1. CRYSTAL OR GLASS?
2. THE ART OF MAKING CRYSTAL
3. THE CHOICE IS YOURS
4. DIFFERENT DRINKS - DIFFERENT GLASSES
5. CARE & STORAGE OF CRYSTAL GLASSWARE AND DECANTERS
6. CLEANING OF CRYSTAL GLASSWARE AND DECANTERS

Natural mountain crystal may be found in the hollows of rock formations. It is a semiprecious stone of great hardness. It is constantly cool to the touch and therefore makes a poor heat conductor. Because of its resemblance to ice, the stone became known as 'crystal' after the Greek word for ice.

Glass is known to have been produced 6,000 years ago and early developers were the Greeks, Egyptians Roman and Chinese empires. In the 13th century glassware became a thriving industry, primarily in Venice. By the 1500's high quality coloured glass became known throughout the world as 'Venetian glass'. By the 1600 the French and Germans were producing with the Germans adding potash and lime to the basic ingredients and calling the product 'Bohemian Glass'. The English added lead oxide giving sparkle, weight and ring.

The Czech glass industry has been producing domestic glass for over 600 years and are regarded as the pioneers and masters of cut and etched glass and crystal.

The glassware we find in today's tableware market is called crystal because of its clarity, fine quality and high refractive power. Crystal glassware is always highly crafted and a product of exquisite beauty.

Lead oxide may be added to the basic ingredients for making glassware, creating the product we know as 'lead crystal'. The addition of lead will make the glass easier for the craftsman to cut and at the same time cause the glass to becomes more sensitive to light. It now acquires it characteristic and inimitable sparkle.

The quantity of lead in Bohemia Crystal is generally 24 % lead oxide. Product with a higher percentage of lead oxide does not necessarily imply superior quality. A high percentage of lead content will probably lead to a greater likelihood of chipping and the item may acquire a bluish tinge, over time.

Kaliglass is the term given to glassware to which lead oxide has not been added. This glassware does not usually go to the cutting stage of production.

Pressed and over-cut crystal are terms used to describe how the cut patterns are created on the products. 'Pressed' being a pattern introduced to the near molten glass by pressing onto its surface. 'Overcut' being an item of pressed crystal which has received its final detail from a master cutter, by hand.

The Raw Materials:

The initial stage of the process is the provision and mixing of the raw materials. Silica sand is sieved and purified by means of water, hot air and magnetism. To this is added potash. Other materials may be added such as oxides (lead for the production of lead
crystal) gold oxide (to create ruby coloured glass), iron oxide (for green colour) cobalt (blue), uranium (for amber or yellow), barium oxide (for strength) etc. The amount of lead oxide added determines the classification and strength of the crystal. Generally,
colour is found in non-lead crystal.

The Glasshouse:

The mixture, called the Batch, and a quantity of 'cullet' is fed into beehive shaped pots. (Cullet is broken glass resulting from waste, damaged or rejected pieces after inspection at each stage of the manufacturing process). The pots are heated in multi-pot furnaces and remain at the correct operating temperature for the whole of their working life -a period of up to six months. The pots are changed 'on the run' and to see the process of installing a new pot -pot setting -is a unique experience.

The mixture in the pots melts or 'founds' and the glassmaker assesses when the molten glass or 'metal' is ready for use. The melting point for lead crystal is 1,100 1,200° C and is workable at 400- 600°C. For kaliglass the melting point is slightly higher. Awaiting their 'molten metal' are teams of glassworkers Most teams consist of a Servitor, the Footmaker, the Bit-Gatherer and the Taker-In. Certain teams are headed by a woman who works with a number of Servitors or Blowers.

Any glass forced into a shape by air pressure (either by hand blowing or machine) is referred to as blown glass. The process mayor may not use a mould. At Bohemia Crystal, our fine surface finish can be attributed to the use of only the best, traditionally made, moulds. The techniques and tools used in the creation of blown products are traditional and require tremendous skill. Each craftsman has a certain 'feeling' for his skill and they work very much as a member of a team. These teams are interestingly called 'chairs'.

The BIT-GATHERER starts the operation by gathering a little molten glass from the furnace on his blowing iron. This is rolled and blown into a huge tear drop shape. The SERVITOR then takes over and enlarges the bubble using a special wooden tool. The final bowl shape is determined by the GLASS BLOWER who blows while constantly turning the pipe inside a wooden mould. Both wooden and cast iron moulds can be used although the wooden (Cherry or Beechwood) require replacement more frequently as they do burn out.

After the bowl is formed, a precise amount of molten glass is be attached to the base. The glass is reheated and the stem worked. Another precise quantity of molten glass is added for the foot shaping. The blowpipe, fluted moulds and foot pincers may be used in these steps of production. The glass is then broken cleanly from the iron by a drop of cold water and taken to be cooled by the TAKER-IN.
Annealing
The wine glass is paced into a lehr - a cooling oven approximately 60 feet in length - where it is cooled gradually and evenly inside and out as it travels the full length of the lehr (about 3 hours). This gradual cooling to room temperature gives the product it's strength and enough durability to last a lifetime and prevents the glass developing strains and thus cracking.

Inspection:

On leaving the lehr the cooled glass is inspected. Approximately 30- 50% of the product is rejected to ensure only the highest quality possible bears the name of 'Bohemia'. Flawed items are discarded and the glass is re-used as cullet. Perfect specimens pass through this initial inspection to the 'Process Shop'.

Polishing:

The next stage on the process sees the removal of the rough top -the 'moil' -of the glass. This is 'cracked off by scribing a line around the glass with a diamond cutter and heating it in a fine gas flame. The sharp and uneven edges are ground to an even height and then flattened by holding against abrasive Carborundum wheels powdered discs or emery belts -and smoothed to a fine finish.

Decorating:

The glass now goes to the hands of master cutters where, first, the guiding pattern lines are painted in. The decorating craftsmen use a variety of wheels, stone, carborundum, copper and nowadays, predominantly, diamond. There are differences in techniques between the cutters and the engravers. Cutting is a 'wet process' with water constantly running over the product as the cutter works. The master cutter achieves various degrees of cuts with different sized wheels. Engraving is relatively dry process with a small amount of abrasive fluid placed on the glass to assist the copper wheel to move smoothly over the surface of the product and allow the scratching of the design. The engraver is responsible for the decorations of leaves, fruit and geometric shapes fashioned on the glass.

At this stage of production, products that have been pressed are also finished with hand cutting.

Pantographs: This is the name of the process whereby a basic clear glass is dipped in a mixture of paraffin and bees wax. The glass is fully covered in wax. It is then placed on a machine which as four needles surrounding the glass. An operator traces a stencil of the design to be placed on the glass. The stencil and tracing are hooked to the machine so that whatever the operator traces is replicated by the four needles on the glass, removing the wax as they go and leaving the design etched on the glass. The glass is then taken and placed in an acid solution where the areas uncovered by the wax are eaten away (the design). The wax is later removed with hot water and re-used. Within this area is also the 'stoppering' area where each decanter is fitted with its own specific ground-in stopper.

The glass leaves the decorating shop to be cleaned prior to its treatment in the acid room where strong mineral acids are used to dissolve the dull surfaces of the cuts and to give the glass its fresh sparkling glory. The finished article now undergoes a final inspection and is given a seal of approval prior to packaging and dispatching to all parts of the world. The most difficult pieces to produce in crystal are jugs and decanters that must have a lip and a handle. In stemware, the most difficult part is the production of the stem and foot. Only the most experienced masters handle these steps in production. The amount of skill required in making any piece is the primary determining factor in its cost.

With all Bohemia Crystal's Mouth Blown and Hand Cut glassware, mechanical accuracy is neither expected nor desired. The slight variations in thickness, width and height, even minute air bubbles, are all features of the glass that indicate it is a wonderful product of fine hand crafting.
You will now be able to value more fully your piece of crystal and be able to share the satisfaction of the craftsmen who make such items of beauty. Perhaps, also, you will be better able to appreciate the skills involved in all stages of glass-making and can acknowledge the contribution of this industry that demands artistry and craftsmanship of the highest order .

The choice and variety of glassware available today is almost limitless. So it is not surprising that many people find the choice and selection of glassware bewildering. There are big glasses, small glasses, short glasses, tall glasses, broad glasses, squat glasses, glasses without stems, glasses with stems, straight sided glasses, rounded glasses, multi-sided glasses, coloured glasses, plain glasses, cut glass and then there are the crystal derivatives and different sizes and different manufacturers!

So, before the valued customer enters the glassware department, the glassware buyers of shops and stores have attempted to select a range, which they hope will reflect the anticipated taste of the clientele. The buyers have attempted to collect durable, attractive range of exciting designs, shapes and sizes, which represent exceptional quality and value for money.

It would be virtually impossible to list all the different types, shapes, sizes and designs of glassware available on the market today, so we list here a few guidelines to make your selection easier and a few questions you may wish to ask yourself before making your final choice:

• Do I prefer contemporary or traditional drinkware?
• Do I prefer crystal or traditional drinkware?
• Do I prefer cut or undecorated glass?
• Would my selection be replaceable if I break some items?
• Will the glassware I choose fit in with my decorations at home?
• Will the selection I make go with the dinnerware and cutlery I use?
• What size of glasses would I require for day to day use and special occasions?
• Do I have a budget within which I have to work?

Most of these questions only you can answer, but having made some of these decisions, the sales staff in the glassware department are then able to impart their knowledge and guidance in helping you make a choice which will give you endless satisfaction and pleasure in its use and appearance.

One of the most important considerations in selecting glasses, is the drink to be served. The glass must provide the finest possible framework to set off the taste, bouquet and colour of the drink. The occasion too, may influence your selection.

Banquets and formal dinner parties naturally call for a different style and a wider range of sizes, than for example, picnics or open air barbeques. You may therefore wish to make a particular selection for formal occasions and another selection for everyday use.

It has been said that the less potent the drink, the larger the glass. Whilst this should be the case, there are notable exceptions such as Scotch, which is served in a large glass and brandy which is served in a balloon shaped glass. The inadvisability of filling a brandy balloon to the brim and attempting to drink it all should not be encouraged! In the case of whiskey, the size of the glass has now been dictated by fashion which includes the addition of splits, ice and water, ostensibly to enhance the flavour.

Coloured glass imposes its own shade on a drink but a colourless glass allows you to see, understand and judge the drink by its colour and effervescence. Clean lines will assist your visual pleasure and appropriate shape will develop the bouquet.

Crystal is a very durable material, but like all glassware, should be kept clean in order to preserve the brilliant smooth surface, enhance it appearance and fine cut.

All the work involved in decanting a fine wine or spirit will be wasted if the decanter and glasses are not free from odours which can result form incorrect cleaning and storing. Glass and crystal, although appearing so, are not totally smooth surfaces but have microscopic pores which are capable of being filled with cleaning fluids or harbouring substances that can communicate a foreign taste to the liquid.

Store crystal in a negative ion atmosphere, if possible. Many new building materials, plastic and so on, can, and do, transmit very strong odors in the air and these can be absorbed by glass. Wooden cupboards, if unventilated, quickly build up unfavourable musty smells. Generally speaking, glasses should be stored upside-down, preferably on lint free cloths, to prevent dust from accumulating in the glass. The lint free cloth will also reduce the foreign odours of uncirculated air from building up in the glass while in this position.

Whenever taking glasses from their storage place, smell them prior to use, and if not satisfied with their neutrality, it may be necessary to wash them.

Decanters should never be stored with their stoppers in place, as no air is able to circulate and condensation will probably build up inside, if the product has been used previously. If the decanters are to be used for display whilst empty, it is suggested that a narrow strip of clear sticky tape be attached vertically to the stopper about Y2 cm wide and 2 cms long. Replace the stopper but do not force it into the neck of the decanter. This will allow a small amount of air to circulate and prevent a build up of odour. Don't forget to remove the tape when you fill the decanter!

To remove and obstinate stopper from a decanter, please do not force the issue! You may do irreparable harm to your decanter, furnishings, clothes, liquid assets and thirst. Carefully warm the neck of the decanter with a hot cloth (not boiling). The heat will encourage the neck to expand and thereby gently release the stopper. Above all do not force the stopper or shake the decanter whilst conducting this delicate operation.

It is strongly suggested that glassware or crystal should not be left in direct sunlight. Some discolouration and brittleness may occur, and in the case of cut crystal decanters, the rapid heat build up could cause the product to explode. In more intense heat the prismatic effects of the crystal could cause a magnifying effect - this could seriously burn furniture fabrics or even start a fire.

Wherever good glassware and furniture are being used, it is highly recommended that a coaster or drip mat be placed underneath the glass to prevent and staining or marking of the furniture.

Although specific decanters are designed for specific drinks (sherry, whiskey, etc.) a useful and decorative addition to your bar is the decanter label, which identifies the contents for you. Particularly handy to distinguish brandy from whisky and gin from vodka!

Bohemia Crystal is well able to withstand very high or very low temperatures but will not tolerate sudden changes, particularly cooling. Should you wish to put hot drinks into crystal, it is suggested that you first warm the glass by washing it in warm water. Never place ice or iced water into a warm jug or glass as the crystal will break immediately. Conversely, if the glassware is cool, or has been in the refrigerator, warm liquids will also cause breakage.

The commonly held belief that the quality of crystal or glassware can be determined by 'ringing' the glass by flicking the fingernail against the bowl or causing it to 'whistle' by running a moist finger around the rim, is a fallacy and not good for the product. In fact, both practices are actually detrimental to the glass since they cause vibrations and reverberations in the crystal, which, owing to the stresses and strains created by the intense heat of the manufacturing process, causes minute splits in the rim of the glass. These flaws are indiscernible to the naked eye but repeated ringing will, in time, weaken the glass and cause it to be more susceptible to chipping.

Chipped or broken glass should not be used for any other purpose than to display.

The cleaning of glasses is probably when most scratches, damage, breakages and accidents occur. One of the most common calamities is the direct conflict with the taps.

The ideal temperature for washing glasses is about the same temperature that your hands are comfortable in. Avoid using perfumed detergents and remember sudden temperature changes will cause breakage. If you are using pure soap flakes for washing your crystal (these are the best) you may find the glasses particularly slippery. Ensure the soap is completely dissolved, hold the glass by the bowl, clean gently with a cloth and stand upside-down on the drainer on a cloth (tea towel is fine). When the round of glasses is complete, drain the water and refill the sink with clean, unsoaped, water. Rinse and return upside down to drain. You will find the glasses will dry without streaking.

Should you wish to polish your crystal after washing use only a lint free cloth. Other cloths will leave small particles of material snagged on the glassware and detract from its brilliance. When polishing or drying, hold the glass by the foot and wipe gently. A duster will not quite get the effect you desire.

Always remember when collecting your glassware from around the house, use a tray and avoid having the glasses clink together. It is not good practice to put a finger in each glass bowl, gather a number together and carry four or five at a time. This will cause the bowls to grate together and scratch one another.

For decanters, vases and bowls, adopt the same principles as above but do not attempt to stand decanters and vases upside-down. Instead, please make every effort to drain the last of the water out then lay it on its side, on a cloth, with a second cloth placed in the neck as far as possible. This will have the effect of blotting paper and slowly remove all traces of water. In the case of a long slim neck (such as port or claret decanter), try placing the item in a bucket with an absorbent cloth at the bottom.

Some fluids, such as red wine and port, may leave stubborn stains in the base of the decanter. To remove these try adding a spoonful of rice or similar grain, with some soap flakes and warm water to the decanter and shake thoroughly. This usually will suffice. For a final effort to remove a really stubborn mark, use a small amount of dental cleaner and repeat with the grains.

Vases require the same treatment as for decanters.

Please use extreme caution if using a dishwasher as your fine glassware will become cloudy if unsuitable detergents or too high temperatures are used.