Pavements

From ancient times to modern times, pavements take numerous forms; from easy flags of local stone to huge ‘carpets’ of limestone, terracotta, marble or mosaic. As early as the fourth Century BC, Egyptian churches had massive areas of stone flooring – conveying godly power and permanence. Early Christianity continued the custom, paving basilicas and churches with floors charged with secret symbolism. Landmark buildings have always used stone pavements to electrify and to offer a sturdy surface for the passage of feet. Thru color and pattern, pavements have also carried messages to those supplied to read them. Egyptian designers, for example, portrayed cryptic energies using geometrical black and white stone.

We are able to trace the development of this idea thru history… Black and white floors became icons of locations as diverse as Europe’s great churches, Flemish merchant homes and Masonic Halls. The meaning behind many designs is lost to several, but the aesthetics remain as powerful as ever.

Pavements: Cosmati

An unparalleled form of classical mosaic, Cosmati is extremely ornamental, with swirling bands of complex stone and glass and gilded mosaic contrasted with brightly polished white marble. Frequently used for pavements, Cosmati also decorates architectural elements like walls and columns. Galvanized by Byzantine mosaic, Cosmati was a strategy exclusive to 3 generations of the Cosma family, working in Rome from the 12th Century. Central to Romanesque design, fine examples of their work can be seen thru Italy…but are concentrated in Rome where they’d the patronization of the Pope. Shockingly though, London is home to 2 remarkable Cosmati floors. In 1269, the just appointed Abbott of Westminster travelled to Rome and was blinded by the richness of the mosaics.

Returning to Britain, he commissioned workmen and materials from Italy to make Cosmati pavements for Westminster Abbey. The masterwork is the ‘Great Pavement’ in front of the High Altar, finished in 1268.

Pavements: Opus-Sectile

Rather than being made up from tiny tesserae, Opus Sectile uses bigger, specially-shaped elements in stone or tile. These are fitted together to form inlaid patterns or photos on walls and floors.