smallest pin point to an inch. When the picture is completely finished,
and the cement thoroughly dried, it is highly polished.

Mosaic, though an ancient art, is not merely a revived, but an improved
one; for the Romans only used coloured marbles, or natural stones in its
composition, which admitted of comparatively little variety; but the
invention of smalts has given it a far wider range, and made the
imitation of painting far closer. The mosaic work at Florence is totally
different to this, being merely inlaying in _pietre dure_, or natural
precious stones, of every variety, which forms beautiful, and very
costly imitations of shells, flowers, figures, &c. but bears no
similitude to painting.

Besides this government establishment at Rome, there are hundreds of
artists, or artisans, who carry on the manufactory of mosaics on a small
scale. Snuff-boxes, rings, necklaces, brooches, earrings, &c. are made
in immense quantity; and since the English flocked in such numbers to
Rome, all the streets leading to the Piazza di Spagna are lined with the
shops of these _Musaicisti_, &c.

Oriental shells are made at Rome into beautiful cameos, by the white
outer surface being cut away upon the deeper coloured internal part,
forming figures in minute bassi relievi. The subjects are chiefly taken
from ancient gems, and sometimes from sculpture and painting. The shells
used for this purpose are chiefly brought from the Levant; and these
shell cameos make remarkably beautiful ornaments. Hundreds of artists
also find support at Rome, in making casts, sulphurs, &c. from ancient
gems and medals, and in selling or fabricating antiques. Marble and
stone-cutting are also beautifully executed both at Rome and
Florence--_Abridged, (but interspersed) from "Rome in the 19th