STORY SEAH NIDA | IMAGES THE GILBERT COLLECTION Rediscover the ancient art of mosaic, along with the colourful histories and cultures associated with it.
A small piece of glass or stone may not mean much by itself, but put many of them together and they can produce some of the most magnificent images, jewellery and decorative items to have stood the test of
time. Achieving strength in numbers, the mosaic is an ancient, intimate art form that draws you to experience its world on a smaller and more intricate scale.
Mosaics can be traced as far back as the ancient civilisations of Mesopotamia, and are found all over the world, from the gardens of China to as far away as the Mayan ruins in South America. Composed of tesserae (small pieces of cut stones, tiles, glass and even gold), mosaic thrived during the Greco-Roman period and Byzantine era where it adorned the walls of buildings and pavements. Many mosaics have survived the ravages of time remarkably well.
Preserving this ancient art form is Sir Arthur Gilbert who has amassed, over 30 years, one of the largest collections of mosaics in the world. On display at Somerset House in England, the Gilbert Collection includes two distinct types of mosaic – Florentine hardstone mosaic or pietre dure, and Roman micromosaic. Both forms were highly prized and coveted by European rulers and aristocrats.
Florentine mosaics are made of marbles and semi-precious hardstones that are cut and polished, then inlaid in wood and marble to create the colourful surfaces of cabinets, tables, clocks and pictures. The pieces cover a broad period from the 17th century to the late 19th century. One significant piece on show at Somerset House is a set consisting of a necklace and earrings in gold, circa 1800 to 1810. The set had originally belonged to Napoleon’s sister, Caroline Murat, Queen of Naples, and was possibly a gift from her sister Elisa, who became Grand Duchess of Tuscany in 1809.
Another piece is a cabinet with birds and flowers in pietre dure, ebony and marquetry, circa late 17th century. With stones cut with great precision, it demonstrates the difficult techniques used to form decorative pictures. It was made in the Grand Ducal workshops in Florence, where some of the most luxurious objects were created. The Roman micromosaics in the Gilbert Collection feature more than 200 objects, and are comparable to the collections at the Hermitage in St Petersburg and the Vatican
Museum in Rome. The term ‘micromosaic’ was coined by Sir Arthur Gilbert to describe the technique that evolved in Rome during the 18th century. Unlike conventional mosaic, this technique uses tiny pieces of opaque glass threads, or smalti filati, that have been grounded and polished. Each has a specific cross-sectional shape and is placed vertically into the micromosaic. They are so small that some contain as many as 5,000 tesserae per square inch.
Micromosaic underwent a revival during the 18th and 19th centuries, and it is during this period that
some of the most stunning and intricate pieces were produced, and a majority of the Gilbert Collection were amassed. In the collection are large pictures, tables, snuffboxes, jewellery and small plaquettes of incredibly fine detail. One remarkable example is a pair of vases in marble, pietre dure and micromosaic decoration, once owned by Empress Josephine of France and amongst the gifts brought from Rome by Pope Pius VII for the coronation of Napoleon in 1804. They are the earliest known forms of micromosaic executed on a curved surface.
The Vatican Mosaic Workshop was where smalti filati was developed, so it is no wonder this is where some of the most elaborate and intensely spiritual paintings originated. In fact, micromosaic became a means to reproduce masterpiece paintings so as to preserve them. An example in the Collection is George Stubb’s Tigeress Lying Below Rocks by Decio Podi Aguatti, circa 1850. Much of the micromosaic production eventually migrated to private workshops, which competed with one another to make ever more finely executed images. A jewellery set featuring views of Rome, by Luigi Freschi, circa 1840- 1860, and a table with six landscapes of southern Italy by Michelangelo Barberi, circa 1850, are other examples of the refinement and design of micromosaics.
Mosaic is much more than a technique of decorative art; it offers us a glimpse into a culture’s historical, social and artistic background. With the Gilbert Collection, one can be sure this art form will not be forgotten. S
