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Late 18th Century Micromosaic with Parrot on a branch. From a Model by G.Raffael

$45,143.26
£33,558.77
€38,000
CA$62,096.81
A$69,174.46
CHF 36,488.44
MX$838,761.71
NOK 464,185.53
SEK 432,418.23
DKK 289,435.99

About the Item

Large micro-mosaic plate representing a parrot on a branch. From a model by Giacomo Raffaelli. The quality and shape of the shards of this micromosaic can date it from the late 18th century. From the end of the 18th century and throughout the 19th century, the art of micromosaics developed. These objects adorned with micromosaics will quickly become a highly sought-after memory by wealthy travelers who perform their "Grand Tour". Roman workshop around 1790. H: 5.7in. (14.5 cm) / L: 4.3in. (11 cm) Collection of P-Y Le Diberder
  • Similar to:
    Giacomo Raffaelli (Artist)
  • Dimensions:
    Height: 5.71 in (14.5 cm)Width: 0.16 in (4 mm)Depth: 4.34 in (11 cm)
  • Style:
    Classical Roman (In the Style Of)
  • Materials and Techniques:
  • Place of Origin:
  • Period:
    1790-1799
  • Date of Manufacture:
    1790
  • Condition:
    Wear consistent with age and use.
  • Seller Location:
    Paris, FR
  • Reference Number:
    Seller: 50811stDibs: LU2065322450132

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Raffaelli was considered the finest mosaicist in Rome. Indeed, when Napoleon I wanted to sponsor a mosaic version of The Last Supper, in roughly 1810, he chose Raffaelli, this too added much to his fame. A very similar plaque, also attributed to Raffaelli, can be seen in the above referenced book on page 56. This plaque is part of The Gilbert Collection. The permanent collection is on view at the Victoria & Albert Museum in London. Raffaelli is known for his very realistic depictions of birds - especially the Goldfinch. While his naturalism is among the finest of mosaicists at this time, Raffaelli chose to display his extraordinary talent featuring the goldfinch in many of his works. Raffaelli was probably aware of the significance of the goldfinch to the Catholic Church. Afterall, it is one of the most poignant stories in the Passion of Christ. On the road to Golgotha, Christ was forced to carry the cross upon which he would be crucified. He was also made to wear a brutal crown of thorns. It was said that a simple Goldfinch, having alighted on the Savior's shoulder, flew to his head and plucked a thorn that had been making Christ bleed; whereupon this blood was transferred to the finch, which to this day, still wears it. This is but one example as to how mosaics permitted the Church to teach important lessons or parables. Why was this not done by traditional art forms such as paintings? Why was this done instead by mosaics? From its initial conception at approximately 319 AD, the Church sought to locate St. Peter's Basilica at the site of the apostle's martyrdom. On its face such a decision would seem rational, if not appropriate. St. Peter however was executed in a marshy area on a side of the Tiber in the already quite humid city of Rome. 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