The Leland Stanford Junior Museum was designed by architects Percy and Hamilton and built by Jane Stanford in memory of her son. The museum was modeled after the National Museum in Athens, Greece. It opened in 1894 and with expansions in both 1898 and 1905, it soon became the largest privately-owned museum buildings in the world.
Salviati decorated the exterior of the original building with mosaic panels between 1903 and 1905, at the time the firm made the mosaics for the Memorial Church. Both were to Paoletti's designs. The subject of the museum's thirteen panels are learning, the arts - like architecture and painting, and ancient civilizations - including Egypt and Rome. There are four, rectangular panels on the facade flanking the main entrance, two large gables at the ends, and three, smaller panels above the entry doors themselves. The museum's north rotunda also had niches decorated with Salviati mosaics.
The San Francisco earthquake of 1906 that also severely damaged the Stanford Memorial Church, destroyed two-thirds of the museum building and collections. Luckily for the mosaics, the original structure sustained the least amount of damage.
Budget cuts led to neglect and the museum fell into further disrepair, fully closing in 1945. Reopening in 1954, the galleries were gradually refurbished through fundraising and volunteers. Another earthquake in 1989 damaged the museum again, but it was subsequently rebuilt and opened as the Iris & B. Gerald Cantor Center for the Visual Arts in 1999.
A fifty square foot mosaic was created by Salviati for the 1881 Italian Exposition in Milan based on an original 1879 design by artist Giacomo Favretto. It's called "Venice Presenting the Baton of Command to Francesco Morosini".
Morosini was a 17th century Venetian soldier and sailor. The composition
includes Morosini himself, Venetia as a beautiful woman, Kleio the muse
of history, and St. Mark's lion. More than 7,000 color variations in
tesserae were used with the noticeable exception of Salviati's signature gold.
In 1885, George Thomas Clark - a friend of Sir Austen Henry Layard - purchased the mosaic from the Venice and Murano Glass and Mosaic Company for 250 British Pounds and had it installed in the Hall of Talygarn House in Wales. Incidentally, Clark also gifted a mosaic reredos of the Last Supper by Salviati to the Charterhouse School in Godalming.
The mosaic - seen above in Talygarn House - was removed in the 1920s when the house became a convalescent home for miners. At one point, it had been left in a field on the property and as of 2008, there was the intent to donate it to the National Museum of Wales.
Favretto's 1879 painting can be found in Venice's Museo d'Arte Moderna, ca'Pesaro.
Barr, Sheldon. Venetian Glass Mosaics: 1860-1917. London: Antique Collectors' Club, 2008. 60-63. ebay
Plant, Margaret. Venice: Fragile City 1797-1997. New Haven: Yale University Press, 2002. 175.
Although there has been an English speaking, Anglican church in Genoa since at least 1818, the current church was built in 1873 by G.E. Street. The black and white stripes of the interior stone work reflect a Romanesque style.
Salviati made a mosaic altarpiece and four Evangelists for the church. While the church was partially damaged during World War II, the central reredos of The Good Shepherd has been restored. The flanking arcades that most likely contained the other mosaics, however, stand empty.
Ivan Rendic was a Croatian sculptor who studied in Italy - including in Venice - and later worked extensively out of Trieste. He made numerous funerary monuments in the cemeteries around Rijeka (including Kozala, Trsat-Susak, Opatija and Bakar), some of which Salviati also decorated with enamel mosaics. A catalog prepared for the 1893 World Columbian Exposition does not detail exactly which memorials Salviati worked on (and erroneously lists Trieste as the location of the cemeteries), but the following examples were all made by Rendic before 1893 and are embellished with mosaics.
The interior of the Gorup family mausoleum from 1882 in Rijeka's Kozala cemetery. Josip Gorup had the memorial built after the death of his wife in childbirth, and the carved relief shows the separation of a mother from her eight children.
The Devet/Spilar-Ambrozic memorial from 1885 in the Kozala cemetery.
The Pilepic monument from 1890.
The Stiglich family tombstone from 1891.
The Bakarcic monument from 1892 in the Kozala cemetery.
Barr, Sheldon. Venetian Glass Mosaics: 1860-1917. London: Antique Collectors' Club, 2005. 126.
Metzger-Sober, Branko. "Funerary Monuments by Ivan Rendic in the Croatian Littoral." Ars Adriatica. 3. Dec 2013. Wikipedia
Two architectural courts were designed by General Henry Scott in 1870 for the museum to house both cast reproductions of architectural elements, as well as some original pieces. The space opened in 1873.
Salviati and Company made two mosaic reproductions that hung on the walls of the south-east Court, but have now been lost.
The Good Shepherd is a copy of the lunette above the entrance of the Chapel of Galla Placida in Ravenna Italy originally from the 5th century.
The original mosaic in Ravenna
The mosaic Figure of Christ is a copy from St. Mark's Basilica in Venice from the 13th century. Salviati made another copy of a St. Mark's mosaic image of Christ for St. Augustine's College in Canterbury.
Mohamed Sa'id Pasha was Egypt's Viceroy from 1854 until his death in
1863. He was educated in Paris and he began the development of the Suez
Canal. In addition to the Qasr al Nil, his grand palace in Cairo, Sa'id Pasha built a palace on the old (or west) Alexandria harbor at Mex (or Meks, Maks, or Al-Maqs). Unlike Sa'id's other Alexandrian palace at Gabari, the one at Mex was never finished.
The floor and walls of the palace's saloon were decorated with Salviati mosaics, which were ordered in 1860 at the
cost of about 250,000 francs. Unfortunately, by 1878 the palace was a "bulbous ruin".
The abandoned palace compound at Mex, 1870.
Illustration of the entry gate at Mex palace.
Map of Alexandria from 1908. Meks is on the lower left.
The ancient church was rebuilt in 1854-55, but it was gutted by air raid fire in 1940. It was rebuilt again in 1952.
Sometime between September 1862 and October 1863, Salviati decorated the church's western wall with mosaics of angels with widespread wings supporting scrolls of Scripture on the request of the same Reverend Ellacombe who supervised the 1850s restorations. Unfortunately, the mosaics did not seem to have survived the World War II damage.
Singapore's Peranakan Museum holds the two Salviati mosaic portraits made for local businessman Tan Soo Bin.
Previously, the portraits apparently were hung in the family's home Panglima Prang that was built before 1860 and demolished in 1982.
The National Museum of Bavaria purchased Salviati's mosaic portrait reproductions of Hagia Sophia's 10th century depictions of Justinian and Theodora (which themselves are copies of those from the 6th century in Ravenna) at the 1873 Vienna Universal Exposition.
Original mosaics of Justinian and Theodora from Hagia Sophia, Istanbul (not Salviati - illustration only)
Salviati and Burke exhibited a mosaic portrait of Titian, as well as the head of Christ after Guido Reni at the fall 1884 meeting of the Architectural Association in London.
Reproduction of Thorn-crowned Christ after Guido Reni by A. Orsoni of Venice (not Salviati - illustration only)
A mosaic reredos of The Last Supper, as well as a copy of a 9th century mosaic featuring the portrait of a saint were purchased by the museum - known at the time as the Edinburgh Museum of Science and Art - at the 1873 Vienna Universal Exposition.
The building of this Roman Catholic cathedral in northern Italy started in the 13th century. Maitani's Tuscan Gothic facade recalls the cathedrals at both Siena and Florence. Cesare Nebbia designed the original mosaics from 1350-90.
Just like with St. Mark's Basilica in Venice, Salviati's craftsmen also restored the mosaics on the upper part of this cathedral's facade sometime before 1883.
The Coronation of the Virgin on the topmost gable.
This church was built by architects Richard Life Adams and John Kelly of Leeds between 1873-90. It was consecrated in 1878, by which time the reredos was also completed.
The Caen stone reredos was carved by Leeds sculptor Canova Throp. The mosaic embellishment was made by Salviati after Pietro Perugino's 15th century fresco in Florence's cloister of Santa Maria Maddalena dei Pazzi.
Perugino's "Crucifixion" depicts two additional figures: St. Bernard on the left in white and St. Benedict on the right in blue.