Concerning the Compositions and Figures made in Inlaid Work on
Pavements in imitation of objects in monochrome.
§ 97. _Pavements in Marble Mosaic and Monochrome._
To the mosaic in small pieces our modern masters have added another kind
of mosaic, that of marbles fitted together to counterfeit painted groups
in monochrome. This art takes its origin from the very ardent desire
that there should remain in the world to those who come after, even if
other kinds of painting were to be destroyed, a light that may keep
alive the memory of modern painters. Hence they have produced with
wondrous skill very large compositions that can be placed not only on
the pavements, where one walks, but also on the face of walls and
palaces, with such beautiful and marvellous art that there can be no
danger lest time should waste away the design of those who excel in this
profession. Examples of these works can be seen in the Duomo at Siena
begun first by Duccio of Siena, then added to by Domenico Beccafumi, and
continued by others even to our own day.[256]
This art possesses so much that is good, new, and durable, that for
pictorial work made up of black and white greater excellence and beauty
can hardly be desired. It is composed of three sorts of marble, which
come from the Carrara mountains:[257] one of these is the finest pure
white marble; another is not white but inclines to a livid tint, which
furnishes a middle shade; and the third is grey marble that inclines
towards a silvery hue, and this serves for dark. When the artist wishes
to compose a figure from these marbles he first prepares a cartoon in
light and shade with the same tints, and that done, following the
outlines of those medium and dark and pale tints, he fits together with
great care in their proper places first of all in the middle, the light
of that pure white marble, and then the half-tones and the darks beside
them, according to the actual outlines that the artist has drawn in the
cartoon. When all the pieces of marble, the light pieces as well as the
darks and half tints, are joined together and are laid quite flat, the
artist who has prepared the cartoon takes a fine brush dipped in moist
black, and, with all the work fitted together before him on the ground,
traces in lines the contours and where the shadows come, in the same
manner in which one would prepare an outlined drawing for monochrome.
That done the carver proceeds to cut in with chisels all those lines and
contours that the painter has made, and he hollows out all that part
which the brush has marked with black. Having finished this, the pieces
are built in on the flat bit by bit, and then with a mixture of boiled
black pitch, or asphalt, or black earth, all the hollows which the
chisel has made are filled up. When the material is cold and has set,
the worker proceeds to remove and rub away the projecting parts with
pieces of soft stone, and to smooth and polish with sand, bricks, and
water, till all that remains is brought to a true surface, that is, the
marble itself and the substance put in to fill up the hollows. When that
is done the work remains in aspect exactly like a flat picture, and
possesses great force combined with art and masterly skill. This kind of
work has come much into use on account of its beauty.
§ 98. _Pavements in Variegated Tiles._
Hence it is that the pavements of many apartments in our day are made of
variegated bricks, one portion of white clay, that is of clay that draws
towards a bluish shade when it is fresh and when baked becomes white,
and the other portion of the ordinary earth for making bricks which
becomes red when baked. Of these two sorts are made pavements, inlaid in
various designs and compartments, as the papal halls at Rome in the time
of Raffaello da Urbino bear testimony;[258] and now recently many
apartments in the castle of Sant’ Angelo where emblems of lilies of
fitted pieces showing the arms of Pope Paolo, and many other devices,
have been made with these same bricks. In Florence also there is the
pavement of the library of San Lorenzo ordered to be made by Duke
Cosimo. All have been executed with such great care that anything more
beautiful in that sort of workmanship cannot be desired, and the point
of departure for all these inlaid things was the first mosaic.
§ 99. _Pavements in Breccia Marble._
To explain why no mention was made of some breccias recently discovered
by Duke Cosimo while stones and marbles of all sorts were being spoken
of—I may say that in the year 1563 His Excellency found in the mountains
of Pietrasanta, near to the village of Stazzema, a hill which extends
for two miles, whose outer crust is of white marble excellent for
statues. The under layer is a red and yellowish breccia, and those
farther down are greenish, black, red, and yellow with various other
mixtures of colour; all these marbles are hard, and their nature is such
that the farther one penetrates inwards the greater is their solidity.
Up to the present time there can be seen quarried from thence columns of
fifteen to twenty braccia; but these marbles are not yet put into use,
because a road three miles in length is only now being constructed by
order of his Excellency to make it possible to transport the marbles
from the said quarries to the sea shore.[259] These breccias will, so
far as one can see, be most suitable for pavements.