In the 20th century the revivalists came alongside new developments in research that, in the twenties, reached interesting stylistic results. That notwithstanding, the first two decades of the century identified a still hesitant artistic output: the ideas from France, Belgium and America suggested curiosity and effort, but they also introduced elements of critical thinking into the unfolding experience and formal discourse. This discourse ran without any real unifying character, rather by trial and combination, intuiting, above all, the “modernity” of a technique and style applied to a material more available and pliable than ever, along with a 20th century adventure of extraordinary good fortune. So, having proven materials and techniques already particularly related to the parameters of aesthetic-stylistic renewal, Murano glass production made a qualitative leap in this period that would bring it exceptional attention and cultural credit. Even more surprising, however, could be the manner of that process. In fact, the resources that Murano glass had accumulated in the past allowed it to produce abundant fruits of remarkable richness. First and foremost, glass blowing, which pinpoints a compact cultural experience of enduring historical significance. To this nucleus it grafted new forms and cadences that can be read or intuited in a sort of suspended anticipation – surprising and at the same time not easy to identify – that manifests in technical and executive challenges.