in Venice since 1300, begins the "petrification" of the city. Instead of wood, used until then the building is used as a building material especially the so-called Istrian stone, from the other side of the Adriatic, a sedimentary rock, particularly resistant to salt water.
For the most part, bridges, houses, churches and palaces of Venice are constructed, decorated and covered with Istrian stone.
Over the centuries, Venice has established a special technique of working stone, which involves the use of special tools and methods, which differ greatly from those used, for example, to the marble (as well as for comparison, metal-working is different depending on the type of metal used). There
are some of the main instruments which have survived to the present day and are unaffected by order of use as follows: s-
Ciapin , chisel you need to start a square block of stone and begin the work saves the edge (if they use different measures: by force or by delicate work);
tips: impressive work for long (eg to dig a pit maneuver), medium and short with variations in diameter for the finest work (eg sculpture and ornate);
chisels: of different sizes and widths to be cut in the side of the diameter, because the length, width and diameter determine discharges of different forces, including chisels particular importance is the chisel that allows you to work without "offending" the stone, removing the surplus without entering too much more than chisel "offends" is the onge (which has the shape of a fingernail), not has sharp edges, no plan and no damage;
hammers: for areas to be straightened or are used by teams: the sgrafòn , which is similar to an ax, as woodworking, or hammer , lighter, and there are then chisel, square, with fixed or interchangeable plates of various sizes, to make the rough stone and create conflict with other parts smooth, and the bribe you need to beat on the chisel.
There are also various types of drills of compasses and many other instruments too numerous to list.
Moreover, the specificity of the work of tajapiera is determined not only by the type of gear, but also the hardness and quality of the instrument. Often comes into play the "temperature". Chisels in Venice are still forged by blacksmiths in the absence of these experts and by the same masons / sculptors.
Often there is a close relationship, most subjective, the "tagiapiera" with its tools, such as a driver with his car, the gondolier with his gondola.
It is also necessary to know the material. The ability of tajapiera lies in being able to decide which tool to use depending on the type of stone in front of him.
Istria stone sculpture was the most suitable Vrsar (named after the location where it was extracted), and for foundations, sea defenses, the banks, was used as a less valuable stone called "gray" . These are materials that today are almost more because they are no longer traded.
Today Venice, a little at a time, is losing its identity, also because now it is losing the category of workers who built it.
[Roberto Justus, archeove]
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