Column extracted by Square and bushhammered block
                                                                                                        


                          
                                                                                                               
Stonecutter' trade
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The stonecutter's trade has been undervalued since antiquity: "Sculptor without art", quarry worker who cuts the stone and works it with the tips and chisel to build works in series. The only ability that has been attributed to know the material that stoup popped and polished by handtransforms. Knowing where to mark with charcoal to make the "Cognare" and then beat the "Ponciotti", to cut it in the desired way. The "Trincante" or "Spalla" cut must follow the veins and the stonemason looks at the stone well before working it! Not only can this be done and the numerous squares and buildings and monuments built with the use of local or imported stones are testimony to this.
His works are often anonymous but observing them with sensitivity one can imagine the efforts of those who had to fight against the hostile nature that was to provide him through this job the necessary for the sustenance of his family. When the stonemason or stonecutter (for me left name), has dedicates himself to artistic works that are not only shaped or paved in the squares and along the avenues, he knows that he has acquired the art and that he has raised his children and that he no longer has to produce for the sole economic need. Then his new works will be wells and fountains, columns and pillars, fireplaces, arches with hand-chiselled strips with straight edges, frame with handmade high relieffamily emblems facing walls where each laid stone collects the art of shaping. The "Finish Line" is not only a goal, but also the ability to work the rough stone in an orderly and precise manner. The cement or lime mortar will be small and will only be used to build a regular "escape" because "L'opus Incertum" will have the elegance that history reserves. Today we are far from the grueling but rewarding art. What was was "State" and the artistic-cultural heritage is left ruinously decay. Since the post-war period, some of us have had to emigrate and exercise elsewhere. Our country has underestimated us and has taken away our profession, identity and culture. Capitalism does not always help the development and preservation of historical heritage but transforms it only as an end in itself without taking into account things that are priceless.
 
 Since 1997  Sandro Lazzarini.             imall@live.it