[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"catalog-sicis-emphasis-2017":3,"$f54gFciXR1FznWJVNft3TqcXl0B8GYbPbga8lnvghe78":1372},{"id":4,"title":5,"slug":6,"image":7,"source":8,"brand_name":9,"brand":10,"brand_slug":11,"file_size":12,"pages":13,"pages_count":1367,"matched_pages":1368,"match_count":1369,"two_pages":1370,"show_text":1371},26246,"Emphasis 2017","sicis-emphasis-2017","\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.1.png","http:\u002F\u002F127.0.0.1:8000\u002Fprivate\u002Ffiles\u002F3d\u002F06b1748ba40df8230c0630a8b74c8d-2917767c95.pdf","SICIS",2367,"sicis","143.5 MB",[14,17,21,24,27,31,34,38,41,44,48,52,56,60,64,68,71,74,77,81,85,89,93,97,101,105,109,113,117,121,125,129,133,137,141,145,149,153,157,161,165,169,173,177,181,185,189,193,197,201,205,209,213,217,221,225,229,233,237,241,245,249,253,257,261,265,269,273,277,281,285,289,293,297,301,305,309,313,317,321,325,329,333,337,341,345,349,353,357,361,365,369,373,377,381,385,389,393,397,401,405,409,413,417,420,424,428,432,436,440,444,448,452,456,460,464,468,472,476,480,484,488,492,496,500,504,508,512,516,520,524,528,532,536,540,544,548,552,556,560,564,568,572,576,580,584,588,592,596,600,604,608,612,616,620,624,628,632,636,640,644,648,652,656,660,664,668,672,676,680,684,688,692,696,700,704,708,712,716,720,724,728,732,736,740,744,748,752,756,760,764,768,772,776,780,784,788,792,796,800,804,808,812,816,820,824,828,832,836,840,844,848,852,856,860,864,868,872,876,880,884,888,892,896,900,904,908,912,916,920,924,928,932,936,940,944,948,952,956,960,964,968,972,976,980,984,988,992,995,999,1003,1007,1011,1015,1019,1023,1027,1031,1035,1039,1043,1047,1051,1055,1059,1063,1067,1071,1075,1079,1083,1087,1091,1095,1099,1103,1107,1111,1115,1119,1123,1127,1131,1135,1139,1143,1147,1151,1155,1159,1163,1167,1171,1175,1179,1183,1187,1191,1195,1199,1203,1207,1211,1215,1219,1223,1227,1231,1235,1239,1243,1247,1251,1255,1259,1263,1267,1271,1275,1279,1283,1287,1291,1295,1299,1303,1307,1311,1315,1319,1323,1327,1331,1335,1339,1343,1347,1351,1355,1358,1362,1365],{"image":7,"text":15,"number":16},"Emphasis\nEmphasis\n",1,{"image":18,"text":19,"number":20},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.2.png","",2,{"image":22,"text":19,"number":23},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.3.png",3,{"image":25,"text":19,"number":26},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.4.png",4,{"image":28,"text":29,"number":30},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.5.png","Emphasis\nEXTRAORDINARY MUSIVE ART\n",5,{"image":32,"text":19,"number":33},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.6.png",6,{"image":35,"text":36,"number":37},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.7.png","Preface\nSpesso immaginiamo il mosaico come una composizione pittorica \nottenuta mediante l’utilizzo di frammenti di tessere di diversa \nnatura e colore (marmo, vetro, conchiglie) che può  essere decorata \nanche con oro o pietre preziose e arrivare a tessere incredibilmente \nminute nel caso di preziosi oggetti in Micro Mosaico; con l'incredibile \nselezione di immagini contenute in questo volume, Sicis desidera \ndimostrarVi che oggi l'arte del mosaico è ancora di più.\nLa storia del mosaico ha dunque inizio con le prime civilizzazioni \ndella storia e risulta pertanto essere fra le prime forme artistiche, \nassieme alla scultura ed alla pittura, delle arti figurative in genere.\nWe often imagine mosaics as pictorial compositions obtained by the use of \nfragments of materials (tesserae) of different nature and colour (marble, \nglass, shells), that can be decorated with gold and precious stones in \nvarying shapes and sizes including the most minute tiny tesserae as \nin the case of Micro Mosaic objets. The history of mosaics began with \nthe first civilizations in history, and is thus among the first art forms, \ntogether with sculpture and figurative arts in general.\nSICIS The Art Factory will show you that today, the art of mosaic is \neven more. SICIS master mosaic artists working by hand are creating \nthe future while channeling the ancient traditions.\n",7,{"image":39,"text":19,"number":40},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.8.png",8,{"image":42,"text":29,"number":43},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.9.png",9,{"image":45,"text":46,"number":47},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.10.png","01 • IL PRIMO MOSAICO PRESSO I SUMERI\nI reperti archeologici delle città di Ur e Uruk testimoniano che nel 3000 a.C. i Sumeri abbellivano le loro costruzioni con \ndecorazioni geometriche smaltate di bianco, nero e rosso e ornavano vasi e altre suppellettili con tasselli di madreperla, \nlapislazzuli e terracotta.\nAnche in Egitto troviamo mosaici risalenti al III millennio a.C. e possono essere inoltre considerate decorazioni musive anche \nle composizioni di pietre dure, pietre preziose e vetro che ornavano i sarcofagi dei faraoni. (foto 01: mosaici del tempio di Inanna, Uruk)\n02 • IL MOSAICO NEL MONDO GRECO\nNel I millennio a.C. si iniziò ad usare, in alternativa all’utilizzo dei tappeti, una pavimentazione a ciottoli che dava maggiore \nresistenza al calpestio e rendeva il pavimento stesso impermeabile.\nLe tracce più antiche di una primitiva decorazione musiva in Grecia risalgono al V secolo a.C. con la diffusione di mosaici \npavimentali di pietra.\nLa tecnica a ciottoli raggiunge l’apice con Alessandro Magno e si rappresentano con ottimi risultati animali, scene di caccia, \nepisodi della mitologia.\nSpesso veniva inserita una sottile lamina di piombo per evidenziare il contorno dei soggetti o definire piccoli particolari, come \nsi farà, diversi secoli dopo, nelle vetrate policrome del gotico.\nA partire dal IV secolo a.C. vengono utilizzati cubetti di marmo, onice e pietre varie, che hanno maggiore precisione dei ciottoli, \nfino ad arrivare, nel III secolo a.C., all’introduzione di tessere tagliate. Il mosaico pavimentale conserva le caratteristiche \nestetiche dei tappeti: di dimensioni ridotte rispetto alla stanza, è composto da una serie di bordure intorno a un pannello \ncentrale, detto “èmblema”, recante spesso un soggetto figurativo. (foto 02: casa di Dioniso, Pella)\n03 • IL MOSAICO NEL MONDO ROMANO\nLe prime testimonianze di mosaico a tessere nell’antica Roma si datano attorno alla fine del III secolo a.C..\nConsiderati inizialmente beni di lusso, quindi non alla portata di tutti, vennero successivamente impiegati mosaici bicromi \n(bianchi e neri). Largamente utilizzati nelle terme, negli ambienti di uso pubblico e nelle abitazioni meno lussuose, \ncombinavano la semplicità e l’economicità con una vastissima gamma di decorazioni possibili.\nLe tessere, talvolta di dimensioni minutissime, compongono figurazioni riprese dalla pittura o decorazioni che richiamano \nl’architettura. Il mosaico diventa parte integrante dell’ambiente dove si trova, influenzando così anche l’iconografia: scene \nmitologiche nei templi, motivi marini nelle terme, atleti nelle palestre, nature morte o soggetti erotici nelle camere nuziali.\nI materiali utilizzati sono marmo, pietre di varia natura e paste vitree: in particolare il mosaico in pasta vitrea ha grande \nraffinatezza tecnica.\nGià nel I secolo a.C. il mosaico era ormai presente in tutte le case, con soggetti comuni e in questo periodo notevoli sono i \nmosaici pavimentali romani scoperti a Ravenna nella Domus dei tappeti di pietra. (foto 03: battaglia di Alessandro, Pompei)\n04 • IL MOSAICO NEL MONDO ISLAMICO\nL’arte islamica ebbe inizio intorno alla seconda metà del VII secolo in Siria: da qui raggiunse un’area geografica vastissima, \ninfluenzando anche zone di religione cristiana, come per esempio la Sicilia e la Spagna.\nFondamentale è il rifiuto di qualsiasi forma realistica, per evitare soprattutto il rischio dell’idolatria: si diffusero, quindi, motivi \ngeometrici e floreali, di solito replicati in serie, che ricordano le decorazioni dei tappeti. \nTuttavia negli splendidi mosaici e stucchi rinvenuti fra le rovine del Palazzo di Hisham, si trovano figure di animali e di esseri \numani.\nNella Moschea di Omar, a Gerusalemme che è il più antico capolavoro dell’arte islamica e risale al 692 ,sia all’esterno che \nall’interno troviamo ricchi decori con marmi policromi, maioliche e mosaici. (foto 04: esterno, Moschea della Roccia, Gerusalemme)\n05 • IL MOSAICO IN EPOCA BIZANTINA\nDopo la caduta dell’Impero Romano d’Occidente, i favolosi mosaici Bizantini conobbero le sue espressioni più fulgide.\nNel 540 a Ravenna, si decise che sarebbe stata decorata una chiesa per commemorare la vittoria dei bizantini sui goti: la \nbasilica fu chiamata San Vitale e decorata con sfarzosi mosaici, tra i quali i famosi riquadri che rappresentano da una parte \nGiustiniano, considerato il salvatore dell’Impero Romano insieme a tutta la sua corte; dall’altra Teodora insieme alla sua corte. \nI mosaici che ornano le pareti delle basiliche delle due città imperiali, Ravenna e Costantinopoli, costituiti di tessere vetrose \n(smalti) e oro zecchino, sono di una bellezza impareggiabile. L’impronta bizantina si distingue molto facilmente, le figure sono \nferme, immobili, non hanno il senso del movimento e non hanno un vero e proprio appoggio per i piedi, tanto che i personaggi \nsembrano galleggiare sullo sfondo dorato, simbolo della luce di Dio.\nUn caso particolare è la basilica di Santa Sofia di Istanbul costruita nel VI secolo da Giustiniano I sopra le rovine di altre \nchiese precedenti; venne decorata inizialmente con motivi geometrici e floreali. Fu arricchita, dopo il periodo iconoclasta, con \nimmagini figurative, di cui restano ancora spettacolari esempi.\nAnche a Roma troviamo importanti mosaici bizantini nella Basilica di Santa Prassede o nel Mausoleo di Santa Costanza mentre \na Milano sono preziosi i mosaici della Basilica di Sant’Ambrogio e di San Lorenzo. (foto 05: Teodora, San Vitale, Ravenna)\n06 • IL MOSAICO NEL MEDIOEVO\nNell’arte romanica al mosaico gli si preferisce l’affresco. È interessante dunque percepire l’introduzione di vetri meno \nscintillanti per poter imitare meglio le tonalità delle tempere con variazioni luminose più o meno lucide. Accanto ai frammenti \ndi vetro, venivano spesso impiegate pietre dure colorate.\nIl mosaico, però, è per lo più pavimentale e vive il suo apice nel XII secolo. E’ anche molto diffuso il reimpiego di antichi \nframmenti o di tessere di mosaici già esistenti, come nella chiesa dei Santi Maria e Donato a Murano, dove le grandi lastre di \npietra del pavimento sono frammenti di sarcofagi e a Roma dove i pavimenti cosmateschi hanno dischi di porfido o marmo \ntagliati da colonne.\nIl più noto mosaico pavimentale di questo periodo è quello della cattedrale di Otranto, risalente al 1163 e raffigurante l’Albero \ndella vita.\nI mosaici del Duomo di Monreale costituiscono la più grande decorazione di questo genere in Italia: coprono 0.75 ettari con \ntessere di pietra ed almeno 100 milioni di tessere in vetro.\nNotevolissimi sono i mosaici della facciata del Duomo di Orvieto di cui purtroppo ne restano pochi esempi e quelli della \nBasilica di San Marco a Venezia, eseguiti a partire dall’XI secolo. (foto 06: Basilica di San Marco, Venezia)\nLA STORIA DEL MOSAICO\n01\n02\n03\n04\n05\n06\n6\n",10,{"image":49,"text":50,"number":51},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.11.png","01 • THE FIRST MOSAICS AMONG THE SUMERIANS\nThe archaeological remains of the cities of Ur and Uruk testify that in 3000 BC the Sumerians adorned their buildings with \ngeometric decorations glazed in white, black, and red, and adorned vases and other ornaments with tiles of nacre, lapis lazuli, \nand terracotta.\nIn Egypt too we find mosaics dating to the third millennium BC, and we can also consider to be mosaic decorations the compositions \nof semiprecious stones, precious stones, and glass that adorned the sarcophagi of pharaohs. (pic.01: mosaics from Inanna temple, Uruk)\n02 • MOSAICS IN THE GREEK WORLD\nIn the first millennium BC, an alternative to rugs began to be used, a cobblestone paving that gave greater resistance to wear \nand made the floor itself waterproof.\nThe oldest traces of a primitive mosaic decoration in Greece date back to the fifth century BC, with the spread of stone mosaic \nfloors.\nThe cobblestone technique reaches its peak with Alexander the Great, and animals, hunting scenes, and episodes of mythology \nare represented with excellent results.\nOften a thin lead sheet was inserted to highlight the outline of the subjects or to define small details, as it will be done, several \ncenturies later, in the Gothic stained glass windows.\nStarting from the fourth century BC, they begin to use cubes of marble, onyx, and various stones, which have higher accuracy than \ncobbles, until the third century BC, with the introduction of cut tesserae. The floor mosaics preserve the aesthetic characteristics \nof rugs: smaller than the room, they are composed of a series of edgings around a central panel, called ‘èmblema’, often bearing \na figurative subject. (pic.02: Dioniso House, Pella)\n03 • MOSAICS IN THE ROMAN WORLD\nThe earliest evidence of tesserae mosaics in ancient Rome dates back to around the end of the third century BC.\nInitially considered luxury goods, therefore not for everyone, two-coloured mosaics (white and black) were later introduced. \nLargely used thermal baths, public-use areas, and in less luxurious dwellings, they combined simplicity and cost-effectiveness \nwith a very wide range of possible decorations.\nThe tesserae, sometimes of very minute size, compose representations taken from painted art, or decorations that are reminiscent \nof the architecture. Mosaics become an integral part of the environment they are in, therefore influencing iconography as well: \nmythological scenes in the temples, marine motifs in the thermal baths, athletes in gyms, still life, or erotic subjects in the \nwedding rooms.\nThe materials used are marble, various types of stones, and glass paste: the glass paste mosaic particularly has great technical \nrefinement. Already in the first century BC, mosaics were present in every house, with common subjects, and particularly notable \nin this period are the Roman floor mosaics discovered in Ravenna in the Domus of stone rugs. (pic.03: Alexander’s battle, Pompei)\n04 • MOSAICS IN THE ISLAMIC WORLD\nIslamic art began around the second half of the seventh century in Syria: from here, it reached a very vast geographical area, also \naffecting areas of Christian religion, such as Sicily and Spain.\nFundamental is the refusal of any realistic shape, mainly to avoid the risk of idolatry: geometric and floral motifs thus spread, \nusually replicated in series, reminiscent of the rugs’ decorations.\nHowever, in the splendid mosaics and stuccos found among the ruins of Hisham’s Palace, figures of animals and humans are also \nfound. In the Mosque of Omar of Jerusalem, which is the oldest masterpiece of Islamic art and dates back to 692, both outside \nand inside there are rich decorations with polychromatic marbles, majolicas, and mosaics. (pic.04: exterior, Rock’s Mosque, Jerusalem)\n05 • MOSAICS IN THE BYZANTINE ERA\nAfter the fall of the Western Roman Empire, the incredible Byzantine mosaics came to know their most brilliant expressions.\nIn Ravenna, in 540, it was decided that a church would be decorated to commemorate the victory of the Byzantines over the \nGoths: the basilica was called San Vitale, and was decorated with sumptuous mosaics, including the famous frames representing \non one side Justinian, considered the saviour of the Roman Empire, with all his court; on the other side Teodora, with her court. \nThe mosaics that decorate the walls of the basilicas of the two imperial cities, Ravenna and Constantinople, consisting of vitreous \ntesserae (glazes) and pure gold, are of incomparable beauty. \nThe Byzantine style is very easily distinguished, the figures are still, motionless, they have no sense of movement and have no real \nfooting, so much so that the characters seem to float on the golden background, symbol of God’s light. A particular case is the \nHagia Sophia in Istanbul, built in the sixth century by Justinian over the ruins of other previous churches; it was initially decorated \nwith geometric and floral motifs. It was enriched, after the iconoclastic period, with figurative images, of which spectacular \nexamples still remain.\nEven in Rome we find important Byzantine mosaics in the Basilica of Santa Prassede, or the Mausoleum of Santa Costanza, while \nin Milan, precious are the mosaics of the Basilica of Sant’Ambrogio and San Lorenzo. (pic.05: Teodora, San Vitale, Ravenna)\n06 • MOSAICS IN THE MIDDLE AGES\nRomanesque art preferred frescoes over mosaics. It is interesting, then, to perceive the introduction of less glittering glasses in \norder to better mimic the shades of tempera with luminous variations more or less glossy. Along the glass fragments, semiprecious \nstones were often used.\nMosaics, however, were mostly for pavements, and experience their peak in the twelfth century. It was also very common to \nreuse ancient fragments or tesserae of pre-existing mosaics, like in the church of Santi Maria and Donato in Murano, where the \nlarge floor stone slabs are fragments of sarcophagi, and in Rome, where the Cosmatesque floors have porphyry or marble discs \ncut from columns.\nThe best-known paving mosaic of this period is that of the Otranto cathedral, dating back to 1163 and depicting the Tree of Life.\nThe mosaics of the Cathedral of Monreale are the greatest decoration of this kind in Italy: covering 0.75 hectares with stone \ntesserae and at least 100 million glass tesserae.\nRemarkable are the mosaics of the facade of the Orvieto Cathedral of which, unfortunately, remain few examples, and those of \nSt Mark’s Basilica in Venice, made in the eleventh century. (pic.06: St. Marcus Basilica, Venice)\nHISTORY OF MOSAIC\n7\nEMPHASIS\n",11,{"image":53,"text":54,"number":55},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.12.png","07 • IL MOSAICO NEL RINASCIMENTO\nNel Rinascimento il mosaico non è più mezzo creativo autonomo ma diventa virtuosismo: l’unico interesse è per l’apparente \neternità del materiale musivo per rendere immortale l’opera pittorica, tanto che il Ghirlandaio considera il mosaico come vera \npittura per l’eternità e il Vasari loda i mosaicisti che imitano la pittura al punto di ingannare lo spettatore.\nIn questo periodo numerosi artisti forniscono cartoni da tradurre in mosaico: Ghirlandaio, Mantegna, Tintoretto e Veronese.\nLa maggiore opera musiva del Rinascimento è nella chiesa di San Marco a Venezia: si tratta di un ex voto del doge Foscari e \ncomprende opere di Andrea del Castagno e Jacopo Bellini .\nNel XIV secolo il mosaico viene utilizzato anche come supporto di opere scultoree da Arnolfo di Cambio, in cui il mosaico dà \nmaggior risalto ai bassorilievi. (foto 07: Duomo di Orvieto)\n08 • IL MOSAICO NEL BAROCCO\nDal periodo manierista fino al periodo del Rococò si diffonde una tecnica di mosaico ripresa dalla Roma Imperiale con mosaico \nin ciottoli o altri elementi naturali, quali conchiglie, rocce spugnose, stalattiti e pietre semipreziose. Queste fantasiose \nrealizzazioni ebbero origine a Firenze per mano di grandi artisti e si diffusero presto in tutta Europa.\nIn epoca barocca il mosaico diventa quindi un’arte definitivamente subordinata all’architettura e alla pittura spesso utilizzato \ncome rivestimento pavimentale o soprattutto sulle facciate dei palazzi.\nSi estende anche alle suppellettili, soprattutto con l’inserimento di pietre dure o con il recupero di mosaici antichi, che vengono \ntrasformati in piani di tavoli o inseriti in decorazioni pavimentali.\nRoma è al primo posto per la decorazione musiva, come fonte di committenze per la scuola musiva locale. Nel 1727 viene \nistituito lo Studio del Mosaico Vaticano, che promuove la ricerca nella produzione delle paste vitree. Si arrivò a produrre \nfino a 15.300 tinte differenti di smalti opachi. I risultati più significativi si hanno nella produzione dello smalto, con la filatura \ndella pasta vitrea in bacchette per ottenere tessere minutissime, anche inferiori al millimetro con colori sfumati, dette \n“malmischiati”. \nNascono i “mosaici minuti”, per imitare e sostituire opere pittoriche, con grande raffinatezza e virtuosismo; verranno in seguito \nimpiegati anche nella decorazione di suppellettili e gioielli. (foto 08: Villa Il Pozzino, Firenze)\n09 • IL MOSAICO NELL’OTTOCENTO\nNel periodo neoclassico il mosaico, sebbene fosse stata un’importante forma d’arte della classicità, venne quasi completamente \ndismesso a causa dell’influenza delle arti “maggiori” come la pittura, scultura e l’architettura.\nFu solo nel periodo romantico che tornarono in auge tecniche artistiche riprese dal mondo medievale, tra le quali le vetrate, \nl’intaglio e, appunto, il mosaico. Tra i mosaici neo-medievali, dall’arcaicizzante fondo oro ma dal vivido disegno tipicamente \nottocentesco, spiccano le opere per la ristrutturazione e il “ripristino” di chiese e cattedrali.\nNell’Ottocento si elaborano tecniche più rapide e meno costose: nasce il metodo per ribaltamento che consiste nel realizzare \nil mosaico su un foglio di carta, a rovescio, per poi collocarlo in situ. I vantaggi economici, cioè i tempi più brevi di lavorazione \ne i costi minori, permettono la realizzazione di facciate o di grandi superfici come la decorazione della facciata di Palazzo \nBarbarico, sul Canal Grande realizzati nel 1886. (foto 09: Palazzo Barbarigo, Venezia)\n10 • IL MOSAICO NEL NOVECENTO\nAntoni Gaudí \nLo stile eclettico dell’architetto catalano mescola forme gotiche e rinascimentali con materiali e decorazioni sperimentali. \nPropone nuove applicazioni del mosaico, inserendo frammenti di pietre colorate, marmi, smalti e ceramica, che vanno a \nricoprire anche oggetti tridimensionali, sull’esempio della cultura azteca.\nPezzi di vetro e ceramica tagliati in modo non regolare, secondo la tecnica del trencadís, ovvero una rielaborazione del \nmosaico ceramico arabo, ricoprono ogni superficie, con violenti effetti cromatici: architetture improbabili assumono così \nvalenze oniriche, che esaltano le forme ludiche e surreali.\nGustav Klimt \nNel 1903 Klimt rimane incantato dall’oro dei mosaici bizantini ammirati durante un suo soggiorno a Ravenna e che userà per \ntrasfigurare la realtà e per modulare nelle sue opere le parti piatte e plastiche con passaggi da opaco a brillante.\nNella sala da pranzo di Palazzo Stoclet, edificio progettato da Josef Hoffmann, si trova un fregio musivo in tre pannelli. \nSui cartoni si trovano indicazioni per i mosaicisti sui materiali e il loro uso: oro, argento, smalti e pietre dure. Le superfici \nbianche sono realizzate in madreperla, mentre quelle colorate sono in smalto. (foto 10: L'albero della Vita, Gustav Klimt)\nGino Severini\nNegli anni trenta in Italia, si avvicina al mosaico Gino Severini e nel 1936 progetta la decorazione del Foro Italico: si tratta di \n7500 m2 di mosaico in bianco e nero, raffiguranti immagini agonistiche, scorci naturalistici, figure simboliche.\nNegli anni 1940 - 1941 realizza alcune opere di impianto neocubista, che vedono una maggiore libertà dell’uso del mosaico e \ndella forma, dove la vivacità del colore è sempre controllata.\nMario Sironi \nCostruisce per l’Exposition Internationale des Arts et Techniques dans la Vie Moderne di Parigi dei mosaici monumentali. \nIn quest’opera vengono applicate le prime tecniche innovative: il mosaico viene realizzato in laboratorio e successivamente \nmontato su lastre di eternit che vengono unite in loco dai mosaicisti, risparmiando tempo e denaro.\n11 • IL MOSAICO CONTEMPORANEO\nPer rivedere il mosaico svincolato dal suo ruolo secondario, si dovrà aspettare il Novecento, quando Lucio Fontana lo utilizzerà \nper rivestire alcune opere\u002Fscultura utilizzando le tessere musive non solo come una pelle che riveste una superficie ma \nun’opera autonoma grazie alla luce del mosaico diventato più astratto che nei secoli precedenti.\nCome alla sua nascita, ancora oggi il mosaico viene utilizzato per ricoprire superfici architettoniche e come allora, può essere \nun semplice rivestimento oppure una preziosa decorazione.\nIn particolare dagli anni ottanta si riscopre il mosaico anche in ambito della produzione industriale di oggetti d’uso comune, \ncome mobili, tavoli, lampade, specchiere. \nDa sempre artisti internazionali, architetti ed interior designer di fama mondiale hanno utilizzato, sperimentato e creato \narchitetture utilizzando l’incredibile bellezza di questa antica tecnica. (foto 11: Ritratto, Lucio Fontana)\nConcludiamo questo breve excursus sulla storia del mosaico con una frase di Piero Dorazio all’occasione dell’inaugurazione \ndella Metropolitana di ROMA realizzata interamente con mosaici in pasta vitrea di Sicis:\n“ Il mosaico si presta alle composizioni di quelle superfici vaste e dinamiche che caratterizzano l’arte astratta.\nIn quanto poi alla resistenza al tempo e ai danneggiamenti, la pasta di vetro è il materiale artistico più permanente che esista”\n07\n08\n09\n10\n11\n8\n",12,{"image":57,"text":58,"number":59},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.13.png","07 • MOSAICS IN THE RENAISSANCE\nIn the Renaissance, mosaics are no longer independent creative mediums, they become virtuosity: the only interest is for the \napparent eternity of the mosaic material to immortalize paintings, so much so that Ghirlandaio considers the mosaic as true \npainting for eternity, and Vasari praises the mosaicists that mimic painting to the point of deceiving the viewer.\nIn this period, many artists provide cartons to be translated into mosaic: Ghirlandaio, Mantegna, Tintoretto, and Veronese.\nThe greatest mosaic work of the Renaissance is in the church of San Marco in Venice: it is a votive offering of the Doge Foscari and \nincludes works by Andrea del Castagno and Jacopo Bellini.\nIn the fourteenth century, mosaics are also used as a support for sculptural works by Arnolfo di Cambio, in which the mosaic gives \ngreater prominence to the bas-reliefs. (pic.07: Orvieto ’s cathedral)\n08 • MOSAICS IN THE BAROQUE\nFrom the Mannerist period up to the Rococo period, spreads a mosaic technique taken from Imperial Rome, with cobblestone \nmosaics or other natural elements such as shells, spongy rocks, stalactites, and semiprecious stones. These imaginative creations \noriginated in Florence at the hands of great artists and soon spread throughout Europe.\nIn the Baroque period mosaics become an art definitely subordinated to architecture and painting, often used as floor coverings \nor mainly on the facades of buildings.\nIt also extends to ornaments, especially with the inclusion of semiprecious stones or with the recovery of antique mosaics, which \nare transformed into table tops or inserted in floor decorations.\nRoma is in first place for mosaic decorations, as a source of patronage for the local mosaic art school. In 1727, the Studio del \nMosaico Vaticano is established, which promotes research in the production of glass paste. They produced up to 15,300 different \nshades of opaque glazes. The most significant results are achieved in glaze production, with the spinning of glass paste in sticks to \nobtain very small tesserae, even smaller than a millimetre, with colour gradients, called ‘malmischiati’ (badly mixed).\nThe ‘mosaici minuti’ (minute mosaics) are born, to mimic and replace paintings with great refinement and virtuosity; they will later \nbe used also in the decoration of ornaments and jewels. (pic.08: II Pozzino villa, Florence)\n09 • MOSAICS IN THE NINETEENTH CENTURY\nIn the neoclassical period, mosaics, although an important art form of classicism, were almost completely abandoned because of \nthe influence of the ‘major’ arts such as painting, sculpture, and architecture.\nIt was only in the Romantic period that artistic techniques taken from the medieval world came back to popularity, including \nstained glass, carving, and, indeed, mosaics. Among the neo-medieval mosaics, with an archaizing gold background but with \nvivid drawing typical of nineteenth-century design, stand out the works for the restructuring and the ‘restoration’ of churches and \ncathedrals.\nIn the nineteenth century, faster and less expensive techniques are developed: the indirect method is born, which consists in \ncreating the mosaic on a sheet of paper, backwards, to then place it in situ. The economic advantages, which are shorter processing \ntimes and lower costs, allow the realization of facades or large surfaces such as the decoration of the facade of Palazzo Barbarigo \non the Grand Canal made in 1886. (pic.09: Barbarigo palace, Venice)\n10 • MOSAICS IN THE TWENTIETH CENTURY\nAntoni Gaudí \nThe eclectic style of the Catalan architect mixes Gothic and Renaissance shapes with experimental materials and decorations. He \nproposes new mosaic applications, inserting fragments of coloured stones, marbles, glazes, and ceramics, covering also three-\ndimensional objects, following the example of the Aztec culture.\nIrregularly cut pieces of glass and ceramics, following the trencadís technique, which is a re-elaboration of the Arab ceramic \nmosaic, cover every surface, resulting in violent chromatic effects: improbable architectures thus assume dreamlike characteristics \nthat exalt the playful and surreal shapes.\nGustav Klimt \nIn 1903, Klimt gets enchanted by the gold of the Byzantine mosaics admired during his stay in Ravenna, and that he will use to \ntransform reality and modulate the flat and plastic parts in his works with transitions from matte to gloss.\nIn the dining room of the Palais Stoclet, building designed by Josef Hoffmann, there is a mosaic frieze in three panels.\nOn the cartons are indications for the mosaicists on the materials and their use: gold, silver, glaze, and semiprecious stones. The \nwhite surfaces are made of nacre, while the coloured ones are in glaze. (pic.10: Tree of Lilfe, Gustav Klimt)\nGino Severini\nIn the thirties in Italy, Gino Severini approaches mosaics, and in 1936 he designs the decoration of the Foro Italico: 7500 m2 of \nblack and white mosaic, depicting agonistic images, natural scenery, and symbolic figures.\nIn the years 1940 - 1941 he realizes some artworks of neo-cubist influence, which see a greater freedom in the use of mosaics and \nshapes, where the liveliness of colour is always measured.\nMario Sironi \nHe makes some monumental mosaics for the Exposition Internationale des Arts et Techniques dans la Vie Moderne in Paris.\nIn this artwork, the first innovative techniques are applied: the mosaic is made in a laboratory and subsequently mounted on \nsheets of Eternit that are joined on site by the mosaicists, saving time and money.\n11 • THE CONTEMPORARY MOSAIC\nTo see again the mosaic freed from its secondary role, we’ll have to wait until the twentieth century, when Lucio Fontana will use it \nto cover some artworks\u002Fsculptures using mosaic tesserae not only as a skin that covers a surface, but as an autonomous artwork \nthanks to the light of the mosaic, which became more abstract than in previous centuries.\nLike in its origin, the mosaic is still used today to cover architectural surfaces, and just like then, it can be a simple covering or a \nprecious decoration.\nParticularly since the eighties, the mosaic is rediscovered also in the field of industrial production of everyday objects, such as \nfurniture, tables, lamps, or dressing tables.\nInternational artists, architects, and world-renowned interior designers have always used, experimented, and created architectures \nusing the incredible beauty of this ancient technique. (pic.11: portrait, Lucio Fontana)\nWe conclude this brief excursus on the history of mosaics with a sentence of Piero Dorazio on the occasion of the inauguration of \nthe Metropolitana (subway) of ROMA, made entirely with glass paste mosaics by Sicis:\n“ The mosaic lends itself to the compositions of those vast and dynamic surfaces that characterize abstract art.\nBecause when it comes to the resistance to time and damage, glass paste is the most permanent artistic material that exists”\n9\nEMPHASIS\n",13,{"image":61,"text":62,"number":63},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.14.png","IL MOSAICO DI SICIS\nSe l’arte musiva è una presenza costante nel panorama contemporaneo delle città Europee, \nRavenna resta certamente il più importante centro mondiale di produzione e ricerca di mosaici \nartistici. La Sicis nasce proprio qui ed il suo nome viene dall’acronimo latino: “Sic Immensos \nClarosque Inceptos Somniavi”. Siamo nel XXI secolo e sin dai suoi primi esordi il mosaico per \nSicis ha significato una confluenza sublime di arte, tecnologia e creatività; un salto estetico verso \nl’immortalità. E’ con questa mentalità che tutti i giorni Sicis crea, inventa, progetta e produce \ni suoi mosaici, 100% made in Italy. Lo studio e la conoscenza della storia passata le hanno \npermesso di arrivare ad una totale maestranza dell’arte musiva creando decori e pannelli che \nsono sinonimo di lusso e unicità in tutto il mondo oltre che rinomati per la loro straordinaria \nbellezza da tutti i cultori dell’arte. In 25 anni ha esplorato e studiato l’applicazione e l’utilizzo del \nmosaico attraverso i secoli sin dai suoi inizi, valutandone l’incredibile flessibilità della tecnica oltre \na studiarne una moderna trasformazione negli utilizzi e nei materiali più contemporanei. \nCon queste immagini uniche che ripercorrono i diversi stili del mosaico, dall’inizio della storia ai \ngiorni nostri, Sicis vuole offrirvi alcune delle migliori realizzazioni a cui è arrivata, grazie all’attento \ne costante rapporto con architettura, design e creatività, ingredienti essenziali per continuare \nun’arte così antica.\nOggi questa storia sarebbe chiamata Start Up.\nSICIS doppio metodo indiretto:\ntale metodo può essere utilizzato durante la lavorazione per vedere e controllare il lavoro come apparirà una volta finito. \nLe tessere sono poste al positivo su un supporto (spesso carta o plastica adesiva sul retro) a faccia in su, come appariranno \nquando saranno installate definitivamente, a differenza degli altri sistemi in cui il disegno musivo viene creato al negativo. \nQuando il mosaico sarà completato, verrà ricoperto totalmente da un supporto adesivo simile al precedente. Il pezzo \nverrà quindi capovolto nuovamente e il materiale sottostante verrà accuratamente rimosso. A questo punto il mosaico \nverrà installato direttamente a contatto della superficie con malte o siliconici adeguati. In rapporto ad altri metodi questo \nè un sistema complesso da realizzare e richiede una grande abilità da parte degli operatori, ma il grande vantaggio risiede \nnella possibilità di controllare costantemente il risultato finale del lavoro, prima della sua posa finale; soluzione molto \nimportante in opere complesse o di grandi dimensioni. Questo metodo è stato creato nel 1989 da Maurizio Placuzzi e \nregistrato (brevetto n. 0.000.222,556 mila) per uso industriale con il nome della sua azienda, Sicis Srl.\nTHE MOSAIC BY SICIS\nIf mosaic art is a constant presence in the contemporary panorama of European cities, Ravenna \ncertainly remains the world’s most important centre of production and research of artistic \nmosaics. Sicis is born right here and its name comes from the Latin acronym: ‘Sic Immensos \nClarosque Inceptos Somniavi’. We are in the twenty-first century, and since its early beginnings, \nfor Sicis the mosaic has been a sublime confluence of art, technology, and creativity, an aesthetic \nleap toward immortality. It is with this mentality that every day Sicis creates, invents, designs, and \nproduces its mosaics, 100% made in Italy. The study and knowledge of past history have allowed \nit to reach total mastery of mosaic art, creating decorations and panels that are synonymous \nwith luxury and uniqueness all over the world, other than being renowned for their extraordinary \nbeauty by all art enthusiasts. In 25 years it has explored and studied the application and use of \nmosaics throughout the centuries since its very beginning, evaluating the incredible flexibility of \nthe technique, as well as studying a modern transformation of its use and the most contemporary \nmaterials. With these unique images that trace the different styles of mosaics from the beginning \nof its history to the present day, Sicis wants to offer you some of its best creations, realised \nthanks to the careful and constant relationship with architecture, design, and creativity, essential \ningredients to continue such an ancient art.\nToday, this story would be a called Start-up company.\nSICIS double indirect method:\nsuch method can be used during the creation process to see and monitor the work as it will appear when completed.\nThe tesserae are placed face-up on a medium (often paper or plastic adhesive on the back) as it will appear when finally \ninstalled, unlike other methods where the mosaic design is created face-down.\nWhen the mosaic is complete, it will be entirely covered by an adhesive medium similar to the previous one. The piece is \nthen turned over again, and the underlying material is carefully removed. At this point, the mosaic will be installed directly \nin contact with the surface with suitable mortar or silicone. In comparison to other methods, this is a complex system to \nuse and requires great skill on the part of the operators, but its greatest advantage lies in the possibility of constantly \nmonitoring the final result of the work, before its final application; a very important solution in complex artworks or of \ngreat size. This method was created in 1989 by Maurizio Placuzzi and registered for industrial use (patent n. 0000222556) \nunder the name of his company, Sicis Srl.\n10\n",14,{"image":65,"text":66,"number":67},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.15.png","11\nEMPHASIS\n",15,{"image":69,"text":19,"number":70},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.16.png",16,{"image":72,"text":29,"number":73},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.17.png",17,{"image":75,"text":19,"number":76},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.18.png",18,{"image":78,"text":79,"number":80},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.19.png","Crafting and selecting colors\n",19,{"image":82,"text":83,"number":84},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.20.png","16\n",20,{"image":86,"text":87,"number":88},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.21.png","Ito Jakuchu Collection\nJ a k u c h u\n17\nEMPHASIS\n",21,{"image":90,"text":91,"number":92},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.22.png","18\n",22,{"image":94,"text":95,"number":96},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.23.png","19\nEMPHASIS\n",23,{"image":98,"text":99,"number":100},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.24.png","20\n",24,{"image":102,"text":103,"number":104},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.25.png","21\nEMPHASIS\n",25,{"image":106,"text":107,"number":108},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.26.png","22\n",26,{"image":110,"text":111,"number":112},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.27.png","23\nEMPHASIS\n",27,{"image":114,"text":115,"number":116},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.28.png","Cupid a Captive - Masterpieces Collection\nB o u c h e r\n24\n",28,{"image":118,"text":119,"number":120},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.29.png","25\nEMPHASIS\n",29,{"image":122,"text":123,"number":124},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.30.png"," Diana by Noël Coypel - Masterpieces Collection\n26\n",30,{"image":126,"text":127,"number":128},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.31.png","27\nEMPHASIS\n",31,{"image":130,"text":131,"number":132},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.32.png","28\n",32,{"image":134,"text":135,"number":136},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.33.png","29\nEMPHASIS\n",33,{"image":138,"text":139,"number":140},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.34.png","30\n",34,{"image":142,"text":143,"number":144},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.35.png","Art Couture Collection\nC a n a l e t t o\n31\nEMPHASIS\n",35,{"image":146,"text":147,"number":148},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.36.png","32\n",36,{"image":150,"text":151,"number":152},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.37.png","33\nEMPHASIS\n",37,{"image":154,"text":155,"number":156},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.38.png","Artistic mosaic and Vetrite - Vetrite Collection\nL e s  B a l l e t s  R u s s e s\n",38,{"image":158,"text":159,"number":160},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.39.png","L e s  B a l l e t s  R u s s e s\n35\nEMPHASIS\n",39,{"image":162,"text":163,"number":164},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.40.png","36\n",40,{"image":166,"text":167,"number":168},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.41.png","37\nEMPHASIS\n",41,{"image":170,"text":171,"number":172},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.42.png","Art Couture Collection\nA u t o m e d o n\n38\n",42,{"image":174,"text":175,"number":176},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.43.png","39\nEMPHASIS\n",43,{"image":178,"text":179,"number":180},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.44.png","40\n",44,{"image":182,"text":183,"number":184},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.45.png","41\nEMPHASIS\n",45,{"image":186,"text":187,"number":188},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.46.png","42\n",46,{"image":190,"text":191,"number":192},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.47.png","43\nEMPHASIS\n",47,{"image":194,"text":195,"number":196},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.48.png","Credit: C I&A Photography\nCosmati Collection - Singapore\nP r i v a t e  H o m e\n",48,{"image":198,"text":199,"number":200},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.49.png","45\nEMPHASIS\n",49,{"image":202,"text":203,"number":204},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.50.png","Credit: C I&A Photography\n46\n",50,{"image":206,"text":207,"number":208},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.51.png","47\nEMPHASIS\n",51,{"image":210,"text":211,"number":212},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.52.png","48\n",52,{"image":214,"text":215,"number":216},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.53.png","Masterpieces Collection\nA r i o n e\n49\nEMPHASIS\n",53,{"image":218,"text":219,"number":220},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.54.png","50\n",54,{"image":222,"text":223,"number":224},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.55.png","51\nEMPHASIS\n",55,{"image":226,"text":227,"number":228},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.56.png","52\n",56,{"image":230,"text":231,"number":232},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.57.png","53\nEMPHASIS\n",57,{"image":234,"text":235,"number":236},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.58.png","M a r g o t\nArtistic mosaic and Vetrite - 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United Arab Emirates \nB u r j  A l  A r a b\n169\nEMPHASIS\n",173,{"image":697,"text":698,"number":699},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.174.png","170\n",174,{"image":701,"text":702,"number":703},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.175.png","171\nEMPHASIS\n",175,{"image":705,"text":706,"number":707},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.176.png","Art Couture Collection\nF a y a l\n",176,{"image":709,"text":710,"number":711},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.177.png","173\nEMPHASIS\n",177,{"image":713,"text":714,"number":715},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.178.png","174\n",178,{"image":717,"text":718,"number":719},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.179.png","175\nEMPHASIS\n",179,{"image":721,"text":722,"number":723},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.180.png","176\n",180,{"image":725,"text":726,"number":727},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.181.png","177\nEMPHASIS\n",181,{"image":729,"text":730,"number":731},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.182.png","178\n",182,{"image":733,"text":734,"number":735},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.183.png","Art Couture Collection\nD a t o n g\n179\nEMPHASIS\n",183,{"image":737,"text":738,"number":739},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.184.png","180\n",184,{"image":741,"text":742,"number":743},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.185.png","181\nEMPHASIS\n",185,{"image":745,"text":746,"number":747},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.186.png","182\n",186,{"image":749,"text":750,"number":751},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.187.png","Art Couture Collection\nG e n e s i s\n183\nEMPHASIS\n",187,{"image":753,"text":754,"number":755},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.188.png","184\n",188,{"image":757,"text":758,"number":759},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.189.png","Crafting and selecting colors\n185\nEMPHASIS\n",189,{"image":761,"text":762,"number":763},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.190.png","186\n",190,{"image":765,"text":766,"number":767},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.191.png","187\nEMPHASIS\n",191,{"image":769,"text":770,"number":771},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.192.png","Art Couture Collection\nF e l c i\n",192,{"image":773,"text":774,"number":775},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.193.png","189\nEMPHASIS\n",193,{"image":777,"text":778,"number":779},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.194.png","190\n",194,{"image":781,"text":782,"number":783},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.195.png","191\nEMPHASIS\n",195,{"image":785,"text":786,"number":787},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.196.png","192\n",196,{"image":789,"text":790,"number":791},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.197.png","Masterpieces Collection\nK l i m t\n",197,{"image":793,"text":794,"number":795},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.198.png","194\n",198,{"image":797,"text":798,"number":799},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.199.png","195\nEMPHASIS\n",199,{"image":801,"text":802,"number":803},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.200.png","196\n",200,{"image":805,"text":806,"number":807},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.201.png","197\nEMPHASIS\n",201,{"image":809,"text":810,"number":811},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.202.png","Wave Platinum - Orientale & Tessere Collection\nN Y  G a l l e r y\n",202,{"image":813,"text":814,"number":815},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.203.png","199\nEMPHASIS\n",203,{"image":817,"text":818,"number":819},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.204.png","200\n",204,{"image":821,"text":822,"number":823},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.205.png","201\nEMPHASIS\n",205,{"image":825,"text":826,"number":827},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.206.png","202\n",206,{"image":829,"text":830,"number":831},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.207.png","Toyo Kitchen - Tokyo\nT i z i a n o\n203\nEMPHASIS\n",207,{"image":833,"text":834,"number":835},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.208.png","204\n",208,{"image":837,"text":838,"number":839},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.209.png","205\nEMPHASIS\n",209,{"image":841,"text":842,"number":843},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.210.png","P r i v a t e  H o m e\n206\n",210,{"image":845,"text":846,"number":847},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.211.png","P r i v a t e  H o m e\nArtistic mosaic and Vetrite - Vetrite Collection\n207\nEMPHASIS\n",211,{"image":849,"text":850,"number":851},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.212.png","208\n",212,{"image":853,"text":854,"number":855},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.213.png","209\nEMPHASIS\n",213,{"image":857,"text":858,"number":859},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.214.png","210\n",214,{"image":861,"text":862,"number":863},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.215.png","Odéon SPA Hotel - Montecarlo\nT o u r  O d é o n\n211\nEMPHASIS\n",215,{"image":865,"text":866,"number":867},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.216.png","212\n",216,{"image":869,"text":870,"number":871},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.217.png","213\nEMPHASIS\n",217,{"image":873,"text":874,"number":875},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.218.png","214\n",218,{"image":877,"text":878,"number":879},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.219.png","215\nEMPHASIS\n",219,{"image":881,"text":882,"number":883},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.220.png","216\n",220,{"image":885,"text":886,"number":887},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.221.png","217\nEMPHASIS\n",221,{"image":889,"text":890,"number":891},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.222.png","Paragon Prairie Tower - West Des Moines - Iowa - USA\nP a r a g o n  To w e r\n218\n",222,{"image":893,"text":894,"number":895},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.223.png","P a r a g o n  To w e r\n219\nEMPHASIS\n",223,{"image":897,"text":898,"number":899},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.224.png","220\n",224,{"image":901,"text":902,"number":903},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.225.png","221\nEMPHASIS\n",225,{"image":905,"text":906,"number":907},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.226.png","Crown Casino SPA - Melbourne\nC r o w n  C a s i n o\n222\n",226,{"image":909,"text":910,"number":911},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.227.png","C r o w n  C a s i n o\n223\nEMPHASIS\n",227,{"image":913,"text":914,"number":915},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.228.png","224\n",228,{"image":917,"text":918,"number":919},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.229.png","225\nEMPHASIS\n",229,{"image":921,"text":922,"number":923},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.230.png","226\n",230,{"image":925,"text":926,"number":927},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.231.png","Tiger Hunt - Masterpieces Collection\nR u b e n s\n",231,{"image":929,"text":930,"number":931},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.232.png","228\n",232,{"image":933,"text":934,"number":935},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.233.png","229\nEMPHASIS\n",233,{"image":937,"text":938,"number":939},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.234.png","230\n",234,{"image":941,"text":942,"number":943},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.235.png","231\nEMPHASIS\n",235,{"image":945,"text":946,"number":947},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.236.png","D e s i g n  M i a m i\n232\n",236,{"image":949,"text":950,"number":951},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.237.png","Artistic mosaic marble - The Rug Collection\nD e s i g n  M i a m i\n233\nEMPHASIS\n",237,{"image":953,"text":954,"number":955},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.238.png","P r i v a t e  H o m e\n234\n",238,{"image":957,"text":958,"number":959},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.239.png","Le Regard - Masterpieces Collection\nP r i v a t e  H o m e\n235\nEMPHASIS\n",239,{"image":961,"text":962,"number":963},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.240.png","236\n",240,{"image":965,"text":966,"number":967},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.241.png","237\nEMPHASIS\n",241,{"image":969,"text":970,"number":971},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.242.png","238\n",242,{"image":973,"text":974,"number":975},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.243.png","239\nEMPHASIS\n",243,{"image":977,"text":978,"number":979},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.244.png","Arcimboldo Collection\nA r c i m b o l d o\n",244,{"image":981,"text":982,"number":983},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.245.png","241\nEMPHASIS\n",245,{"image":985,"text":986,"number":987},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.246.png","242\n",246,{"image":989,"text":990,"number":991},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.247.png","243\nEMPHASIS\n",247,{"image":993,"text":19,"number":994},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.248.png",248,{"image":996,"text":997,"number":998},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.249.png","245\nEMPHASIS\n",249,{"image":1000,"text":1001,"number":1002},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.250.png","246\n",250,{"image":1004,"text":1005,"number":1006},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.251.png","Designed by architect Roger Thomas\nW y n n  C a s i n o\n247\nEMPHASIS\n",251,{"image":1008,"text":1009,"number":1010},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.252.png","248\n",252,{"image":1012,"text":1013,"number":1014},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.253.png","249\nEMPHASIS\n",253,{"image":1016,"text":1017,"number":1018},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.254.png","Flowers of Acknowledge - IPix Collection\nP r i v a t e  H o m e\n",254,{"image":1020,"text":1021,"number":1022},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.255.png","P r i v a t e  H o m e\n251\nEMPHASIS\n",255,{"image":1024,"text":1025,"number":1026},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.256.png","252\n",256,{"image":1028,"text":1029,"number":1030},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.257.png","253\nEMPHASIS\n",257,{"image":1032,"text":1033,"number":1034},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.258.png","P r i v a t e  H o m e\n254\n",258,{"image":1036,"text":1037,"number":1038},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.259.png","Dupré - The Rug Collection\nP r i v a t e  H o m e\n255\nEMPHASIS\n",259,{"image":1040,"text":1041,"number":1042},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.260.png","256\n",260,{"image":1044,"text":1045,"number":1046},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.261.png","257\nEMPHASIS\n",261,{"image":1048,"text":1049,"number":1050},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.262.png","Artistic mosaic and Vetrite - Vetrite Collection\nL a  P e n s e u s e\n",262,{"image":1052,"text":1053,"number":1054},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.263.png","259\nEMPHASIS\n",263,{"image":1056,"text":1057,"number":1058},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.264.png","260\n",264,{"image":1060,"text":1061,"number":1062},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.265.png","261\nEMPHASIS\n",265,{"image":1064,"text":1065,"number":1066},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.266.png","Artistic mosaic marble - Taiwan\nP r i v a t e   R e s i d e n c e s\n",266,{"image":1068,"text":1069,"number":1070},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.267.png","P r i v a t e   R e s i d e n c e s\n263\nEMPHASIS\n",267,{"image":1072,"text":1073,"number":1074},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.268.png","264\n",268,{"image":1076,"text":1077,"number":1078},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.269.png","265\nEMPHASIS\n",269,{"image":1080,"text":1081,"number":1082},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.270.png","266\n",270,{"image":1084,"text":1085,"number":1086},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.271.png","Artistic mosaic marble - Masterpieces Collection\nJ a m a w a r\n267\nEMPHASIS\n",271,{"image":1088,"text":1089,"number":1090},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.272.png","268\n",272,{"image":1092,"text":1093,"number":1094},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.273.png","269\nEMPHASIS\n",273,{"image":1096,"text":1097,"number":1098},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.274.png","Masterpieces Collection\nT h e o d o r a\n270\n",274,{"image":1100,"text":1101,"number":1102},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.275.png","271\nEMPHASIS\n",275,{"image":1104,"text":1105,"number":1106},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.276.png","272\n",276,{"image":1108,"text":1109,"number":1110},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.277.png","273\nEMPHASIS\n",277,{"image":1112,"text":1113,"number":1114},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.278.png","Jewel in micromosaic, gold and precious stones - Unique Collection\nT h e o d o r a\n274\n",278,{"image":1116,"text":1117,"number":1118},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.279.png","Jewel in micromosaic, gold and precious stones - Unique Collection\n275\nEMPHASIS\n",279,{"image":1120,"text":1121,"number":1122},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.280.png","Masterpieces Collection\nL a  b i e n  a i m é e\n",280,{"image":1124,"text":1125,"number":1126},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.281.png","L a  b i e n  a i m é e\n277\nEMPHASIS\n",281,{"image":1128,"text":1129,"number":1130},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.282.png","278\n",282,{"image":1132,"text":1133,"number":1134},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.283.png","279\nEMPHASIS\n",283,{"image":1136,"text":1137,"number":1138},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.284.png","Mosque Cultural Village - Doha\nG o l d  M o s q u e\n280\n",284,{"image":1140,"text":1141,"number":1142},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.285.png","281\nEMPHASIS\n",285,{"image":1144,"text":1145,"number":1146},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.286.png","Project realized with thousands of mosaic tesserae in gold 750\u002F1000\n282\n",286,{"image":1148,"text":1149,"number":1150},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.287.png","Project realized with thousands of mosaic tesserae in gold 750\u002F1000\n283\nEMPHASIS\n",287,{"image":1152,"text":1153,"number":1154},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.288.png","284\n",288,{"image":1156,"text":1157,"number":1158},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.289.png","285\nEMPHASIS\n",289,{"image":1160,"text":1161,"number":1162},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.290.png","286\n",290,{"image":1164,"text":1165,"number":1166},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.291.png","287\nEMPHASIS\n",291,{"image":1168,"text":1169,"number":1170},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.292.png","Art Couture Collection\nL ’ a t t e n t e\n",292,{"image":1172,"text":1173,"number":1174},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.293.png","289\nEMPHASIS\n",293,{"image":1176,"text":1177,"number":1178},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.294.png","290\n",294,{"image":1180,"text":1181,"number":1182},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.295.png","291\nEMPHASIS\n",295,{"image":1184,"text":1185,"number":1186},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.296.png","292\n",296,{"image":1188,"text":1189,"number":1190},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.297.png","Masterpieces Collection\nB r o n z i n o\n293\nEMPHASIS\n",297,{"image":1192,"text":1193,"number":1194},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.298.png","294\n",298,{"image":1196,"text":1197,"number":1198},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.299.png","295\nEMPHASIS\n",299,{"image":1200,"text":1201,"number":1202},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.300.png","Sporting Club Hotel - Montecarlo\nS p o r t i n g  C l u b\n",300,{"image":1204,"text":1205,"number":1206},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.301.png","S p o r t i n g  C l u b\n297\nEMPHASIS\n",301,{"image":1208,"text":1209,"number":1210},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.302.png","298\n",302,{"image":1212,"text":1213,"number":1214},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.303.png","299\nEMPHASIS\n",303,{"image":1216,"text":1217,"number":1218},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.304.png","300\n",304,{"image":1220,"text":1221,"number":1222},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.305.png","301\nEMPHASIS\n",305,{"image":1224,"text":1225,"number":1226},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.306.png","302\n",306,{"image":1228,"text":1229,"number":1230},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.307.png","303\nEMPHASIS\n",307,{"image":1232,"text":1233,"number":1234},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.308.png","Erbolarius - SiciStone Collection\nP r i v a t e  H o m e\n",308,{"image":1236,"text":1237,"number":1238},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.309.png","P r i v a t e  H o m e\n305\nEMPHASIS\n",309,{"image":1240,"text":1241,"number":1242},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.310.png","306\n",310,{"image":1244,"text":1245,"number":1246},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.311.png","307\nEMPHASIS\n",311,{"image":1248,"text":1249,"number":1250},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.312.png","Masterpieces Collection\nL e o p a r d\n",312,{"image":1252,"text":1253,"number":1254},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.313.png","309\nEMPHASIS\n",313,{"image":1256,"text":1257,"number":1258},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.314.png","310\n",314,{"image":1260,"text":1261,"number":1262},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.315.png","311\nEMPHASIS\n",315,{"image":1264,"text":1265,"number":1266},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.316.png","312\n",316,{"image":1268,"text":1269,"number":1270},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.317.png","Eons - Clock Collection in micromosaic and precious stones\n",317,{"image":1272,"text":1273,"number":1274},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.318.png","Cosmopol Casino - Stockholm\nC o s m o p o l\n314\n",318,{"image":1276,"text":1277,"number":1278},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.319.png","315\nEMPHASIS\n",319,{"image":1280,"text":1281,"number":1282},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.320.png","316\n",320,{"image":1284,"text":1285,"number":1286},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.321.png","317\nEMPHASIS\n",321,{"image":1288,"text":1289,"number":1290},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.322.png","E s o t e r i c o\n318\n",322,{"image":1292,"text":1293,"number":1294},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.323.png","Art Couture Collection\nE s o t e r i c o\n",323,{"image":1296,"text":1297,"number":1298},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.324.png","320\n",324,{"image":1300,"text":1301,"number":1302},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.325.png","321\nEMPHASIS\n",325,{"image":1304,"text":1305,"number":1306},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.326.png","322\n",326,{"image":1308,"text":1309,"number":1310},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.327.png","Designed by architect Fabio Novembre\nM e l t i n g  P o t\n",327,{"image":1312,"text":1313,"number":1314},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.328.png","324\n",328,{"image":1316,"text":1317,"number":1318},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.329.png","325\nEMPHASIS\n",329,{"image":1320,"text":1321,"number":1322},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.330.png","Flower Power Collection\nD i a n t h a\n",330,{"image":1324,"text":1325,"number":1326},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.331.png","327\nEMPHASIS\n",331,{"image":1328,"text":1329,"number":1330},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.332.png","328\n",332,{"image":1332,"text":1333,"number":1334},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.333.png","329\nEMPHASIS\n",333,{"image":1336,"text":1337,"number":1338},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.334.png","330\n",334,{"image":1340,"text":1341,"number":1342},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.335.png","Poker Face - Masterpieces Collection\nP o k e r  R o o m\n331\nEMPHASIS\n",335,{"image":1344,"text":1345,"number":1346},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.336.png","332\n",336,{"image":1348,"text":1349,"number":1350},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.337.png","333\nEMPHASIS\n",337,{"image":1352,"text":1353,"number":1354},"\u002Fmedia\u002Fimages\u002F28\u002F4d5d8b5100b6aa5be810fbf924f70f-291776f1ac.338.png","SICIS ITALY\nShowroom Milano 20121 · Via Fatebenefratelli, 8\nPh. +39 02 87 60 99 · Fax +39 02 72 09 68 53\nFactory Ravenna (Italy) · Fax +39 0544 46 98 11\nSICIS UNITED KINGDOM\nShowroom London · 15A Dover St, Mayfair, W1S 4LR\nPh. +44 207 491 9849\nSICIS FRANCE\nShowroom Paris 75008 · 41, Rue François 1er\nPh. +33 (0)1 4952 8989 · Fax +33 (0)1 4952 8990\nSICIS NORTH AMERICA\nCorporate Headquarters New York 10454 · 150 Bruckner Blvd Bronx\nPh. +1 212 965 4100 · Fax +1 646 390 4587\nSICIS ME\nShowroom & Offices Dubai, (UAE) · Villa 12 · P. O. Box 23592\nCorner of Umm Al Sheif & Jumeirah Beach Road\nPh. +971 (0)4 395 3835 · Fax +971 (0)4 395 3860\nSICIS INDIA\nShowroom New Delhi 110024 D-5 Defence Colony, First Floor\nPh. +91 (0)11 4611 4800 · Fax +91 (0)11 4611 4844\nSICIS TURKEY\nSicis Istanbul-European Showroom\nMaçka Cad. No:1 Nişantaşı\nPh. +90 212 240 2596 · Fax +90 212 240 2564\nSICIS JAPAN\nShowroom Tokyo · Mille Roches’ Building B1\n5-3-5 Minamiaoyama, Minato-Ku\nPh. +81 (0)3 3406 1040 · Fax +81 (0)3 3406 1042\nSICIS HONG KONG\nShowroom Hong Kong · Queen’s Cube\n235\u002F237 Queen’s Road East, Wan Chai\nPh. +(852) 2832 2830 · Fax +(852) 2833 9009\nAVVISO LEGALE\nRicevendo il presente catalogo SICIS, prendi atto ed accetti i seguenti termini e condizioni:\nIl presente catalogo è e rimane di proprietà di SICIS S.r.l. (“SICIS”). \nSICIS si riserva il diritto, in qualsiasi momento, di richiederne la restituzione.\nIl catalogo è fornito a TITOLO GRATUITO e NON ne è AUTORIZZATA LA RIVENDITA. Se hai dovuto pagare per questo catalogo, ti preghiamo di segnalarcelo \nscrivendoci all’indirizzo riportato di seguito.\nLe leggi in materia di diritto d’autore (Copyright) proteggono il contenuto del presente catalogo, inclusi, senza alcuna limitazione, le fotografie, immagini, \ntesti, layout ed i disegni in esso contenuti. La riproduzione o la copia di qualsiasi parte del presente catalogo, inclusi, senza alcuna limitazione, le fotografie, \nimmagini, testi, layout ed i disegni in esso contenuti, È VIETATA, e SICIS si riserva il diritto di intraprendere azione legale nei confronti di chiunque (incluso \nte) violi il presente divieto. L’aver ricevuto una copia del presente catalogo, non dà diritto in alcun modo ad alcuna licenza da parte di SICIS, né implicita né \ntantomeno espressa, di riprodurre o copiare, in qualsiasi modo o forma, alcuna parte di esso.\nIl marchio SICIS® è un marchio registrato e di proprietà della SICIS S.r.l., ed è protetto dalle leggi nazionali ed internazionali in materia.\nSICIS espressamente si riserva tutti i diritti e rimedi.\nLEGAL NOTICE\nBy retaining this SICIS catalogue, you acknowledge and agree to the following:\nThis catalogue is and remains the property of SICIS S.r.l. (“SICIS”).\nSICIS reserves the right, at any time, to request the return of this catalogue.\nThe catalogue is provided to you FREE OF CHARGE and is NOT FOR RESALE. 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