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Lot Essay
This inlaid marble top imitates in an unusual manner the Ancient Roman 'opus sectile' of the first centuries A.D. It is signed by Francesco Sibilio, who was a Roman marble craftsman and merchant, active during the papacy of Pius VII. His collection of semi-precious and hard stones, as well as marbles, was very famous at the time. He was also considered to be one of the major experts in this field. Faustino Corsi, in an important treatise on ancient Roman marbles, cites Sibilio's name many times. González-Palacios, as well as eminent 19th Century scholars, such as Francesco Belli, have named some particularly unusual marbles after him, as it is known that he owned large pieces of them. Still today, definitions such as 'Sibilio's mischio granit', 'Sibilio's red lumachella' or 'madreporite', are used. Corsi also records certain pieces executed by Sibilio (Delle Pietre Antiche, Rome 1845). González-Palacios has traced back some of these works: a table top signed and dated 1824 and two small malachite and lapis lazuli columns, beautifully carved, also signed and dated 1833. The work of putting together, with such precision, soft glass paste with very hard stones, such as porphyry and serpentine, in such thin geometric shapes, is unique and definitely out of the ordinary. The central circular decoration is inspired by Medieval Art. This demonstrates how Francesco Sibilio was a man sensible to the aesthetic and cultural interests typical of the Restauration period, which went beyond the ones developed by the Neoclassic era.
A closely related table top, centred by a Medusa's head, also signed by Francesco Sibilio and dated 1824, was sold in these Rooms, 11 June 1987, lot 123. Of this small, closely related group, one is in the Vatican Museum and a further example, attributed to Giovanni Rossignani (to whom it was ascribed when exhibited in the 1867 Paris International Exhibition by the Pontifical Government) was sold anonymously in these Rooms, 6 June 1991, lot 300. Rossignani is recorded as one of the maestri in the Reverenda Fabbrica di san Pietro, and it is probable that Sibilio worked in the same workshops.
The glass fragments used in such tables come from mosaic glass vessels, mostly bowls, dating from the late 1st Century B.C. to the early 1st Century A.D. These include fragments of millefiori, ribbon-glass, reticelli and glass imitating marbles such as giallo antico and verde antico. These fragments were excavated in the 19th Century and heated in order to level and smooth them. Dealers in Antiquities often polished them and mounted them in cardboard strips with gilded edges.
We are grateful to A. González-Palacios for his help in preparing this catalogue entry.
A closely related table top, centred by a Medusa's head, also signed by Francesco Sibilio and dated 1824, was sold in these Rooms, 11 June 1987, lot 123. Of this small, closely related group, one is in the Vatican Museum and a further example, attributed to Giovanni Rossignani (to whom it was ascribed when exhibited in the 1867 Paris International Exhibition by the Pontifical Government) was sold anonymously in these Rooms, 6 June 1991, lot 300. Rossignani is recorded as one of the maestri in the Reverenda Fabbrica di san Pietro, and it is probable that Sibilio worked in the same workshops.
The glass fragments used in such tables come from mosaic glass vessels, mostly bowls, dating from the late 1st Century B.C. to the early 1st Century A.D. These include fragments of millefiori, ribbon-glass, reticelli and glass imitating marbles such as giallo antico and verde antico. These fragments were excavated in the 19th Century and heated in order to level and smooth them. Dealers in Antiquities often polished them and mounted them in cardboard strips with gilded edges.
We are grateful to A. González-Palacios for his help in preparing this catalogue entry.