sabato, marzo 08, 2014
mercoledì, febbraio 26, 2014
Very occasionally, a chapter in the history of glass has to be
rewritten because some lost masterpiece is rediscovered.
One such momentous event occurred in 1988 when a piece of glass
furniture - the top of a unique table of exuberant Baroque design,
worthy of a Kunstkammer - was recognized as having been listed during
Louis XIV's reign among the items belonging to the French Crown before
1681 and as having the orignal inventory number , 276, still stamped on it.
Furthermore , when il was again described in the royal inventory
of 1729, a more precise entry established that the top had been
supported on five glass columns: "Une table couverte de divers morceaux
de verre fondu et mèlé de plusieurs couleurs , liés par u n
compartiment de cuivre doré ciselé, fort léger......." The five round
columns also covered with glass.
The survival of these five columns was first suggested by Paul
Hollister, who in 1977 had discovered and recorded fours matching glass
columns in the Smithsonian Institution, Washington, and a fifth column
of similar length in the British Museum , London (acquired in 1873).
Consequently, historians of French glassmaking are now seeking to
incorporate this extraordinary achievement within the "oeuvre" of
Bernard Perrot, who is generally regarded as the most eminent glassmaker
in France during the second half of the seventeenth century. However,
his Italian origin have now been established: he was born on 26 June
1619 in Altare [.....]. Da " 5000 YEARS OF GLASS" 2012, The British
domenica, novembre 03, 2013
sabato, giugno 22, 2013
lunedì, giugno 03, 2013
A difficult period .
The present study focuses on the technologies used by the Società Artistico Vetraria from 1940 to 1957. It was a difficult period throughout which World War II and , in 1943, a civil war were fought. The time that ensued was a period of great inflation, fierce competition from foreign countries and industrial actions. New fully automated manufacturing procedures had already being adopted everywhere else and Altare was lagging behind. In fact, Altare glassmakers had carried on blowing glass by hand thus ensuring high quality pieces of excessively high prices. Before the World War, Altare glass industry had enjoyed a happy moment thanks to their table pieces, as well as articles for the table, chemistry labs, hospitals, factory, art glass. The manufacturing of items for both national and foreign laboratories had been a staple activity. Extra pure raw materials were imported from abroad. A sailing ship ready in the harbour of Savona, would be used to export Altare glass to other ports in the Mediterranean Sea.
Between World War I and II, Italy, thanks to the advancements in the production of steel, cars, chemicals, electricity had acquired some world-wide financial and economic importance. The increase in production had taken place mostly in the area commonly referred to as the Industrial Triangle of Milan-Genoa-Turin. Small industry of Altare, which during the Great War of 1915-1918[.1] had seen many of its men participate in the fight, greatly benefited by the victory thanks to the general economic growth which ensued. A period which was not to last very long. The crisis which hit
The Società Artistico Vetraria Anonima Cooperativa was born in December 1856, following a business agreement among 16 families of glassmakers of Altare: Bormioli, Bordoni, Brondi, Saroldi, Massari, Lodi, Buzzone, Varaldo, Somaglia, Racchetti, Grenni, Marini, Mirenghi, Bertoluzzi, Negri, Biancardi. Some old families, i.e. Perotto, Castellano , Pertica, Ponta, Da Leona, Ferro, Montano, Veirerio, Sappa, Pisano, Dagna, Da Costa, did not partecipate because they had remained in the country of immigration.
The history of such families dates back to the low Middle Ages. The process of immigration into Altare started towards the end of the XIII Century and the beginning of the XIV Century, following in the steps of an activity which had been created by Benedictine monks and other experts from the North of France. They had been drawn here by the luscious wooded land – especially oaks - surrounding the town and its proximity to the
Altare’ s Società Artistico Vetraria was regulated by a Statute which, since its foundation in 1856, underwent several changes, some of which took place almost immediately. In 1940, it was managed by a Procuratore Amministrativo and a Procuratore Tecnico - an Administrative Director and a Technical Director -. Other managerial bodies were: a Members’ Board, whose President was a glassmaker and was in office for three years, and a Board of Directors formed by glassmakers also in office for three years. Other members were in charge of production lines and carried out administrative tasks. Many of the workers who were not members would participate in the blowing and working of glass together with the glassmakers as black smiths, carpenters, casters, electricians, mechanics, warehousemen, etc. A Procuratore Tecnico was in charge of what went into making glass, in charge of designing, furnace maintenance, work management, trade union relations.