2026年4月5日 / 美国东部时间上午9:24 / 哥伦比亚广播公司新闻
圣彼得大教堂是世界上规模最大的教堂（对天主教徒而言，也是最神圣的教堂）。这里的艺术品，比如米开朗基罗的《圣殇》，足以让平民和教皇动容。无论你望向何处，都会以为自己正欣赏着画作。
但实际上，其中几乎全都是马赛克镶嵌画。
除非你凑近仔细观察，否则几乎无法分辨——这便是位于教堂长椅上方200英尺处的克莱门特穹顶内部，只有修复人员才能进入那里。
工作人员在罗马圣彼得大教堂内的克莱门特穹顶最高通道修复马赛克镶嵌画。 哥伦比亚广播公司新闻
梵蒂冈马赛克工作室主任保罗·迪·布诺向我们展示了一幅由数千块彩色碎片拼成的镶嵌画。“ mosaicists（马赛克工匠）竟能运用如此精细的细节来刻画，比如这张美丽的面庞，实在令人难以置信，”迪·布诺说道，“他们通过调配不同色彩，以这种方式熔合瓷砖，得以精细地调出丰富多样的色调。”
从远处看，整体效果如同印象派画作——而这比印象派流派的出现早了数个世纪。
圣彼得大教堂内一幅马赛克镶嵌画的特写。 哥伦比亚广播公司新闻
为何选择马赛克？因为画作极易受损，无法经受时间的考验。但由玻璃和黄金制成的马赛克则更为恒久。
梵蒂冈的艺术品以及圣彼得大教堂本身的最早记录，由西蒙娜·图里齐亚尼管理的圣彼得档案馆妥善保存。和这些马赛克一样，档案馆也仿佛漂浮在天国之中，坐落于圣彼得大教堂其中一处较小的穹顶下方。当下方管风琴奏响的乐声回荡时，那种体验只能用“神圣”来形容。考虑到馆内珍藏的物品，这也就不足为奇了。
米开朗基罗的一封信。 哥伦比亚广播公司新闻
一封日期为1562年2月18日的信，以无可挑剔的书法由米开朗基罗亲笔签名（正是那只绘制西斯廷教堂的手），信中恳请一位红衣主教支付他一名工人的薪酬，否则米开朗基罗威胁要直接向教皇上诉。“‘我将身体与灵魂都献给了圣彼得。’米开朗基罗如是说，对我们而言，这句话极具感染力，”图里齐亚尼说道。
随后我们找到了此行的目标：圣彼得大教堂马赛克镶嵌工艺的最早记录，可追溯至1580年，以及一幅圣彼得肖像马赛克的设计蓝图。这份蓝图中标明了绿松石色的渐变色调使用方案。
四个半世纪过去了，梵蒂冈马赛克工作室内部几乎没有任何变化。其使用的工具和工艺均可追溯至数百年甚至数千年前。
他们使用的工作台？和2000年前古罗马时期使用的一模一样。而他们的工具“martellina”，也就是一种锋利的小锤，能帮助工匠将瓷砖切割成极其微小的碎片。
或许没有什么作品比教皇肖像更重要了，这些肖像需经精心拼接，随后安装在罗马城外的圣保罗大教堂内。
制作教皇利奥十四世的马赛克肖像。 哥伦比亚广播公司新闻
每当美国总统造访梵蒂冈，教皇通常会赠送一件礼物：一幅梵蒂冈风景马赛克镶嵌画。
画师用油彩创作，而马赛克工匠则用火来创作。迪·布诺将这种特殊工艺称为“细丝技法”，“通过加热、熔合玻璃色料，从而创造出新的色彩。”
用火在玻璃上调制新色彩。 哥伦比亚广播公司新闻
但和这些马赛克本身一样，这些色彩也历经岁月沉淀，被梵蒂冈世代保存下来，留存数个世纪，只为有朝一日能将这些神圣的艺术品修复如初。
当被问及是否仍会为眼前的艺术品所动容时，迪·布诺回答道：“当然会。在这里工作永远不可能习以为常，因为你总会感到惊叹。”
哥伦比亚广播公司新闻
至少凑近看时，马赛克不过是些破碎的碎片。但在高处将它们拼接在一起，便成就了近乎天国的杰作。
Divine art: Inside the Vatican’s Mosaic Studio
April 5, 2026 / 9:24 AM EDT / CBS News
St. Peter’s Basilica is the biggest (and for Catholics, the most sacred) church in the world. Its artworks, like Michelangelo’s Pieta, have been known to make peasants and popes weep. Everywhere you turn, you may think you’re gazing up at paintings.
But almost all of them are mosaics.
And it’s nearly impossible to tell, unless you get a closer look, inside the Cupola Clementina, 200 feet above the pews, where only restorers can go.
Workers restore mosaics at the highest accesses of the Cupola Clementina inside St. Peter’s Basilica in Rome. CBS News
Paolo di Buono, the director of the Vatican’s mosaic workshop, showed us one mosaic, created using thousands of colored fragments. “It is very incredible that they, the mosaicists, used this kind of detail to represent, for example, this beautiful face,” di Buono said. “Using different kind of colors and melting the tiles in this way, they were able to reach many kinds of shades of colors in a very fine way.”
From a distance, the effect is like looking at an Impressionist painting – created centuries before the Impressionists.
A closeup view of a mosaic artwork in St. Peter’s Basilica. CBS News
Why mosaics? Because paintings are fragile and can’t withstand the test of time. But mosaics, made of glass and gold, are more eternal.
The earliest records of the Vatican’s artworks, and the Basilica itself, are conserved inside the archive of St. Peter’s, led by Simona Turriziani. And like the mosaics, the archive seems to float in the celestial realm, inside one of the smaller domes of St. Peter’s itself. When music rises up from the organ below, it’s an experience she can only describe as divine. Not surprising, considering what’s inside.
A letter from Michelangelo. CBS News
A letter dated 18 February 1562, and signed with impeccable penmanship by Michelangelo (the same hand that painted the Sistine Chapel), implores a cardinal to pay one of his workers, or else Michelangelo threatens to appeal directly to the pope. “‘I put my body and my soul for St. Peter.’ Michelangelo said this phrase, and for us it’s very, very emotional,” Turriziani said.
We then find what we came for: the earliest records of St. Peter’s mosaics, dating back to 1580, and a blueprint for a mosaic of St. Peter himself. This blueprint contained the gradient of turquoise color to be used.
Four-and-a-half centuries later, almost nothing has changed inside the Vatican’s Studio del Mosaico, the Mosaic Workshop. Both the tools and techniques date back centuries, even millennia.
The platforms they’re working on? Identical to those once used in ancient Rome 2,000 years ago. And the tool, the martellina, is a sharp hammer that allows workers to cut the pieces into the tiniest of fragments.
Perhaps no works are more important than portraits of popes, painstakingly pieced together, then installed inside St. Paul’s, outside the walls in Rome.
Creating a mosaic portrait of Pope Leo XIV. CBS News
And when U.S. presidents visit the Vatican, the pope routinely gives them a gift: A mosaic landscape of the Vatican.
While painters work in oils, mosaicists work in fire. It’s a special technique di Buono calls “the filament technique, that allows us to warm, to fire the glassy colors in order to melt them and in order to create new colors.”
Using fire to create new colors in glass. CBS News
But just like the mosaics themselves, those colors are timeless, preserved inside the Vatican for generations, saved over the centuries to one day restore this sacred art to its original glory.
Asked if he is still moved by the art on display, di Buono replied, “Absolutely. It is not possible to be used to working here because you are always amazed.”
CBS News
Mosaics, at least up close, are nothing more than broken fragments. But pieced together, up here, they’re nothing short of heavenly.
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