The Art of Arranging Colored Glass Into Mosaiclike Window Forms

mosaic

mosaic (mōzāˈĭk), art of arranging colored pieces of marble, drinking glass, tile, wood, or other cloth to produce a surface ornament.

Ancient Mosaics

In Egypt and Mesopotamia, furniture, small architectural features, and jewelry were occasionally adorned with inset $.25 of enamel, glass, and colored stone. Early Greek mosaics (5th–4th cent. B.C.) uncovered at Olynthus were worked in small natural pebbles. The use of cut cubes or tesserae was introduced from the E later the Alexandrian conquest. Roman floor mosaics were probably based upon Greek examples, and drinking glass mosaics applied to columns, niches, and fountains can be seen at Pompeii. In Italy and the Roman colonies the floor patterns were produced both by big slabs of marble in contrasting colors (opus sectile) and past pocket-sized marble tesserae (opus tessellatum). The tessera designs varied from elementary geometrical patterns in black and white to huge pictorial arrangements of figures and animals; examples were institute in Rome, Pompeii, Antioch and Zeugma (S Turkey), and N Africa.

Early Christian Mosaics

In the early centuries A.D. glass mosaics brought colour and ornamentation to the broad walls of the basilicas. By the quaternary cent. the triumphal arch betwixt nave and apse and the walls above the nave arcades received mosaic adornment, while the unabridged domed apse was lined with a mosaic picture, more often than not of Jesus surrounded by saints and apostles.

In this menstruum Byzantium (later Constantinople) became the center of the craft, which reached perfection in the sixth cent. Hagia Sophia exhibits glittering gilded backgrounds—a special feature of Eastern mosaic art, which later spread to the W. A gold tessera was produced by applying gold leaf to a glass cube and roofing it with a sparse glass movie to protect against tarnishing; for the other tesserae the colors were produced by metal oxides. The tesserae were ready by hand in the clammy cement mortar, and the resulting irregularities, causing the facets to reverberate at dissimilar angles, were an essential factor of consequence. In the fifth and sixth cent. Ravenna became the Western heart of mosaic fine art, and the Ravenna masterworks (e.yard., the decoration of San Vitale), as well as those in Rome, show the Byzantine characteristics of stylized rigidity in the figures.

Medieval Mosaics

Through the importation of Greek workmen, a revival took place in Italy in the 11th cent. which lasted into the 13th cent., producing the cute mural works of Rome, of Saint Marker's Church and Torcello at Venice, and of Palermo, Monreale, and Cefalù in Sicily. Rich medieval marble and mosaic floors with geometric patterns appeared in Italy, Sicily, and the East. In Russia, especially in Kiev, remarkable figural mosaics were set up into the walls.

From the 13th cent., mosaic in Italy and Sicily extended to many architectural elements, such equally pulpits, bishops' thrones, paschal candlesticks, and the twisted columns of cloisters. These adornments are commonly termed Cosmati work, afterwards the family of Roman artisans especially gifted in their execution. The ascension of fresco ornamentation in the early 14th cent. in Italy superseded mosaic, which then began to deteriorate into mere simulation of painting, although it lingered in Venice, Hellenic republic, and Constantinople.

Mod Mosaics

The Gothic revival of the 19th cent. produced some modern attempts, as in Westminster Abbey and the houses of Parliament. In the 20th and 21st cent. the medium has been used with truer understanding of techniques, as in the modernist mosaics for the Stockholm boondocks hall. In mod work the aboriginal arrangement shares favor with a new method of fastening the tesserae with gum upon a paper cartoon fatigued in reverse, applying fairly large sections of this into proper position upon the damp mortar, and and then washing away the paper later on the mortar has hardened and the tesserae have set.

Bibliography

See Due east. W. Anthony, A History of Mosaics (1935, repr. 1968); F. Rossi, Mosaics: A Survey of Their History and Techniques (1970); J. R. Clark, Roman Blackness-and-White Figural Mosaics (1985).

The Columbia Electronic Encyclopedia™ Copyright © 2022, Columbia University Press. Licensed from Columbia University Printing. All rights reserved.

Mosaic

Illustrated Dictionary of Architecture Copyright © 2012, 2002, 1998 by The McGraw-Loma Companies, Inc. All rights reserved

The following article is from The Great Soviet Encyclopedia (1979). It might exist outdated or ideologically biased.

Mosaic

a representational or nonrepresentational design executed with tesserae of pebbles, smalto, or ceramic tiles. One of the master genres of monumental decorative art, mosaic is besides used to embellish works of the decorative and practical arts. Less oft, mosaics are in the class of portable pictures. A special type of mosaic work is inlay.

Mosaic work involves affixing pieces of cloth with simple geometrical or intricate shapes (cutting from a pattern) to a surface of lime, cement, mastic, or wax. There are two methods of making mosaics. The direct method involves pressing the tesserae into an agglutinative that covers the surface to be decorated. The "reverse" method involves gluing the tesserae confront down on a picture drawn on cardboard or cloth and so covering their backs with an adhesive; the temporary base is afterward removed and the resultant cake is mounted on a wall or ceiling.

The most ancient mosaics that have been preserved are ornaments made from pocket-size, variously colored clay circles (found in Mesopotamian temples from the 3rd millennium B.C.). Ancient Greek and Roman mosaic work, which was used primarily as floor coverings, evolved from simple nonrepresentational and representational ornament executed in pebbles to elaborate multicolored or black-and-white compositions made with cut stones, inlaid by the direct method, and polished afterward inlaying (resulting in their characteristic even surface sheen).

Byzantine mosaics, fabricated from smalto and (often semiprecious) stones, were left unpolished in social club to achieve a special depth and resonance of color. Mosaics such equally those in the Cathedral of St. Sophia in Constantinople, with their glittering surface and arable utilize of gold, blended organically with the massive walls and enriched the interior space. Mosaic decoration also flourished in countries where Byzantine traditions were interpreted, for case, in Italy, Georgia (mosaics in the 12th-century Helati Monastery), and ancient Rus' (llth- and twelfth-century mosaics in the Cathedral of St. Sophia and the St. Michael Zlatoverkhii Monastery in Kiev).

Western European Romanesque mosaics for the most part are purely ornamental. Commencement with the 13th century, tendencies toward a more realistic depiction of the earth gradually led to the replacement of mosaics by paintings. In Italy in the 16th century at that place developed what are known as Florentine mosaics. Made from polished colored stones, they were used to adorn interiors and furniture. Mosaics executed entirely in smalto, which showtime become popular in the 17th century, imitate the effects of oil painting.

In Islamic countries, too as in medieval Spain and Portugal, colorful glazed-tile mosaics adult in the 13th and 14th centuries. In these mosaics the pieces, which are cut according to patterns, form intricate arabesques that are subordinated to the architecture. The all-time examples of 14th- and 15th-century Middle Asian mosaics include the facings of edifice portals in Samarkand and Bukhara and the domes of the Tiurabekkhanym mausoleum about Kunia-Urgench.

In Russia the technique of smalto mosaic was revived in the 18th century by M. 5. Lomonosov, nether whose supervision portable portraits and battle scenes were executed in mosaic. In 1864 a department for the training of mosaics for St. Isaac'southward Cathedral was organized by the St. Petersburg Academy of Arts.

Artists and craftsmen working in the fine art nouveau and national-romantic styles (for instance, the Spaniard A. Gaudí, the Austrian G. Klimt, and the Russian artists V. Thou. Vasnetsov and M. A. Vrubel') frequently used tile mosaics.

In gimmicky mosaics, whose component pieces are ordinarily large, compositions based on combinations of assuming patches of local color predominate (works by R. Guttuso, F. Leger, D. Rivera, D. Siqueiros, and H. Erni). The fine art of mosaic has particularly flourished since the 1930's as the result of growing interest in issues dealing with the synthesis of the arts. Amid works by artists of the older generation, the all-time known were the smalto mosaics of A. A. Deineka and P. D. Korin, as well as the "Florentine" mosaics of G. I. Opryshko. Since the 1960'southward, A. V. Vasnetsov, Five. 5. Mel'nichenko, D. M. Merpert, B. P. Miliukov, A. F. Rybachuk, B. A. Tal'berg, B. P. Chernyshev, and V. B. El'konin have produced hitting examples of furniture busy with mosaic.

REFERENCES

Karger, One thousand. Thou. "1000 voprosu ob ubranstve inter'era five russkom zodchestve domongol'skogo perioda." In Trudy Vserossiiskoi Akademii khudozhestv, Saint petersburg-Moscow, 1947.
Lazarev, V. Due north. Istoriia vizantiiskoizhivopisi, vols. one–2, Moscow, 1947–48.
Tomaev, T. N. Reznaia maiolikovaia mozaika v arkhitekture Srednei Azii 14–15 vv. Moscow, 1951.
Vinner, A. V. Materialy i tekhnika mozaichnoi zhivopisi. Moscow, 1953.
Tolstoi, 5. P. Sovetskaia monumental'naia zhivopis'. Moscow, 1958.
Chubova, A. P., and A. P. Ivanova. Antichnaia zhivopis'. Moscow, 1966.
Demus, O. Byzantine Mosaic Decoration. London, 1948.
Mosaique gréco-romaine. Paris, 1963.
Rossi, F. Mosaics. New York, 1970.
Lebedeva, V. Sovetskoe monumental'noe iskusstvo shestidesiatykh godov. Moscow, 1973.

V. V. FILATOV

The Keen Soviet Encyclopedia, 3rd Edition (1970-1979). © 2010 The Gale Group, Inc. All rights reserved.

mosaic

[mō′zā·ik]

(biology)

An organism or function made upwards of tissues or cells exhibiting mosaicism.

(electronics)

A lite-sensitive surface used in tv camera tubes, consisting of a sparse mica sheet coated on one side with a large number of tiny photosensitive silvery-cesium globules, insulated from each other.

(embryology)

An egg in which the cytoplasm of early cleavage cells is of the type which determines its subsequently fate.

(petrology)

Pertaining to a granoblastic texture in a rock formed by dynamic metamorphism in which the boundaries between individual grains are directly or slightly curved. Also known as cyclopean.

Pertaining to a texture in a crystalline sedimentary stone in which contacts at grain boundaries are more than or less regular.

(scientific discipline and technology)

A surface pattern made by the associates and organization of many small pieces.

McGraw-Colina Lexicon of Scientific & Technical Terms, 6E, Copyright © 2003 past The McGraw-Colina Companies, Inc.

mosaic

mosaic, 1

ane. A pattern formed by inlaying small pieces of stone, tile, glass, or enamel into a cement, mortar, or plaster matrix.

2. A grade of surface decoration, similar to marquetry, but usually employing small pieces or bits of wood to create an inlaid design.

McGraw-Hill Dictionary of Architecture and Structure. Copyright © 2003 by McGraw-Hill Companies, Inc.

mosaic

In photogrammetry, an assembly of overlapping aerial photographs that take been matched to class a continuous photographic representation of a portion of the earth'due south surface. A mosaic may be controlled, semicontrolled, or uncontrolled. A controlled mosaic is one that is laid to basis control and in which prints are used that have been ratioed and rectified equally shown necessary by the control. A semicontrolled mosaic is composed of corrected or uncorrected prints laid to a common footing of orientation other than footing control. An uncontrolled mosaic is composed of uncorrected prints, the details of which accept been matched from impress to print without ground control or some other orientation. Also called an aerial mosaic.

An Illustrated Dictionary of Aviation Copyright © 2005 past The McGraw-Hill Companies, Inc. All rights reserved

mosaic

1. a blueprint or ornament made upward of small pieces of coloured drinking glass, rock, etc.

2. the process of making a mosaic

3.Genetics another name for chimera

4. a calorie-free-sensitive surface on a tv set camera tube, consisting of a large number of granules of photoemissive material deposited on an insulating medium

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Mosaic

, Mosaical

of or relating to Moses or the laws and traditions ascribed to him

Collins Discovery Encyclopedia, 1st edition © HarperCollins Publishers 2005

Mosaic

(World-Wide Web, tool)

NCSA's browser (client) for the World-Wide Web.

Mosaic has been described as "the killer application of the 1990s" because it was the offset program to provide a slick multimedia graphical user interface to the Internet's burgeoning wealth of distributed information services (formerly more often than not limited to FTP and Gopher) at a fourth dimension when access to the Net was expanding rapidly exterior its previous domain of academia and large industrial inquiry institutions.

NCSA Mosaic was originally designed and programmed for the X Window System by Marc Andreessen and Eric Bina at NCSA. Version 1.0 was released in April 1993, followed by two maintenance releases during summer 1993. Version ii.0 was released in December 1993, along with version 1.0 releases for both the Apple Macintosh and Microsoft Windows. An Acorn Archimedes port is underway (May 1994).

Marc Andreessen, who created the NCSA Mosaic research prototype as an undergraduate student at the University of Illinois left to start Mosaic Communications Corporation forth with 5 other former students and staff of the university who were instrumental in NCSA Mosaic'south blueprint and development.

http://ncsa.uiuc.edu/SDG/Software/Mosaic/Docs/help-about.html.

ftp://ftp.ncsa.uiuc.edu/.

E-mail: <mosaic-x@ncsa.uiuc.edu> (10 version), <mosaic-mac@ncsa.uiuc.edu> (Macintosh), <mosaic-win@ncsa.uiuc.edu> (Windows version), <mosaic@ncsa.uiuc.edu> (full general help).

This article is provided by FOLDOC - Complimentary Online Dictionary of Computing (foldoc.org)

Mosaic

The outset multimedia browser for the Web, allowing text, images, audio and video to be accessed via a graphical user interface. Mosaic was created by Marc Andreessen, Eric Bina and others at the University of Illinois National Center for Supercomputing Applications (NCSA).

The "Killer App" of the Web
Mosaic was released on the Internet in 1993 and became "the" application that caused the Spider web to explode. Originally developed for Unix, it was ported to Windows and Mac inside a few months. Both Andreessen and Bina afterwards went to piece of work for Mosaic Corporation, which was formed to market place Mosaic, but wound up developing the Netscape browser. The company was renamed Netscape, and the Netscape browser reigned supreme for a while.

The University eventually licensed Mosaic to Spyglass, Inc., which Microsoft acquired. Thus, the Mosaic browser ultimately evolved into Internet Explorer. See Web browser and Netscape.

Mosaic Browser
Looking a scrap outdated compared to today's browsers, Mosaic was withal a major catalyst in revolutionizing the earth. It helped the Web to explode, and ultimately, the Internet to go commercial. (Image courtesy of the National Heart for Supercomputing Applications (NCSA) and the Board of Trustees of the University of Illinois.)

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Source: https://encyclopedia2.thefreedictionary.com/Mosaic

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