Melanie Drury met Joseph Said, the first Maltese glass-maker, during the Open Week of Mdina Glass at Ta’ Qali Crafts Village to discover the history of glass-making in the world and in Malta

“Glass was discovered by Mediterranean traders such as the Phoenicians quite by accident. They would settle on a beach for a length of time, using the same bonfire for cooking and so on. They noticed that on some beaches, the mixture of sand and volcanic stone seemed to melt into something that was rather flexible. They began experimenting, to ascertain what combination of materials and heat was required, and soon the art of glass-making was developed.”

Thus began Joseph Said, managing director of Mdina Glass – the first glass-making factory in Malta – when asked about the origins of glass. Glass is an amazing material: it is extremely versatile in its uses, and best of all, it can be recycled. It is interesting how we can handle a material so regularly in our daily lives, yet we are so used to its common presence that we barely question how it is made and from which raw materials.

“The main ingredient for making glass is silica sand, which can be found in many places around the world including Belgium and Italy, but not in Malta. Lead content makes for softer glass, while the addition of certain chemicals gives a different colour. For example, selenium and metal give a greenish colour while real gold-leaf and silver is sometimes sandwiched in the glass while it is hot.

“By the 15th century, approximately 14,000 people were involved in making glass in Murano, Venice – some prepared the composition, others built the furnaces, others made ceramic pots… they worked the glass on round-shaped furnaces with several pots of different coloured glass, using coal and wood as fuel, and many people died from tuberculosis as a result. Eventually the traditional round furnace was substituted for a continuous furnace and a tank furnace, which utilised gas oil and gas, although nowadays most use light oil.

“The continuous furnace never stops. Its melting chamber reaches 1,300 degrees centigrade, because although the melting point is just 600 degrees, the higher temperature for a length of time – approximately nine to 10 hours – removes the air bubbles. This furnace is charged continuously, as the name implies, and as the material is formed, it is pushed into the adjacent gathering chamber from where it is collected for use. We use this type of furnace for making the clear glass which is our main base material.

“The tank furnace is charged daily and the same chamber is used for gathering the material. We use it to make the traditional Mdina Glass blue colour which is one of our trademarks. We charge the furnace at factory closing time so that it is ready to use by the morning.

“A blowing iron or a rod is used to collect the glass from the furnace, but it must be red hot at the tip, otherwise the glass will not stick. The glass must be cooled gradually, otherwise it will break, so newly made objects are stored inside an annealing furnace with many shelves which is kept at 500 degrees centigrade. During working hours it is kept at that temperature and at the end of the day it is switched off for a gradual decline in temperature.

“The next day the objects are sent to the grinding and polishing department to smooth out the area where the rod was removed and create a base. Then the inspection and packing department performs quality control checks. The fine items are placed on sale while those with chips, dents or scars are sold as seconds at a reduced price.

“Of course not all glass is made in this way, as automated machinery is often involved in modern glass factories, but because of the nature of our craft as an art-form, every item is hand-made from beginning to end, making each item unique.”

As I browsed around the factory I could observe that the glass exhibited several different designs and effects in colour blending and shape. I asked Mr Said if he could explain a little further about the different techniques used to make glass.

“We use many different tools: a pair of pincers, shears, thongs and wet wood which are used to shape the wood. We use a team approach so an item is not completed from start to finish by one person. One person sticks the glass to the blowing iron or rod, depending on the object. A blowing iron is used if the glass will be blown while the rod is used for solid pieces. For blown glass, a little needs to be blown in the first process, and then the second person applies the colour. A third person covers the colour in clear glass, so the colour is sandwiched in between, and a fourth person works on the shape by blowing and using the tools as required.

“Free shaping produces more unique items than using a mould, which could be made from metal or aluminium and blown into. It is useful for large numbers of similar items but the finishing touches always need to be done by hand.

“The colour and thickness are the most difficult to control. Colour in glass does not behave like mixing paint – colour mixture happen at composition stage, otherwise the original colour is retained. The same composition might produce different shades of the same colour and if there is overlapping it might give the appearance of a different colour.

“The main methods employed for making glass are blowing and free shaping of solid pieces, but we are now also fusing and doing limp work. Fuse glass composition is different from the one used traditionally – it cannot be mixed. Sheets of different coloured glass are cut while cold using a diamond cutter, and placed on a base of clear glass. They are then heated and fused together. It involves a lot of labour but gives the opportunity of producing painting-like pieces.” In fact they have lines paying tribute to several famous artists such as Van Gogh and display some beautiful Maltese landscapes.

“Limp work is a novelty on the island – there is only one man in Malta currently doing this kind of work. It utilises a special type of raw material called crystal pirex glass which comes as a rod of clear glass. No furnace is required – instead the rod is applied to a burner and it is remarkable because the applied section can become very hot and workable while the rest remains cool. The rod is worked into shape and cools down within few minutes at room temperature without any risk of breakage!”

I was curious to know how long it might take to learn the skill and if any particular talent or disposition was required.

“Apprenticeship usually takes approximately four years, depending on the individual’s will to learn and natural abilities. A person will usually specialise in particular areas or certain items of the production. Ultimately any art requires innate desire and ability.

“The glass needs to be worked while hot and begins to cool down immediately as soon as out of the furnace, so one needs to be quick. Glass can be reheated, but when working as part of a team that would break the chain so an experienced glass-maker does not reheat.

“One of my daughters, Olivia, has been making glass since the age of 13. She has been to Murano several times to learn new techniques, then comes back to teach the others.”

Glass-making has taken off so strongly in Malta that it is considered one of the national crafts.

I knew that Mdina Glass was the first glass-making factory in Malta, so I urged Mr Said to tell me how it all began, why glass-making has become so popular on the island and where the company stands today.

“In 1968, when two British people, Michael Harris and Eric Dobson established Mdina Glass, there had been no history of glass-making in Malta. Michael Harris had some training as a glass-maker while Eric Dobson was a financial partner. Mdina Glass was one of the establishments, along with Malta Stone and a couple of others, which marked the commencement of the Crafts Village in Ta’ Qali.

“I joined right from the beginning, employed in administration by a chance interview when I was asked to translate a letter in Italian. Within a month I was bored in the office and joined the glass-makers who were all trainees except for Michael. I trained for three years after which I was proclaimed the first local glass-maker!

“Meantime some changes were going on within the company, and two Italians took over production when Michael Harris left. Eventually, in 1976, I became production manager. In the 1980s, as tourism increased, there was some investment in furnaces and design, and sales increased. Then, in 1985, I took over the company.

“A fresh outlook meant we discontinued the already existing UK export market and some product lines, and branched out into new markets with new products. Today we export to Greece, the Netherlands, the UK, America and Cyprus as well as serving the local market. Apart from this main shop at the factory, we also have shops in Merchants Street, Valletta, the Valletta Waterfront and on the Bugibba Promenade.

“Despite its short history in Malta, glass-making succeeded in gaining a foothold in Maltese craft-making alongside long-standing traditions such as silver-filigree and lace-making. Mdina Glass can take some credit since the people who established the other companies were off-shots from the original company.

“In the last 10 years we diversified and focused on the local market. Previously the designs were aimed at the British market – simple designs and blues representing Maltese sea and sky. We soon came to realise that the continental market had different tastes, as did the local market. Once we sparked their interest, the Maltese became proud of the local glass production and have adopted it as their own.”

As I watched the skilled craftsmen working near the furnaces, creating one piece of exquisite beauty after another, I could understand why.