Projects

Religious mosaic art — Mary Magdalene, John 8:7

“Let the one of you that is sinless be the first to throw a stone at her.”

Detailed mosaic artwork of Mary Magdalene from Christian religious scene.

About this piece

This mosaic shows Mary Magdalene in the scene described in John 8:7, after the 1824 painting by Juan Cordero. It was hand-cut in Mexican smalti glass for a private client.

Figurative work is the hardest thing to do in glass. Faces, drapery and close-range tonal blending have to be built from irregular hand-cut pieces, with every shift in tone carried by the glass itself rather than by paint — a single face can take dozens of tones.

Juan Cordero's 1824 painting, the reference for the Mary Magdalene mosaic
The face of Mary Magdalene started in smalti, beside the reference painting and sorted tesserae
Finished detail of Mary Magdalene in hand-cut smalti, in opus vermiculatum
Face in progress on the bench, surrounded by loose smalti in skin tones
Setting tesserae one at a time into the face, with the painting propped behind
The accusers' faces worked in smalti above the unfinished figure of Mary Magdalene
Close-up of the face taking shape among cut smalti in pinks, greens and creams
A printed reference held against the panel to check the figure during setting
The panel with the main figures set and the background still open
Mosaic hammer and hardie with freshly cut smalti beside the panel
The mosaic nearly complete before the border is set
Finished face of Mary Magdalene with the halo in gold leaf tesserae
The feet and green robe in hand-cut smalti, with a gold border at the hem
Hand and robe beside the ornamental border, with gold leaf vines and stars
The finished Mary Magdalene mosaic with its ornamental border

How it was made

Hands placing smalti on the face, the reference painting behind

Working from the reference

The mosaic was built face-up on the bench, working from a printed reference laid alongside the panel. The glass is sorted by tone before cutting, so the transitions across a cheek or a fold of cloth can be chosen piece by piece rather than mixed on the fly.

Tesserae are cut with a hammer and hardie and set following the contours of the figure — opus vermiculatum, the Byzantine method for figurative work. Gold leaf tesserae carry the light in the halo and the inscription.

What a commission looks like

Commissions are photographed as they go. You see the drawing, the first sections set, the face as it takes shape, and the finished panel before it leaves the studio — which is what the sequence above shows, start to finish.

That is what to expect from a commission here: updates through the build, and a say in the composition before any glass is cut.

Close view of the robe's gold-trimmed hem and sandaled feet

Commissioning a religious mosaic

The tradition reaches back to the earliest Christian basilicas, where Byzantine artisans used gold and colored smalti to make devotional images meant to last for centuries. We work in the same materials and many of the same techniques — hand-cut smalti, opus vermiculatum figure outlining, gold leaf tesserae for halos and light. For historical context, see Byzantine art at the Met.

A commission begins with a conversation about the subject, the iconographic tradition, and where the piece will go. We develop a composition that fits its architectural setting — an interior wall, an entry, a niche — and you approve the design before fabrication starts. The finished mosaic ships paper-faced in numbered sections, ready for your own tile contractor to set.

See more figurative work in the mosaic artwork gallery.

Begin your commission

Send the details of your project, or call (323) 389-5347. Studio hours are Monday to Saturday, 8am to 3pm Pacific.