Carlo Scarpa began working for Cappellin in 1926, gradually modifying both the forms and materials produced in favour of those more opaque with light decorative elements. As often happens, not every critic welcomed the innovation that seemed to betray the defining transparency and airiness of Murano glass. Appreciation and esteem also arrived from highly qualified observers, however. Among many others, Gio Ponti praised the simple, elemental forms of Cappellin’s latest offerings that made the quality of Scarpa's glass even more enticing.
Marina Barovier (editor), Carlo Scarpa. I vetri di Murano 1927-1947, Il cardo, Venice 1991, page 61, no. 10.