Italian glass tile.
A high-duty refractory insulation board often used in place of a kiln shelf.
A glass vessel made and decorated to commemorate a marriage. Most contain inscriptions with either gold/silver enameling or etching/engraving.
Literally, hammered. A decorative technique producing a multi-faceted surface, used particularly by Daum a Galle as a background texture to a design.
An iron or marble table upon which the gather is rolled onto an evenly shaped mass, in a process known as 'marvering'.
The controlled forming of viscous glass on a flat metal table (marver). The technique is used in the making of color bars in the glass blowing process.
A term used to describe the desired fired state of enamel, glaze, etc. If fired beyond the maturation point, it is said to be overfired; if below, underfired.
The substabce, glass, both in its molten and cold states. The term is normally used to distinguish the fused material from the finished object.
See overglaze. A metalic overglaze containes very fine particles of metal such as gold, silver, copper, or palladium. The result produced by firing these materials onto glass is a shiny, metallic surface (sometimes reffered to as metallic luster).
General term for glass made in Mexico since the early twentieth century.
Small chips or specks of colored glassware that are applied to a glass object to produce a multicolored mottled appearance.
Literally, 'a thousand flowers'. A decorative technique dating from the first century BC in which slices of coloured glass canes, usually arranged to resemble flowers, are embedded in clear molten glass.
Intricately arranged bundles of colored cane (frequently a floral pattern) fused together; pieces of this fused bundle (rod) are then used in other hot processes (e.g., fusing or the forming of the traditional millefiore paperweight).
A low-temperature kiln used for refiring glass to fix enamelling and gilding. The glass objects would be placed in a fire-clay box, or muffle, to protect them from the smoke and flames of the kiln.