The most important mosaics of this period in Italy were those which decorate the tribune of the basilica of St. John Lateran at Rome, executed by Jacobus Toriti between the years 1287 and 1292, and those of the tribune of S. Maria Maggiore in Rome, executed also by Toriti during the last few years of the thirteenth century and finished about 1302.

The design of the former mosaics is simple in arrangement. On a gold ground, symmetrically arranged, are the figures of six saints and Apostles, with smaller figures of St, Francis and St. Anthony of Padua advancing towards a central cross, from underneath which flows the four rivers of Paradise into the Jordan beneath. Above is the celebrated head of Christ, the face having a benign expression.

This was formerly supposed to be of an older creation, but it is quite likely to have been designed by Toriti. The head is surrounded by a plain gold nimbus, and around and above it, on a blue ground with clouds, is a glory of angels in the form of an arc. Below this, on the wall of the tribune, between pointed window openings, Christ and the Apostles are represented on a smaller scale.

In the tribune of S. Maria Maggiore the design is grander and more decorative than the St. John Lateran mosaics, and indeed ranks as the finest work of art of its period. In a large central medallion of the apse Christ and the Virgin are enthroned, Christ being represented in the act of crowning the Virgin. A crowd of angels are on either side and at the lower parts of the medallion. The ground of the latter is blue, sown with golden stars; beyond, on either side of the adoring angels, are the upright figures of Apostles and saints on a gold ground, and above them, filling the upper surrounding space, are conventional vines in whose scrolly branches birds of various kinds are found. Below this composition the River Jordan is represented, and the walls of the tribune are occupied with small compositions representing scenes in the life of Christ. In the loggia of the same church are a series of well-designed mosaics inscribed with the name of the artist who designed them - Philippus Rusuti - who is not known with certainty to have executed any other work. They had been formerly ascribed to the Florentine mosaicist Gaddo Gaddi, a friend of Cimabue; he died in 1312.

Gaddi

Gaddi, according to Vasari, had been invited to Rome to complete the unfinished mosaics of Toriti at the Church of S. Maria Maggiore after the death of the latter artist, and he occupied himself with the storied mosaics representing the foundation of that church in a series of four compositions. It is still, however, a matter of doubt as to how much of these mosaics belong to the hand of Rusuti or Gaddi. The latter artist executed some subjects in the dome of the Baptistery at Florence, in the Cathedral of Pisa, and the mosaics which decorate the inner lunette in the portal of the Cathedral at Florence.

Gaddi followed the style and aims of Cimabue; his work was poetic in conception, and in his execution he leaned to the Byzantine methods, but in drawing and composition he was greatly excelled by the Roman mosaicist Toriti.

The celebrated Roman family of the Cosmati were excellent mosaicists. Giovanni Cosmato, son of the elder artist of that name, executed some fine work on the tomb of Gonsalo Rode-rigo in the Church of S. Maria Maggiore, and on monuments in S. Maria sopra Minerva. A variety of mosaic was much used in Italy at different times, the earliest dating from the sixth century, which consisted in decorating pulpits, screens, and small altars with a geometric inlay of small squares and lozenges of gold and coloured tesserae which were inserted into grooves of white marble (Fig. 290).

About the year 1351, Pietro Cavallini, a native of Rome and a supposed pupil of the painter Giotto, was commissioned to execute some mosaics in the Church of S. Maria Transtevere at Rome.

The design and style of these works were strongly influenced if not partly copied from the frescoes of Giotto in the Arena Chapel at Padua.

Cavallini

Cavallini also executed in mosaic the celebrated Navi-cella, from the design by Giotto, which decorates the vestibule of the old basilica church of St. Peter's at Rome. This work represents a ship in which the Apostles are seen, and Christ and Peter are figured walking on the sea.

With the exception of a few notable works in St. Peter's at Rome, in St. Mark's at Venice, some unfinished work of Domenico Ghirlandaio (1449-95), and the work of Pesselli in the Church of Or-San-Michele at Florence (1416), the fifteenth century was not a prosperous period for mosaic. This is accounted for by the rapid development of the Italian schools of painting, which advanced during this century with incredible swiftness, and as painting advanced, mosaic decoration retreated before its more popular rival. The mosaicist had to make room for the fresco painter, who soon became the successful competitor of the former in the work of church decoration.

Regarding the mosaics of St. Mark's at Venice, it may be stated that they date from the eleventh century to the nineteenth.

The interior of this church is richly decorated on the vaults and upper parts of the walls with mosaics on grounds of gold, the other parts are covered with various rich marbles, and the floor is mosaic designed in the Byzantine style. In the twelfth century the principal apse, the cupola of the choir, and some of the chapels were decorated in mosaic. The great central cupola has mosaics of the eleventh century representing the Virtues, and twelfth-century work with the subjects of the "Virgin with Angels and Apostles," the "Evangelists," etc. To the same century belong the mosaics in the cupola of the choir, consisting of the figures of Christ, the Virgin, David and Solomon, and symbols of the Evangelists; the figure of St. Clement in the vault of the terminal chapel of St. Clement is ascribed to the twelfth century, and the mosaics of this chapel representing the life of the saint are thirteenth-century work.