If you are interested in any of the mosaics below, or in a custom mosaic panel, send me email at norman@classicalmosaics.com or leave a message in my guestbook. 

View article on COLOR published in Groutline - Summer '03 issue

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Mosaics are displayed in reverse chronological order 

Arthurian Cycle

The cycle will be a 4 - part series based on the legend of King Arthur. Much of the text has been obtained from Thomas Bulfinch's "Age of Fable" and "La Morte D'Arthur" by Sir Thomas Mallory.

Quest for the Sangreal (2005)

It was the Cup from which Christ drank at the Last Supper, into which He shed His blood from the cross, and which was brought subsequently to Europe, by Joseph of Arimathea.  From generation to generation, one of the descendants of Joseph of Arimathea had been devoted to the guardianship of these precious relics; but on the sole condition of leading a life of purity in thought, word, and deed. For a long time the Sangreal was visible to all pilgrims, and its presence conferred blessings upon the land in which it was preserved. But at length one of those holy men to whom its guardianship had descended so far forgot the obligation of his sacred office as to look with unhallowed eye upon a young female pilgrim whose robe was accidentally loosened as she knelt before him. The sacred lance instantly punished his frailty, spontaneously falling upon him, and inflicting a deep wound. The Sangreal withdrew its visible presence from the crowds who came to worship. Merlin directed Arthur through Sir Gawain to undertake the recovery of the Sangreal, informing him at the same time that the knight who should accomplish that sacred quest was already born, and of a suitable age to enter upon it. Sir Gawain delivered his message, and the king was anxiously revolving in his mind how best to achieve the enterprise, when, at the vigil of Pentecost, all the fellowship of the Round Table being met together at Camelot, as they sat at meat, suddenly there was heard a clap of thunder, and then a bright light burst forth, and every knight, as he looked on his fellow, saw him, in seeming, fairer than ever before. All the hall was filled with sweet odors, and every knight had such meat and drink as he best loved. Then there entered into the hall the Holy Grail, covered with white samite, so that none could see it, and it passed through the hall suddenly, and disappeared. During this time no one spoke a word, but when they had recovered breath to speak King Arthur said, “Certainly we ought greatly to thank the Lord for what he hath showed us this day.” It was then that several of the Knights made a vow that for twelve months they would seek the Sangreal, and not return till they had seen it.

Size: 30"x24"

Weight: 25 lbs

Materials: Smalti, gold (oro granulato, bianco, rivestimento, naturale, rosso, antique), jewels (precious and semi-precious), murrines (millefiore), crackled glass.

Material source: Smalti.com, Tabularasa

Fishface - Twilight at Molokini (2004)

What I've attempted to recreate here are a few of the inhabitants of Hawaii's coral reefs. The fish in question (from left to right) are the ornate butterflyfish, the wrasse and the parrotfish. Kaleidoscopic in color, each was created as a memento of a treasured time spent snorkelling at the Molokini Crater. Smalti is the material of choice here, and murrines and shell have been added to only enhance the beauty of these marine creatures.

Size: 7"x9" each

Weight: 3 lbs each

Materials: Smalti, millefiore (murrines), abalone shell. 

Material source: Smalti.com, Tabularasa

Triumph of Lust (2004)

The design for "Lust" is based on one of a seven-part series of tapestries by Dutch designer Pieter Coecke van Aelst, titled the "Seven Deadly Sins". The originals were woven in Brussels, ca. 1542-44 and currently reside in the Patrimonio Nacional, Palacio Real de Madrid. Reinterpreting a long-standing medieval fascination with the conflict between the Vices and Virtues, the series places an eclectic collection of exemplary figures in a Renaissance setting. The description of its complex iconography is culled from a manuscript that still survives in Madrid. The tapestry typically contained one dominant Vice, surrounded by exemplary figures that either embodied, or failed to embody the Vice. The human figures have been modified to be part-human and part-winged exotic creatures, much like those created by goldsmiths during the Art Nouveau period. Lalique is paid homage in the depiction of Lust, represented with a crown of roses (the flower of love), who admires herself in a mirror (the symbol of vanity and seduction) held in one hand while lifting a golden chalice in the other, an allusion to the "cup of abominations" of the Whore of Babylon in the Apocalypse of St. John (17:4). Both sublime and predatory, she is portrayed as being one with nature (the dragonfly body), and yet does not exist in a natural form. In her wake trail the flames of Hell, containing none other than Lucifer, depicted "traditionally" in the form of a serpent. Ahead of her lie Carnal Pleasure (male moth) and Voluptuousness (female peacock), who ensnare "many in kisses and vicious embraces, attracted by transitory desire and mortal delectation"! Near the base lies Inconstancy (depicted by the scorpion), blind to the Inferno about to engulf it, while at the top, the spider weaves its web of seduction. Above and to the right corner of the picture are a family of ladybugs - they represent, the virtue of Chastity. To view the original tapestry and see how the mosaic was created, visit the mosaic in the making page.

Size: 24"x24"

Weight: 16 lbs

Materials: Smalti (regular and irridized), gold (oro granulato, rivestimento, rosso, bianco, cobalt blue, verde botiglia, verde acido, antique), jewels (baroque pearls (white and violet), South Sea pearls, peridot, bicolored emeralds, Australian opals), millefiore (murrines), glass cabochons, crackled glass, jasper (brecciated, leopard skin, ocean, yellow), agate (crazy lace, moss), carnelian, citrine, sodalite. 

Material source: Smalti.com, Tabularasa, Mosaic Art Supply

Warrior Saint (2003)

St. Michael, who shares top billing along with St. George and St. Demetrios as the three most famous warrior saints, was one of the most popular military saints in Byzantium. This mosaic, composed in a Byzantine style, portrays the angel-saint dressed in armored splendor. The power of this military image is enhanced by the figure's pose and the way he dominates the space, almost overwhelming it. Clad in a form-fitting corselet flashing with sharp gold highlights, the saint carries a spear in one hand and an orb in another, signifying Christ's dominion over everything. The slightly unbalanced pose of this frontal figure, which serves to characterize the saint as a man of action, is typical of warrior portraits.  

Size: 19"x12"

Weight: 7 lbs

Materials: Smalti (regular and irridized), gold (oro granulato, rivestimento, rosso, bianco, cobalt blue, verde botiglia, antique), jewels (baroque pearls, round pearls), millefiore (murrines), Venetian cabochons, metallic vitreous glass, crackled glass. 

Material source: Smalti.com, Tabularasa

Fan vaulting on a painted ceiling (2003) 

Reminiscent of late Gothic English architecture introduced by John Wastell in 1504, this mosaic is an example of the crowning glory in a long history of fan vaulting.  This distinctive feature was found in several cathedrals in England, notably the archbishopric of Canterbury, long considered to be the ecclesiastical center of the country. The distinctive feature in this architecture is the vertical "pull" of the piers and the engaged columns, whose densely clustered profiles soared upward in a slender procession, then at the foot of the vaults transfer into fanlike radiating ribs, and finally terminate around the center in (occasionally) star-shaped patterns.

Size: 12"x12"

Weight: 3.5 lbs

Materials: Smalti (regular and irridized), gold (oro granulato, rivestimento, rosso, bianco, cobalt blue), jewels (baroque pearls, lapis lazuli, jade, unakite, peridots, carnelian, tourmaline), millefiore (murrines), Venetian cabochons, metallic vitreous glass. 

Material source: Smalti.com, Tabularasa, Mountaintop Mosaics

Gothic Angel (2003) 

Inspired by a Fra Angelico painting, the "Linaiuoli Triptych", this mosaic attempts to reproduce a "musician angel". Patterned after Gothic altarpieces, the widespread wings have been tiled in a typical Renaissance "rainbow" pattern. The border style is loosely drawn from a pattern on a ceiling "rib" in an old Roman church. To see how the mosaic was created, visit the mosaic in the making page.

Size: 26"x14.5"

Weight: 12 lbs

Materials: Smalti, gold (oro granulato, bianco, rivestimento, naturale, rosso, antique), jewels (bicolor emeralds, sapphires, pearls - baroque and round, unakite, moonstones, peridots, carnelian, amber), millefiore (murrines), metallic vitreous glass, crackled glass, Venetian cabochon.

Material source: Smalti.com, Tabularasa, Mountaintop Mosaics

Celtic Cross (2003) 

When speaking of the Celts, one of the most evocative images that comes to mind is that of the Celtic cross. Many magnificent examples of carved crosses are found all over Ireland, the Hebrides, the Isle of Mann and Wales. While early crosses were usually positioned as meeting places, often within a Celtic monastic settlement, in modern times, most usually signify burial sites. Yet, some were created for their sheer beauty and others "in the glory of God". This is an example of a "high cross", usually a cross within a circle. The Celtic cross today symbolizes the blending of the Celtic and Christian traditions with the weaved latticework and fancy knots of typical Celtic design. This design was obtained from Celtic artist, Cari Buziak's website, Aon Celtic Art, and is available as a free clip art design.

Size: 14"x11"

Weight: 6.5 lbs

Materials: Smalti (regular and transparent), gold (oro bianco, granulato), iridescent tiles, millefiore, jade, pearls, white sapphires.

Material source: Smalti.com, Tabularasa, Mountaintop Mosaics, Mosaic Art Supply

Carnevale di Venezia (2002)

Exhibited at "Earth Elements", National Juried Show, Society of American Mosaic Artists, FL

The Carnevale di Venezia originated from a victory of 'La Serenissima', over Ulrico, Patriarch of Aquileia in 1162. To celebrate this victory, dances and reunions took place at the San Marco Piazza. The magicians, charlatans, performers, the music of Vivaldi, the masks, the beautiful and mysterious men and women are what symbolize the Carnival. From this evolved the Commedia dell'Arte.

Commedia dell'Arte, meaning "artistic comedy", was a theatrical, often humorous and bawdy presentation by actors who travelled throughout 16th century Italy. What is being displayed here are four of the primary Commedia dell'Arte characters: Colombina, Il Capitano, Arlecchino and Pulcinella. All of them are represented in caricature with pseudo-Venetian backdrops.

I : The figure here depicts Colombina; she was usually portrayed as the lover or wife of Arlecchino. When the character of Colombina originated, she was more buxom, lustier and overtly sexual....she was also called Franceschina, Smeraldina, etc then.  Devious, witty and sarcastic, her role was noted for her coquetry. She is affectionate, but always holds something back. Consequently, she is pestered by many men, notably Il Capitano and Pantalone. 

II : Depicted here is Arlecchino (Harlequin) - often known as the beloved of Columbina. An amorous acrobat, both childlike and humorous, and often given to wit, this was undoubtedly the most popular of the characters. In practice, he is usually the servant of Il Capitano, or Pantalone. He frequently adopts disguises, and cross-dresses without demur. He is also known to always carry his batocchio (or bat) - as a comedic device, it is used mostly as a phallic symbol, and never with menace. His movements are usually crisp and staccato, or completely sloppy and clumsy. His character is a mixture of ignorance, naivete, wit, stupidity and grace. He is both a rake and an overgrown boy with occasional gleams of intelligence, and his mistakes and clumsiness often have wayward charm. 

III : This is Pulcinella, an actor, small of stature and cruel of disposition, with a crooked and bent nose, he was enamored of young, pretty girls. He is often represented as Punch in the "Punch and Judy" shows. . His nose has the form of a beak which the ancients called "pullus gallinaceus". It is thought the etymology of the word derives from the word "Pulliciniello" that is pulcino or chick. He is depicted as taking on contradictory personalities, both stupid and astute, bold and cowardly.

IV : The figure depicted here is Il Capitano, a swaggering Captain, long stripped of that title. At first, more terrible than ridiculous, he grew into a bonafide comic figure, a cowardly adventurer, odious but dignified. In the Commedia dell'Arte, it was the populace of the time who created an extravagant caricature of the condottiere. He was always their enemy, whether fighting for or against them. His mask was graced with a long nose, unambiguously phallic, and therefore designed to attract attention from women, and intimidate men. The best example of the captain, with his cock-and-bull boasts is Cyrano de Bergerac.

This is a picture of the complete series. To see a log of work-in-progress pictures, visit the mosaic in the making page.

Size: 11"x14"

Weight: 6 lbs each (approx)

Materials: Smalti (regular and transparent) gold (oro granulato, rosso, naturale, bianco), pearls, marble, millefiore, glass baubles, cabochons.

Material source: Smalti.com, Tabularasa, Mountaintop Mosaics

Byzantine Angel (2002)  

Loosely patterned on an archangel from the 12-13th century mosaic, "The Last Judgement", in the church of S. Maria Assunta of Torcello, this mosaic is representative of the Byzantine style. The mosaic is framed in a simple gold border.

Size: 20"x17"

Weight: 11 lbs

Materials: Smalti (regular and transparent), gold (oro bianco, naturale, rivestimento, antique), millefiore, jade, pearls, mother-of-pearl, glass cabochons, marble.

Material source: Smalti.com, Tabularasa

Gryphon (or Griffin) (2002)  

Excerpt from Thomas Bullfinch's "Age of Fable": The Griffin is a monster with the body of a lion, the head and wings of an eagle, and back covered with feathers. Like birds it builds its nest, and instead of an egg lays an agate therein. It has long claws and talons of such a size that the people of that country make them into drinking-cups. India was assigned as the native country of the Griffins. They found gold in the mountains and built their nests of it, for which reason their nests were very tempting to the hunters, and they were forced to keep vigilant guard over them. Their instinct led them to know where buried treasures lay, and they did their best to keep plunderers at a distance. The Arimaspians, among whom the Griffins flourished, were a one-eyed people of Scythia. Milton borrows a simile from the Griffins, "Paradise Lost," Book II.:

"As when a Gryphon through the wilderness
With winged course, o'er hill and moory dale,
Pursues the Arimaspian, who by stealth
Had from his wakeful custody purloined
The guarded gold," etc.

The griffin's dual nature led it to be associated with Jesus Christ, God and man, king of heaven and earth. The eagle half of the griffin signified Christ's divinity and the lion half represented His humanity. The strength of the lion and the wisdom of the eagle combined in the griffin symbolized the strength and wisdom of God. To see a log of work-in-progress pictures, visit the mosaic in the making page.

See Tim Spalding's superlative website on griffins: Griffins in Art and on the Web

Size: 21" diameter

Weight: 18 lbs 

Materials: Smalti (regular and transparent) gold (oro rosso, naturale, bianco), pearls, marble, millefiore, mother of pearl leaves, metallic vitreous tile.

Material source: Smalti.com, Tabularasa

Dante's Inferno (2002)

Does the Devil exist? No one knows for sure...yet, there existed a need in humanity to create him. The Devil has always existed in the imaginations of the world's great authors and poets. He is the apotheosis of all our dreadful thoughts and desires. Dante's unique poem follows a very simple law - as a soul sins, so shall it be punished. I've attempted to create a visual form of  Dante's "Inferno" using characters from therein. To read about the "story" behind the visual, and to see how the mosaic was created, visit the mosaic in the making page.

Size: 23"x19"

Weight: 22.5 lbs

Materials: Smalti, gold (oro granulato, bianco, naturale), jewels (peridots), crackled glass.

Material source: Smalti.com, Tabularasa, Mountaintop Mosaics

The Celestial Bird (2002)

This mosaic is representative of a bird (the peacock) that cross-culturally embodied paradise, rebirth and immortality. The figure of the peacock has been used extensively, not only in illustrations and murals, but also as part of religious imagery in Christian, Moslem, Hindu and Buddhist art. I've attempted to create a stylized form of the bird and have used materials that I hadn't used before viz. transparent smalti. The creation of this mosaic is also available on the mosaic in the making page.

Size: 19"x16"

Weight: 14 lbs

Materials: Smalti, gold (oro bianco), jewels (midnight blue sapphires, pearls, jade, citrine, peridots).

Material source: Smalti.com, Tabularasa 

A Midsummer Night's Dream (2001) 

Exhibited at "Pieceful Visions", National Juried Show, Society of American Mosaic Artists, SC

Review: Shamelessly opulent and exquisitely crafted, A Midsummer Night's Dream transports the viewer into a land of keyed-up fantasy. A profusion of intense colors as in a Mardi Gras parade (red faces, blue faces, a river of gold and reds and floating baubles) make this mosaic celebratory and theatrical.

This mosaic is a representation of some of the characters in Shakespeare's "A Midsummer Night's Dream"; depicted are Oberon and Titania (King and Queen of the Fairies), Lysander and Hermia, Puck and Nick Bottom (in silhouette); also represented are a motley collection of tree sprites and other forest denizens. I've attempted to depict the subjects as masks, hence the bright colors!! The creation of this mosaic is also available on the mosaic in the making page.

Size: 27"x23"

Weight: 20.5 lbs

Materials: Smalti, gold (oro rosso, oro bianco, oro naturale), crackle glass, jewels (gold sapphires, emeralds, citrine, peridots), metallic vitreous tile, onyx, agate.

Material source: Smalti.com, Tabularasa, Mountaintop Mosaics

Male Torso (2001) 

Created for a good friend, this is my first attempt at working with marble. The idea behind creating this mosaic was to be able to use marble tiles with monochromatic colors to create a simplistic, if timeless version of the male form.

The creation of this mosaic is available on the mosaic in the making page.

Size: 24"x28"

Weight: 15 lbs

Materials: Marble (Onice Pakistan, Verde Cina, Verde Laguna and Onice Aranca), gold (oro rosso, oro naturale, oro rivestimento, oro granulato), smalti, metallic vitreous tile.

Material source: Tabularasa, Mountaintop Mosaics

Michael the Archangel (2001) (composite of images from panels at the Procuratoria di San Marco, Venice); cloisonne panels follow:

The three panels in cloisonne enamel were the basis for this composite mosaic.  The central picture was used as the basis for the figure; the bust portrait primarily as a design for the jewel encrusted breastplate, and the third for the depiction of the detail in the wings - a stylized form. More detail is available on the mosaic in the making page.

Size: 24"x36"

Weight: 27 lbs

Materials: Smalti, gold smalti (flat, red, wavy and granulated), mirror tile, metallic vitreous glass, jewels - real and glass (pearls, sapphires, rubies, emeralds, garnets, citrine, peridots, jade, lapis, tourmalines).

Material source: Smalti.com, Tabularasa, Mountaintop Mosaics

Flora (2000) (detail from Sandro Botticelli's "La Primavera", currently at the Uffizi Gallery in Florence) - my first mosaic!!! 

As the name suggests, "Primavera" represents the arrival and celebration of Spring.Venus, Goddess of Love, appears in the middle of an orange grove, on a meadow adorned with flowers. The poet,  Ovid, in "Fasti" portrays the beginning of Spring as the transformation of the nymph Chloris (far right in the picture) into Flora, Goddess of Flowers. Zephyrus, who is pursuing her, was so fired with wild passion upon catching sight of her, that he took her by force. Regretting the violence of his actions, however, he transformed her into the Flower-Goddess of Spring. Her robe is lavishly adorned with flowers. Her garland is composed of innumerable flowers, identifying her as the goddess from whom flowers come. I've attempted to recreate her portrait in mosaic form.

Size: 24"x30"

Weight: 19 lbs

Materials: Smalti, metallic vitreous glass, glass baubles.

Material source: Mountaintop Mosaics, Tabularasa

 Created for me by Lia Catalano (reverse chronological order)

Empress Theodora (2000) (Church of San Vitale, Ravenna) - portrait created for me by Lia Catalano - visit her website http://www.hannacroismosaics.com for this and other mosaic items, including a making of the Empress Theodora panel.

Empress Theodora was said to be the daughter of an animal trainer in the circus, and that she was an actress and prostitute before her marriage (523) to Justinian I, who on his ascension to the throne in 527, made her joint ruler of the Byzantine empire. She is represented in the mosaics of the church of San Vitale, in Ravenna with her retinue, opposite a similar mosaic of her husband.

Size: 24"x30"

Weight: 20 lbs

Materials: Smalti, gold smalti (flat and granulated), metallic vitreous glass, crackle glass.