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An allegorical micro-mosaic plaque, late 18th Century
Further images
The oval plaque inlaid with tesserae in a micro mosaic scene depicting an allegory of love composed of a flaming athenienne between a bow and quiver of arrows, upon a...
The oval plaque inlaid with tesserae in a micro mosaic scene depicting an allegory of love composed of a flaming athenienne between a bow and quiver of arrows, upon a dark blue background within a border of blue and white tesserae, late 18th Century, attributed to the school of Giacomo Raffaelli (Italian, 1753-1836). Dimensions: 6.7cm diameter
Executed with the realism of a masterful hand, this micro mosaic is a beautiful example of the sort of virtuoso work created by Raffaelli and his studio during the zenith of the Neoclassical revival of the ancient art of mosaic towards the end of the 18th Century. Towards the end of the Century, allegorical motifs around the subject of love - either romantic or familial, were popular. The early micro mosaics were faithful to their ancient inspiration and, like the mosaics of the ancient world, made with only square- or rectangular-shaped tesserae (save perhaps in tiny details such as bird faces) and featured groups of Classically themed objects such as this above, or reproductions of famous ancient sculptural subjects and
mosaics (such as Pliny's doves). This particular scene features a mixture of all of the above, the Classical objects placed on a single plane upon a solid colour background, loosely allegorical in their content - cupid's discarded bow and arrows flanking the burning embers of a brazier on a tripod popular in Classical iconography (and referred to as atheniennes since the middle of the 18th Century) could well refer to Romantic love.
Executed with the realism of a masterful hand, this micro mosaic is a beautiful example of the sort of virtuoso work created by Raffaelli and his studio during the zenith of the Neoclassical revival of the ancient art of mosaic towards the end of the 18th Century. Towards the end of the Century, allegorical motifs around the subject of love - either romantic or familial, were popular. The early micro mosaics were faithful to their ancient inspiration and, like the mosaics of the ancient world, made with only square- or rectangular-shaped tesserae (save perhaps in tiny details such as bird faces) and featured groups of Classically themed objects such as this above, or reproductions of famous ancient sculptural subjects and
mosaics (such as Pliny's doves). This particular scene features a mixture of all of the above, the Classical objects placed on a single plane upon a solid colour background, loosely allegorical in their content - cupid's discarded bow and arrows flanking the burning embers of a brazier on a tripod popular in Classical iconography (and referred to as atheniennes since the middle of the 18th Century) could well refer to Romantic love.
