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Cut glass
Cut glass or cut-glass is a technique and a style of decorating glass. For some time the style has often been produced by other techniques such as the use of moulding, but the original technique of cutting glass on an abrasive wheel is still used in luxury products. On glassware vessels, the style typically consists of furrowed faces at angles to each other in complicated patterns, while for lighting fixtures, the style consists of flat or curved facets on small hanging pieces, often all over. Historically, cut glass was shaped using "coldwork" techniques of grinding or drilling, applied as a secondary stage to a piece of glass made by conventional processes such as glassblowing.
Today, the glass is often mostly or entirely shaped in the initial process by using a mould (pressed glass), or imitated in clear plastic. Traditional hand-cutting continues, but gives a much more expensive product. Lead glass has long been misleadingly called "crystal" by the industry, evoking the glamour and expense of rock crystal, or carved transparent quartz, and most manufacturers now describe their product as cut crystal glass.
There are two main types of object made using cut glass: firstly drinking glasses and their accompanying decanters and jugs, and secondly chandeliers and other light fittings. Both began to be made using the cut glass style in England around 1730, following the development there of a reliable process for making very clear lead glass with a high refractive index. Cut glass requires relatively thick glass, as the cutting removes much of the depth, and earlier clear glass would mostly have appeared rather cloudy if made thick enough to cut. For both types of object, some pieces are still made in traditional styles, broadly similar to those of the 18th century, but other glassmakers have applied modern design styles.
Expensive drinking glasses had previously mostly concentrated on elegant shapes of extreme thinness. If there was decoration it was mostly either internal, with hollow bubble or coloured spirals within the stem ("twists"), or surface decoration in enamelled glass or glass engraving. Outside Venice and Spain, lighting fittings had not previously made much use of glass in Europe; the enamelled mosque lamp of Islamic art was a different matter. But cut glass "drops", faceted in a style derived from gem cutting in jewellery, refracted and spread the light in way that was new, and were enthusiastically embraced by makers and their customers. The main skeleton of the chandelier was very often metal, but this was often all but hidden by a profusion of faceted glass pieces, held in place by metal wire.
In the first century AD, Pliny the Elder described how patterns may be cut on glass vessels by pressing them against a rotating wheel of hard stone. The process of cutting has stayed the same in modern times apart from changes in details since that description in the middle of the first century AD. It has always used a small rotating wheel of, or coated with, some abrasive substance, and usually with a liquid lubricant such as water, perhaps mixed with sand, falling onto the area being worked and then being collected below. The wheels were originally powered by treadles, but by the mid-19th century workshops had several stations linked to steam power. Today electric power is used. For cutting flat facets a turntable device called a "lap", already used in gem-cutting, was adopted.
Typically the design is marked with paint on the glass before cutting – in England red is usually used. One advantage of cut glass for the manufacturer is that it can very often be arranged for the small flaws such as bubbles that are inevitable in a proportion of glass pieces, and would lead to a clear piece being rejected, to be placed in the areas to be cut away. Conversely, if imitation cut glass using moulds is made, the complexity of the mould shapes greatly increases the number of faults and rejects.
A second operation polishes the cut glass, traditionally using a wooden or cork wheel "fed with putty powder and water". In the late 19th century, an alternative method using fluoric acid was introduced; this made the process of polishing faster and cheaper. However, it "gives a dull finish and tends to round off the edges of the cuts".
Labour was the main cost in making cut glass. Arguing against the reduction of tariffs in 1888, a leading figure in the American industry claimed that "We take a piece of glass .... costing 20 cents and .... in many cases put $36 of labor on it".
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Cut glass
Cut glass or cut-glass is a technique and a style of decorating glass. For some time the style has often been produced by other techniques such as the use of moulding, but the original technique of cutting glass on an abrasive wheel is still used in luxury products. On glassware vessels, the style typically consists of furrowed faces at angles to each other in complicated patterns, while for lighting fixtures, the style consists of flat or curved facets on small hanging pieces, often all over. Historically, cut glass was shaped using "coldwork" techniques of grinding or drilling, applied as a secondary stage to a piece of glass made by conventional processes such as glassblowing.
Today, the glass is often mostly or entirely shaped in the initial process by using a mould (pressed glass), or imitated in clear plastic. Traditional hand-cutting continues, but gives a much more expensive product. Lead glass has long been misleadingly called "crystal" by the industry, evoking the glamour and expense of rock crystal, or carved transparent quartz, and most manufacturers now describe their product as cut crystal glass.
There are two main types of object made using cut glass: firstly drinking glasses and their accompanying decanters and jugs, and secondly chandeliers and other light fittings. Both began to be made using the cut glass style in England around 1730, following the development there of a reliable process for making very clear lead glass with a high refractive index. Cut glass requires relatively thick glass, as the cutting removes much of the depth, and earlier clear glass would mostly have appeared rather cloudy if made thick enough to cut. For both types of object, some pieces are still made in traditional styles, broadly similar to those of the 18th century, but other glassmakers have applied modern design styles.
Expensive drinking glasses had previously mostly concentrated on elegant shapes of extreme thinness. If there was decoration it was mostly either internal, with hollow bubble or coloured spirals within the stem ("twists"), or surface decoration in enamelled glass or glass engraving. Outside Venice and Spain, lighting fittings had not previously made much use of glass in Europe; the enamelled mosque lamp of Islamic art was a different matter. But cut glass "drops", faceted in a style derived from gem cutting in jewellery, refracted and spread the light in way that was new, and were enthusiastically embraced by makers and their customers. The main skeleton of the chandelier was very often metal, but this was often all but hidden by a profusion of faceted glass pieces, held in place by metal wire.
In the first century AD, Pliny the Elder described how patterns may be cut on glass vessels by pressing them against a rotating wheel of hard stone. The process of cutting has stayed the same in modern times apart from changes in details since that description in the middle of the first century AD. It has always used a small rotating wheel of, or coated with, some abrasive substance, and usually with a liquid lubricant such as water, perhaps mixed with sand, falling onto the area being worked and then being collected below. The wheels were originally powered by treadles, but by the mid-19th century workshops had several stations linked to steam power. Today electric power is used. For cutting flat facets a turntable device called a "lap", already used in gem-cutting, was adopted.
Typically the design is marked with paint on the glass before cutting – in England red is usually used. One advantage of cut glass for the manufacturer is that it can very often be arranged for the small flaws such as bubbles that are inevitable in a proportion of glass pieces, and would lead to a clear piece being rejected, to be placed in the areas to be cut away. Conversely, if imitation cut glass using moulds is made, the complexity of the mould shapes greatly increases the number of faults and rejects.
A second operation polishes the cut glass, traditionally using a wooden or cork wheel "fed with putty powder and water". In the late 19th century, an alternative method using fluoric acid was introduced; this made the process of polishing faster and cheaper. However, it "gives a dull finish and tends to round off the edges of the cuts".
Labour was the main cost in making cut glass. Arguing against the reduction of tariffs in 1888, a leading figure in the American industry claimed that "We take a piece of glass .... costing 20 cents and .... in many cases put $36 of labor on it".
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