The spherical shape of the Cristina glass is not typical of Murano’s traditional glass-working methods: “I wanted a glass that filled the hand when held, so that the lightness of the blown glass could be felt in full”.
It is made in crystal glass and is characterized by an incredible clearness, so much in fact that it is possible to see the wiring of the hand-crafting technique when it is held against the light.
The Cristina glass is finished with a thin hot sealed rim of ruby glass, and is completed by a drop that slides down the surface “as if it was a tear on the cheek”, until it solidifies in an always unique shape.
The pureness is such to make it possible for the holder to appreciate all nuances of the wine held within: the transparency of a white, the bubbles of a champagne or the deep scarlet color of a red wine.
The life of Giberto Arrivabene Valenti Gonzaga is viscerally linked to Venice. His childhood memories, the most beautiful, are those that have taken place in the rooms of Palazzo Papadopoli, between frescoes of Tiepolo and family affection. “In my earliest memories Venice had other colours. It was more obscure, dramatic, decayed and deeply romantic – simply beautiful. There wasn’t the same light like there is today – more dazzling perhaps, but less poetic.”
Each piece derives from a watercolour sketch made by Giberto on tracing paper: “When I see something that inspires me, or an object that I like, I sketch and rework it – then move on to the realization of it.”
The glass, the main material in the collections, is worked exclusively in Murano. Each glass, each specific object, is blown by master glassmakers in the Venetian furnaces.
Giberto takes his watercolours to discuss with them and refine the project, check its feasibility, and to make eventual changes.