Murano Glass Sculptures within the Furnace and Tools Used to Make Them The furnace’s two favourite techniques are, undoubtedly, the blowing glass and the massiccio, or massello, or full glass.These are the three synonym expressions that seek to define the marvellous sculpture process of the glass matter. Unlike the blowing one, capable of conferring lightness by the fusion of voids and filled spaces to the artwork, the massello technique is structured like the dynamic elaboration of one quantity of matter, or like a progressive addiction of vitreous graft around a primary central nucleus. The horizon of sculpture possibilities is limitless: from classic horses of roughly 20 cm to life-size animals; from miniatures of human figures to colossuses in the most disparate positions; from massive abstract artworks to elegant furniture capable of enriching any room with the spell of a form of art which cannot be found elsewhere. The Master’s main tools…after his own hands
In Murano furnaces, the Master’s creative genius and ability are already revealed from centuries, constituting time to time a pantheon of names, faces, and moreover hands: heritage in constant expansion of the glass island, generation to generation. Fundamental support to the creation of an artwork by the massello technique is the arsenal of tools which the artist uses within his daily, fascinating work. Take a look at these tools underneath. The Scagno is a particular seat on which the master frequently sits to facilitate his work. It is fitted with two large armrests cladded of metal sheets, on which the artist can put the rod in constant rotation, facilitating the manipulation of the bolo (the first quantity of incandescent glass extracted from the crogiolo) and the possible, viscous successive addictions. The Canna – a metal tube completely drilled, often simply called ferro – is roughly 1.5m long and with a diameter of 2/4cm. It is the main tool in both the blowing techniques and the massello ones. In the latter, such rod is used to pick on one extremity of the vitreous mass, to work it later with other tools. The rod is constantly kept in rotation for avoiding imperfections given by gravity.