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The first cristallo wares were simple forms, often embellished with jewel-like enamel designs. Objects were also blown of colored and opaque glass. By the late 16th century, forms became lighter and more delicate. The blowers exploited the workable nature of their material to produce fanciful tours de force. A type of filigree glass was developed in Venice and widely imitated. With lacelike effect, opaque white threads were incorporated in the glass and worked into intricate patterns. Some vessels were blown entirely of opaque white glass and painted with enamels in the manner of Chinese porcelain. Novelties made of lampworked glass were made at Murano, but Nevers, France, became most famous for this type of ware by the 17th century. Particularly suited to soda glass was the practice of diamond-point engraving, a technique favored in the 17th century by Dutch artisans. By hammering the diamond-point stylus for a stippled effect, they created ambitious pictorial designs. lass manufacturers throughout Europe tried to copy the Venetians in their production methods, materials, and decorative vocabulary. Knowledge was spread through the glasswares themselves, through the Art of Glass (1612) by Antonio Neri, and through Venetian glassblowers. Although forbidden by law to leave Venice and to divulge the secrets of their craft, many Murano glassmakers left Italy to set up glasshouses elsewhere in Europe. Each country developed its own façon de Venise, as nationalistic preferences for certain forms or decorations tempered the Venetian model. Italy's influence was ultimately weakened in the 17th century by the development of new glass recipes in Germany and England.
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