When a master glassmaker wants to enrich the sculpture with gold leaf, they can choose between two options.
The first, which dates back to the second half of the fifteenth century, sees gold as an integral part of the compound, placing a sheet on part of the glass mixture collected from the crucible. The master carries out the blowing operation which disperses the gold in the compound and gives rise to a golden dust effect.
The brilliant dust that is created inside the glass discreetly embellishes the object that the master will then create.