In the sixteenth century the art of mosaic ceased to
observe due limitations. The ideal was to reproduce exactly in
mosaic such pictures as were prepared by Titian, Pordenone, Raphael,
and other realistic painters. Georges Sand, in her charming novel,
"Les Maitres Mosaïstes," gives one the atmosphere of the workshops
in Venice in this later period. Tintoretto and Zuccato, the aged
painter, are discussing the durability of mosaic:--"Since it resists
so well," says Zuccato, "how comes it that the Seignory is repairing
all the domes of St. Mark's, which to-day are as bare as my skull?"
To which Tintoretto makes answer: "Because at the time when they
were decorated with mosaics, Greek artists were scarce in Venice.
They came from a distance, and remained but a short time: their
apprentices were hastily trained, and executed the works entrusted
to them without knowing their business, and without being able
to give them the necessary solidity. Now that this art has been
cultivated in Venice, century after century, we have become as
skilful as even the Greeks were." The two sons of Zuccato, who
are engaged in this work, confide to each other their trials and
difficulties in the undertaking: like artists of all ages, they
cannot easily convince their patrons that they comprehend their art
better than their employers! Francesco complains of the Procurator,
who is commissioned to examine the work: "He is not an artist.
He sees in mosaic only an application of particles more or less
brilliant. Perfection of tone, beauty of design, ingenuity of
composition, are nothing to him.... Did I not try in vain the
other day to make him understand that the old pieces of gilded
crystal used by our ancestors and a little tarnished by time,
were more favourable to colour than those manufactured to-day?"
"Indeed, you make a mistake, Messer Francesco," said he, "in