The Stonemason: A History of Building Britain

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I confess that I was greatly disappointed by this book, largely because I was expecting something else. And what I found was outside of my usual literary likes.

The book, itself, is divided into four parts, each examining a period of history and detailing exciting developments and social change through the lens of a significant building material: sarsen, limestone, marble and concrete. In this regard, it can be seen as a repository for the impacts and influences of cultural exchange - both good and bad - on masonry and architecture in Britain, whether by way of conquest, erudition or tutelage. On top of this, the book is replete with examples demonstrating the authors evident masonic skill and insight, as well as a truly remarkable knowledge of British history, such as when he talks about medieval builders using ‘the finger of God’ - a lodestone made of magnetised magnetite - to determine true cardinal direction so that they could orientate their creation in the direction of Jerusalem, as is the case with St Mary’s Church in Old Dilton. Work to restore the Cascade and Serpentine Lake at Prior Park Landscape Garden in Bath, for the National Trust.My book, forthcoming in 2023, is passionately partisan. It has been a labour of love and solidarity into which I have poured countless hours over several years. Focusing on British complicity in the oppression of Palestinians, it is an anti-racist analysis of the pro-Israel lobby which argues that we must strongly oppose both Israeli apartheid (and its supporters) and anti-Semitism. Writing about this topic, especially as a trans nonbinary person of colour, has often been a struggle. Being awarded the John C Laurence Award, and knowing that others believe in my work, is a huge confidence boost and I’m grateful to The Authors’ Foundation for its support. We are well used to sharing our knowledge about the conservation of historic buildings and specifically the techniques we employ and materials we use which are crucial for maintaining the happy equilibrium of an old building. In 1998 he was awarded a William Morris Craft Fellow by the Society for the Protection of Ancient Buildings. This advanced training scheme, designed originally to train future Clerks of Works, gives fellows a unique insight into the most sympathetic repair techniques to historic buildings and best practice in the field.

Leigh-Pemberton, Robert (21 March 2020). "The Stonemason by Andrew Ziminski, review: an infectious quest for English history through its architecture". The Daily Telegraph. The Stonemason: A History of Building Britain is a book written by Andrew Ziminski, published by John Murray in 2020. [1] The book is divided into four parts, combining a chronological and geological approach, with each part concentrating on a single type of stone and how it is used in a particular architectural style and period. [2] Partly an autobiography, [3] the book features examples that are principally drawn from the author's own work in an area broadly corresponding to Wessex, [4] and chapters are arranged to reflect the passage of a single year, beginning and ending at Samhain. [5] Each chapter is preceded by a linocut print produced by Clare Venables. [6] Ziminski has been keeping journals since completing his fellowship with The Society For The Protection Of Ancient Buildings in 1998. The Society was set up by William Morris in 1887, and it has been at the forefront of protecting our built heritage ever since. He holds a stone in place with the same oily clay from the River Avon that had been used 1,000 years before In The Spectator Harry Mount notes his "unparalleled understanding of this country's stones", [4] while in Literary Review Will Wiles emphasises "the remarkable way that Ziminski weaves together architecture, craft, landscape, archaeology and natural history". [11] In History Today Gillian Darley describes Ziminski as "thoughtful, observant and well-informed", [1] while in The Times Literary Supplement Emma Wells writes that "Absorbing and engaging, The Stonemason perfectly captures the genius loci of the British landscape and its ancient buildings." [2]Ziminski comforts us with the knowledge that our sense of detachment from the past is not a novel phenomenon. Working on Roman Bath, he is reminded of the Old English poem “The Ruin”, whose author, in the eighth or ninth century, marvelled at the “wondrous” remnants of a lost civilisation, its corrupted and incomprehensible shell appearing to him like the “work of giants”.