Larry Freeman in his 1956 text, Iridescent Glass, makes an interesting comparison to L.C. Tiffany’s iridescent glass.

“The simplicity and purity of line of most Aurene productions is typical of classical art, and is much preferred by today’s collector to the tortured surface indentations and extravagant curves of Tiffany’s oriental shapes. No pressing was done with Aurene, hence there are no pressed surface patterns typical of the iridized carnival glass. The blower did use a tool, however, to give the item flaring margins, ridges and grooves. While still hot on the punty iron, the completed article would be subjected to a reducing flame which helped bring the salts of rare metals to the surface. The iridescence was now furthered by spraying the still hot object with another metallic chloride, which crumbled the metallic skin into tiny puckered lines and aided light reflection and refraction.” P. 43