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Micro mosaic; Rome, ca. 1850."View of St Peter's Square".Micro enamel tesserae.Size: 13 x 18 x 2
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Description
Micro mosaic; Rome, ca. 1850.
"View of St Peter's Square".
Micro enamel tesserae.
Size: 13 x 18 x 2 cm.
Where mosaic art made its greatest inroads was in the reproduction of urban scenes that formed part of the Grand Tour routes. This bird's eye view of the city, specifically of St. Peter's Square, has the typical characteristics of this type of work. In the skyline, the colours range from the pinkish tones of the city skyline to the more cerulean tones of the atmosphere. A variety of ochre and earth tones describe the architecture.
The art of micromosaic came to fruition during the 18th and 19th centuries. The term was coined by Sir Arthur Gilbert to refer to mosaics made with small pieces of enamel. The use of birds was common in Florentine mosaics to represent the seasons as early as the Renaissance, and became more frequent during the Baroque period, as emblems of purity and the soul. The art of micro-mosaic was born in the Vatican to cope with the deterioration of its collection of paintings. Realising that architectural mosaics retained their colour over time, the papal workshops began experimenting with the technique of glass mosaic to reproduce the masterpieces. The Vatican kept the secret of the formula that allowed an exact reproduction with micromosaics whose lack of gloss and chromatic quality made the copy indistinguishable from the original painting. As early as the 19th century, private workshops began to proliferate in Rome in response to the demand of the tourist market. Commercial mosaics became available in a variety of decorative pieces. Many of them are preserved in the Hermitage Museum in St Petersburg, in the Gilbert Collection in London and in the Vatican itself, whose workshops are probably responsible for this piece.
"View of St Peter's Square".
Micro enamel tesserae.
Size: 13 x 18 x 2 cm.
Where mosaic art made its greatest inroads was in the reproduction of urban scenes that formed part of the Grand Tour routes. This bird's eye view of the city, specifically of St. Peter's Square, has the typical characteristics of this type of work. In the skyline, the colours range from the pinkish tones of the city skyline to the more cerulean tones of the atmosphere. A variety of ochre and earth tones describe the architecture.
The art of micromosaic came to fruition during the 18th and 19th centuries. The term was coined by Sir Arthur Gilbert to refer to mosaics made with small pieces of enamel. The use of birds was common in Florentine mosaics to represent the seasons as early as the Renaissance, and became more frequent during the Baroque period, as emblems of purity and the soul. The art of micro-mosaic was born in the Vatican to cope with the deterioration of its collection of paintings. Realising that architectural mosaics retained their colour over time, the papal workshops began experimenting with the technique of glass mosaic to reproduce the masterpieces. The Vatican kept the secret of the formula that allowed an exact reproduction with micromosaics whose lack of gloss and chromatic quality made the copy indistinguishable from the original painting. As early as the 19th century, private workshops began to proliferate in Rome in response to the demand of the tourist market. Commercial mosaics became available in a variety of decorative pieces. Many of them are preserved in the Hermitage Museum in St Petersburg, in the Gilbert Collection in London and in the Vatican itself, whose workshops are probably responsible for this piece.
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Micro mosaic; Rome, ca. 1850.
"View of St Peter's Square".
Micro enamel tesserae.
Size: 13 x 18 x 2 cm.
Where mosaic art made its greatest inroads was in the reproduction of urban scenes that formed part of the Grand Tour routes. This bird's eye view of the city, specifically of St. Peter's Square, has the typical characteristics of this type of work. In the skyline, the colours range from the pinkish tones of the city skyline to the more cerulean tones of the atmosphere. A variety of ochre and earth tones describe the architecture.
The art of micromosaic came to fruition during the 18th and 19th centuries. The term was coined by Sir Arthur Gilbert to refer to mosaics made with small pieces of enamel. The use of birds was common in Florentine mosaics to represent the seasons as early as the Renaissance, and became more frequent during the Baroque period, as emblems of purity and the soul. The art of micro-mosaic was born in the Vatican to cope with the deterioration of its collection of paintings. Realising that architectural mosaics retained their colour over time, the papal workshops began experimenting with the technique of glass mosaic to reproduce the masterpieces. The Vatican kept the secret of the formula that allowed an exact reproduction with micromosaics whose lack of gloss and chromatic quality made the copy indistinguishable from the original painting. As early as the 19th century, private workshops began to proliferate in Rome in response to the demand of the tourist market. Commercial mosaics became available in a variety of decorative pieces. Many of them are preserved in the Hermitage Museum in St Petersburg, in the Gilbert Collection in London and in the Vatican itself, whose workshops are probably responsible for this piece.
"View of St Peter's Square".
Micro enamel tesserae.
Size: 13 x 18 x 2 cm.
Where mosaic art made its greatest inroads was in the reproduction of urban scenes that formed part of the Grand Tour routes. This bird's eye view of the city, specifically of St. Peter's Square, has the typical characteristics of this type of work. In the skyline, the colours range from the pinkish tones of the city skyline to the more cerulean tones of the atmosphere. A variety of ochre and earth tones describe the architecture.
The art of micromosaic came to fruition during the 18th and 19th centuries. The term was coined by Sir Arthur Gilbert to refer to mosaics made with small pieces of enamel. The use of birds was common in Florentine mosaics to represent the seasons as early as the Renaissance, and became more frequent during the Baroque period, as emblems of purity and the soul. The art of micro-mosaic was born in the Vatican to cope with the deterioration of its collection of paintings. Realising that architectural mosaics retained their colour over time, the papal workshops began experimenting with the technique of glass mosaic to reproduce the masterpieces. The Vatican kept the secret of the formula that allowed an exact reproduction with micromosaics whose lack of gloss and chromatic quality made the copy indistinguishable from the original painting. As early as the 19th century, private workshops began to proliferate in Rome in response to the demand of the tourist market. Commercial mosaics became available in a variety of decorative pieces. Many of them are preserved in the Hermitage Museum in St Petersburg, in the Gilbert Collection in London and in the Vatican itself, whose workshops are probably responsible for this piece.
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