E.–1800: The Decorating Process,” Journal of Glass Studies, v. 48, 2006, pp. 23–70.

    Used In: Austria

  27. See renventian.cmog.org, “Wineglass with Flameworked Flowers.”

    Used In: Austria

  28. Five Thousand Years of Glass [note 1], p. 174.

    Used In: Austria

  29. Baumgartner [note 4], pp. 256–272, cat. nos. 144–158.

    Used In: Switzerland

  30. Ibid., pp. 326-328, pls. E-1-E-18.

    Used In: Switzerland

  31. The History of Glass, ed. Dan Klein and Ward Lloyd, London: Orbis Publishing, 1984, pp. 82–83.

    Used In: Germany

  32. Gudenrath [note 26].

    Used In: Germany

  33. Based on Polak [note 13], pp. 74-75; and Reino Liefkes, "Façon de Venise Glass in the Netherlands," in Beyond Venice [note 8], pp. 226-249.

    Used In: Low Countries

  34. Jan M. Baart, “The Façon de Venise Glass of Amsterdam,” in Majolica and Glass [note 10], pp. 161–171.

    Used In: Low Countries

  35. For the sbruffo technique, see renvenetian.cmog.org: “Three-Bubble Goblet with Filgrana” and “Reticello Platter.”

    Used In: Low Countries

  36. For the usual Venetian technique used to twist canes, see renvenetian.cmog.org, "Reticello Platter.”

    Used In: Low Countries

  37. “Serpent-Stem Goblet,” in Robert J. Charleston, Masterpieces of Glass: A World History from The Corning Museum of Glass, New York: Harry N. Abrams, 1980, pp. 126–127.

    Used In: Low Countries

  38. For a typical object built “on the blowpipe” in this publication, see Tall Flute; for a typical example of “building an object from pre-made parts, attached using glue bits,” see Dragon-Stem Goblet.

    Used In: Low Countries

  39. Polak [note 13], pp. 72–74; Rochebrune [note 8], pp. 142–163.

    Used In: France

  40. See www.riedel.com/en-us, “Riedel Sommeliers Vintage Champagne Glass.”

    Used In: France

  41. The History of Glass [note 31], pp. 87–89.

    Used In: Spain

  42. Charleston [note 6], pp. 53–56, 58–60, and 66–69.

    Used In: England

  43. Five Thousand Years of Glass [note 1], p. 169, caption for figure 215.

    Used In: England

  44. “Royal Covered Goblet” in Charleston [note 37], pp. 128–129.

    Used In: Sweden
Appendices
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