A Comparison of Earlier and Later Venetian Glass

Comparative Table of Differences Between Earlier and Later Venetian Glass Vessels

A Comparison of Earlier and Later Venetian Glass

The technical similarities between earlier and later objects almost overwhelm our ability to detect differences. Aesthetic contrasts aside (it is often easy to identify a piece of Venetian glass from across the room as early or late), there are usually some telling technical disparities. The following table lists a number of these. They can be useful in helping to sort out, in an organized way, physical characteristics that may indicate an object’s origin as earlier or later.

For further explanation of this table and the two main eras of Venetian glassworking, please see previous page: A Question of Continuity.

fig--full

Glass Color

Renaissance

Never completely colorless; slight to moderate intensities of gray, amber, pink, etc.

Nine vessels showing color variation of earlier glass — FIG. 50

A selection of Venetian objects of about 1500–1700 in the collection of The Corning Museum of Glass, showing a variety of tints of cristallo (left to right, top to bottom): 79.3.185, 60.3.88, 51.3.117, 2009.3.88, 62.3.57, 71.3.1, 86.3.106, 54.3.15, and 56.3.57.

19th Century

Sometimes nearly colorless; often somewhat intensely and uniformly colored gray, amber, smoke, etc.

a selection of vessels showing glass color of later objects — FIG. 51

A selection of Venetian objects of about 1860 or later in the collection of The Corning Museum of Glass, showing a colorless glass and a variety of colored glasses used in stile antico objects (left to right, top to bottom): 58.3.179, 79.3.273, 54.3.246, and 59.3.24.

Large Areas Covered in Highly Dispersed Surface Gold

Renaissance

Very rare

19th Century

Very common

covered chalice in rose and gold glass with ornamentation — FIG. 52

An example of disbursed gold covering most of the blown surfaces of a Venetian object made after 1860. The Corning Museum of Glass (62.3.118).

Iridescence

Renaissance

Always a result of aging

iridescent glass vessel — FIG. 53

An example of iridescence resulting from the long-term burial of a 17th-century *façon de Venise* goblet fragment. Probably Low Countries. Private collection.

19th Century

Often created artificially for decorative purposes

later iridescent glass vessel — FIG. 54

An example of iridescence resulting from chemicals (stannous chloride?) having been sprayed on the hot glass during the last stages of manufacture. Made after 1860. Private collection.

Glass Thickness/Object's Weight

Renaissance

Mid-16th- to early 18th-century objects typically thinly blown to an extreme degree; extremely light

five earlier objects, illustrating lighter weight — FIG. 55a

A selection of early Venetian goblets, illustrating a pattern of lighter weight. The Corning Museum of Glass (79.3.563, 63.3.8, 74.3.163, 2000.3.10, and 51.3.119)

19th Century

Objects are never of extreme thinness or lightness

fiver later objects, illustrating heavier weights (117 - 162 grams) — FIG. 55b

A selection of later Venetian goblets, illustrating a pattern of heavier weight. Private collection.

Typical Construction Practice

Renaissance

Objects were built on the blowpipe (rare exceptions include multi-part dragon-stem goblets, for example)

Goblet Making on the Blowpipe

19th Century

Objects were built from prefabricated parts joined with well-disguised “glue bits”

Later Goblet-Building Process

Number of Punty Marks and Location(s)

Renaissance

One possible location (with the rarest exceptions): centered on the foot’s lower surface

punty scar on bottom of foot — FIG. 56

Lower surface of the foot of a 16th-century goblet, showing a typical punty mark. Private Collection.

19th Century

Often two punty marks in two different locations: one centered on the foot’s lower surface, and the other (lighter, smaller) centered inside the cup. The typical 19th century and later process that results in paired punty-marks on one object can be seen in the above video: 'Later Goblet Building Process'.

Type of Punty Mark

Renaissance

One single, well-centered, circular scar

19th Century

Sometimes a “crown-type” punty mark: a circle of four or more tiny scars

later Venetian object with detail of punty mark on bottom — FIG. 57

Crown-type punty mark on a Venetian object made after 1860. The Corning Museum of Glass (73.3.440).

“Start/Stop” Tool Marks on Cup and Foot

Renaissance

Almost invariably present

goblet with detail of tool marks on cup and foot — FIG. 58

Venetian goblet made in the 16th or 17th century, showing “start/stop” tool marks. (These are very difficult to see in photographs). The Corning Museum of Glass (67.3.48).

19th Century

Seldom present

Lower Stem Profile

Renaissance

Never increases in diameter in the region where the stem joins the lower merese (never a “chicken leg” shape)

FIG. 59

A selection of 16th–17th-century goblets in The Corning Museum of Glass collection, showing the characteristic profile of the stem, with uniformity of wall thickness from top to bottom. Left to right, top to bottom: 79.3.212, 2000.3.11, 2009.3.85, 2009.3.86, 79.3.453, and 2000.3.10.

19th Century

Often/usually increases in diameter in the region where the stem joins the lower merese (often a “chicken leg” shape)

sherbet glass. Colorless, transparent cobalt blue glass; blown, tooled, molded, gilded, etched — FIG. 60

Venetian goblet made after 1860, showing increase in wall thickness of lowermost stem, where the diameter is reduced; also showing “chicken-leg” form of stem, and attachment of foot to edge of merese. The Corning Museum of Glass (93.3.61).

detail of later venetian goblet showing stem and foot — FIG. 61

Venetian goblet made after 1860, showing increase in wall thickness of lowermost stem, where the diameter is reduced; also showing “chicken-leg” form of stem, and attachment of foot to edge of merese. Private collection.

Lower Stem Wall Thickness Variations

Renaissance

In almost all cases, there is little variation in wall thickness

FIG. 59

19th Century

In almost all cases, the wall thickness of the stem varies with its diameter: the smaller the diameter, the thicker the wall

wineglass with colorless, white, green, and gold non-lead glass — FIG. 62

Venetian goblet made after 1860, showing increase in wall thickness of lowermost stem, where the diameter is reduced; also showing “chicken-leg” form of stem, and attachment of foot to edge of merese. The Corning Museum of Glass (66.3.64).

Presence (or Absence) of Merese at Bottom of Stem

Renaissance

Always present

detail of goblet feet with merese — FIG. 63

A selection of 16th–17th-century goblets in The Corning Museum of Glass collection, showing the characteristic shape of the merese at the bottom of the stem. Left to right, top to bottom: 79.3.212, 2000.3.11, 2009.3.85, 2009.3.86, 79.3.453, and 2000.3.10.

19th Century

Often absent

Shape of Merese at Bottom of Stem

Renaissance

Usually has a tubular upper portion to better grip the stem; merese is often sculpted to enhance the form of the stem

19th Century

Usually localized at the tip of the stem; usually purely functional in appearance

Appearance of Join Where Foot and Merese Connect

Renaissance

The foot contacts only a portion of the merese: a substantial groove is usually present between these two parts

19th Century

The foot fully envelops the entire merese: only a tiny groove is visible between the two parts

Presence (or Absence) of Deep, Gouging Tool Marks on Foot’s Lower Surface

Renaissance

Almost invariably present

goblet foot with tool marks — FIG. 64

Lower surface of foot of 16th-century Venetian goblet, showing “deep, gouging” tool marks. The Corning Museum of Glass (67.3.48).

19th Century

Seldom present

Mezza-Stampatura

Renaissance

Between the two layers of glass, blisterlike bubbles are usually present

FIG. 65

Venetian bowl of about 1500, showing multiple elongated blister-type bubbles between two gathers of glass in mezza-stampatura decoration. The Corning Museum of Glass (60.3.2).

19th Century

Bubbles between the two layers of glass are rare

Bit Work (Morise)

Renaissance

Shear marks are smoothed by fire polishing; some types of decoration have cast-off trails (best detected by touch)

flame polished shear marks on handles — FIG. 66

Venetian goblet of the 16th or 17th century with “chain and scroll” decoration and “early,” smooth, fire-polished shear marks at lowermost parts of scrolls (see arrow). The Corning Museum of Glass (79.3.212).

19th Century

Shear marks are rough and can be sharp (best detected by touch); cast-off trails are almost never seen

handle with sharp shear marks — FIG. 67

Venetian object, made after 1860, having “late,” sharp shear marks at lowermost part of handles, as well as at uppermost part of pincered decoration atop handles (see arrows). The Corning Museum of Glass (73.3.440).

Chain and Scroll–Type Decoration

Renaissance

The glass is always flat and ribbonlike

wineglass: trumpet shaped bowl with fire-polished rim and two applied handles — FIG. 68

Venetian goblet of the 16th or 17th century with “chain and scroll” decoration, showing that all parts of this construction are flat and ribbonlike. The Corning Museum of Glass (79.3.212).

19th Century

The glass is often round in cross section

Filigrana Canes

Renaissance

Canes invariably have a colorless glass core (best viewed at broken edges of fragments)

19th Century

Canes invariably have a colored glass core (best viewed at broken edges of fragments)

Enameled Objects

Renaissance

Objects show one or more “symptoms” of an “on the pontil” firing process (illustrated below).

Tazza. Wide, shallow circular bowl with wide, slightly rolled over and downturned rim with infolded edge — FIG. 69a

Footed platter with gently twisted mezza-stampatura , enameling, and gold-leaf decoration. Venice, late 15th to early 16th centuries. D. 26.3 cm. The Corning Museum of Glass (51.3.117).

Tazza detail — FIG. 69b

Bottom of platter, showing gold-leaf and dot pattern in center, which sharply contrasts with decoration near rim; double pontil mark is also visible. The Corning Museum of Glass (51.3.117).

Nuptial Goblet. Translucent dark green — FIG. 70a

Nuptial goblet with polychrome enameled and gold-leaf decoration. The slight elongation of the enamel dots and the subtle, radially oriented breaking up of the gold-leaf decoration near the rim indicate that the diameter of the upper part of the object was slightly expanded when it was fired. Venice, late 15th century. H. 19.9 cm. The Corning Museum of Glass (79.3.170, bequest of Jerome Strauss).

Nuptial Goblet. Translucent dark green - detail — FIG. 70b

Detail of goblet, showing double pontil mark on bottom (apex of foot). The second (or firing) pontil mark covers the lower three-quarters of the first mark, which was produced when the blank was made. The Corning Museum of Glass (79.3.170, bequest of Jerome Strauss).

Plate. Colorless. Blown; gilded, enameled — FIG. 71

Detail showing upper, undecorated surface of enameled plate with gold-leaf decoration. The surface irregularities correspond to the presence or absence of enameled dots on the other side, indicating significant and prolonged softening of the vessel wall during the firing process (the rim area is similar to that of the footed platter shown in Figure 68a). Venice, late 15th to early 16th centuries. D. 24.1 cm. The Corning Museum of Glass (54.3.244).

detail of footed beaker with human, animal, and plant-shaped decoration — FIG. 72

Conical footed beaker with polychrome enameled and gold-leaf decoration, viewed at the level of the rim. The areas with the greatest concentrations of enamel have produced localized thickening of the vessel wall that, in turn, resulted in the downward movement of the rim above them. Venice, late 15th to early 16th centuries. H. 13.3 cm. The Corning Museum of Glass (79.3.191, bequest of Jerome Strauss).

handled ewer — FIG. 73

Ewer with polychrome enameled and gold-leaf decoration. The handle at both the lower and upper attachment points sits atop the still clearly visible decoration. During the formation of the spout, the addition of molten glass re-softened the wall and its decoration was drawn out, striating the enamel dots. Venice, late 15th or early 16th century. H. 27.2 cm. The J. Paul Getty Museum, Los Angeles (84.DK.512). Photo: © J. Paul Getty Trust.

19th Century

Objects seldom show “symptoms” of an “on the pontil” firing process (there are rare exceptions)

group of Venetian style objects — FIG. 74

Group of replicas (some of which may have been intended as forgeries) and objects imitating historical styles, decorated with polychrome enamels, gold leaf, and gold paint. None of these objects exhibits any evidence that the decoration was fired in a furnace while the piece was reattached to a pontil. A distinctly different process, and one that was only recently possible, was employed here. The decoration was fired while these objects sat in a kiln. H. (tallest) 41.1 cm. The Corning Museum of Glass (79.3.850, bequest of Jerome Strauss; 78.3.16, gift of Mr. and Mrs. Arthur Appleton; 66.3.13, gift in part of Edwin J. Beinecke; 96.3.13; and 79.3.339, gift of The Ruth Bryan Strauss Memorial Foundation).