Personally meeting an artist is always a special event. But meeting one of the most talented mosaic artists in the world today is even more special. A week ago I was invited to the Palos Verdes Peninsula to the home of Mr. and Mrs. Leo and Merrietta Fong where I had the privilege of meeting Mr. Enzo Aiello. The Fongs graciously opened their beautiful home to share their latest piece, the “Getsemani” project by Italian mosaic artist Mr. Enzo Aiello. The moment I walked through the door, the large triptych (with three parts) on the living room wall immediately caught my attention and took my breath away. Making my way past the people admiring this amazing work, I could see tiny bits of gold mosaic glistening in the light as I approached the salmon-colored marble. The single rose in the first panel seemed to be holding tight and the second panel revealed the eruption in the earth of a single stem. By the third panel, the movement was complete, including a peek at the root. The artist later shared with me that this piece has been a project he had been thinking about for 10 years and through a chance meeting become a reality. Mrs. Merrietta Fong shared with me that her husband Mr. Leo Fong President of Quinstar Technology Inc. located in Torrance met Mr. Enzo Aiello through a business associate while in Rome, Italy. After Merrietta saw Enzo’s work on his website, she wrote a short note to the artist via e-mail telling him, “Thank you for the beauty that you add to our world.” She told me, “He answered back, which was surprising to me,” As it worked out, the artist was coming to California, and during his visit they met for dinner and that was the beginning of a fast friendship. As the story goes, the Fongs were enjoying coffee with business associates one evening when Enzo shared some pictures of different projects he was doing. He then offered to do something for their home. Merrietta said, “This is my house–we are not a museum, or a gallery or anything important. It is just our home. And he said, ‘No, I think this would be appropriate.’” Mr. Enzo Aiello had a project he had begun 10 years prior and it seemed as if he had found a home for this special piece. Enzo told me, “Meeting Mrs. Fong gave me the opportunity to finish the project.” Mrs. Fong added, “We talked about various other possibilities, but when Enzo showed us the picture of the prototype and described the whole project, both Leo and I–we fell in love with it. We just had to see if we could do this somehow. This is a once in a lifetime event for us.” The threepanel mosaic piece, the “Getsemani” project, now resides in the Fong home and as Mrs. Enzo Aiello – Accessible, Everlasting ArtFong shared, “We were looking for something special for this spot [their living room wall] and we ended up with something more special than I could have ever dreamed of.”Mr. Enzo Aiello was born on December 26, 1963 in Calabria, Italy and grew up in a very traditional Italian family. Growing up with his brother Pietro, who is exactly one year older to the day, and a younger brother was ideal in this southern Italian town by the sea. His father was a “carabinieri” (military corps with police duties). Enzo told me when he was a young boy his mother would give him a pencil and paper to quiet him down and he would lose himself with the creating. Enzo recalled, “I used to do portraits of the family with pastels and colored pencils. When I was 13 years old, I decided to go to Art High School. When I finished, I decided to go to the Fine Art College at the University and study painting.” He left his hometown for Rome to attend Art High School at the age of 13 and never looked back. “I finished college and began my thesis and I knew the Vatican was looking for somebody to work in the Basilica for a month just to explain art to the tourists. So in order to get the job, I had to go through an interview. I met with a priest who was choosing the candidates and he told me I was the first candidate to come from a Fine Arts College.” Enzo began working inside the Basilica and was there exactly three days when the priest who hired him asked him if he would be interested in learning about mosaic. “Yes, why not,” was Enzo’s reply. That agreement was to change his life. That very day, Enzo was escorted through the Vatican Garden and into the Vatican Mosaic Studio founded in 1727 to begin his apprenticeship. Mr. Aiello told me the Vatican wanted to create their own mosaics inside the church (St. Peter’s Basilica) to replace paintings that didn’t hold up to the weather, time and outside influences. The artisans discovered a way to make over 28,000 colors of opaque glass in the studio. Making their own glass would free them from being bound and beholding to the Venetian glassmakers for their supply of material. The artists were able to duplicate paintings perfectly with the small, colored stones. Italian painter, architect and writer Giorgio Vasari (1511 – 1574) said that mosaic art must imitate painting. To duplicate a painting using the mosaic technique is very difficult work only achieved by a master. The experts working in the Vatican Mosaic Studio did the copy work and were able to duplicate the great paintings with mosaic stone that would sustain the test of time. At the time Enzo worked in the studio, the group of eight “mosaicists” worked on new pieces, renovations and commissions. I asked Enzo what was the first piece he worked on and he said, “I started with a copy of a 12th Century piece–in the Santa Maria Maggiore [church]–a light use that is very important for the decorations because it gives the perspective, the flow and movement of the stones of the flower. That was my first piece.” Enzo worked in the Vatican Mosaic Studio for about two years and then moved on to the city of Ravenna, famous for its mosaic. Ravenna, once the capital of Rome in the 5thCentury, has numerous famous mosaics depicting religious themes. Enzo embraced the Byzantine technique and realized he was no longer an apprentice after his work in Rome at the Mosaic Studio.I asked Enzo what is his favorite piece or what project he would like to do next and he paused, looked toward the living room wall where the “Getsemani” project was hanging and said, “This is my best piece I have ever done. It is a very simple work, but unbelievably complicated. It is the result of 20 years experience.” Yes, Enzo this piece is breathtaking–literally. He went on to further explain, “This is marble mosaic. It is Roman mosaic because the Romans and Greeks used marble on their floors. But the Byzantine technique is the direct technique because you put the stone directly into the cement. The gold glass reflects in the Byzantine technique.” As we both looked at this piece of art, I was blown away keenly aware I was in the same room with this great artist. Mr. Enzo Aiello is one of the most accomplished mosaic artists anywhere, having done many restorative projects here in the United States and abroad. Restoring old mosaics is not easy. Cement has a lot of salt and can destroy the stones in a mosaic, so it is difficult to remove old mosaic pieces and put them in lighter substances. Mr. Aiello uses many different types of cements depending upon what he is working on, but on the “Getsemani” project he used a thin set that is very elastic. “There is a lot of technology in this work, although it is hidden behind the mosaic,” he said. “What I wanted to do with this work is transform the stones, the marble stones, the mosaic sculpture. My idea was to use the antique technique made the antique way–building something that is very contemporary. So, working with a traditional medium to make something very contemporary was very risky.”As I moved toward the center panel and I looked closely at the tiny pieces of marble, I asked Enzo what he hopes people experience when they look at his work and he told me, “The concept of this work is that it unveils the true search in some way. What I want to do–the best goal of my life is–to just work hard and let people in one moment, one second, have a good experience when they see my work, so they feel in some way ‘elighted’ and not be unhappy. This is my goal. It is definitely not a sad art. If somebody sees something that touches their heart, mind, or makes them think better, or have hope, or go home more relaxed and at peace with himself–at that point I feel I have reached my goal. That is my satisfaction.”Enzo added, “Mosaic art is very difficult art and takes a lot of time and patience and it is a very old art–talking of my area, the particular art of the Mediterranean area. I grew up with these things [artifacts]. Wherever I went, wherever I dug [as a child], I could find something antique. I am talking 2,000 years old, not 100 years. I grew up in this culture–the Greek and Roman culture. The beauty of this medium is that it can last at least 2,000 years because we found them [mosaic tiles]. Oil painting was invented in the 15th Century. Mosaic is the most lasting technique in the world. Your work doesn’t have to be shown in galleries. You can display it outside. It is accessible, everlasting art.” Would you like to see Mr. Enzo Aiello’s work? Check out his website at www.aiellomosaics.com and the next time you see a mosaic floor, wall, portrait or mural, remember each and every piece has been cut and placed by hand. Accessible, everlasting art. Yes, Enzo, truly you have brought Italian mosaic art to the world of today. •

“Thank you for the beauty that you add to our world.” A chance encounter in Rome, a visit to Los Angeles, and a beautiful day spent with new friends.  The Fong family was introduced to Enzo Aiello, and soon they embraced his vision for the Getsemani project.
“Understanding the artist’s inspiration and appreciating the excellence, the beauty of his work,  were just the beginning.   The experience of watching the design take shape and actually come to life in these stones has been a spiritual journey, more than just a peripheral involvement,” explained Merrietta Fong.
“I was fortunate, actually blessed, to be able to visit Studio Aiello as the first panel was finished.   When I saw the color, actually felt the light reflected and generated, and then touched the stone, I found myself searching for a connection to something in between the tesserae, in the interstices.   There was a resonance, an energy, a substance created within the art.”
As the second and third panels are born, we eagerly anticipate seeing the fully developed theme of the emerging, triumphant rose.

In 1990 I had the opportunity to apprentice at the Vatican’s mosaic studio where I learned roman, byzantine and the ‘micromosaic’ in smalti filati technque.Mosaics, which according to Vasari, should imitate painting, have been utilized since 1600 by the Vatican studio to reproduce and replace the oil paintings in  St  Peter’s  Basilica which have deteriorated over the years due to humidity.However, those mosaics which mimic a painting perfectly , lose the characteristics of the medium  ,and in the end are , neither mosaic ,nor painting.

A defining aspect of mosaic is its duration over time.

“Truly, of all the endless things one can make with color, none withstand the shock of wind and water as does mosaic”.With these words Giorgio Vasari, a historian from1500, affirmed the long-lastingness of mosaic.Domenico Ghirlandaio, the painter in whose studio Michelangelo apprenticed, said “The true painting for the ages is mosaic”. It makes me think that to beautify his buildings or to make permanent   those images that express his sentiments, man has looked for materials  that would assure a certain longevity.The color that comes from a  paintbrush is transient, and for all the ways  we have found to make it more stable, such as the marvellous technique of Fresco  painting , the  technique of spreading it on fresh plaster ,so that , it can participate in the crystallization  of the fresco, its fate is tied directly to that of the film of plaster applied to the wall and subsequently  exposed to all manner of atmospheric conditions. Mosaic has always given the  impression of stability, of solidity, of everlastingness. All the times i was involved in the restoration of mosaic pavements from a Roman villa dating to the  2nd century BC, and I can assure you that their state of conservation, despite being outside and exposed to the elements, was perfect.

A synonym for mosaic, then, is duration over time.

”Far from being a spontaneous form of artistic expression, mosaic is the product of a rich and refined culture.  Indeed, it first flourished within the cultural and geographical boundaries of the Greco-Roman world, along the Mediterranean basin.  It is not coincidence that at the same time and in the same place, Platone (Plato), Socrate (Socrates) and Artistotele (Aristotle) were building the foundation of modern thought.

A SOPHISTICATED TECHNIQUE

In a mosaic, each piece is distinct yet it only makes sense as part of a whole; each piece has a unique position, and at the same time contributes to the overall composition.  This is another concept crucial to mosaic: the part in relation to the whole, all the many tiny bits make up the whole.Even if  all the bits are separated one from the other by the interstices. This leads to another thought: mosaic is a technique of fragmentation, you break up marble into ever  smaller bits until you arrive at the desired form, that of the tessera.Then  each tessera is reunited with all the others, to recreate the original design.  Why is it necessary to break up marble into so many bits if afterwards one recombines them in a composition? Why is it necessary to do all this?Does this act of the mosaicist perhaps mean something else?Is mosaic a metaphor for something much greater?I am reminded of a myth from ancient Egypt. Being a myth it has no historical  value, still it is interesting to reflect upon. It is a story of the loyalty and  love that Isis, the queen of ancient Egypt, had for her husband Osiris,and the birth of their son Horus. Osiris was the king and Isis, his wife, was the  queen. The king and queen loved each other  and were well loved by the people.Osiris  had a brother, Set, who was jealous of Osiris’ happiness and of the love Isis  had for him. Set desired the adulation of the people and he wished to become  king himself. So he decided to eliminate Osiris and he killed him, cutting his body into fourteen parts and throwing them in the river. Isis swam in the river  , looking for her husband and gathered up, one by one, the fourteen pieces.Together with her sister, , she put them back together. At this point Osiris opened his eyes, but exhausted, he was unable to survive, and he died again. As Isis was leaving Osiris to his fate, she perceived that a son was growing inside of her , Horus.

In a certain way , the antique art of Mosaic might , inconsciusly,repeat this marvellous  mith.Returning to our discussion, the bit that constitutes  the art of mosaic is the tessera: it is an element  with a parallelepiped form, or a cube, approximately  one centimeter square, that is, a geometric entity that is three-dimensional.Therefore you can’t treat it only as a surface; you must respect its volume and work accordingly.The resulting mosaic cannot be flat, but will have interstices and will possibly represent something not quite articulated,something as of yet unknown.This just might be the key. In the past, mosaics were always planned ahead of  time, that is, a copy was to be made, or mosaic was to be used in the service of one of the ‘major’ arts. But if we manage to create something that isn’t defined, or only vaguely sensed, then perhaps in this way mosaic can become a MAJOR ART.

In my opinion this has never been fully understood.

Each  time  that mosaic has  attempted to proclaim itself ART, its enormous conceptual and expressive potential has been suffocated at birth.As a consequence, mosaic has been reduced  to mere  covering, to merely reproducing painting or sheathing  sculpture;it has always found itself in the SERVICE of the major arts-painting,sculpture, architecture-who have used it as a means for executing their own work.Painting  as the master, mosaic as the workman.The EDICTUM DE PRETIIS of the Emperor Diocletian in 301 AD defined the various jobs  and salaries of the people involved in  the production of a mosaic. We Know that thePICTOR IMAGINARIUS was the artist who designed and painted the cartoon,  and for this he was paid 175 sesterzi a day.The PICTOR PARIETARIUS,who transferred the design to scale on the wall or pavement, was paid 75 sesterzi a  day.  The MUSEARIUS, who actually executed the mosaic, received 60 sesterzi while  the CALCIS COCTOR or LAPIDARIUS STRUCTOR, who prepared the foundation and spread out the lime bed, received 50 sesterzi.

HOW A ROMAN MOSAIC WAS BUILT and DIFFERENT MORTAR LAYERS

1)STATUMEN :

first foundation layer,consisiting of a thick rubale bedding,spread over the soil previously levelled and rammed .This layer ensured the perfect drainage of water

2)RUDUS:

the second foundation layer ,spread over the STATUMEN.It was a layer of a corse mortar,made of gravel and lime in the proportion of 3:1,with the additino of  crushed bricks and POZZOLANA for open-air pavements ,This stratum,pounded down thoroughly,was 20 cm thick

3)NUCLEUS:

The third foundation layer,spread onto the RUDUS.It is a stratum of fine mortar , consisting of aggregate(marble dust,sand, cocciopesto)and lime in the proportion of 3:1, and usually 12 cm thick

4)SUPRANUCLEUS:

The fourth foundation layer, a thin layer of fine , white plaster( 8 mm thick), spread onto the NUCLEUS to serve as a setting bed for the tesserae.

The last two layers were usually made with very fine limeand pozzolana,pozzolana is just a vulcanic sand that doesn’t have adhesive qualities, but when used with lime ,changes the features of the lime and converts from a non hidraulic to a hidraulic lime.This means that this new mortar can be installed even under water .Because of this special cement, roman architecture is so solid  and it has survived 2000 years and arrived to us.

The representation of the tessera in position  is a purely mental operation, it takes form as a principle, as an idea, not really in its physical form. On the mental level the tessera is a fragment that separates itself from the whole, and on a lower level, the physical plane, it assumes the dimensions of a small cube.When you attempt to reassemble the whole, recombining the cubes on the physical plane, an ambiguity arises, because you aren’t working on the same levels.The ambiguity arises from the fact that you cannot recombine on a physical plane  that which was broken apart on a mental plane, unless you are able to reassemble all of it on the mental plane,  anticipating the crystallization.But ,this is ,an impossibile task,in fact , no one part must separets from the whole .In the same moment , when the part has left the whole ,it is already too late.The next process, the recombining of all the parts , is but  a desperade and vain attempt to recover a lost unity.

We will se shortly that  , to compensate for this dramatic separation , the mosaicists of Alessandria in Egypt in II century a.C. ,would paint interstices .

However, at this point, i must explain that while , the tessera as part ,and the mosaic  as whole , the mosaic  in turn becomes a simple tessera of an interconnected  mechanical gears  ,more complex and vast ,and every new whole becomes like a premise of a further development possibile and at the same time unimmaginable……….UP TO INFINITY.

Metaphorycly  speaking ,this chain – reaction is like if from each simple branch of  a tree ,other branches , branch out .From this last branch , more branches  , branch out , and this process never ends.So , the concept i express is ,  A PART in relation to THE WHOLE ,THE WHOLE is PART , OF OTHER WHOLES.

This process ,in mosaic , AS AN ART ,must be without end.On a practical level it is this ambiguity that we try to address and solve, which takes us to the fundamental problem of the mosaic medium. How to express continuity of form when we must start from the discontinuity of the material?Mosaic cannot have the same continuity as say painting: the interstices interrupt. Then again, who said mosaic should have the same sort of continuity?

The entire history of mosaic is rife with attempts to find ways to compensate for this interruption, for the fragmentation of the material, to succeed in creating an optical fusion, a progressive connection, such as happens in painting-and it is here where the ambiguity begins.

PEBBLE TECHNIQUE

Let’s stop for a moment and look at the pebble mosaics of the fifth century BC. During this period the mosaicists of Pella added thin strips of lead to Their  pebble compositions, allowing them to delineate a figure or emphasize the lines of the face, creating an impression of graphic continuity that the pebbles alone would never be able to achieve.

EMBLEMATA

After the death of Alexander the Great in 323 BC we witness the diffusion Of Greek culture throughout the entire Mediterranean basin. This is the Hellenistic period, when the ‘emblemata’ first appear.  For the first time mosaico were made  in a workshop, not only on site. Emblemata are square mosaics, up to60 centimeters on a  side; they were mounted on slate, clay or marble slabs,transported to the site and then installed in the middle of pavements that were produced on site. They were executed in the style called “Opus Vermiculatum” by  the Romans, as it looks like teeming worms. The tessere were no larger than 2 or 3 millimeters thick.The invention of this technique represents another attempt in the effort to imitate painting.Having restored many emblematas , I can verify that the Greeks painted the interstices the same color as the surrounding marble, in an effort to conceal the discontinuity. It’s not a coincidence that they call Hellenistic mosaic ‘painting in stone’.  Two thousand five hundred years ago, emblemata  were precious and costly works of art and in contrast to mosaics created on site, they were even signed. The Musivarius, just as all other artists,aspired  to celebrity and public recognition. This fact of signing their work indicates to us that emblematas were considered valuable works of art: collectors paid dearly for them, sometimes traded traded them with other collectors, and had them installed as the centrepiece of their floors.

SIGNATURES

This is how we know the name of Sosos of Pergamo, who Plinio the Elder described as the greatest mosaic artist of antiquity,celebrating him for having invented in the second century BC a type of pavement called ‘the unswept floor’ (asaroton oecon) and for a composition in which you see a few doves perched on the edge of a vase. The tessere in this work are no  larger than a millimetre thick and the stucco work is completely colored, making the illusion of a painting complete. A Roman replica on this theme of the vase with the doves was unearthed at Hadrian’s Villa at Tivoli  . It is displayed in the Capitoline Museums in Rome.  Again, two  important works from Cicero’s Villa in Pompei, dating back to the 2nd century BC, are signed in Greek by Dioskurides of Samos:

I MUSICI AMBULANTI (43 X 41)  THE ITINERANT MUSICIANS LA FATTUCCHIERA (42 X 35)   THE SORCERESS

It represents a scene from a play by Menander. The quality of these two mosaics is apparent in its vast range of colors, the most sophisticated ‘painting in stone, I have ever seen from the Hellenistic period.

Il RITRATTO DI SIGNORA (20 X 25)  PORTRAIT OF A LADY

The first time I saw this piece in the archeological museum in Naples, I was extremely moved and it immediately became a great inspiration to me in my work.(We can see other details of signatures by Hephaistion from the second century BC, in the Greek Hephaiston epoiei, shown as if written on a piece of parchment  in the same mosaic, now in Berlin; and also  Sophilos, in a portrait of the queen Berenice from the second century BC, now in the museum in Alessandria in Egypt.

Apart from the images of these signatures, we know little of the mosaicista themselves.

BAS RELIEF

A bas-relief in Ostia  shows two seated workmen, intent on cutting cubes with a hardie and hammer.

Behind them their master, or perhaps the Pictor Imaginarius, indicates where a sack of material should be placed.

Up until now we have spoken of Greek pavement mosaics. A decisive turning point in the evolution of mosaics takes place in the first century AD. The Romans  built fountains and grottos (MUSAEA and NYMPHAEA) for the muses-divine  protectors of the arts-and nymphs. These sanctuaries were places of repose, providing relief from the summer heat, a place where poets and philosophers  could converse. To decorate them you couldn’t use paint, as it would deteriorate in the humidity; at first they were covered in shells, later tessere of cut  glass were introduced, which gradually prevailed over all the other materials (again here we have an example of the search for longevity and durability). So  for the first time mosaics covered the walls, giving rise to the name OPUS MUSIVUM which refers not to the form of the material but to its final destination.

From their first primitive application in the NYMPHAEA, glass mosaic spread during the course of the first century AD to fountains, columns, pools, thermal baths and bath houses, fulfilling a very practical need.  The glass mosaics were resistant to the action of water and maintained their brilliance, which was actually enhanced by water.

From the second century on, mosaics made of glass paste were utilized in the decoration of walls and vaults in both public and private buildings, and above  all in thermal baths.

This new fact highlights the specific role OPUS MUSIVUM plays in respect to  painting.

As long as Greek-Roman mosaics were confined to pavements, and the paintings on  walls and vaults were frescoes, there was no conflict between the media.

When, however, the OPUS MUSIVUM challenged the spaces traditionally reserved for  painting, it had to demonstrate advantages which would allow it to supplant its rival. The only technical advantage (that of resisting humidity) was not enough, its real advantage lay in its relationship to religious symbolism, in the area  of the new Christian aesthetic.

With the coming of Christianity and the edict of Constantine in 313 AD, which proclaimed Christianity henceforth to be the religion of the Roman Empire, images of the divinity could not be stepped on. Walls and vaults became the places destined for the visual expression of the cult, and mosaics, with the precedent of the NYMPHAEA, was used to cover the walls of the Byzantine

churches.

Additionally, as the Byzantine mosaics of Ravenna from the fifth century AD show, it was no longer necessary to ensure a perfectly flat surface such as was needed for walking on. The glass tessere and the newly introduced gold tessere were affixed directly in place, and were deliberately set at varying angles, with the goal of reflecting light. Along with the element of color we now have  the element of light. The stimulating effect of color reinvigorated by the play  of light remains one of the fundamental objectives of a mosaicist. The Byzantine  mosaicists were masters of this technique.  This is a crucial consideration:

that  all the many tiny pieces, inserted by the mosaicist to make the whole, acquire the property of reflecting light. Just as the heavenly bodies in space reflect the sun’s light ,the tessere give the impression every hour of the day of being sources of light themselves, and in fact, having absorbed the light, radiate it back out and can even illuminate a dark space. Anyone who has entered the tomb of Galla Placidia in Ravenna knows what I am talking about.

Here it is interesting to note the consensus of intent between this new ‘customer’ (the church) and the mosaicists; in the Episcopal Chapel in Ravenna  there is an inscription that reads :

“Whether born here or held prisoner here, in  this place light reigns freely”.

In contrast to the Greek and Roman pagan mosaics-executed as polychrome marble pavements, their emblemata with tessere less than 1 mm width and identified as ‘paintings in stone’-the Byzantine mosaics of the 5th and 6th centuries AD are  distinguished by their religious character. The figures of Christ, Justinian, and Theodora in Ravenna appear static and inanimate, solemn, spiritual, their faces are cold and expressionless. The chiaroscuro of Greek-Roman mosaic gives  way to the color of Byzantine mosaic. Beginning with the Justinian era (from 527 AD on) the hieratic art of Byzantine mosaic completely replaces painting on the walls of churches.

Then, from the Renaissance on,  the position reverses, mosaic  ceases to be considered an autonomous means of artistic expression, and becomes simply a craft  of technical virtuosity. Painting takes its revenge and uses mosaic merely as a  technique for translation. In fact the painter no longer executes the mosaic, but avails himself of a craftsman who is limited to translating the painting or cartoon into a mosaic, and in this way underscores even more the difference  between ART and CRAFT.

In the central portal of St Mark’s Basilica there is a mosaic representing Saint Mark that is rarely noticed unless a guide mentions that the cartoon was done by  Tiziano. Similarly in Rome, the cartoon for the mosaic in the church of San Paolo within the Walls, was drawn by Edward Burne Jones.

These  mosaics offer very little of interest because they are flat ,they imitate painting perfectly but they are, neither one , nor the other. They contribute to Vasari’s mistaken conception that mosaic, due to its long-lastingness, should imitate painting.

And when around 1700, a Roman chemist Alessio Matteoli discovered how to Make opaque glass in hundreds of different colors, this new development was encouraged, supported and protected by the  Reverenda Fabbrica di San Pietro , in Vatican. Matteoli’s discoveries are so jealously  guarded by the Vatican that even today very few people are party to the secrets.

It goes without saying that Matteoli’s discoveries are exceptional; it’s enough  to realize that this same opaque glass created by him, when exposed toheat,  transforms itself into a malleable substance and is easily drawn out into a  thread. This allowed the creation of long thin rods less than a millimeter in dimension.

Thus Giacomo Raffaelli, one of the greatest painters in mosaic,

invented in 1770 the technique of micromosaic in smalti filati , glass threads.

The so – called , FILATO.

From a practical point of view, Matteoli’s invention allowed numerous oil paintings to be reproduced as mosaics, but a great opportunity was lost,

that of creating a ‘renaissance’ of the mosaic art.

Instead  mosaic was immediately  relegated to a role inferior to that of painting, losing its specificity and its enormous potential.

Indeed ,  at this time,  jewelry and interior design used mosaics that became portable : brooches , necklaces, earrings , paperweights , tabletops ,now played host to the techniques of mosaic.

The 16th and 17th centuries,  coincided with the decoration of St  Peter’s Basilica in the Vatican . All the images in the interior ,save one , are mosaics. Two examples stand for all the others, Raphael’s “The Transfiguration” and Lanfranco’s “St Peter at the Lake Tiberias”.

The only image  that is not a mosaic , is found on the central altar of the Chapel of the Holy Sacrament, in the  right nave of the basilica, near Michelangelo’s “Pietà”.

This is to say, the enormous potential of “mosaico filato”, mosaic

utilizing glass tred -is yet to be explored.  One might say that mosaico filato

was  born, but has not yet grown, and after nearly 300 years, no one in Italy,

believe me, has yet understood this.I’ve read the last UNESCO’s most recent report stating that 70% of the world’s works of art are in Italy alone. This is despite the barbarian invasions and despite  the theft of thousands of our works of art by Napoleon.We Italians are inured to our artworks, we live in a period bereft of spirituality, we are so accustomed to seeing the Colosseum, the Riace bronzes, the Ducal Palace in Urbino, the dome of St Peter’s, the Virgin Enthroned by  Raphael, and i could go on………..that we no longer realize what we have; imagine what would happen  should mosaic artists start to realize the potential of the ‘filato’ Many modern artists were influenced by the mosaics of Ravenna. Gustav Klimt, for example, passed a number of weeks in Ravenna and spent a great deal of time studying the gold backgrounds. It is no coincidence that his painting was greatly influenced by this experience.An artist who I feel is greatly undervalued in the history of mosaic art Is Georges Seurat.  We all know Georges Seurat,he was at the forefront of the Neo-Impressionist movement.He wanted to make a science of painting and , to this end ,he studied the ‘laws of simultaneous contrast’ of the French physicist Chevreul, and the Textbook of Color by the American Ogden Rood.He banished ochre from the artist’s palette, the brushstrokes were separated, and each one of these was made so small as to become a mere point. The colors used were , above all , primary and secondary colors, and he worked with the contrast of colors.

Seurat broke down the colors, and reaffirmed the identity of the paintbrush, treating the painting as a mosaic, each brushstroke as a tessera. From a  conceptual point of view you can say he restored to the brushstroke (the tessera) its supremacy.All these are mental operations,  seeing that to do this ,,an irony of fate  , he actually used paint itself.The principles behind his work still need more elaboration, he has only sketched out some lines of inquiry that mosaicists of today might follow.Seurat intuited the possibilities of mosaic art without even realizing it. After his premature death in 1891 when only 32, Paul Signac took over the leading role among the Neo-Impressionists. What interested both Seurat and Signac about Impressionism was the translation of light; the objective in their painting was to obtain the maximum color and light. It is interesting to examine how Signac worked. He worked by division and contrast. Instead of mixing colors on the palette, he   placed individual brushstrokes of pure color immediately adjacent to each other, which at a certain distance blend naturally , in the retina of the observer. Basically the  colors mix not on the palette ,or the canvas, but directly in the observer’s eyes.The final result is an increased, vibrant luminosity;one only needs to step back a  and these many-colored drops ,fuse into wavy luminous volumes.The workmanship of little dots , this uniform and impersonal execution that also had as a goal the elimination of the tricks of the hand ,disappears , and the eye  is seduced by what is essentially painting.Signac, without even realizing it, had made a mosaic.In fact, fourteen  centuries later, he had taken up the study of the reflection of light begun with  the mosaics in Galla Placidia in the 5th century.

SEVERINI

Since the futurist Gino Severini (1883-1966), also a painter, is the next one to continue the work left interrupted by Seurat, it is interesting to note that it is always a painter who describes the autonomy of mosaic, never a mosaicist.  It  should be the contrary. In the history of art we  have seen that mosaic and painting are in eternal conflict and have always been rivals. And yet ,no mosaicist has ever fought for the recognition of the autonomy of his discipline, no mosaicist has ever rebelled against his dependency on painting, it’s as if the mosaicist isn’t conscious, isn’t aware and, it’s the painter who must say :”wake up”.From his frequent citation of Seurat, we can see that Severini understood and shared both Seurat’s expressive message and his desire to study  the science behind his art. Through Seurat, Severini the painter consciously arrived at an understanding  that the individual pigment was magnified, exalted, when next to another  pigment, and even more so when , part of a  chorus of brilliant color.Practically the opposite of the seamless fusion of paint. Is this not a way to  affirm the independence of mosaic? Isn’t this a way to make mosaic autonomous? Isn’t this a way to no longer subjugate mosaic to any other art? In addition, Severini maintained that one of the reasons for the decadence of mosaic  ,is the separation between ART and CRAFT, the separation between he who paints the carton  ,and  ,he , who executes the mosaic.The cartoon should be made by  the same person who carries out the work.For this reason he put forward the  concept of the CARTONE PROGRESSIVO,the ‘progressive cartoon’, in which as the  initial ideas of space and figure and tone evolve during the execution of the mosaic, the cartoon itself changes, in the end becoming a cartoon that reflects  the actual work of art once the tessere have found their final arrangement.This is to say the TESSERE determine the CARTOON and not the other way  around, it is the tesseras  who have the final say.Not only is Severini able to combine the mosaicist and the painter in a single person (which gives equal value to the conceptual autonomy of MOSAIC as compared to ART, and to the MOSAICIST as compared to the ARTIST, (no small thing)but he  also articulated the concept of the TESSERE’S AUTONOMY in regards to the artist himself. In fact, when he speaks of the tessere, he says, we must pay attention when an artist is speaking ,when he writes , he is explaining to the world his CONCEPT  of  art , his idea , his suffering ,and all these things make the difference between ART and CRAFT.

For instance , if you look at the VAN GOGH painting , “ WHEAT FIELD WITH CROWS “ ,well , when you see that beautiful YELLOW, you immediatly think of Joy ,but, if you read the letters between VINCENT and his brother THEO ,when the artist talks about the YELLOW , he says that he uses that color to express the solitude , let’s come back to Severini , he says :”those little fragments of color that are the tessere (definitions are important, the tessere coincide  with the individual brushstrokes) have their own autonomy, that goes beyond the  actual cartoon, even sometimes going against it . . .”"concerning the unique chromatic effect (not always planned) of the tessere linked one to another on the surface, they take on a very precise individuality and ,almost, the power to  decide themselves on the effect”.Practically speaking it is no longer the painter who commands themosaicist, it is no longer the new figure of mosaicist-artist who controls the cartoon, it is the TESSERA itself that emancipates itself from the artist.

A complete conceptual reversal.

ROMAN MOSAICS COME TO HOUSTON WITH VISITING ITALIAN ARTIST

1 Hammer + 1 Chisel + 1 Hour Will Add Up To Centuries of Roman Mosaic Art

HOUSTON, March 15, 2007 — The public is invited to explore the ancient art of Roman mosaics through a free lecture and demonstration of mosaic making techniques by fine arts professor Vincenzo Aiello of Rome, Italy. The University of St. Thomas and Our Lady of Walsingham Institutes of Catholic Culture Studies will host Professor Aiello at 7 PM on Tuesday, March 27, 2007, in Jones Hall on the University of St. Thomas campus at 3910 Yoakum, Houston.

Professor Aiello will explain the history and demonstrate the techniques, practically unchanged for over 2000 years, of fitting hand-cut pieces of multicolored marble, called tessere in Italian, into a design or picture of the artist’s composition.

Then on Wednesday, March 28, 2007, Professor Aiello will treat the youth of the Children of the Holy House Program to an afternoon hands-on mosaics workshop in St Jude Hall at Our Lady of Walsingham Parish, 7809 Shadyvilla Lane, Houston.

And during the lunch hour on Thursday, March 29, 2007, Professor Aiello will treat visitors, volunteers and staff of the Houston Museum of Natural Science to a Brown Bag Lecture on “Roman Mosaics – The Imperial Art Form Today”, including a demonstration of mosaic techniques. The event is at the Lower Level Conference Room at Noon – bring your own brown bag and enjoy this feast for the eyes.

When not working on antique mosaic restoration projects, Professor Aiello teaches at the Fine Arts Academy in Ravenna, Italy, amid that city’s famous historical mosaic treasures in the basilicas and baptisteries cited on UNESCO World Heritage Lists. With over 20 years of experience as a professional mosaic artist, including time at the renowned Vatican Mosaic Studio, he also runs Studio Aiello in Rome, Italy, where he teaches and executes commissions for new mosaics of his own design for clients across Europe and the USA.

AN ART WORKSHOP IN THE HEART OF THE VATICAN

Secluded and discreet, it occupies a segment of VaticanCity which is the ancient hospice of Santa Marta. Set between two arches, in the shadow of the Audience Hall, two steps from Largo della Sagrestia and from Piazza dei Protomartiri Cristiani, the Vatican Mosaic Studio is not much talked about. On 23 November of last year however the spotlights were focused on this particular workshop of art: the day on which his mosaic portrait was presented officially to Benedict XVI, a medallion created by the Studio artists themselves, from a cartoon by a painter from Piacenza, Ulisse Sartini. A portrait that has gone to join the other two hundred and sixty four of the Chronological Series of the Supreme Pontiffs, that adorn the naves of the Basilica of Saint Paul’s Outside the Walls. All of them, since 1847, issuing from the hands of the mosaicists of the Vatican Studio. And yet, once the threshold has been crossed, one finds oneself unexpectedly in a kind of place of marvels: a true and proper atelier, where ten artists with white tunics patiently weave their miniscule colored textures in religious silence, giving life to compositions of great beauty in mosaic. Thus it is that from the meticulous work of the first mosaicist that we meet, the famous Sunflowers of Vincent Van Gogh are taking form: soon the work will fly to the United States, probably to the house of some American customer. Some steps farther on and we are at the kiln: and in the manner of an ancient alchemist, another Studio artist is melting the glazes to create new subtleties of color. Finally, still farther on, we find ourselves in a room that at first sight resembles an old pharmacy, with hundreds and hundreds of wooden drawers: it is the color store. Each drawer has a number and every number corresponds to a color of glaze: twenty six thousand colors in all. The laboratory continuously turns out mosaic jewels of every dimension. And once finished, they are exhibited in a small “art gallery”, right next to the long and narrow room of the workshop: in front of our eyes parade mosaic reproductions of the Madonna of Guadalupe, venerated in the sanctuary of that name in  Mexico City, of the Madonna of Perpetual Succor, whose painting is in the Roman church of Saint Alphonsus Maria of Liguori, and also of theMother of Good Counsel in the sanctuary of Genazzano, in the province of Rome. The copy of the very ancient mosaic of Christ which is in the Niche of the Pallia, next to the Tomb of Peter, in the Sacred Grottos of the Basilica, arouses particular emotion. There are not only sacred subjects but also copies of pictorial masterpieces of Monet, Chagall, Roualt. And also delightful small “easel” works with views of Saint Peter’s Square, the Colosseum and the Roman Forums. An extraordinary visual impact that still however doesn’t account for the importance of the place. A place charged with history and artistic exploits, to say the least, titanic.

The diplomacy of gifts

It is a history that intertwines with that of the Basilica itself. At least since 1578. Since when, that is, Pope Gregory XIII decided to make a start on the decoration in mosaic of the new Saint Peter’s. So much so that the Studio from its beginnings is linked to The Fabric of Saint Peter’s and here, in the manner of an old art studio, the older members gradually transmit to the young artists techniques and secrets that have remained the same for centuries. The Vatican Mosaic Studio has a double function: the conservation and restoration of the mosaics that cover the Basilica (that of the Chapel of the Most Holy Sacrament between 1992 and 1993 was very demanding); and the execution of mosaic works inspired by sacred and profane works of art, ancient, medieval, modern, for sale to the public – by commission also and of whatsoever size. In recent years requests have come from many parts of the world such as the United States, Latin America, the Middle East and Africa. But there is another very fascinating aspect. Many of the gifts that the Pontiff makes to heads of state and foreign sovereigns are often mosaics created by the Vatican Studio – an ancient custom. So much so that a sort of “diplomatic micro-history” could be recounted through the papal gifts: suffice to remember, for example, the very famous table in mosaic with the representation of Achilles’ shield, that Pope Leo XII donated in 1826 to the King of France Charles X: a gesture of gratitude to the sovereign who had encouraged the trading of the papal ships in the waters of the Mediterranean. Pope Benedict XVI, on the occasion of his first visit to the Quirinal, also followed the tradition, presenting the President of the Republic Carlo Azeglio Ciampi with the reproduction in mosaic of the Salus Populi Romani, the image of the Madonna venerated for centuries in the Basilica of Saint Mary Major’s. Whereas last summer, on his journey to Germany, the Pope brought the President of the Federal Republic of Germany, Horst Kohler, a mosaic portraying a nineteenth century view of the Colosseum. But the “diplomacy of gifts” has other extraordinary episodes. John Paul II, for example, on his journey to the island of Cuba, gave a gift of the reproduction of the Christ of the Niche of the Pallia in the Vatican Grottos to the lider maximo Fidel Castro. It was one of Pope Wojtyla’s favorite subjects: he took it with him many times on his journeys to present it to the powerful of the earth. He gave a landscape, instead, to the King of Morocco, and the same occurred with the then President of the United States Bill Clinton. As has been said, along with the reproduction of sacred and celebrated images, the Studio has another function that would make ones hands tremble: the conservation and restoration of the ten thousand square meters of mosaic that ‘carpet’ almost the entire Basilica of Saint Peter’s, taking into account the internal covering of its eleven domes, its altar pieces and altar frontals. Decoration began in the second half of the 16^th century and continued up well into the nineteenth century.

Rome beats Venice: the Roman manner in mosaic

Everything began in the second half of the 16^th century, when Pope Gregory XIII decided to decorate, in mosaic, the new Saint Peter’s Basilica, begun on the initiative of Pope Julius II in 1506, after the demolition of the one built by the Emperor Constantine in the 4^th century. The intention of Pope Gregory was to link back to to the mosaic tradition of the ancient paleo-Christian Roman Basilicas, overflowing with mosaics. After he had exhausted the local mosaic talent, he called to Rome the best that were available in the marketplace, – that is to say the Venetian masters who, teaching the technique to local students, created the first equipe of Roman mosaicists. «It is not in Venice that Renaissance mosaic concludes its splendors but in Rome and in Saint Peter’s» writes the art historian Carlo Bertelli in Rinascimento in mosaico(‘Renaissance in mosaic’ tr.) (various hands, Il Mosaico. Mondadori, Milan 1988, ed. by Carlo Bertelli), adding that : «In the Vatican Basilica, where Giotto’s mosaic continued to be admired throughout the Renaissance as an indisputable masterpiece, mosaic was meant to show continuity with history and did so in the most imperious way, with the immense inscription in Greek and Latin, in mosaic letters on a background of gold, that runs round the whole church… Mosaics lie a little everywhere throughout Saint Peter’s Basilica and the dome in particular is covered with mosaics that, because of its dimensions, constitutes the greatest enterprise in mosaic ever attempted». [Giotto created for the first Constantine Basilica a mosaic representing The apostles’ small  boat, set above the three doors of the ancient portico. Dismounted and remounted several times, it is presently to be found in the portico of Saint Peter’s. Just as Clement X placed it there in 1674, ed.] The first phase of the undertaking involved the decoration of the Gregorian Chapel in 1578 following cartoons by the painter Girolamo Muziano. Immediately afterwards it was the turn of Michelangelo’s dome. The vault, divided by sixteen groins with six orders of mosaics, followed the drawing of Giuseppe Cesare, called the Knight of Arpino, one of the most illustrious painters of Rome, Caravaggio’s great rival. Gradually an immense mosaic carpet spread to cover the other nine domes of Saint Peter’s. For those first interventions, glazes – mixtures of colored glass fused with metallic oxides – produced in Venice were used. And a type of putty with a linen base was employed for the first time to fix the mosaic tesseras to the dome, whose recipe, jealously guarded for four and more centuries, is still used today by the Studio mosaicists. Girolamo Muziano and Paolo Rossetti: they were the pioneers of the great enterprise followed, in the course of the seventeenth century, by Marcello Provenzale, Giovanni Battista Calandra and Fabio Cristofari. Alongside these expert masters of mosaic technique, but also good painters, worked important painters who provided the cartoons, such as Cristofaro Cavallo, called the ‘Pomarancio’, Cesare Nebbia, Giovanni Lanfranco, Andrea Sacchi, Pietro da Cortona and the already mentioned Knight of Arpino. At that time in Rome there was nothing but talk about all the artistic commotion in Saint Peter’s. The guides who accompanied visitors learned the stupefying measurements of the Petrine mosaics: they explained that, for example, in one of the pendentives of the dome, the pen held by Saint Mark drawn by Cesare Nebbia was a meter and a half long, the small cross that separated the inscription under the dome was two meters high and so on. At a certain point however a problem of a technical  nature posed itself: the Venetian glazes used in the dome of the Vatican Basilica propagated a sparkling of colored lights that did not comply with the intention of making the results of mosaic technique resemble those of painting, achieving effects that would trick the eye. But to imitate painting meant being able to use glazes capable of covering an infinitely extended chromatic scale just as the paintbrush can, which is able to modulate an extraordinary range of tones from one color with extreme facility. It was thus then that The Fabric of Saint Peter’s, from the end of the seventeenth century, promoted research aimed at finding glass compounds suitable for this purpose and favorable to the development of kilns specialized in the area. Also because a growth in productivity meant escaping from the Venetian monopoly. In short, a little over half way through the 17^th century, Rome was able to produce such glazes. So much so that Venice itself, which had lost 46 thousand people in the terrible plague of 1630, among them all the principal mosaic artists, had to turn to the Roman mosaicists. 1727: Pope Benedict XIII officially institutes the Vatican Mosaic Studio At the beginning of the 18^th century, two new protagonists appear in the forefront of mosaic art in Rome: Pietro Paolo Cristofari, nominated by The Fabric of Saint Peter’s as superintendent and head of all the painters working in Saint Peter’s, on 19 July 1727; and the ingenious Roman kiln worker Alessio Mattioli who, more or less in that same period, had found a way of producing opaque glazes of an extensive range of tints, a new type of paste on a base of metallic limes that he called “peel”,  and crimson, a color much appreciated for the vividness of the tint and produced in sixty-eight different shades. But 1727 itself was indeed a decisive year for another reason. Through the wish of Pope Benedict XIII the “laboratory” coordinated by two personages was organized as a permanent institution with the name of “Vatican Mosaic Studio” directed and protected by the The Fabric of Saint Peter’s, the senior authority in charge of the conservation and the care of every type of intervention on behalf of the Petrine Basilica. Also because by now Cristofari had transformed the place into a real and proper industry, working as a business. Mattioli’s successes meanwhile marked the overcoming of every barrier settling the equation: mosaic equals painting. The opacity of the new glazes, furthermore, were a guarantee against the chromatic changes connected with the conditions of the light and, along with the range of newly acquired tints, insured optimal results in the making of pictures in mosaic considered as oil paintings to be seen from close up. In 1731 the Fabric guaranteed to Mattioli the monopoly for the supplying of crimson and the so-called “complexion” glazes necessary for defining the complexions of figures. In that year also a kiln was constructed directly in the Vatican. The moment had therefore arrived to achieve an old dream: that of executing copies in mosaic of all the pictorial masterpieces existing in Saint Peter’s, so as to transfer these last to drier and more secure places and at the same time to leave unaltered and enhanced in mosaic the ornamental display of the altars. It is enough to think that in 1711 there were only six mosaic pictures in Saint Peter’s. Today, all the altar pieces in mosaic that we see in Saint Peter’s, that went to substitute the old paintings, were created in the course of the eighteenth century, except for the Deposition of Christ from the Cross from the original by Caravaggio, made during the first two decades of the following century. The artists, called painters in mosaic, admitted to work in the Studio, had to undergo an apprenticeship that could actually last four years, under the guidance of expert artists. And so then it was that gradually over the years these extraordinary artists went on to transfer into mosaic The burial of Saint Petronilla by Guercino, The Communion of Saint Dominic and The Ecstasy of Saint Francis by Domenichino, Poussin’s The Martyrdom of Saint Erasmus, The Crucifixion of Saint Peter by Guido Reni, only to mention some of them. At the same time as this titanic work, the Vatican Studio began to produce works destined for private commission: numerous pictures were made, among them two destined for Maria Amalia of Saxony on the occasion of her marriage to Charles of Bourbon, King of Naples, representing The Savior by Reni and The Virgin by Maratta. Many others took the road to the courts of Portugal, England, Spain.

The minute mosaic

But the great adventure of Roman mosaic was not yet over: about 1770, just at the moment when the Vatican Studio was in a difficult employment crisis, the first steps were taken in Rome toward a new type of mosaic that used “spun glazes” for its compositions. The inventors were Giacomo Raffaelli and Cesare Aguatti, among the most esteemed and expert mosaic painters active between the eighteenth and the nineteenth centuries. What did they discover? That by subjecting the glazes to the heat of the flame a second time, they changed into a ductible substance that could be drawn. This procedure allowed the drawing of long and subtle rods, excellent for the smallest tesseras, even less than a millimeter, and different from the traditional glazes cut to the strokes of a “small hammer”. A real revolution! From that moment onwards works of a fineness and elegance that mosaic had never before known could be achieved. Another mosaic master, Antonio Aguatti, had made a further discovery: the production of rods in which more color tones were mixed and that came out as variously shaded. These glazes were called badly mixed and proved extraordinary for the rendering of the most subtle shifts of light. A new season of miniaturized mosaic began therefore that was utilized to decorate small objects for daily use, such as containers, tobacco boxes, jewels, vases, small pictures, and even table tops, votive offerings, and wall cornices. The subject-matter was generally antiquity. And then there were the landscapes, scenes with the ruins of ancient Rome, but especially reproductions of Saint Peter’s Square. The fact remains that lay and religious aristocracy, foreign travelers, diplomats and royalty on official visits, were literally dazzled by the new expertise in Roman mosaic and made it a success, also economic, of enormous proportions. So much so that in 1795 the Fabric of Saint Peter’s decided to introduce manufacture into the Studio so that it could enter into the market in competition with the private Roman studios that, in the meantime, had flourished in the streets most frequented by the tourists. And it was thus that the Vatican Mosaic Studio gained new vitality. In fact the Vatican mosaicists were called to France, England and, within Italy, to Milan and Naples to teach the noble and profitable art.

The roundels of the pontiffs in Saint Paul’s Outside the Walls

Finally, there is another chapter in the long account of the events of the Vatican Mosaic Studio that merits attention: on the night of 15 July of 1823 the Basilica of Saint Paul’s Outside the Walls was devastated by a violent fire. It seems because of some burning coals that fell from the braziers of the solderers working on the roof. Among the many masterpieces destroyed, almost all the paintings of the Chronological series of the Supreme Pontiffs, a series completed by Salvatore Monosillo in the Holy Year of 1750 at the behest of Benedict XIV, were lost. The forty-one paintings that survived are kept today in the museum of the monastery of the Benedictines, who are in charge of the Basilica. A year after the fire, Leo XII had work begin on reconstruction of the Basilica and it was only sixteen years afterwards that Gregory XVI consecrated the transept, whereas the entire new Basilica was finished under the pontificate of Pius IX who consecrated it in 1854. Some years before, in a decree of 20 May 1847, Pius IX also asked that the chronological series of the popes be repainted, to then be reproduced in mosaic. It was thus that Monsignor Lorenzo dei Conti Lucidi, the then president of the Vatican Studio and bursar-secretary of the Fabric of Saint Peter’s, involved the entire “painter class” of the Pontifical Academy of Saint Luke and nominated a commission for the assignation of the works and the formulation of judgment about the works. Different painters were chosen and, to execute the “roundels” in reasonable time, it was arranged to motivate some of them through the allocation of sums of money beyond those already agreed. Between 1848 and 1849 many of the roundels in oil were finished, while translation into mosaic lasted until 1876. The directives on the creation of the portraits of the pontiffs were most detailed and numerous, suggested even down to the smallest details by Pius IX himself. In the agreement between the special Commission appointed for the rebuilding of Saint Paul’s and the Fabric of Saint Peter’s it was established, among other things, that «the said images should be made in mosaic in the Studio of the Fabric of Saint Peter’s», and that they should begin with the «venerated image of the Prince of the Apostles, Saint Peter, down to that of the reigning Supreme Pontiff Pius IX». From then onwards, the paintings and the mosaics were all made according to and respecting the rules of the agreement stipulated for the remaking of the Chronology. Such as happened again with the portrait of Pope Ratzinger presented officially on 23 November of last year and placed on the right nave of Saint Paul’s Basilica next to the effigy of John Paul II. Three mosaicists worked on the mosaic at the same time. They are satisfied, they told us, with their work because they had the impression that the Pope was pleased.

This article comes from http://www.30giorni.it/us/articolo.asp?id=10283

Project Objectives
Mosaic pavements constitute a shared inheritance from the Roman and Byzantine world throughout the Mediterranean region. Due to the vast number of mosaics presently at risk, there is an urgency to determine common problems, to promote the exchange of information, and to coordinate efforts in exploring means of better conserving these important historic documents and artistic creations of the past. Working toward these goals, the objective of the Mosaics in Situ project is to enhance the capacity of national authorities and individuals to conserve mosaics in the Mediterranean region through:

• contributing to a better understanding of the causes of deterioration of in situ mosaics and the development of methods and approaches to their maintenance and conservation;
• improving the skills of professionals and technicians in the areas of maintenance, conservation, and management planning for mosaics;
• disseminating widely the results of the project

Project Overview
The Mosaics in Situ project addresses a number of topics related to the conservation and management of ancient mosaic pavements in situ. Aimed principally at the Mediterranean region, the project began in 1998, building upon and furthering the goals of previous GCI activities in this area—specifically the 1990 and 1993 international courses on conservation and management held in Paphos, Cyprus; a 1995 conference on the conservation of archaeological sites in the Mediterranean;

a 2000 workshop on management planning for archaeological sites, held in Corinth, Greece; and co-sponsorship of the 1996 conference of the International Committee for the Conservation of Mosaics (ICCM), held in Nicosia, Cyprus.

The project is currently built on partnerships with three national authorities in three countries. The research program involves collaboration with the Israel Antiquities Authority (IAA) and English Heritage (EH). On-going training in Tunisia is a collaboration with the Institut National du Patrimoine (INP).

In recent years the fundamental goal of preserving ancient mosaics has manifested itself through shared objectives and complementary efforts with other GCI departments and other Getty entities. From 2007-2009, the GCI’s Education Department undertook capacity building in site management for mosaic sites in Tunisia and in 2006 the J. Paul Getty Museum mounted an exhibition at the Getty Villa on the mosaics of Tunisia. The catalogue from the exhibition, Stories in Stone, as well as the publication of Tunisian Mosaics, Treasures from Roman Africa in the GCI’s Cultural Heritage series have highlighted the importance of these masterpieces of the ancient world. In 2008 the GCI and the Getty Foundation, in collaboration with ICCROM and ICCM, launched a major initiative,MOSAIKON, to enhance capacity in the conservation and management of mosaics in the Mediterranean region.

Enzo also  colaborates  with very important  contemporary artists in order to interpret their works in contemporary mosaic.The “Oculus “ mosaics created with the roman mosaicist Rinaldo Piras,for the artist Ginzel and Jones ,at the Subway stations in New York city, are one example.Oculus is a constellation of marble and glass mosaic in the underground labyrinth of interconnected subway stations of lower Manhattan.More than 300 Roman Mosaic eyes drawn from a photographic study of more thab twelve hundred young  New Yorkers ,made together with the Mosaicist Rinaldo Piras , are set into the white tile walls of the World Trade Center/Park Place/Chamber Street Stations. For Enzo ,this was an extraordinary experience in which Enzo he was responsible for creating the prototype of the “First Eye” and many multiracial others.As Jones and Ginzel say:” The work’s detailed renderings of the eye.the most telling, fragile,and vulnerable human feature-offer a profound sense of intimaci within a public space.Together , the images create a sense of unity and flow:animating, orienting and humanizing the station.OCULUS invites a dialogue between the site and those who move through it.

Oculus Mosaic

The mosaic ‘Dov’è la Vittoria’, created in collaboration with the artist Luca Buvoli, is another example of how mosaic can interpret the sensibility of the artist. This mosaic, in marble and glass paste, is mounted on honeycomb aluminum.

Mosaic reproduced for new SS. John and Paul Church

SS. John and Paul Parish in Franklin Park/Marshall Township, nearing completion of construction on its church building, this month installed a large-format mosaic of the Blessed Mother on the exterior of its bell tower.

Italian mosaic artist Enzo Aiello arrived to personally adhere his “Mater Ecclesiae” (“Mother of the Church”) creation to the structure.

The artwork, measuring 5 feet 9 inches by 10 feet 6 inches, faces the parish’s main driveway and will be one of the first images visitors see.

The story of the parish’s new mosaic, according to Father McCaffrey, pastor, is an example of “how Divine Providence worked into this, with how flawlessly it has worked out.

“We have the feeling that the hand of God is on this,” he said.

The original image of the Blessed Mother, known as the Altar of Our Lady of the Column, was painted on a column in the St. Peter’s Basilica in Rome. After Vatican II, Pope Paul VI named it “Mater Ecclesiae.”

In 1981, after the attempt on his life, Pope John Paul II commissioned a mosaic reproduction of it for the outside wall of the Apostolic Palace in thanksgiving to the Blessed Mother, whom he credited for his survival. It carries the pope’s motto, “Toto Tuus,” at the bottom.

Father McCaffrey led a pilgrimage of parishioners to Rome to attend the ceremonies elevating the parish’s founding pastor, Archbishop Daniel DiNardo, to the rank of cardinal.

Standing in line to enter St. Peter’s, Father McCaffrey noticed the mosaic, hanging between the basilica and the papal residence. He was impressed by its beauty and soon learned its history.

“I said to Bob and Chris Pietrandrea, who were on the trip with us, ‘It would be nice if we could get a replica and place it on the church as a beautiful connection with Pope John Paul II and the universal church,’” Father McCaffrey recalled.

The couple, later standing in line for another audience following the ceremonies, were talking about the idea, when a man, overhearing them, said, “I’m a mosaic artist.”

It was Enzo Aiello.

Soon, the match was made.

Father McCaffrey and the couple returned several months later to visit Aiello’s studio and view his drawing of the proposed mosaic and make the commission official.

The blue-and-gold image of Mary and the Child Jesus created for SS. John and Paul is a much larger version of the original, as interpreted by Aiello. He worked on the project for four months, creating it in sections. He then installed the replica by section.

Aiello is pleased with the result.

“It’s getting a great emotional reaction from people,” he said. “The image of the Madonna is a very powerful symbol.”

Aiello has worked as a mosaic specialist for 20 years, beginning as an apprentice in the Vatican Studio of Mosaic in Vatican City, which dates back to 1727.

Today he lives and works in Rome, where he also restores antique mosaics and teaches. His works are on view at sites in New York and other parts of the country.

“The result was unexpected,” he said, noting the response of people seeing the image for the first time was emotional and positive. “It’s receiving lots of compliments. I was very surprised.”

Father McCaffrey said, “It’s a thrill to look at it. It’s just magnificent. It truly does look just like the one in Rome — just bigger. And it strengthens our ties between Pope John Paul II and SS. John and Paul.”

As the scaffolding was being removed, Aiello was putting finishing touches on the brickwork framing the work and cleaning the mosaic before attending its unveiling on Sunday, Sept. 20.

The parish is hoping to dedicate its completed church on the feast of Our Lady of Guadalupe, Dec. 12, pending completion of construction work. That work involves masonry both inside and outside of the structure, followed by paving of access sidewalks.

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