something that I don't have to get approved by twelve to fourteen people?'" Studio Glass Movement In March, 1962 Harvey Littleton, then a ceramics instructor at the University of Wisconsin-Madison, held the first of two week-long glassblowing workshops in a storage shed on the grounds of the Toledo Museum of Art. He had presented the workshop idea to the museum's director, Otto Wittmann, who agreed to it perhaps, Littleton suggested, as a means to draw a broad public to the museum. An industrial glass town, Toledo was home to the Libbey Owens Ford Company, as well as Johns-Mansville, which had purchased Toledo's L.O.F. Glass Fibers company in 1958. Littleton enlisted Labino's help in the workshop for his knowledge of glassblowing's technical aspects. Labino initially advised Littleton about the type of fire bricks to use in the construction of the furnace for the workshop. Labino also donated the steel and burner for the furnace, while Littleton brought the bricks from his studio in Wisconsin. Thus the stage was set for the seminal event of the Studio Glass Movement. The workshop, which began on March 23, did not start out smoothly. The first glass batch did not melt properly, and the stoneware crucible that Littleton had made to hold the molten glass in the furnace broke apart in the intense heat. Labino suggested that they melt the glass directly in the furnace; he then directed the conversion of the pot furnace into a small day tank. Instead of trying to melt another load of glass batch, Labino re-charged the furnace with the low-melting formula #475 glass marbles that he had developed for Johns-Manville for the production of fiberglass. The marbles, which melted at a relatively low temperature, produced glass that was malleable enough to blow. This enabled the workshop to continue and, with the craft's technique demonstrated by two retired industrial glassblowers, Harvey Leafgreen and Jim Nelson, participants blew glass around the clock. Littleton would go on to found the first fine art glass program at the University of Wisconsin–Madison. Here Labino provided further valuable assistance. When the University of Wisconsin-Madison accepted Littleton's proposal to create a graduate glassblowing program in its fine art department, it did so with the stipulation that funds from outside the university be provided to purchase the equipment. Labino arranged for Johns-Mansville to donate $1000 and 2,400 pounds of #475 glass marbles to the program. Littleton's students