A Pre-Raphaelite gem in New York City

Magazine Antiques, April, 2005 by Sheldon Barr, Paul Tabor

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The decision to have the Salviati firm create the mosaics instead of Heaton, Butler and Bayne is an unsolved mystery. The latter firm also made mosaics, and Bayne had after all designed them. The decision not to use the Tiffany Glass and Decorating Company, which was creating the mosaic altar and leaded-glass half-dome, was without doubt a financial one. With Salviati's method of prefabrication, the selection and cutting of the smalti took place in the Venice studio using the cartoons supplied by Bayne. The cartoons were first transferred to heavy paper, which was cut into sections about two feet square. The color-selected tessarae were then reverse-glued to the numbered sections and covered with a thin layer of cement to bind them. (20) After being delivered to the site, the Gorham craftsmen mounted each section in place during one expeditious operation using as adhesive a mixture of wet cement, sand, and brick dust. When this had solidified, the paper was carefully removed revealing the finished mosaic. Prefabrication, however, resulted in flat mosaics that lacked the sparkle of irregularly set Byzantine style examples like those in the Tiffany altar. Unlike the Tiffany work, the Salviati mosaics outline the principal figures and objects with black tessarae.

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The Visitation (Pls. VIII, VIIIa), the first of the arched mosaics, depicts the meeting between the Virgin Mary and her "cousin" Elizabeth, the Baptist's mother, both pregnant. Pre-Raphaelite conceits abound. The odd grouping of the figures seems to be based on an impromptu photograph; the portrayals of Elizabeth and her husband Zechariah are true to life, revealing their advanced age; not at all lifelike is the rather cloying Virgin who reveals a hint of mysticism in her halo, the corona stellarum duodecim--the twelve-starred crown of the Woman of the Apocalypse (Rev. 12:1). The stagey setting is filled with realistic architectural detail; the sumptuous Japanese-patterned garments and curtain provide elegance; and the profusion of plants and flowers, including a strategically placed lily, the symbol of Mary's purity, give the mosaic the appearance of a medieval tapestry. Salviati's gold tessarae, however, lend an unexpected touch of Byzantine splendor. The Latin inscription beneath, "EXULTAVIT IN GAUDIO INFANS" (The babe leaped for joy), refers to a passage in the Gospel of Luke (Luke 1:44) where Elizabeth addresses Mary in these words: "Ecce enim ut facta est vox salutationis tuae in auribus meis exultavit in gaudio infans in utero meo" (as soon as the voice of thy salutation sounded in mine ears, the babe leaped in my womb for joy).

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The Baptism (Pl. IX), the second mosaic, depicts Saint John baptizing Jesus, who is ankle-deep in the fast-flowing Jordan River. The composition is again a bit odd. Jesus is standing to the left and a typically beautiful, but rather pale, Pre-Raphaelite angel with outspread wings stands just behind him obsequiously holding his stylish Japanese-patterned garment. Christ, with a Greek cross halo, is represented as a blond bearded young man, handsome, but not quite as androgynous as the too pretty angel. To the right and above, a realistic and severe, bearded Saint John, clad in his hair shirt, holds a cruciform staff from which a banner bearing the words "ECCE AGNVS DEI" (Behold the Lamb of God) (John 1:29) billows above his head. Once again, a winged dove (the Holy Spirit) radiating light (Matt. 3:16) hovers above as John pours water over Christ from a scallop shell, another symbol of baptism. Water plants abound, including a cattail, a realistic palm tree, and other vegetation. Once again, the use of Salviati's gold mosaic for the halos and the sky endows this essentially Pre-Raphaelite work with Byzantine brilliance. The Latin inscription beneath "NON SURREXIT MAJOR" (No greater risen) refers to Gospel passages in which God says: "Inter natos mulierum non surrexit maior Johanne Baptista" (Among those that are born of women there is not a greater prophet than John the Baptist) (Luke 7:28, Matt. 11:11). John is deemed the forerunner of Christ who prepared his way. He is regarded as the last of the prophets, greater than all his predecessors including Abraham and Moses.