In this century, Murano glassmakers favoured clear, transparent glass, which they could decorate using various techniques. An alternative to the transparent glass was the lattimo (milk glass). An opaque white glass, it was sometimes decorated with enamel while hot, but most often was incorporated as long, thin threads embedded in clear glass in various ways, giving rise to glass filigree, one of the most characteristic materials used by the Murano glassmakers of the Renaissance. Another type of decoration, used from the mid-sixteenth century onwards, was diamond point or flint engraving, lightly abrading the surface following a previously drawn design. This decoration, attributed to Vincenzo di Angelo Dal Gallo from around 1534, was used for floral and fauna motifs of such delicacy that the crystal on which they are drawn appears to be wrapped in lace. Another typical kind of glass of the 16th century is the so-called ghiaccio (ice) glass, characterized by a rough, apparently crackled outer surface, and therefore translucent but not transparent, similar to ice. The return to painted decoration was characterized by the application of paint a freddo (cold), to the reverse side of the glass to exploit its transparency. The images depicted were often derived from paintings by famous artists, such as Raphael and Primaticcio. Towards the end of the century feather-shaped decoration appeared on glass, obtained by “combing” the lattimo threads into festoons by using a special tool. During the second half of the 16th century, Murano products tended to abandon their previous simplicity and practicality, aiming towards more complex compositions, adding sculptural elements in various ways by working with pincers, which were to be used even more in the following century. In the 16th century the fame of Murano glass spread throughout Europe and master glassmakers began to emigrate, taking up invitations to work in foreign glassworks, mainly in the Netherlands, Germany, England and Spain. The most renowned glassmaking families in the second half of the 15th century were, besides the Baroviers, the Mozzetto and Della Pigna families. By the 16th century it would not be exaggerating to speak of glassblowing “dynasties” such as the Ballarin, De Catanei della “Sirena”, di Angelo dal “Gallo”, Bortolussi and Dragani families.