Material reference

Murano Glass · Daluyan ng Kalakal

Scientific identity, documented history, and community contexts are presented with sources. TÁWID’s contemporary design interpretation is identified separately.

Material identity

Murano glass refers to glass production associated with Murano, Venice. It is a geographical and craft description, not a mineral species. In glassworking, colour, layering and repeated cane patterns can be deliberately organised by the maker. A floral or layered bead pattern is therefore evidence of a technique or appearance; by itself it does not establish manufacture on Murano. [1]

Documented historical context

Corning Museum of Glass documents Venetian bead production by the thirteenth century, including beads for rosaries and other religious uses. The recovery of hollow-cane drawing around 1490 or earlier changed production possibilities, and chevron beads appeared around 1500. The names chevron and rosetta describe a multilayered type whose inner star pattern is revealed at the ends. A drawn hollow tube was cut into sections, then ground or tumbled to finish individual beads.

Corning’s blue chevron bead, dated about 1600–1700, helps make that history tangible. Layer counts, colours and finishing changed through time, showing an evolving industry rather than one unchanging ancient recipe. Millefiori, involving patterned cane elements, should not be treated as identical to every chevron bead. [1]

Philippine and community context

The Met’s Isneg sipattal, dated to the late nineteenth–early twentieth century, provides a Philippine comparison. Its glass trade beads are combined with shell and other components in a prestige chest ornament used on ceremonial occasions. The museum describes treasured pieces retained in families and repaired over time. Imported components thus acquired significance through Isneg selection, assembly, use and inheritance. This record supports that local history; it does not establish that the beads in this particular object were Venetian. [2]

TÁWID’s contemporary interpretation

Daluyan ng Kalakal is TÁWID’s contemporary reflection on materials gaining new uses through exchange.

References

1. Corning Museum of Glass, “Venetian Blue Chevron Bead,” ca. 1600–1700, 66.3.10 A
2. Metropolitan Museum of Art, “Sipattal,” Isneg artist, late 19th–early 20th century, 1999.47.129

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