Murano is a small group of islands just north of Venice that is world famous for the quality of its glass production. Originally working in that great bastion of the arts, Venice, glassmakers were so prevalent in the city that the rulers of Venice thought that the fierce fires that the glassmakers used to make, melt and shape glass posed a danger to the city itself. So they moved to Murano and it became the centre of glassmaking. 





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 Murano glassmakers were at the forefront of their craft for many centuries. The glass masters were the only craftsmen in the whole of Europe who were able to produce a mirror. The glassmakers enjoyed many privileges compared to the common citizen and could even carry a sword. The only problem was that they had to stay in Venice. 



The Venetians feared that if the glassmakers travelled abroad they might sell the secrets of their art. Then the pre-eminent place of 
murano glass would be lost, along with most of its trade. But Venice managed to keep its glassmaking techniques safe for many hundreds of years, and also the vital flow of wealth that this trade provided for the city.


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The glassmakers of Murano had a formidable range of techniques and in addition to mirrors they were able to produce items such as coloured glass made to look like gems, glass objects with different colours running through them and even glass woven with gold threads. 



The glass masters of Murano carry on this tradition and still make beautiful objects for export and of course for the lucrative tourist trade. Although many objects are souvenirs such as paperweights, the tradition of quality and innovation is still strong and Murano glassmakers also produce beautiful contemporary works, as well as the more traditional chandeliers and necklaces.



 In Murano there is an excellent museum dedicated to the art of the glass masters called Palazzo Guistinian. It has around four thousand pieces on display and spans the entire history of glassmaking from the early Egyptians to the present day. Murano is the historical centre of glass art and its place in history is brought alive by these wonderful exhibitions.


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Like the city of Venice, Murano comprises a cluster of small islands, connected by bridges. It has been the center of the glassmaking industry since 1291 when the furnaces and glass craftsmen were moved here from the city, prompted by the risk of fire to the buildings and homes (which at that time were constructed almost entirely of wood) and the disagreeable effects of the smoke.



The island of Murano is about a mile across the water from Venice and was already inhabited in Roman times. “Amurianum” was its original name. Used at first as shelter by refugess from Altino, Opitergio and Aquileia who escaped in the 5th Century from barbaric invasions, Murano soon became a fulcrum of important traffics and distinguished itself the glass art. Men and women from Oderzo later joined these settlers and by the 7th and 8th centuries, the island’s port of Sant’Erasmo was an important calling-place for merchant ships.



Eventually, Murano grew in population and prosperity to such an extent as to reach its greatest splendor in the 16th century when many palaces and houses, churches and monasteries, gardens and orchards arose side by side with glass factories to demonstrate the prosperity of this wealthy community. So densely was the island populated that by th 11th century, the Doges were encouraging islander to move to Venice. After the 13th century Murano passed under the jurisdiction of a podesta (mayor) chosen from the ranks of the Venetian patricians, but despite this it continued to have its own Grand Council. It had a “Golden Book” in which were entered its original families who enjoyed special privileges so that a Veneto aristocrat could marry the daughter of a glass master without losing any of his claims to his noble titles. Just as Venice did, Murano too could coin annually.

From the mid-14th century onwards, the artisans of Murano started to sell their products abroad. They quickly gained a reputation for producing small beads of murano glass and for the mirrors which became a major Murano export during the course of the 15th century. Within fifty years the island’s glasswork had lost much of it utilitarian character and had become a fully fledged art form. Because of the growing importance of the glass industry, its artisans had to submit to severe political restrictions in order to balance their very considerable privileges. By contrast with the rest of Europe, Venice did not require a man to belong to a glassmaking family as a condition for learning the art. Any talented apprentice could rise, step by step, through the ranks to become a master glassmaker. However, the glassmakers were forbidden to emigrate from Venice on pain of sequestration of all their goods. Nevertheless, it is known that in the 16th century several glassmakers did succeed in setting up factories in Northern Europe, where they also flourished.

Independent until 1924, Murano boasts a coat-of-arms which is a cock with a snake in its beak and a fox on its back, symbolizing surveillance, shrewdness and prudence. Murano is now populated with approximately 6,000 “Muranese” residents.

Murano glass chandeliers
 of the Ca'rezzonico type:


They take their name from one of the most
 famous palaces in Venice, located in the
 Dorsoduro district and overlooking the
 Grand Canal between Palazzo Contarini Michiel
 and Palazzo Bernardo Nani, not far from
 Ca'Foscari.


Ca' Rezzonico in short is the seat of the 
Museum of the Venetian 18th century, but
 it also houses an immense historical
 treasure of Murano glass chandeliers:
 the Ciocca or Rezzonico chandelier to
 understand us, the first one designed 
and designed by Giuseppe Briati and
 made in Murano in the second half
 of the 18th century. A monumental
 Murano galss chandelier of sumptuousness
 and lightness, supported by an innovative 
interlocking technique that seems to cancel 
the supporting structure among the coloured
 reflections.  The Ciocca or rezzonico
 chandelier is the focal point of
 the exhibition curated by Cornelia
 Lauf under the scientific direction 
of Gabriella Belli.

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