Glassmaker

glassmaker s Glashersteller(in)

► glassmaking

1) Техника: мастер-стеклодув

2) Силикатное производство: стекловар, стекольный мастер

pembuat hiasan dari kaca

[gl'a:smeikə] n vidreiro, pessoa que fabrica vidros.

شيشه‌ ساز

vidriero, cristalero.

kb. pembuat barang-barang elok dari gelas.

camcı

C&G herramientas de vidriero f pl

nome fabbricazione f. del vetro

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n. [u]

1 (ind.) fabbricazione del vetro; industria vetraria

2 ( arte) arte vetraria

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nome fabbricazione f. del vetro

SUBJECT AREA: Photography, film and optics

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Guinand received little formal education and followed his father's trade of joiner. He specialized in making clock cases, but after learning how to cast metals he took up the more lucrative work of making watch cases. When he was about 20 years old, in a customer's house he caught sight of an English telescope, a rarity in a Swiss mountain village. Intrigued, he obtained permission to examine it. This aroused his interest in optical matters and he began making spectacles and small telescopes.

Achromatic lenses were becoming known, their use being to remove the defect of chromatic aberration or coloured optical images, but there remained defects due to imperfections in the glass itself. Stimulated by offers of prizes by scientific bodies, including the Royal Society of London, for removing these defects, Guinand set out to remedy them. He embarked in 1784 on a long and arduous series of experiments, varying the materials and techniques for making glass. The even more lucrative trade of making bells for repeaters provided the funds for a furnace capable of holding 2 cwt (102 kg) of molten glass. By 1798 or so he had succeeded in making discs of homogeneous glass. He impressed the famous Parisian astronomer de Lalande with them and his glass became well enough known for scientists to visit him. In 1805 Fraunhofer persuaded Guinand to join his optical-instrument works at Benediktheurn, in Bavaria, to make lenses. After nine years, Guinand returned to Brenets with a pension, on condition he made no more glass and disclosed no details of his methods. After two years these conditions had become irksome and he relinquished the pension. On 19 February 1823 Guinand described his discoveries in his classic "Memoir on the making of optical glass, more particularly of glass of high refractive index for use in the production of achromatic lenses", presented to the Société de Physique et d'Histoire Naturelle de Genève. This gives details of his experiments and investigations and discusses a suitable pot-clay stirrer and stirring mechanism for the molten glass, with temperature control, to overcome optical-glass defects such as bubbles, seeds, cords and colours. Guinand was hailed as the man in Europe who had achieved this and has thus rightly been called the founder of the era of optical glassmaking.

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SUBJECT AREA: Chemical technology, Photography, film and optics

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Neri entered the Church and by 1601 was a priest in the household of Alamanno Bertolini in Florence. There he met the Portuguese Sir Emanuel Ximenes, with whom he shared an interest in chemistry. The two later corresponded and the twenty-seven letters extant from Ximenes, who was living in Antwerp, are the main source of information about Neri's life. At the same time, Neri was working as a craftsman in the Medici glasshouse in Florence and then in their works at Pisa. These glasshouses had been flourishing since the fifteenth century with the help of Muranese glassmakers imported from Venice. Ximenes persuaded Neri to spend some time with the glassmakers in Antwerp, probably from 1603/4, for the correspondence breaks off at that point. A final letter in March 1611 refers to Neri's recent return to Florence. In the following year, Neri published the work by which he is known, the L'arte vetraria, the first general treatise on glassmaking. Neri's plan for a further book describing his chemical and medical experiments was thwarted by his early death. L'arte belongs to the medieval tradition of manuscript recipe books. It is divided into seven books, the first being the most interesting, dealing with the materials of glassmaking and their mixing and melting to form crystal and other colourless glasses. Other sections deal with coloured glasses and the making of enamels for goldsmiths' use. Although it was noted by Galileo Galilei (1564–1642), the book made little impression for half a century, the second edition not appearing until 1661. The first Venice edition came out two years later, with a second in 1678. Due to a decline in scientific activity in Italy at this time, L'arte had more influence elsewhere in Europe, especially England, Holland and France. It began to make a real impact with the appearance in 1662 of the English translation by Christopher Merrett (1614–95), physician, naturalist and founder member of the Royal Society. This edition included Merrett's annotations, descriptions of the tools used by English glassmakers and a translation of Agricola's short account of glassmaking in his De re metallica of 1556. Later translations were based on the Merrett translation rather than the Italian original. Ravenscroft probably used Neri's account of lead glass as a starting point for his own researches in the 1670s.

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