Besides the countless churches in Italy possessing these beautiful pavements, such as S. Lorenzo, S. Marco, S. Maria Maggiore, and S. Maria in Trastevere, in Rome, there are in England, in the Chapel of the Confessor, and in front of the high altar at Westminster, very fine specimens of this work, executed about 1268 by a Roman artist called Odericus, who was brought to England by Abbot Ware, on the occasion of a visit made by the latter to Rome. Another English example is the mosaic pavement in front of the shrine of Becket at Canterbury; this is probably the work of an Englishman, though the materials are foreign, as it is partly inlaid with bronze, a peculiarity never found in Italy. Palermo and Monreale are especially rich in examples of sectile mosaic, used both for pavements and walls -in the latter case generally for the lower part of the walls the upper part being covered with the glass mosaics. Fig. 4 gives a specimen of this mosaic from Monreale cathedral. Its chief characteristic is the absence of curved lines, so largely used in the splendid opus Alexandrinum of Italy, arising from the fact that this class of Oriental design was mainly used for the delicate panelling in wood on their pulpits, doors, &c.-wood being a material quite unsuited for the production of large curves.

3. Glass mosaic, used to ornament ambones, pulpits, tombs, bishops

thrones, baldacchini columns, architraves, and other marble objects, is chiefly

Italian. The designs, when

it is used to enrich flat

surfaces, such as panels or

architraves, are very similar

to those of the pavements

last described. The white

marbleis used as a matrix,

in which sinkings are made

to hold the glass tesserae;

twisted columns are frequently

ornamented with

a spiral band of this glass

mosaic, or flutings are

suggestedbyparallel bands

on straight columns. The

cloisters of S. Giovanni

in Laterano and S. Paolo

fuori le mura have splendid

examples of these enriched

shafts and architraves.

This style of work was

largely employed from the

6th to the 14th centuries.

One family in Italy, the

Cosmati, during the whole

of the 13th century, was

especially skilled in this

craft. The pulpit in S.

Maria in Ara Coeli, Rome,

is one of the finest specimens

(see fig. 5), as are

also the ambones in S.

Clemente and S. Lorenzo,

and that in Salerno cathedral.~

The tomb of Henry

III. (1291), and the shrine

of the Confessor (1269) at

Westminster are the only examples of this work in England. They were executed by “Petrus civis Rornanus, ” probably a pupil of the Cosmati.

In India, especially during the 17th century, many Mahommedan buildings were decorated with fine marble inlay of the class now called “ Florentine.” This is sectile mosaic, formed by shaped pieces of various coloured marbles let into a marble matrix. A great deal of the Indian mosaic of this sort was executed by Italian workmen; the finest examples are at Agra, such as the Taj Mahal. 4. Mosaics in wood are largely used in Mahornmedan buildings, especially from the 14th to the 17th centuries. The inest FIG. 5.-Part of Marble Pulpit with

glass mosaic, church of Ara Coeli,

Rome.

specimens of this work are at Cairo and Damascus, and are used chiefly to decorate the magnificent pulpits and other woodwork in the mosques. The patterns are very delicate and complicated, worked in inlay of small pieces of various coloured woods, often further enriched by bits of mother-of-pearl and minutely carved ivory. This art was also practised largely by the Copts of Egypt, and much used by them to ornament the magnificent iconostases and other screens in their churches.

Another application of wood to mosaic work, called “ intarsiatura, ” was very common in Italy, especially in Tuscany and Lombardy, during the 1 5th and' early 16th centuries. Its chief use was for the decoration of the stalls and lecterns in the church choirs. Very small bits of various coloured woods were used to produce geometrical patterns, while figure subjects, views of buildings with strong perspective effects, and even landscapes, were very skilfully produced by an inlay of larger pieces. Ambrogio Borgognone, Raphael, and other great painters, often mosaic hgures

Pavia were by

stalls in Siena

drew the designs for this sort of work. The in the panels of the stalls at the Certosa near Borgognone, and are extremely beautiful. The cathedral and in S. Pietro de' Casinensi at Perugia, the latter from Raphael's designs, are among the finest works of this sort, which are very numerous in Italy. It has also been used on a smaller scale to ornament furniture, and especially the “ Cassoni, ” or large trousseau coffers, on which the most costly and elaborate decorations were often lavished.

Authorities.-Classical. An excellent account of the subject, with full references, is given by Gauckler in Daremberg and Saglio, Dictionnaire des anti uités, s.v. “ Musivum opus ”; the translations there given of the linci classici of Pliny are, however, inaccurate. Amongst earlier works the following are important: G. Ciampini, Vetera monument (1690-1699); A. Furietti, .De musivis (1752); S. Lysons, Roman Antiquities of Woodchester (1797) and Reliquiae britannico-romanae (1813); F. Mazois, Ruines de Pompeii (1812-1838); Real rnuseo borbonico (1824~1857); F. Artaud, Histoire de la peinture en mosaique (1835); M onumentos arquitectonicos de Espana (1859-1883); Wilmowsky, Rornische Mosaiken aus Trier und dessen Umgegend (1888).

Christian.-Theophilus, Diversarum artium schedula, ii. 15; S. Kensington Museum Art Inventory, pt. i. (1870); Renan, Mission de Phénicie (1875); Garrucci, Arte cristiana (1872-1882), vol. iv.; De Rossi, Musaici cristiani di Roma (1876-1894); Parker, Archaeology of Rome, and Mosaic Pictures in Rome and Ravenna (1866); Barbet de jouy, Les M osaiques chrétiennes de Rome (1857); Gravina, Duomo di M onreale, Palermo (1859 seq.); Serradifalco, M onreale ed altre chiese siculo-normanne (1838); Salazaro, Mon. dell' arte merid. d'Italio. (1882); M. D. Wyatt, Geometrical Mosaics of the Middle Ages (1849); Salzenberg, Alt-christliche Baudenkmale von Constantinopel (1854); Pulgher, Eglises Byzantines de Constantinople (1883); Texier and Pullan, Byzantine Architecture (1864); Quast, Alt-christliche Bauwerke von Ravenna (1842); I. P. Richter, Die Mosaiken von Ravenna (1878); M. de Vogué, Eglises de la terre sainte (1860); Milanesi, Del Arte del vetro pet musaico (16th century, reprinted at Bologna in 1864); Rohault de Fleury, Monuments de Pise (1866); ]. Kreutz, Basilica di S. Marco, Venezia (1843); Gaily Knight, Ecclesiastical Architecture of Italy (1842-1844); C. G. F ossati, Aya Sophia (1852); A. N. Didron, “ La peinture en mosaique, " Gaz. des B. Arts, xi. 442; Gerspach, La Masai ue (1383); A. L. Frothingham, “ Les mosaiques de Grottaferrata, ” ézaz. arch. (1883); E. Miintz, La Mosaique chrétienne pendant les premiers siecles (1893); G. Clausse, Basiliques et mosaiques chrétiennes (1893); Ainalov, M osaiken des I V. u. V. Jahrhunderts (1895); P. Saccardo, Les Mosaiques de Saint Marc ci Venise (1896); A. A. Pavlovsky, I conographie de la chapelle palatine (1895); Di Marzo, Delle Belle arti in Sicilia; Sangiorgi, Il Battistero della basilica Ursiana di Ravenna (1900); J. Kurth, Die Mosaiken der christlichen Aera, I. Die Mosaiken von Ravenna (1902); ]. P. Richter and A. C. Taylor, The Golden Age of Classic Christian Art (1904; on the mosaics of S. Maria Maggiore, which the authors assign to the 2nd or 3rd century A.D.; some excellent reproductions are given); Schmitt and Kluge, “ Kachrie Djami " (Bulletin de l'institut impériale russe a Constantinople, xi., 1906; text in Russian). Moslem.-Hessemer, Arabische und alt-italienische Bauverzierungen (1853); Prisse d'Avennes, L'Art arabe (1874-1880); Prangey, M osquée de Cordoue (1830); Owen Jones, Alhambra (1842); De Vogue, Temple de Jerusalem (1864); Texier, Asie Mineure (1862) and L'Arménie et la Perse (1842-1852); Bourgoin, Les Arts arabes (1868); Coste, Monuments modernes de la Perse (1867); Flandin and Coste, Voyage en Perse (1843-1854); Gayet, L'A rt arabe (1893). Wood Mosaic- Tarsia.-Omati del coro di S. Pietro Cassinense di Perugia (1830); Cafii, various works on Rafaello de Brescia and other intarsiatori (1851); Tarsie ed intagli di S. Lorenzo in Genova (1878); and Scherer, Technik und Geschichte der Intarsia (1831).

(]. H. M.; H. J.)