Attributed to Cesare Roccheggiani (Italian, active second half 19th century): A late 19th century topographical micromosaic tondo panel depicting a view of St Peters Square
circa 1880
showing the Basilica in Rome, a number of paired figures to the middle and foreground, set within a canted moulded black marble border, the rear with an applied circular manufacturers label and a further ink written label inscribed St Peters Square, Rome, set within a square gilt gesso and carved wood square frame, with egg and dart outer edge, fluted middle edge with leafy corners and stiff leaf border to the inner edge with plain corners,
the panel, 19cm diameter, the frame, 31.5cm x 31.5cm x 7cm overall
Footnotes:
As a member of a well-known family dynasty of master mosaicists, Cesare Roccheggiani had a reputation as one of the most accomplished artists in the city of Rome in the second half of the 19th century. Probably related to Lorenzo Roccheggiani, a late 18th century mosaicist at the Vatican workshop, whose work included the altarpiece, Crucifixion of St. Peter after Guido Reni, he may have also been related to Nicolo Roccheggiani, who was most likely Lorenzo's son who was also another principle artist at the Vatican although at a slightly later date.

Previously thought to have been active in the Vatican Mosaic Workshop in the period 1856 to 1864, little was known of the Ceasre Roccheggiani before he established his own independent atelier, first at 125 via Babuino and then by 1874 at 14-15 Via Condotti near the Piazza di Spagna. However, more recent research and examination of Roccheggiani's mosaics suggest that the artist and craftsman may have worked in the atelier of Michelangelo Barberi given that he was strongly influenced by Barberi's style of work and in some cases directly copied some of his own compositions (the famous 'Rome by Night and Day' being one of these works). After Barberi's death in 1867, his studio continued under the direction of his daughter, Isabella Barberi but was last listed in 1873 which coincidently is actually the year before Roccheggiani first opened his own business.

In the mid-19th century there were nearly one hundred mosaicists operating in Rome, many from small workshops with the majority of their output manufactured solely for the burgeoning tourist trade. However, the diverse range of pieces produced in large quantities were generally of a small scale comprising small plaques, miniatures and cameos. By comparison the very best studios such as Cesare Roccheggiani's usually produced more substantial or finer micro mosaics in much smaller quantities. These magnificent and costly works however remained the preserve of the rich and powerful and many of the works, often produced by the Vatican workshop were either gifted by visiting aristocrats, given as diplomatic gifts, commissioned by monarchs or displayed at the major international exhibitions such as the Great Exhibition of 1851.

A contemporary photograph of Roccheggiani's shop front illustrates the extensive range of mosaics that his company offered and a guide book to Rome lists him as a supplier of mosaic pictures, tables, cabinets, paper weights and gold ornaments (Murray, 1899, p. 22). Of these works, his table-tops and large-scale pictures were perhaps the most expensive pieces and were acquired by wealthy and prestigious clients and displayed at the international exhibitions which were very much a feature of the late 19th century.