The Revival of Roman Mosaics in the 19th and 20th Century: A New Perspective on Andamento and the Art of Mosaic
Abstract
In the late 1800s and early 1900s, there was a resurgence of interest in Roman mosaics, particularly in the UK and Italy. This period saw the revival of mosaic floors crafted from tesserae, heavily inspired by ancient Roman techniques but with some notable differences. While many of these artisans were classically trained and sought to emulate the beauty and intricacy of Roman mosaics, there were variations in how they applied classical andamento — the flow of tesserae. This article explores the mosaic revival movement, its connection to ancient Roman art, and how the adherence to classical andamento was both a tribute and a departure from tradition.
The Revival of Roman Mosaics in the 19th and 20th Century: A New Perspective on Andamento and the Art of Mosaic
In the late 19th and early 20th centuries, the world saw a revival of interest in Roman mosaics. This revival was not just a resurgence of the decorative art form but a deeper engagement with the classical past, influenced by the ongoing archaeological discoveries in Pompeii, Herculaneum, and other Roman sites. The fascination with classical antiquity during the Victorian era fueled an artistic movement that sought to reclaim the beauty of Roman craftsmanship, particularly through the medium of mosaics.
Mosaic Floors of the Late 1800s and Early 1900s: The Revival Movement
The Victorian period, marked by a growing appreciation for the craftsmanship of ancient civilizations, witnessed the rise of mosaic floors crafted from tesserae — small cubes of stone, glass, or ceramic — rather than the more common ceramic tiles. These mosaics were often seen in public and private spaces, including grand homes, churches, and civic buildings. The aesthetic and technical demands of the time encouraged a fusion of ancient methods with the available modern materials and tools.
In the UK and Italy, specialized artisans began producing mosaic floors that echoed Roman traditions, using materials like marble, glass smalti, and even ceramics to mimic the look and feel of ancient mosaics. Some of the most prominent names in this period were associated with the Arts and Crafts movement, including William Morris and his company Morris & Co., which produced intricate, handmade mosaics inspired by the classical designs of the Roman era. These artisans were influenced by the concept of Roman opus tessellatum, the technique where small, carefully placed tesserae formed geometric patterns, figures, or scenes that told stories or conveyed symbolic meaning.
Classical Influence and Training: A Legacy of the Roman Masters
Many of the Italian mosaicists working during the late 1800s and early 1900s were likely to have been classically trained or at least highly influenced by classical traditions. The growing interest in Roman mosaics, alongside the influence of schools and workshops dedicated to preserving these methods, ensured that these artisans were familiar with the principles and practices of ancient mosaicists.
The andamento — the flow of tesserae, or the arrangement of stones to create a smooth and natural-looking flow in the design — was a central tenet of Roman mosaic art. In ancient mosaics, the tesserae were arranged in a way that followed the contours of the design, creating lines that guided the viewer’s eye around the surface, from one tessera to the next. This principle allowed for the seamless integration of geometric patterns, figures, and even abstract designs, all while maintaining a fluid, cohesive appearance.
In the late 19th and early 20th centuries, mosaicists studied these principles and sought to replicate the flow and visual rhythm found in ancient Roman works. The challenge, however, lay in the fact that while their designs were inspired by the ancient world, the artisans had different materials at their disposal and were working with new, evolving techniques.
The Shift in Andamento and Artistic Intent
While these later mosaicists, influenced by their classical training, sought to replicate the grace of Roman mosaics, there were noticeable shifts in how they applied andamento. The classical Roman mosaics were carefully designed with strict attention to the fluidity of lines and smooth transitions between tesserae. The ancient artisans employed a method of naturalistic, organic flow, where each tessera followed the previous one in a way that felt intuitively right.
In contrast, many of the later mosaicists — while still highly skilled — sometimes favored a more geometric, less organic approach. The use of new materials such as glass smalti, which allowed for vibrant colors and greater precision, sometimes led to a more rigid and angular arrangement of tesserae. While Roman mosaics often used tesserae in curves and spirals that enhanced the flow, the revivalist mosaics sometimes adopted straighter lines, even in complex designs. This shift reflected a change in artistic priorities: Victorian and Edwardian mosaicists were just as concerned with the overall visual impact and ornamental decoration as they were with achieving the subtle, fluid transitions of Roman mosaics.
For example, mosaics designed in this period often showed tesserae arranged with a greater focus on color contrast and material beauty, rather than the smooth transition that Roman mosaics achieved through subtle andamento. There was a tendency for mosaics to have more pronounced transitions between tesserae colors, creating sharper visual contrasts that might have been considered a departure from the classical flow.
The Difference Noted by the Experienced Eye: A Contrast in Flow
To the experienced eye, the differences between these revival mosaics and their Roman counterparts are evident in several areas, particularly in the handling of andamento. While Roman mosaics are known for their smooth, almost invisible transitions between tesserae, the revival mosaics can appear more structured, with noticeable changes in direction and a less fluid overall appearance.
- Rigid vs. Flowing Lines: Roman mosaics were typically arranged with soft, curving lines that reflected the natural forms of the designs — whether figures, landscapes, or patterns. In contrast, later mosaics sometimes used sharper, more angular transitions between tesserae. This shift can be attributed to both the introduction of new materials, such as glass smalti, which lent themselves to more rigid lines, and the evolving artistic sensibilities of the time.
- Material Constraints and Design: The choice of materials also influenced the andamento. In Roman mosaics, the tesserae were typically made from natural stones, which allowed for more organic shaping. Ceramic tesserae, often used in the revival period, allowed for more vibrant color but sometimes at the cost of the subtlety of flow. The slightly harder and more angular nature of ceramic tesserae could result in mosaics that felt less cohesive or more rigid in their design.
- Density and Texture: Roman mosaics were crafted with tesserae that were often irregular in shape, creating a textured surface with slight variation. This was due to the use of natural stone and marble, which provided a more tactile finish. In contrast, revivalist mosaics, especially those made with ceramic tiles or smalti glass, typically had a much smoother and more even surface. These modern materials allowed for greater precision and a more refined, polished finish, which resulted in a smoother texture than what was typically seen in ancient Roman mosaics.
Conclusion: A Tribute to the Past, but a Departure in Execution
In conclusion, while the Italian mosaicists and their counterparts in the UK during the late 1800s and early 1900s were undeniably influenced by the ancient Roman tradition, there are distinct differences in how andamento was applied. The revivalist mosaics paid homage to the classical period, using the same principles and materials to create intricate designs, but the strict adherence to classical andamento was often relaxed.
Mosaicists in this period were not simply recreating the past — they were adapting it to fit the new artistic demands of the time. Their mosaics were still spectacular, but they reflected a shift in technique and artistic intent. While Roman mosaics emphasized the smooth flow and perfect transitions of tesserae to guide the viewer’s eye, the later mosaics sometimes prioritized color contrast and visual impact over technical precision.
The result was a vibrant and sometimes more rigid form of mosaic art that retained the essence of ancient designs but with a modern twist. For the experienced eye, the differences are clear, but they also reflect the evolution of mosaic artistry over time — an art that, while rooted in the past, continued to evolve and adapt to the changing artistic landscape.
Lawrence Payne 2025
