Mosaic Windows 8 Theme For Windows 7 Free Download 5,0/5 4185votes

Windows 8 Transformation Pack will transform your Windows user interface to Windows 8, including Windows 8 Boot Screen, Login Screen, Themes. Configurable in single click with intelligence Metro UI design, designed for all editions of Windows XP/Vista/7 including Server Editions, genuine Windows 8 system. Bronze age pebble mosaics have been found at Tiryns; mosaics of the 4th century BC are found in the Macedonian palace-city of Aegae, and the 4th-century BC mosaic of.

RECOMMENDED: These days Windows enthusiasts have been busy in creating Metro UI based applications and themes for. We have seen, Metro UI skin for Yahoo,, etc. The developers of the well known have renamed it as Mosaic and it now sports Windows 8 Metro UI live tiles. It’s a set of live widgets that show some content from the web or from your PC. The Mosaic is still in alpha stage.

When Mosaic is running, move the mouse cursor the right border of the screen and click to see the Mosaic menu. Mosaic menu lets you add new widgets and also allows you change some basic settings. The current alpha version lets you add Clock, Control Panel, Gmail, Pictures, Videos and Weather gadgets to your desktop.

Cone mosaic courtyard from in 3000 BC A mosaic is a piece of or image made from the assemblage of small pieces of colored, stone, or other materials. It is often used in or as. Most mosaics are made of small, flat, roughly, pieces of stone or glass of different colors, known as.

Some, especially floor mosaics, are made of small rounded pieces of stone, and called 'pebble mosaics'. Mosaics have a long history, starting in in the 3rd millennium BC.

Mosaic Windows 8 Theme For Windows 7 Free Download

Pebble mosaics were made in in Greece; mosaics with patterns and pictures became widespread in classical times, both in and. Early Christian from the 4th century onwards were decorated with wall and ceiling mosaics. Mosaic art flourished in the from the 6th to the 15th centuries; that tradition was adopted by the in the 12th century, by the eastern-influenced, and among the in Ukraine. Mosaic fell out of fashion in the, though artists like continued to practise the old technique. Roman and Byzantine influence led Jewish artists to decorate 5th and 6th century synagogues in the with floor mosaics. Mosaic was widely used on religious buildings and palaces in early, including Islam's first great religious building, the in, and the in.

Mosaic went out of fashion in the Islamic world after the 8th century. Modern mosaics are made by professional artists, street artists, and as a popular craft. Many materials other than traditional stone and ceramic tesserae may be employed, including shells, glass and beads. Further information: pebble mosaics have been found at; mosaics of the 4th century BC are found in the palace-city of, and the 4th-century BC mosaic of discovered in, in 1916, is an early figural example; the Greek figural style was mostly formed in the 3rd century BC. Mythological subjects, or scenes of hunting or other pursuits of the wealthy, were popular as the centrepieces of a larger geometric design, with strongly emphasized borders.

Mentions the artist by name, describing his mosaics of the food left on a floor after a feast and of a group of doves drinking from a bowl. Both of these themes were widely copied. Greek figural mosaics could have been copied or adapted paintings, a far more prestigious artform, and the style was enthusiastically adopted by the Romans so that large floor mosaics enriched the floors of and dwellings from Britain to. Most recorded names of Roman mosaic workers are Greek, suggesting they dominated high quality work across the empire; no doubt most ordinary craftsmen were slaves. Splendid mosaic floors are found in Roman villas across, in places such as, and can still be seen in the extensive collection in in,. There were two main techniques in Greco-Roman mosaic: used tiny, typically cubes of 4 millimeters or less, and was produced in workshops in relatively small panels which were transported to the site glued to some temporary support.

The tiny tesserae allowed very fine detail, and an approach to the illusionism of painting. Often small panels called emblemata were inserted into walls or as the highlights of larger floor-mosaics in coarser work. The normal technique was, using larger tesserae, which was laid on site.

There was a distinct native Italian style using black on a white background, which was no doubt cheaper than fully coloured work. In Rome, Nero and his architects used mosaics to cover some surfaces of walls and ceilings in the, built 64 AD, and wall mosaics are also found at and neighbouring sites. However it seems that it was not until the Christian era that figural wall mosaics became a major form of artistic expression. The Roman church of, which served as a for one or more of the Imperial family, has both religious mosaic and decorative secular ceiling mosaics on a round vault, which probably represent the style of contemporary palace decoration. The mosaics of the near in are the largest collection of late Roman mosaics in situ in the world, and are protected as a. The large villa rustica, which was probably owned by Emperor, was built largely in the early 4th century.

The mosaics were covered and protected for 700 years by a landslide that occurred in the 12th Century. The most important pieces are the Circus Scene, the 64m long Great Hunting Scene, the Little Hunt, the Labours of Hercules and the famous Bikini Girls, showing women undertaking a range of sporting activities in garments that resemble 20th Century. The, the imperial apartments and the were also decorated with ornamental and mosaics. Other important examples of Roman mosaic art in Sicily were unearthed on the Piazza Vittoria in where two houses were discovered. The most important scenes there depicted Orpheus, Alexander the Great's Hunt and the Four Seasons.

In 1913 the, a mosaic famous for its many scenes from gladiatorial contests, hunting and everyday life, was discovered in the town of. In 2000 archaeologists working in,, uncovered a 30 ft length of five colorful mosaics created during the 1st or 2nd century AD. The mosaics show a warrior in combat with a deer, four young men wrestling a wild bull to the ground, and a gladiator resting in a state of fatigue, staring at his slain opponent. The mosaics decorated the walls of a cold plunge pool in a bath house within a Roman villa. The gladiator mosaic is noted by scholars as one of the finest examples of mosaic art ever seen — a 'masterpiece comparable in quality with the in.' A specific genre of Roman mosaic was called asaroton (Greek for 'unswept floor'). It depicted in style the feast leftovers on the floors of wealthy houses.

Detail of a mosaic from the basilica of in Rome, c. 410 AD, depicting Saint With the building of Christian in the late 4th century, wall and ceiling mosaics were adopted for Christian uses.

The earliest examples of Christian basilicas have not survived, but the mosaics of and, both from the 4th century, still exist. The winemaking putti in the of Santa Constanza still follow the classical tradition in that they represent the feast of, which symbolizes transformation or change, and are thus appropriate for a mausoleum, the original function of this building.

In another great Constantinian basilica, the in the original mosaic floor with typical Roman geometric motifs is partially preserved. The so-called, near the crypt beneath, is a 4th-century vaulted tomb with wall and ceiling mosaics that are given Christian interpretations. The in, converted into a Christian church during the course of the 4th century, was embellished with very high artistic quality mosaics. Only fragments survive of the original decoration, especially a band depicting saints with hands raised in prayer, in front of complex architectural fantasies. In the following century, the capital of the, became the center of late Roman mosaic art (see details in Ravenna section). Also served as the capital of the western empire in the 4th century.

In the Chapel of the, mosaics executed in the late 4th and early 5th centuries depict Christ with the Apostles and the Abduction of; these mosaics are outstanding for their bright colors, naturalism and adherence to the classical canons of order and proportion. The surviving apse mosaic of the, which shows Christ enthroned between Saint Gervasius and Saint Protasius and angels before a golden background date back to the 5th and to the 8th century, although it was restored many times later. The baptistery of the basilica, which was demolished in the 15th century, had a vault covered with gold-leaf tesserae, large quantities of which were found when the site was excavated. In the small shrine of San Vittore in ciel d'oro, now a chapel of Sant'Ambrogio, every surface is covered with mosaics from the second half of the 5th century. Saint Victor is depicted in the center of the golden dome, while figures of saints are shown on the walls before a blue background.

The low spandrels give space for the symbols of the four Evangelists. Was the main Roman port of. The octagonal baptistery of the town was decorated in the 5th century with high quality blue and white mosaics representing the Apostles.

The surviving remains are somewhat fragmented. Remained a thriving port and a Christian spiritual center in Southern Gaul where favourable societal and economic conditions ensured the survival of mosaic art in the 5th and 6th centuries. The large baptistery, once the grandest building of its kind in Western Europe, had a geometric floor mosaic which is only known from 19th century descriptions. Other parts of the episcopal complex were also decorated with mosaics as new finds, that were unearthed in the 2000s, attest. The funerary, built in a quarry outside the walls, was decorated with mosaics but only a small fragment with blue and green scrolls survived on the intrados of an arch (the basilica was later buried under a medieval abbey). A mosaic pavement depicting humans, animals and plants from the original 4th-century cathedral of has survived in the later medieval church. This mosaic adopts pagan motifs such as the Nilotic scene, but behind the traditional naturalistic content is Christian symbolism such as the.

The 6th-century early Christian basilicas of Sant' Eufemia and Santa Maria delle Grazie in also have mosaic floors. Mosaic of in, In the 5th-century, the capital of the, became the center of late Roman mosaic art. The was decorated with mosaics of high artistic quality in 425–430. The vaults of the small, cross-shaped structure are clad with mosaics on blue background. The central motif above the crossing is a golden cross in the middle of the starry sky.

Another great building established by was the church of. She erected it in fulfillment of a vow that she made having escaped from a deadly storm in 425 on the sea voyage from Constantinople to Ravenna. The mosaics depicted the storm, portraits of members of the western and eastern imperial family and the bishop of Ravenna,. They are known only from Renaissance sources because almost all were destroyed in 1747.

Kept alive the tradition in the 6th century, as the mosaics of the,,, and the earlier phase mosaics in the and testify. After 539 Ravenna was reconquered by the Romans in the form of the (Byzantine Empire) and became the seat of the. The greatest development of Christian mosaics unfolded in the second half of the 6th century.

Outstanding examples of Byzantine mosaic art are the later phase mosaics in the Basilica of San Vitale and Basilica of Sant'Apollinare Nuovo. The mosaic depicting Emperor Saint and in the Basilica of San Vitale were executed shortly after the Byzantine conquest. The mosaics of the were made around 549. The anti-Arian theme is obvious in the apse mosaic of, executed in 545–547 (largely destroyed; the remains in ). The last example of Byzantine mosaics in Ravenna was commissioned by bishop Reparatus between 673–79 in the Basilica of Sant'Apollinare in Classe. The mosaic panel in the apse showing the bishop with Emperor is obviously an imitation of the Justinian panel in San Vitale. Butrint [ ] The mosaic pavement of the Vrina Plain basilica of, appear to pre-date that of the Baptistery by almost a generation, dating to the last quarter of the 5th or the first years of the 6th century.

The mosaic displays a variety of motifs including sea-creatures, birds, terrestrial beasts, fruits, flowers, trees and abstracts – designed to depict a terrestrial paradise of God’s creation. Superimposed on this scheme are two large tablets, tabulae ansatae, carrying inscriptions. A variety of fish, a crab, a lobster, shrimps, mushrooms, flowers, a stag and two cruciform designs surround the smaller of the two inscriptions, which reads: In fulfilment of the vow (prayer) of those whose names God knows. This anonymous dedicatory inscription is a public demonstration of the benefactors’ humility and an acknowledgement of God’s omniscience. The abundant variety of natural life depicted in the Butrint mosaics celebrates the richness of God’s creation; some elements also have specific connotations. The vase and vine refer to the, the symbol of the sacrifice of Christ leading to salvation.

Peacocks are symbols of paradise and resurrection; shown eating or drinking from the vase they indicate the route to eternal life. Deer or stags were commonly used as images of the faithful aspiring to Christ: 'As a heart desireth the water brook, so my souls longs for thee, O God.' Water-birds and fish and other sea-creatures can indicate baptism as well as the members of the Church who are christened. Late Antique and Early Medieval Rome [ ]. 5th century mosaic in the triumphal arch of, Rome Christian mosaic art also flourished in Rome, gradually declining as conditions became more difficult in the. 5th century mosaics can be found over the triumphal arch and in the nave of the basilica of.

The 27 surviving panels of the nave are the most important mosaic cycle in Rome of this period. Two other important 5th century mosaics are lost but we know them from 17th-century drawings. In the apse mosaic of (462–472, destroyed in 1589) Christ was seated on a globe with the twelve Apostles flanking him, six on either side. At (468–483, destroyed in 1686) Christ appeared in the center, flanked on either side by three Apostles. Four streams flowed from the little mountain supporting Christ. The original 5th-century apse mosaic of the was replaced by a very similar fresco by in 1559.

The composition probably remained unchanged: Christ flanked by male and female saints, seated on a hill while lambs drinking from a stream at its feet. All three mosaics had a similar iconography. 6th-century pieces are rare in Rome but the mosaics inside the triumphal arch of the basilica of belong to this era. The Chapel of Ss. Primo e Feliciano in has very interesting and rare mosaics from the 7th century. This chapel was built by as a family burial place. In the 7th–9th centuries Rome fell under the influence of Byzantine art, noticeable on the mosaics of,,,, and the San Venanzio chapel of.

The great dining hall of in the was also decorated with mosaics. They were all destroyed later except for one example, the so-called of which a copy was made in the 18th century. Another great work of Pope Leo, the apse mosaic of, depicted Christ with the Pope and on one side, and SS. Susanna and Felicity on the other. It was plastered over during a renovation in 1585. Pope (817–824) embellished the church of with an apsidal mosaic which depicted the pope with a model of the church (destroyed in 1607). The fragment of an 8th-century mosaic, the is one of the very rare remaining pieces of the medieval decoration of, demolished in the late 16th century.

The precious fragment is kept in the sacristy of. It proves the high artistic quality of the destroyed St. Peter's mosaics. Byzantine mosaics [ ]. Byzantine mosaic above the entrance portal of the in, (6th century) Mosaics were more central to Byzantine culture than to that of Western Europe.

Byzantine church interiors were generally covered with golden mosaics. Mosaic art flourished in the from the 6th to the 15th centuries.

The majority of Byzantine mosaics were destroyed without trace during wars and conquests, but the surviving remains still form a fine collection. The great buildings of like the in, the in and the rebuilt in were certainly embellished with mosaics but none of these survived. Important fragments survived from the mosaic floor of the which was commissioned during 's reign. The figures, animals, plants all are entirely classical but they are scattered before a plain background. The portrait of a moustached man, probably a Gothic chieftain, is considered the most important surviving mosaic of the Justinianian age. The so-called small sekreton of the palace was built during 's reign around 565–577. Some fragments survive from the mosaics of this vaulted room.

The vine scroll motifs are very similar to those in the Santa Constanza and they still closely follow the Classical tradition. There are remains of floral decoration in the in (5th–6th centuries). A pre- depiction of St.

Demetrios at the Hagios Demetrios Basilica in Thessaloniki. In the 6th century,, the capital of Byzantine Italy, became the center of mosaic making.

Also boasts some important examples from this era. The in was built in the middle of the 6th century and decorated with mosaics depicting the flanked by angels and saints.

Fragments remain from the mosaics of the in. These pieces were made during the 6th century by artists from Constantinople. Their pure Byzantine style is different from the contemporary Ravennate mosaics. Very few early Byzantine mosaics survived the destruction of the 8th century. Among the rare examples are the 6th-century Christ in majesty (or Ezekiel's Vision) mosaic in the apse of the in that was hidden behind mortar during those dangerous times.

Nine mosaic panels in the, which were made between 634 and 730, also escaped destruction. Unusually almost all represent, often with suppliants before him. In the, figural mosaics were also condemned as idolatry. The Iconoclastic churches were embellished with plain gold mosaics with only one great cross in the apse like the in Constantinople (after 740).

There were similar crosses in the apses of the in Thessaloniki and in the in. The crosses were substituted with the image of the in both churches after the victory of the (787–797 and in 8th–9th centuries respectively, the Dormition church was totally destroyed in 1922). A similar Theotokos image flanked by two archangels were made for the in Constantinople in 867. The dedication inscription says: 'The images which the impostors had cast down here pious emperors have again set up.' In the 870s the so-called large sekreton of the was decorated with the images of the four great iconodule patriarchs. The post-Iconoclastic era was the heyday of Byzantine art with the most beautiful mosaics executed.

The mosaics of the (867–1056) carefully mingled traditionalism with innovation. Constantinopolitan mosaics of this age followed the decoration scheme first used in Emperor 's. Not only this prototype was later totally destroyed but each surviving composition is battered so it is necessary to move from church to church to reconstruct the system. An interesting set of Macedonian-era mosaics make up the decoration of the Monastery.

In the narthex there is the Crucifixion, the Pantokrator and the Anastasis above the doors, while in the church the Theotokos (apse), Pentecost, scenes from Christ's life and ermit St Loukas (all executed before 1048). The scenes are treated with a minimum of detail and the panels are dominated with the gold setting. Detail of mosaic from Monastery The Monastery on was established by in 1043–1056. The exceptional mosaic decoration of the dome showing probably the nine orders of the angels was destroyed in 1822 but other panels survived (Theotokos with raised hands, four evangelists with seraphim, scenes from Christ's life and an interesting Anastasis where King Salomon bears resemblance to Constantine Monomachos). In comparison with Osios Loukas Nea Moni mosaics contain more figures, detail, landscape and setting. Another great undertaking by Constantine Monomachos was the restoration of the in between 1042 and 1048.

Nothing survived of the mosaics which covered the walls and the dome of the edifice but the Russian abbot Daniel, who visited Jerusalem in 1106–1107 left a description: 'Lively mosaics of the holy prophets are under the ceiling, over the tribune. The altar is surmounted by a mosaic image of Christ.

In the main altar one can see the mosaic of the Exaltation of Adam. In the apse the Ascension of Christ. The Annunciation occupies the two pillars next to the altar.' The houses the best preserved complex of mosaics from the early Comnenan period (ca. 1100) when the austere and hieratic manner typical for the and represented by the awesome image inside the dome, was metamorphosing into a more intimate and delicate style, of which The Angel before St Joachim — with its pastoral backdrop, harmonious gestures and pensive lyricism — is considered a superb example. The 9th- and 10th-century mosaics of the in Constantinople are truly classical Byzantine artworks.

The north and south tympana beneath the dome was decorated with figures of prophets, saints and patriarchs. Above the principal door from the narthex we can see an Emperor kneeling before Christ (late 9th or early 10th century). Above the door from the southwest vestibule to the narthex another mosaic shows the Theotokos with Justinian and Constantine. Is offering the model of the church to Mary while is holding a model of the city in his hand.

Both emperors are beardless – this is an example for conscious archaization as contemporary Byzantine rulers were bearded. A mosaic panel on the gallery shows Christ with and (1042–1055). The emperor gives a bulging to Christ as a donation for the church. The dome of the in Thessaloniki is decorated with an Ascension mosaic (c.

The composition resembles the great baptistries in, with apostles standing between palms and Christ in the middle. The scheme is somewhat unusual as the standard post-Iconoclastic formula for domes contained only the image of the. A mosaic from the of (modern Istanbul), depicting and, flanked by (left) and his wife (right), c. 1118 AD There are very few existing mosaics from the but this paucity must be due to accidents of survival and gives a misleading impression. The only surviving 12th-century mosaic work in is a panel in Hagia Sophia depicting Emperor and Empress with the (1122–34). The empress with her long braided hair and rosy cheeks is especially capturing. It must be a lifelike portrayal because Eirene was really a redhead as her original Hungarian name, Piroska shows.

The adjacent portrait of Emperor on a pier (from 1122) is similarly personal. The imperial mausoleum of the dynasty, the was certainly decorated with great mosaics but these were later destroyed. The lack of Komnenian mosaics outside the capital is even more apparent. There is only a 'Communion of the Apostles' in the apse of the cathedral of.

A striking technical innovation of the Komnenian period was the production of very precious, miniature mosaic icons. In these icons the small tesserae (with sides of 1 mm or less) were set on wax or resin on a wooden panel.

These products of extraordinary craftmanship were intended for private devotion. The is a very fine example from the late 12th century.

The miniature mosaic of Christ in the Museo Nazionale at illustrates the more gentle, humanistic conception of Christ which appeared in the 12th century. The sack of Constantinople in 1204 caused the decline of mosaic art for the next five decades.

After the reconquest of the city by in 1261 the Hagia Sophia was restored and a beautiful new was made on the south gallery. This huge mosaic panel with figures two and a half times lifesize is really overwhelming due to its grand scale and superlative craftsmanship. The Hagia Sophia Deesis is probably the most famous Byzantine mosaic in Constantinople. The was restored by, an imperial official, in the late 13th century. Only the mosaic decoration of the small burial chapel () of Glabas survived. This domed chapel was built by his widow, Martha around 1304–08. In the miniature dome the traditional Pantokrator can be seen with twelve prophets beneath.

Unusually the apse is decorated with a, probably due to the funerary function of the chapel. The in was built in 1310–14. Although some vandal systematically removed the gold tesserae of the background it can be seen that the Pantokrator and the prophets in the dome follow the traditional Byzantine pattern. Many details are similar to the Pammakaristos mosaics so it is supposed that the same team of mosaicists worked in both buildings.

Another building with a related mosaic decoration is the in. The church was established by the Despot of in 1294–96. In the dome is the traditional stern Pantokrator, with prophets and cherubim below.

Mosaic of Theodore Metochites offering the Chora Church to Christ The greatest mosaic work of the is the decoration of the in Constantinople. Although the mosaics of the naos have not survived except three panels, the decoration of the exonarthex and the esonarthex constitute the most important full-scale mosaic cycle in Constantinople after the Hagia Sophia. They were executed around 1320 by the command of. The esonarthex has two fluted domes, specially created to provide the ideal setting for the mosaic images of the ancestors of Christ. The southern one is called the Dome of the Pantokrator while the northern one is the Dome of the Theotokos.

The most important panel of the esonarthex depicts Theodore Metochites wearing a huge, offering the model of the church to Christ. The walls of both narthexes are decorated with mosaic cycles from the life of the Virgin and the life of Christ. These panels show the influence of the Italian on Byzantine art especially the more natural settings, landscapes, figures. The last Byzantine mosaic work was created for the Hagia Sophia, Constantinople in the middle of the 14th century. The great eastern arch of the cathedral collapsed in 1346, bringing down the third of the main dome. By 1355 not only the big Pantokrator image was restored but new mosaics were set on the eastern arch depicting the Theotokos, the Baptist and Emperor (discovered only in 1989).

In addition to the large-scale monuments several miniature mosaic icons of outstanding quality was produced for the Palaiologos court and nobles. The loveliest examples from the 14th century are Annunciation in the and a mosaic diptych in the Cathedral Treasury of representing the Twelve Feasts of the Church. In the troubled years of the 15th century the fatally weakened empire could not afford luxurious mosaics. Churches were decorated with wall-paintings in this era and after the.

Rome in the High Middle Ages [ ]. Arches and Byzantine mosaics in the of The heyday of mosaic making in was the age of the independent kingdom in the 12th century. The Norman kings adopted the Byzantine tradition of mosaic decoration to enhance the somewhat dubious legality of their rule. Greek masters working in Sicily developed their own style, that shows the influence of Western European and Islamic artistic tendencies. Best examples of Sicilian mosaic art are the of, the church in and the cathedrals of and. The Cappella Palatina clearly shows evidence for blending the eastern and western styles.

The dome (1142–42) and the eastern end of the church (1143–1154) were decorated with typical Byzantine mosaics i.e. Pantokrator, angels, scenes from the life of Christ. Even the inscriptions are written in Greek. The narrative scenes of the nave (Old Testament, life of Sts Peter and Paul) are resembling to the mosaics of the Old St. Peter's and St. Paul's Basilica in (Latin inscriptions, 1154–66).

The Martorana church (decorated around 1143) looked originally even more Byzantine although important parts were later demolished. The dome mosaic is similar to that of the Cappella Palatina, with Christ enthroned in the middle and four bowed, elongated angels. The Greek inscriptions, decorative patterns, and evangelists in the are obviously executed by the same Greek masters who worked on the Cappella Palatina. The mosaic depicting Roger II of Sicily, dressed in Byzantine imperial robes and receiving the crown by Christ, was originally in the demolished together with another panel, the with Georgios of Antiochia, the founder of the church. In (1148) only the high, French Gothic presbytery was covered with mosaics: the on the semidome of the apse and on the vault.

On the walls are Latin and Greek saints, with Greek inscriptions. A “painting” made from tesserae in,, Italy Beyond the the first important example of mosaic art was the decoration of the, commissioned. It was completely destroyed in a fire in 1650. A rare example of surviving Carolingian mosaics is the decoration of the oratory of built in 805–806 by,, a leading figure of the. This unique work of art, rediscovered only in the 19th century, had no followers. 5 1 Upmix Software Development.

Only scant remains prove that mosaics were still used in the Early Middle Ages. The Abbey of Saint-Martial in, originally an important place of pilgrimage, was totally demolished during the except its crypt which was rediscovered in the 1960s. A mosaic panel was unearthed which was dated to the 9th century. It somewhat incongruously uses cubes of gilded glass and deep green marble, probably taken from antique pavements. This could also be the case with the early 9th century mosaic found under the in, where antique motifs are copied but using only simple colors. The mosaics in the Cathedral of Saint-Jean at have been dated to the 11th century because they employ the same non-antique simple colors. More fragments were found on the site of Saint-Croix at which might be from the 6th or 9th century.

Close up of the bottom left corner of the picture above. Click the picture to see the individual Later fresco replaced the more labor-intensive technique of mosaic in Western-Europe, although mosaics were sometimes used as decoration on medieval cathedrals. The Royal Basilica of the Hungarian kings in (Alba Regia) had a mosaic decoration in the apse. It was probably a work of Venetian or Ravennese craftsmen, executed in the first decades of the 11th century. The mosaic was almost totally destroyed together with the basilica in the 17th century.

The Golden Gate of the in got its name from the golden 14th-century mosaic of the above the portal. It was executed by Venetian craftsmen.

Carolingian mosaic in The in the also adopted mosaic decoration under local Byzantine influence. During their 12th-century reconstruction of the in they complemented the existing Byzantine mosaics with new ones. Almost nothing of them survived except the 'Ascension of Christ' in the Latin Chapel (now confusingly surrounded by many 20th-century mosaics). More substantial fragments were preserved from the 12th-century mosaic decoration of the in. The mosaics in the nave are arranged in five horizontal bands with the figures of the ancestors of Christ, Councils of the Church and angels. In the apses the Annunciation, the Nativity, Adoration of the Magi and Dormition of the Blessed Virgin can be seen.

The program of redecoration of the church was completed in 1169 as a unique collaboration of the Byzantine emperor, the and the Latin Church. In 2003, the remains of a mosaic pavement were discovered under the ruins of the near the River in present-day.

The panels depict real or fantastic animal, floral, solar and geometric representations. Some archeologists supposed that it was the floor of an Orthodox church, built some time between the 10th and 11th century. Other experts claim that it was part of the later Catholic monastery on the site because it shows the signs of strong Italianate influence. The monastery was situated that time in the territory of the. Renaissance and Baroque [ ] Although mosaics went out of fashion and were substituted by frescoes, some of the great Renaissance artists also worked with the old technique. 's in the dome of the in is a notable example that was executed by a Venetian craftsman, Luigi di Pace.

During the papacy of (1592–1605), the “Congregazione della Reverenda Fabbrica di San Pietro' was established, providing an independent organisation charged with completing the decorations in the newly built. Instead of frescoes the cavernous Basilica was mainly decorated with mosaics. Among the explanations are: • The old St.

Peter's Basilica had been decorated with mosaic, as was common in churches built during the early Christian era; the 17th century followed the tradition to enhance continuity. • In a church like this with high walls and few windows, mosaics were brighter and reflected more light. • Mosaics had greater intrinsic longevity than either frescoes or canvases. • Mosaics had an association with bejeweled decoration, flaunting richness. The mosaics of St.

Peter's often show lively compositions based on designs or canvases from like,,,, and many others. Is represented by a mosaic replica of this last painting, the. Many different artists contributed to the 17th- and 18th-century mosaics in St. Peter's, including, (died 1689), and (died 1743). Works of the Fabbrica were often used as papal gifts.

The Christian East [ ]. On the The eastern provinces of the and later the inherited a strong artistic tradition from the. Similarly to and churches and important secular buildings in the and were decorated with elaborate mosaic panels between the 5th and 8th centuries. The great majority of these works of art were later destroyed but archeological excavations unearthed many surviving examples. The single most important piece of Byzantine Christian mosaic art in the East is the, made between 542 and 570 as the floor of the church of Saint George at,. It was rediscovered in 1894.

The Madaba Map is the oldest surviving cartographic depiction of the. It depicts an area from in the north to the in the south, and from the in the west to the. The largest and most detailed element of the topographic depiction is, at the center of the map. The map is enriched with many naturalistic features, like animals, fishing boats, bridges and palm trees One of the earliest examples of in the region can be found on, an important place of pilgrimage in the Byzantine era where died. Among the many 6th-century mosaics in the church complex (discovered after 1933) the most interesting one is located in the baptistery.

The intact floor mosaic covers an area of 9 x 3 m and was laid down in 530. It depicts hunting and pastoral scenes with rich Middle Eastern flora and fauna. Mosaic floor from the church on (baptistery, 530) The Church of Sts. Lot and Procopius was founded in 567 in Nebo village under Mount Nebo (now ). Its floor mosaic depicts everyday activities like grape harvest.

Another two spectacular mosaics were discovered in the ruined Church of Preacher John nearby. One of the mosaics was placed above the other one which was completely covered and unknown until the modern restoration.

The figures on the older mosaic have thus escaped the iconoclasts. The town of remained an important center of mosaic making during the 5th–8th centuries. In the Church of the Apostles the middle of the main panel Thalassa, goddess of the sea, can be seen surrounded by fishes and other sea creatures.

Native Middle Eastern birds, mammals, plants and fruits were also added. The Transfiguration of Jesus in the Important Justinian era mosaics decorated the on in. Generally wall mosaics have not survived in the region because of the destruction of buildings but the St. Catherine's Monastery is exceptional.

On the upper wall is shown in two panels on a landscape background. In the apse we can see the on a golden background. The apse is surrounded with bands containing medallions of apostles and prophets, and two contemporary figure, 'Abbot Longinos' and 'John the Deacon'. The mosaic was probably created in 565/6. With its many holy places probably had the highest concentration of mosaic-covered churches but very few of them survived the subsequent waves of destructions. The present remains do not do justice to the original richness of the city. The most important is the so-called 'Armenian Mosaic' which was discovered in 1894 on the near.

It depicts a vine with many branches and grape clusters, which springs from a vase. Populating the vine's branches are peacocks, ducks, storks, pigeons, an eagle, a partridge, and a parrot in a cage. The inscription reads: 'For the memory and salvation of all those Armenians whose name the Lord knows.' Beneath a corner of the mosaic is a small, natural cave which contained human bones dating to the 5th or 6th centuries. The symbolism of the mosaic and the presence of the burial cave indicates that the room was used as a chapel. An exceptionally well preserved, carpet-like mosaic floor was uncovered in 1949 in, the early Byzantine church of the which was built between 333 and 390.

Because of its purely geometrical pattern, the church floor is to be grouped with other mosaics of the time in Palestine and neighboring areas, especially the Constantinian mosaics in the central nave at Bethlehem. A second church was built above the older one during the 6th century with another more simple geometric mosaic floor.

Detail from the mosaic floor of the Byzantine church of in. The monastic community lived here in the 5th–7th centuries. The communities of the also decorated their monasteries with mosaic floors. The was founded in the end of the 5th century and it was re-discovered in 1982–85. The most important work of art here is the intact geometric mosaic floor of the refectory although the severely damaged church floor was similarly rich. The mosaics in the church of the nearby are of later date (discovered in 1930). They were laid down in the Umayyad era, after a devastating earthquake in 659.

Two six pointed stars and a red chalice are the most important surviving features. Detail from the mosaic floor of the Mosaic art also flourished in Christian where three Byzantine churches were discovered.

The most important one was uncovered in 1990. It is known that the walls were also covered with golden glass mosaics but only the floor panels survived as usual. The mosaic of the seasons in the southern aisle is from this first building period from the middle of the 5th century.

In the first half of the 6th century the mosaics of the northern aisle and the eastern end of the southern aisle were installed. They depict native as well as exotic or mythological animals, and personifications of the Seasons, Ocean, Earth and Wisdom. The Arab conquest of the in the 7th century did not break off the art of mosaic making. Arabs learned and accepted the craft as their own and carried on the classical tradition. During the Umayyad era Christianity retained its importance, churches were built and repaired and some of the most important mosaics of the Christian East were made during the 8th century when the region was under Islamic rule. The mosaics of the Church of St Stephen in ancient Kastron Mefaa (now ) were made in 785 (discovered after 1986).

The perfectly preserved mosaic floor is the largest one in Jordan. On the central panel hunting and fishing scenes are depicted while another panel illustrates the most important cities of the region. The frame of the mosaic is especially decorative. Six mosaic masters signed the work: Staurachios from Esbus, Euremios, Elias, Constantinus, Germanus and Abdela. It overlays another, damaged, mosaic floor of the earlier (587) 'Church of Bishop Sergius.'

Another four churches were excavated nearby with traces of mosaic decoration. The last great mosaics in Madaba were made in 767 in the Church of the Virgin Mary (discovered in 1887). It is a masterpiece of the geometric style with a Greek inscription in the central medallion. With the fall of the in 750 the Middle East went through deep cultural changes. No great mosaics were made after the end of the 8th century and the majority of churches gradually fell into disrepair and were eventually destroyed. The tradition of mosaic making died out among the Christians and also in the Islamic community.

Orthodox countries [ ]. Early 12th-century mosaic depicting.

The craft has also been popular in early medieval, inherited as part of the Byzantine tradition., the Grand Prince of the built a large cathedral in his capital,. The model of the church was the in, and it was also called. It was built mainly by Byzantine master craftsmen, sent by, between 1037 and 1046.

Naturally the more important surfaces in the interior were decorated with golden mosaics. In the dome we can see the traditional stern supported by angels. Between the 12 windows of the drum were apostles and the four evangelists on the pendentives. The apse is dominated by an orant with a in three medallions above. Below is a Communion of the Apostles. Apse mosaic 'Glory of the Theotokos' in,.

Prince built in in 1108. The mosaics of the church are undoubtedly works of Byzantine artists. Although the church was destroyed by Soviet authorities, majority of the panels were preserved. Small parts of ornamental mosaic decoration from the 12th century survived in the in but this church was largely decorated with frescoes.

Using mosaics and frescoes in the same building was a unique practice in Ukraine. Harmony was achieved by using the same dominant colors in mosaic and fresco. Both Saint Sophia Cathedral and Saint Michael's Golden-Domed Monastery in Kiev use this technique. Mosaics stopped being used for church decoration as early as the 12th century in the eastern Slavic countries.

Later Russian churches were decorated with frescoes, similarly then orthodox churches in the Balkan. The apse mosaic of the is a rare example of mosaic use in. Began by king and completed by his son, the fragmentary panel depicts Theotokos flanked by two archangels. The use of mosaic in Gelati attests to some Byzantine influence in the country and was a demonstration of the imperial ambition of the Bagrationids. The mosaic covered church could compete in magnificence with the churches of Constantinople.

Gelati is one of few mosaic creations which survived in Georgia but fragments prove that the early churches of Pitsunda and Tsromi were also decorated with mosaic as well as other, lesser known sites. The destroyed 6th century mosaic floors in the have been inspired by Roman prototypes. In the tesserae are still visible on the walls of the 7th-century church but only faint lines hint at the original scheme.

Its central figure was Christ standing and displaying a scroll with Georgian text. Jewish mosaics [ ]. Wheel on the floor of the in Under Roman and Byzantine influence the Jews also decorated their with classical floor mosaics. Many interesting examples were discovered in and the. The remains of a 6th-century synagogue have been uncovered in, which was an important centre of Jewish culture between the 3rd–7th centuries and a multicultural town inhabited by Jews, Christians and pagans. The mosaic reflects an interesting fusion of Jewish and pagan beliefs.

In the center of the floor the wheel was depicted. Sits in the middle, in his sun chariot, and each is matched with a. Along the sides of the mosaic are strips depicting Biblical scenes, such as the binding of, as well as traditional rituals, including a burnt sacrifice and the offering of fruits and grains. Another zodiac mosaic decorated the floor of the synagogue which was built during the reign of (518–27). It is regarded one of the most important mosaics discovered in Israel. Each of its three panels depicts a scene – the Holy Ark, the zodiac, and the story of the sacrifice of Isaac. In the center of the zodiac is, the sun god, in his chariot.

The four women in the corners of the mosaic represent the four seasons. A third superbly preserved zodiac mosaic was discovered in the in the ancient resort town of. In the center of the 4th-century mosaic the Sun god, Helios sits in his chariot holding the celestial sphere and a whip.

Nine of the 12 signs of the zodiac survived intact. Another panel shows the Ark of Covenant and Jewish cultic objects used in the Temple at Jerusalem. In 1936, a synagogue was excavated in which was named after an inscription on its mosaic floor ('Peace on Israel'). It appears to have been in use from the 5th to 8th centuries and contained a big mosaic on the floor with drawings of the, the, a and a.

Nearby in, there is another synagogue (discovered in 1918) from the 6th century that also has a mosaic floor. The synagogue in () was built around the 4th century. The mosaic floor is decorated with only floral and geometric patterns.

The synagogue in (excavated in 1971–72, founded in the end of the 4th century) has three mosaic panels, the eastern one depicting a shrine, two, a and an with columns, deer and rams. The central panel is geometric while the western one is seriously damaged but it has been suggested that it depicted in the lion’s den. The Roman synagogue in was remodeled in the Byzantine era and a more elaborate mosaic floor was laid down above the older white panels. The usual geometric design was enriched with birds in the center. It includes the names of the signs of the zodiac and important figures from the Jewish past but not their images suggesting that it served a rather conservative community. The ban on figurative depiction was not taken so seriously by the Jews living in Byzantine. In 1966 remains of a synagogue were found in the ancient harbour area.

Its mosaic floor depicts as, identified by his name in Hebrew letters. Near him were lion cubs, a giraffe and a snake listening to him playing a lyre.

A further portion of the floor was divided by medallions formed by vine leaves, each of which contains an animal: a lioness suckling her cub, a giraffe, peacocks, panthers, bears, a zebra and so on. The floor was paved in 508/509. It is very similar to that of the synagogue at Maon (Menois) and the Christian church at, suggesting that the same artist most probably worked at all three places.

The House of Leontius in (excavated in 1964–72) is a rare example of a synagogue which was part of an inn. It was built in the Byzantine period. The colorful mosaic floor of the synagogue room had an outer stripe decorated with flowers and birds, around medallions with animals, created by emerging from an amphora. The central medallion enclosed a menorah (candelabrum) beneath the word shalom (peace). Mosaic of Menorah from Hammam Lif synagogue, Tunisia, 6th c.

A 5th-century building in may be a synagogue. Its mosaic floor contains typical Jewish symbols (menorah, lulav, etrog) but the inscriptions are Greek. Another Samaritan synagogue with a mosaic floor was located in Bet She'an (excavated in 1960). The floor had only decorative motifs and an aedicule (shrine) with cultic symbols. The ban on human or animal images was more strictly observed by the Samaritans than their Jewish neighbours in the same town (see above).

The mosaic was laid by the same masters who made the floor of the Beit Alfa synagogue. One of the inscriptions was written in Samaritan script. In 2003, a synagogue of the 5th or 6th century was uncovered in the coastal Ionian town of,. It had exceptional mosaics depicting items associated with Jewish holidays, including a menorah, ram's horn, and lemon tree. Mosaics in the basilica of the synagogue show the facade of what resembles a, animals, trees, and other biblical symbols. The structure measures 20 by 24 m. And was probably last used in the 6th century as a church.

Middle Eastern and Western Asian art [ ] Pre-Islamic Arabia [ ] In South Arabia two mosaic works were excavated in a Qatabanian from the late 3rd century, those two plates formed geometric and grapevines formation reflecting the traditions of that culture. In the era religious mosaic art flourished in their territory, so far five churches with mosaic were recorded from that era, two built by Ghassanid rulers and the other three by the Christian Arab community who wrote their names and dedications. Islamic mosaics inside the in (c. 690) used mosaic technique to decorate religious buildings and palaces after the of the eastern provinces of the.

In and the Arabs were influenced by the great tradition of Roman and Early Christian mosaic art. During the mosaic making remained a flourishing art form in Islamic culture and it is continued in the art of and in various parts of the Arab world, although was to become the main Islamic form of wall decoration. The first great religious building of, the in, which was built between 688–692, was decorated with glass mosaics both inside and outside, by craftsmen of the Byzantine tradition. Only parts of the original interior decoration survive.

The rich floral motifs follow Byzantine traditions, and are 'Islamic only in the sense that the vocabulary is syncretic and does not include representation of men or animals.' The Umayyad mosaics of closely followed classical traditions The most important early Islamic mosaic work is the decoration of the in, then capital of the. The mosque was built between 706 and 715. The caliph obtained 200 skilled workers from the Byzantine Emperor to decorate the building. This is evidenced by the partly Byzantine style of the decoration.

The mosaics of the inner courtyard depict Paradise with beautiful trees, flowers and small hill towns and villages in the background. The mosaics include no human figures, which makes them different from the otherwise similar contemporary Byzantine works. The biggest continuous section survives under the western arcade of the courtyard, called the 'Barada Panel' after the river. It is thought that the mosque used to have the largest gold mosaic in the world, at over 4 m 2.

In 1893 a fire damaged the mosque extensively, and many mosaics were lost, although some have been restored since. The mosaics of the Umayyad Mosque gave inspiration to later Damascene mosaic works. The Dome of the Treasury, which stands in the mosque courtyard, is covered with fine mosaics, probably dating from 13th- or 14th-century restoration work. The style of them are strikingly similar to the Barada Panel.

The mausoleum of Sultan,, which was built after 1277, is also decorated with a band of golden floral and architectural mosaics, running around inside the main prayer hall. Non-religious Umayyad mosaic works were mainly floor panels which decorated the palaces of the caliphs and other high-ranking officials.

They were closely modeled after the mosaics of the Roman country villas, once common in the Eastern Mediterranean. The most superb example can be found in the bath house of, which was made around 744.

The main panel depicts a large tree and underneath it a lion attacking a deer (right side) and two deers peacefully grazing (left side). The panel probably represents good and bad governance. Mosaics with classical geometric motifs survived in the bath area of the 8th-century Umayyad palace complex in,. The luxurious desert residence of in (in present-day ) was also decorated with floor mosaics that show a high level of technical skill. The best preserved panel at Hallabat is divided by a Tree of Life flanked by 'good' animals on one side and 'bad' animals on the other. Among the Hallabat representations are vine scrolls, grapes, pomegranates, oryx, wolves, hares, a leopard, pairs of partridges, fish, bulls, ostriches, rabbits, rams, goats, lions and a snake. At, near, excavations in 2000 uncovered the earliest known Umayyad mosaics in present-day, dating probably from the caliphate of (685–705).

They cover much of the floor of a finely decorated building that probably served as the palace of a local governor. The Qastal mosaics depict geometrical patterns, trees, animals, fruits and rosettes. Except for the open courtyard, entrance and staircases, the floors of the entire palace were covered in mosaics. Golden mosaics in the dome of the in, Moorish Spain (965–970) Some of the best examples of later Islamic mosaics were produced in. The golden mosaics in the and the central dome of the in have a decidedly Byzantine character. They were made between 965 and 970 by local craftsmen, supervised by a master mosaicist from, who was sent by the Byzantine Emperor to the Umayyad Caliph of Spain.

The decoration is composed of colorful floral and wide bands of Arab. The mosaics were purported to evoke the glamour of the Great Mosque in Damascus, which was lost for the Umayyad family. Mosaics generally went out of fashion in the Islamic world after the 8th century. Similar effects were achieved by the use of painted tilework, either geometric with small tiles, sometimes called mosaic, like the of, or larger tiles painted with parts of a large decorative scheme () in Persia, Turkey and further east. Modern mosaics [ ]. Running Rug, 2001 – structural mosaic work by Noted 19th-century mosaics include those by at St Pauls within the Walls in.

Another modern mosaic of note is the world's largest mosaic installation located at the, located in. A modern example of mosaic is the station of the (there are many scattered throughout the New York City subway system, though many stations are usually designed with bland mosaics.) Another example of mosaics in ordinary surroundings is the use of locally themed mosaics in some restrooms in the along some Texas interstate highways. Some modern mosaics are the work of style architects and, for example the mosaics in the in. Today, among the leading figures of the mosaic world are (UK), (Brazil), (USA) and (Albania). Mosaics as a popular craft [ ]. A detail of mosaic mural made of modern bottle screw tops. A high school in Jerusalem, Israel Mosaics have developed into a popular craft and art, and are not limited to professionals.

Today's artisans and crafters work with stone, ceramics, shells, art glass, mirror, beads, and even odd items like doll parts, pearls, or photographs. While ancient mosaics tended to be architectural, modern mosaics are found covering everything from park benches and flowerpots to guitars and bicycles. Items can be as small as an earring or as large as a house. Mosaics in street art [ ].

– Grand parade with red background, mosaic 1958 (designed 1953). (NGV), Mosaic is an art form which uses small pieces of materials placed together to create a unified whole. The materials commonly used are marble or other stone, glass,, mirror or foil-backed glass, or shells. The word mosaic is from the Italian mosaico deriving from the Latin mosaicus and ultimately from the Greek mouseios meaning belonging to the, hence artistic.

Each piece of material is a (plural: tesserae). The space in between where the grout goes is an interstice. Is the word used to describe the movement and flow of.

The 'opus', the Latin for ‘work’, is the way in which the pieces are cut and placed. Common techniques include: •: A grid; all tesserae align both vertically and horizontally. •: Tesserae form vertical or horizontal rows, but not both. •: One or more lines of tesserae follow the edge of a special shape (letters or a major central graphic). •: Vermiculatum extends throughout the entire background. •: Instead of forming rows, tesserae are irregularly shaped. Also known as 'crazy paving'.

•: A major shape (e.g. Heart, letter, cat) is formed by a single tessera, as later in. •: When vermiculatum is combined with tessellatum or regulatum.

•: Tesserae are laid in overlapping semicircles or fan shapes. •: using very small tesserae, in and Italian panels for jewellery from the Renaissance on. Three techniques [ ]. A 'Direct Method' mosaic courtyard made from irregular pebbles and stone strips,,, (China) The direct method of mosaic construction involves directly placing (gluing) the individual onto the supporting surface. This method is well suited to surfaces that have a three-dimensional quality, such as vases. This was used for the historic European wall and ceiling mosaics, following of the main outlines on the wall below, which are often revealed again when the mosaic falls away.

The direct method suits small projects that are transportable. Another advantage of the direct method is that the resulting mosaic is progressively visible, allowing for any adjustments to tile color or placement. The disadvantage of the direct method is that the artist must work directly at the chosen surface, which is often not practical for long periods of time, especially for large-scale projects. Also, it is difficult to control the evenness of the finished surface. This is of particular importance when creating a functional surface such as a floor or a table top. A modern version of the direct method, sometimes called 'double direct,' is to work directly onto fiberglass mesh. The mosaic can then be constructed with the design visible on the surface and transported to its final location.

Large work can be done in this way, with the mosaic being cut up for shipping and then reassembled for installation. It enables the artist to work in comfort in a studio rather than at the site of installation.

Indirect method [ ] The indirect method of applying tesserae is often used for very large projects, projects with repetitive elements or for areas needing site specific shapes. Tiles are applied face-down to a backing paper using an adhesive, and later transferred onto walls, floors or craft projects. This method is most useful for extremely large projects as it gives the maker time to rework areas, allows the cementing of the tiles to the backing panel to be carried out quickly in one operation and helps ensure that the front surfaces of the mosaic tiles and mosaic pieces are flat and in the same plane on the front, even when using tiles and pieces of differing thicknesses. Mosaic murals, benches and tabletops are some of the items usually made using the indirect method, as it results in a smoother and more even surface. Double indirect method [ ]. This section's factual accuracy is. Relevant discussion may be found on.

Please help to ensure that disputed statements are. (October 2017) () The double indirect method can be used when it is important to see the work during the creation process as it will appear when completed.

The tesserae are placed face-up on a medium (often adhesive-backed paper, sticky plastic or soft lime or putty) as it will appear when installed. When the mosaic is complete, a similar medium is placed atop it. The piece is then turned over, the original underlying material is carefully removed, and the piece is installed as in the indirect method described above. In comparison to the indirect method, this is a complex system to use and requires great skill on the part of the operator, to avoid damaging the work. Its greatest advantage lies in the possibility of the operator directly controlling the final result of the work, which is important e.g. When the human figure is involved. This method was created in 1989 by Maurizio Placuzzi and registered for industrial use (patent n.

) under the name of his company, Sicis International Srl, now Sicis The Art Mosaic Factory Srl. Mathematics [ ]. Further information: and The best way to arrange variously shaped tiles on a surface leads to the mathematical field of. The artist was influenced by Moorish mosaics to begin his investigations into tessellation.

Digital imaging [ ] A mosaic in is a plurality of non-overlapping images, arranged in some. A is a picture made up of various other pictures (pioneered by Joseph Francis), in which each ' is another picture, when examined closely. This form has been adopted in many modern media and digital. A tile mosaic is a made up of individual, arranged in a non-overlapping fashion, e.g. To make a static image on a shower room or bathing pool floor, by breaking the image down into square pixels formed from ceramic tiles (a typical size is 1 in × 1 in (25 mm × 25 mm), as for example, on the floor of the pool, though sometimes larger tiles such as 2 in × 2 in (51 mm × 51 mm) are used). These digital images are coarse in resolution and often simply express text, such as the depth of the pool in various places, but some such digital images are used to show a sunset or other beach theme.

Recent developments in digital image processing have led to the ability to design physical tile mosaics using (CAD) software. The software typically takes as inputs a source and a of colored tiles. The software makes a match of the tiles to the source image. Robotic manufacturing [ ] With high cost of labor in developed countries, production has become increasingly popular. Rather than being assembled by hand, mosaics designed using (CAD) software can be assembled by a robot.

Production can be greater than 10 times faster with higher accuracy. But these 'computer' mosaics have a different look than hand-made 'artisanal' mosaics. With robotic production, colored tiles are loaded into, and then the robot picks and places tiles individually according to a command file from the design software. See also [ ] • • • Notes [ ]. • Dunbabin, Katherine M. Cambridge University Press.. • Lowden, John (1997).

Early Christian and Byzantine art. (for the section of Byzantium and Sicily) • Rentetzi, Efthalia (2009).. Arte Cristiana (in Italian). • Rentetzi, Efthalia (2000). 'Le influenze mediobizantine nei mosaici dell'arcone della Passione della Basilica marciana'. Arte¦Documento (in Italian).

In Martin Henig. A Handbook of Roman Art. • Oddo, Giuseppe (2014).

Decorazione a motivi geometrici vol. External links [ ] Wikimedia Commons has media related to. • Herbermann, Charles, ed. New York: Robert Appleton Company.

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