Italy 19th Micromosaic Brooch

MICROMOSAIC OF STONE DURE.ITALIE FLORENCE 2nd THIRD OF THE 19th. We often see pieces with gross work, here it is quite the opposite. Incredible fineness with parts from 3 / 10th of milimetres to milimetre maxi width for all the nested elements. Oval cast in 38 by 32mm glass. I did not count the number of pieces but you will judge for yourself and attribute your own superlative to this jewel. No punch on the frame because the pin needle has been changed. TOTAL JEWELING / 46x40mm ABOUT MICROMOSAICS: The micro-mosaics are Italian pieces of Roman, Venetian and Florentine. The great period of manufacture was between the end of the eighteenth and the end of the nineteenth century. The Roman technique wants the pieces after assembly and gluing are waxed unlike the Venetian pieces. The pieces produced in Venice are often considered to be of a lower quality, which is rather false for jewelry of the 18th and 19th centuries. There are two types of pieces: the classic micro-mosaics assembled by assembling tiny plates carved in glass rods, smalti filati, and the Pietra dura which are marquetry of hard stones and which are Florentine. An assembly composed of regular shapes is typical of Rome, while in Venice a wide variety of shapes are used for the creation of mosaics. We begin to see these jewels appear elsewhere in Italy during the eighteenth and nineteenth centuries in favor of the Grand Tour, initiatory journey that took place between young people (but also collectors and art lovers) from of the European upper middle class during - or as a result of - their studies. At this time, photography does not exist yet and these jewels can convey in Europe the Italian landscapes. Among the favorite subjects of the workshops are: the landscapes of Tuscany and Italy in general, the ancient ruins and of course the great monuments of Rome and the Vatican. These rooms also served as souvenirs that were brought back from his trip. They were made thanks to an assembly of small glass plates (sometimes stones or earthenware) - tesserae - finely adjusted. This assemblage was then inserted into a frame of black glass (but there is also onyx for the most precious). Finally they were set in yellow or silver gold mounts. With time but also the increase in demand, the work will lose finesse. Classical subjects are replaced by floral subjects. Today, these pieces are commonly mounted on copper or brass. If found commonly sold to tourists as in the past, the pieces have absolutely nothing to do with the production of the eighteenth century.