Murano, Burano and Torcello by private boat

Programme

• Murano and fireGlassmaking was moved here by decree at the end of the thirteenth century, because of the fire risk in a densely built city. The masters were effectively confined to the island: the secrets were not to leave. We watch work at the furnace and go through the techniques — murrine, filigrana, sommerso — and why handwork is never perfectly symmetrical.
• Telling real glass from fakeThe consortium mark, the pontil scar on the base, weight and price. Shown on objects in your hands rather than described, after which the shops around Rialto lose their appeal.
• Burano and colourA fishermen’s island where the houses were painted in strong colours to be told apart from the water in fog. And the lace tradition: how handmade differs from machined, and why the real thing costs what a piece of jewellery costs.
• Torcello, on the longer routeThe first settlement of the lagoon, later abandoned to malaria and silt. The cathedral of Santa Maria Assunta holds Byzantine mosaics of the eleventh and twelfth centuries, including a Last Judgement across the whole west wall. A handful of people live here now, and it is the quietest place in the lagoon.

Route

• Murano and fireGlassmaking was moved here by decree at the end of the thirteenth century because of the fire risk in a densely built city. The masters were in effect confined to the island: the secrets were not to leave. We watch work at the furnace and go through the techniques — murrine, filigrana, sommerso — and why a handmade object is never perfectly symmetrical.
• Telling real glass from fakeThe consortium mark, the pontil scar on the base, weight and price. Shown on objects in your hands rather than described, after which the shops around Rialto stop being a temptation.
• Burano and colourA fishermen’s island where the houses were painted in strong colours so they could be told apart from the water in fog. And the lace: how the handmade differs from the machined, and why the real thing is priced like jewellery.
• Torcello, on the longer routeThe first settlement of the lagoon, later abandoned to malaria and silting. Santa Maria Assunta holds Byzantine mosaics of the eleventh and twelfth centuries, including a Last Judgement across the whole west wall. A handful of people live here now, and it is the quietest place in the lagoon.
• The crossingsBetween the islands we pass abandoned monasteries and shallows marked out by bundles of piles. Views that no public route offers.

How this differs

The standard trip by vaporetto means waiting at landings, a fixed route, and a glass showroom that pays commission for the delivery of groups. On a private boat we run to our own schedule, enter a manufactory by arrangement rather than by allocation, and nobody takes a percentage of what you buy.

Not for you if

• If you are prone to seasickness — the crossings between islands run up to half an hour.
• If Murano alone is the aim, four hours is generous; we can discuss a shorter version.
• In a strong wind the lagoon closes to small craft and the itinerary moves.

When to go

What the price covers

• A licensed private guide
• A route built around your pace and interests
• A private launch with a boatman throughout
• A visit to a glass manufactory

Paid separately

• Lunch
• Purchases
• Admission on Torcello

The quoted price covers one to three guests. From four upwards, quoted on request.

Practical notes

Length

Four hours for the classic route, up to eight for the longer one

Transport

A private launch, not the public vaporetto

Lunch

Can be added on Burano or in a walled garden; arranged on request

Frequently asked