Until the XVIII century, the mosaics were realized

with the technique of cut enamel, founded on the

fragility of the same.

The enamel in the form of a compact circular bread

was placed on the chisel, a small cutting edge

anvil, and then beaten with four hammer blows.

In doing so, quite regular fractures were obtained, in

turn, that supplied pieces of quadrangular enamel,

progressively reduced to the desired shape.

In the second half of the ‘700, with the invention of

the spinning of the glass paste, it was possible to

create infinitely smaller tesserae. The micromosaic

took origin from this incredible technical evolution.

The pieces of enamel were melted over a flame and

reduced long thin rods. With the use of pliers and

files, from chopsticks, the artist drew little pieces which

possibly he could modify with a grinding wheel.

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After, a further invention came, the “malmischiati”.

For the first time, more color tones were mingled,

resulting from endless shades of the same card,

capable of revealing the most subtle shifts of light.

The color palette became so unlimited, up to ten

thousand of different shades, and the mosaic could

imitate and perfectly replace paintings. Soon, given

the sophistication and virtuosity that these new

techniques were able to give, the micromosaic was

used in the decoration of everyday objects, special

accessories and in real jewels its highest expression.

Queens and nobility were soon fascinated by the rare

beauty of these precious and unique pieces, so we

find, in ancient Europe and Russia, entire collections

of micromosaic jewelry, which we can still admire at

the Hermitage or in the Vatican Museums. And it is

from this ancient tradition that the inspiration of the

Masters of micromosaic Atelier Sicis comes.