The method of depicting designs by bringing together morsels of variously colored materials is of high antiquity. We are apt to think of a line of distinction between classical and Christian mosaics in that the former were generally of marble and the latter mostly of colored and gilt glass. But glass mosaics were already in use in the Augustan age, and the use of gilt tesserae goes back to the 1st or 2nd century. The first application of glass to this purpose seems to have been made in Egypt, the great glass-working centre of antiquity, and the gilding of tesserae may with probability be traced to the same source, whence, it is generally agreed, most of the gilt glass vessels, of which so many have been found in the catacombs, were derived. The earliest existing mosaics of a typically Christian character are some to be found at Santa Costanza, Rome (4th century). History Of Mosaics tral%20Italy/Rome/Rome_Churches/Santa_Pudenziana/Santa_ Pudenziana.htm placidia-photos/slides/IMG_1117p.htm ture.html (Picture on the left: Bellerophon, riding Pegasus, slays the Chimaira, mosaic floor of a house, BC, Olynthos) (Picture on the right: A deer hunt, detail from the mosaic floor signed Gnosis in the 'House of the Abduction of Helen' at Pella, late 4th century BC, Pella, Archaeological Museum.) During the 4th millennium B.C. at South Mesopotamia that was inhabited by the Sumerians, we find the first kind of decoration with pieces of cockleshells, onyx and clay in a temple at the ancient city of Ouruk. The peristyle mosaic consists of a mosaic of opus tesselatum in bands of red, white and black encasing a detailed 3- dimensional meander and a scroll motif (running dog). At the centre is an emblema in opus vermiculatum, depicting two pigeons perched on the rim of a bowl. Known as the Drinking Doves of Sosos, this representation originated form a second century BC painting by Sosos of Pergamon, but was then widely copied and widespread throughout the Empire Opus vermiculatum: A single row, or several rows, of tesserae following the outline of a feature (such as a figure or other subject) in a mosaic. The effect is a little like a halo, highlighting the subject and providing contrast against a background with teserae laid in a different style. "Vermiculatum" means "worm-like" and is so called because it curves around the contours of the design. scoll.html Egyptian Glass Small pieces of glass in mosaics were first used by the Egyptians during the New Kingdom (c to 1069 B.C.). Very small pieces of dull-colored glass were used to make mosaic jewelry and mosaic stones. The stones were added to wall pieces and inlays, usually in funerary art. It wasn’t until the Roman Empire took control of Egypt in 31 B.C. that glass production would advance to a higher art form in Egypt. With an abundance of sand and soda, and with years of mastering the art, Egypt created much of the glass for the Roman nobles. osaic_art vilization/Egyptology/LifeAncient/lifeinEgypt12.htm Mosaicglass panel. Egypt, ca. 1st century B.C. - 1st century A.D., 976_110to114.pdf

In Rome, the great apse-mosaic of S. Pudenziana dates from about A.D The mausoleum of Galla Placidia, Ravenna, is incrusted within by mosaic work of the 5th century, and most probably the dome mosaics of the church of St George, Salonica, are also of this period. Of the 6th century are many of the magnificent examples still remaining at Ravenna, portions of the original incrustation of St Sophia, Constantinople, those of the basilica at Parenzo, on the Gulf of Istria, and of St Catherines, Sinai. Basilica of Santa Pudenziana The Basilica di San Vitale in Ravenna dates from the mid-6th century. San Vitale is a small domed church in the Byzantine architectural style. It has an octagonal plan, with a two- story ambulatory enclosing a central space beneath a great cupola. Attached at an angle to the west side is an entrance porch or narthex while a small choir and apse extends to the east. Imperial Gate: Xth century mosaic portraying Emperor Leo VI ( ) The Byzantine image of the emperor was an iconic one that is a symbol of power and not the actual portrait of the man, as in the case of the ancient Roman emperors. For this reason there is uncertainty whether the emperor portrayed in the mosaic above is Leo VI or his son Constantine VII Porphyrogenitus (912-59). The latter had this attribute which means "born in the porphyry" to stress he was the legitimate son of Leo VI. Mausoleum of Galla Placidia, Ravenna Mosaic of the Good Shepherd Mosaic of Christ as the Good Shepherd over the entrance of the Mausoleum of Galla Placidia, dating from around 430 AD. This image was common in the Roman catacombs of earlier centuries, but there are important developments to be seen in this version. Instead of being shown as a typical countryman, this Good Shepherd has a large golden halo, wears a royal purple mantle over a golden tunic, and holds a tall cross. On either side of him are two groups of three sheep, who look peaceful and gaze up at their Shepherd. Christ tenderly touches the nose of one of them. 6th Century Mosaic Map – St. George’s Church – Madaba, Jordan Madaba is best known for its superb, historically significant Byzantine era mosaics. Madaba’s most famous site is the Mosaic map in the 19th century Greek Orthodox St George’s Church. Unearthed 1864, the mosaic was once a clear map with 157 captions (in Greek) of all major biblical sites from Lebanon to Egypt. The mosaic was constructed AD 560 & once contained more than 2 million pieces, only 1/3 of the whole now survives. Mosaic of Okeanos Tethys Mosaic of Okeanos Tethys, which was found in Harbiye, dates back to the 4th century A.D. The Sea God Okeanos was one of the 12 Titan children of Gaia (Mother Earth) while Tethys is the Sea Goddess, sister of Okeanos. of-archeology.html