The history of micromosaics in the late 18^th and 19^th centuries is connected to the Vatican Mosaic Studio, a permanent institution founded in 1727 under the jurisdiction of La Reverenda Fabbrica di San Pietro. The Vatican produced two types of glass mosaic. The wall mosaic, known as ‘stile grande’ or ‘large scale mosaic,’ used larger square tesserae created by cutting glass enamels into cubes and then slicing them to form regular squares. In the late 18^th century, the ‘stile minuto’ technique emerged using opaque glass pulled into thin threads while hot. The resulting canes were then sliced into micro tesserae, also called ‘smalti filati’ or spun enamels, to create the mosaic. Early micromosaics predominantly featured rectangular and square tesserae arranged in rows and had a limited color range, but by the 19th century the technique had been perfected and the color palette became virtually unlimited. The support base for mosaics, called ‘cassina’, was typically made of copper, though marble was also used.

Mosaicists working in the Vatican Studio were not well compensated, but the papal workshop did not exclusively own the mosaic techniques. The artists began working independently to supplement their incomes and many private micromosaic workshops flourished in Rome during the early 19th century. Most were situated near the Spanish Steps, where wealthy tourists on the “Grand Tour” would frequent artists’ studios, purchasing souvenirs to take home. The Grand Tour – an educational rite of passage for British and other European nobility popular from the 17^th to mid-19^th centuries – was a journey around the European continent for exposure to Classical and Renaissance art and culture.

Giacomo Raffaelli (1743-1836) held the first documented exhibition of micromosaics in 1775 that enchanted the travelers of the Grand Tour by displaying small fashionable accessories, as well as larger items. A brilliant craftsman and designer, Raffaelli reinvented the mosaic in profound ways, combining elements from the natural and classical worlds. After Raffaelli’s exhibition, this genre became an obsession. He is credited with creating a fashion trend that lasted throughout the 19th century. Historical sources indicate there were almost one hundred mosaic workshops in Rome by the second half of the 19^th century, growing in number to satisfy the increased demand of the mosaic collectors, tourists, and international exhibitions from around Europe as Roman mosaics became prized possessions.

The Vatican Studio followed the trend and began selling mosaics to private clients as well. Inspired by iconic subjects from Renaissance masters, mosaicists working for the Reverend Studio of St. Peter created remarkable works. For instance, “Madonna della Seggiola” (The Madonna of the Chair) is based on a 1512 painting by Raffaello da Urbino (1483-1520). The virtuoso interpretation of the original depicts Mary as a young peasant woman holding the Child at her chest in a chair reserved for papal dignitaries. Another example is Biagio Barzotti, 19th century mosaicist who collaborated with the Vatican Studio. In 1879 he was commissioned for a mosaic showing St. Peter’s Square at the moment of the Papal blessing. Barzotti’s mosaic was very successful, and he repeated it in several other versions. The panoramic view is very unusual for this size mosaic: the detailed architectural elements, the crowd of people and carriages, the Swiss guard on horseback. This mosaic photographically conveys the atmosphere of intense participation of the people and tourists in the presence of the Pope, represented in the window from which he imparts the blessing. Barzotti’s skilled work is one of the most celebrated views of St. Peters Square. Both mosaics from the Driehaus collection are on display at the Lizzadro Museum through August 31, 2024.

Dr. Anna Maria Massinelli is a Art History Professor at the Academy of Fine Art of Brera in Milan, Italy. She specializes in Decorative Arts including Pietra Dura, Micromosaics, Jewelery, and the History of the Medici Grand-Ducal Collections. She has contributed to exhibition catalogues, international conventions, art magazines and written several books on these subjects. She will present “Roman Micromosaic Treasures” on Saturday, August 17 at 2 p.m. via Zoom.
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