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拍品专文
The micro-mosaic technique enjoyed a revival in the late 18th and early 19th century. Employing minute tesserae of fired coloured glass derived from the multi-coloured strips, the smalti filati, produced in Venice, are placed next to each other, to create painterly effects. The increasing demand for Roman mosaics made possible the flourishing of several independent workshops in the capital.
Vedute, usually portraying famous sights in and around Rome, such as the present lot, had long been popular with the grand tourist and these mosaics were produced for such a market. Their appeal was further heightened by their appearance at the International Exhibitions in Europe during the second half of the 19th century. One such artist, Domenico Moglia, whose works were listed in the official catalogue of the Crystal Palace Exhibition of 1851, produced works depicting popular landmarks in Rome. His micro-mosaic of the Roman Forum, illustrated in A. Gonzales-Palacios The Art of Mosaics. Selections from the Gilbert Collection, Los Angeles, 1982, p. 187, fig. 86, is strikingly similar to the depiction of The Roman Forum illustrated in the present lot.
Vedute, usually portraying famous sights in and around Rome, such as the present lot, had long been popular with the grand tourist and these mosaics were produced for such a market. Their appeal was further heightened by their appearance at the International Exhibitions in Europe during the second half of the 19th century. One such artist, Domenico Moglia, whose works were listed in the official catalogue of the Crystal Palace Exhibition of 1851, produced works depicting popular landmarks in Rome. His micro-mosaic of the Roman Forum, illustrated in A. Gonzales-Palacios The Art of Mosaics. Selections from the Gilbert Collection, Los Angeles, 1982, p. 187, fig. 86, is strikingly similar to the depiction of The Roman Forum illustrated in the present lot.