4. The blocks of stone, received in their rough state by the stone-cutter, are divided, if required, into pieces of smaller size, by means of a toothless saw, aided by the attrition of sand and water. The other rough sides of the blocks are reduced to the proper form by means of steel points and chisels driven with a mallet. A kind of hammer with a point or chisel-like edge, is also used to effect the same object, especially in the softer kinds of stone.
5. For some purposes, the stones are required to be polished. This is especially the case with those employed in the ornamental parts of buildings. In the execution of this part of the work, the surface is rubbed successively with sand, freestone, pumice-stone, Scotch stone, crocus, and putty. When the face is a plane, the sand is applied by means of another stone, which is moved backwards and forwards upon it. In this way, two surfaces are affected at the same time.
6. In polishing irregular surfaces, the different kinds of stone are used in masses of convenient size; and the part applied to the surface to be polished is first brought to a form corresponding to it. The putty is an oxyde of tin, in form of powder. Crocus is the peroxyde of iron. The building-stone capable of receiving the highest polish is marble; and it is on this material that the stone-cutter, and the architectural carver or sculptor, exert their utmost skill; but some of the other stones which have been mentioned, possess the same quality to a considerable extent.
7. Carving architectural ornaments, such as pillars with their capitals, is a refined branch of this business; or it may rather be considered, of itself, a branch of sculpture. In the execution of this kind of work, the operator is guided by patterns, formed from the well-defined rules of the science of building. Very few stone-cutters attempt the execution of work so very difficult.
8. From the manufacture of mantel-pieces and monuments for the dead, the stone-cutter derives a great proportion of his profits. This will be manifest even to the superficial observer who may visit a few of the many stone-cutters' yards, to be found in any of our large cities. In some of these, blocks of marble are cut into slabs by the aid of steam-power.
9. In districts of country, also, where valuable stone is abundant, water is extensively employed for the same purpose. This is especially the case in Berkshire county, Massachusetts, where marble of a good quality is abundant. A great proportion of the marble slabs used by the stone-cutter are obtained from such mills. Some other operations of this business are also sometimes performed by the aid of machinery.
THE STONE-MASON.
1. In Philadelphia, and in many other cities not only in this country, but also in Europe, the stone-cutters set their own work; and this practice has led to the habit of applying the term stone-mason to both stone-cutters and those who lay stone in mortar and cement. In New-York, however, as well as in some of the cities farther east, these two employments are kept more distinct. The stone-cutters in Philadelphia are sometimes denominated marble-masons.
2. But, in every city, there are persons called stone-masons, whose business consists exclusively in constructing the walls and some other parts of buildings with stone; and their operations are considerably enlarged in those places where there are no marble-masons. In many cases, the bricklayer is also so far a stone-mason, as to lay the foundation-walls of the buildings which he may erect. This is especially the case in the country, where the divisions of labor are not so minute as in cities. It may be well here to remark, also, that the bricklayers, in some places, perform the services of the marble-mason.
3. The marble-mason, in joining together several pieces in a monument, employs a kind of cement composed of about six parts of lime, one of pure sand, a little plaster, and as much water as may be necessary to form it to the proper consistency. No more of this cement is used than is required to hold the blocks or parts together, as one great object of the artist is to hide the joints as much as possible. The substance thus interposed, becomes as hard as the marble itself.