Armando Baigorri, La casa del sol naciente / The House of the rising sun

the fully decorated house in 2016

except the last one, pictures are screenprints from 

some of the videos in the documentation

The picture above shows a property in Monteagudo, a small community of some 1100 inhabitants in the province of Navarre, Spain. that in recent decades has been transformed into a singular architecture. with a surrounding space that includes a variety of iron structures.

Life and works

This Casa del sol naciente (House of the rising sun) has been created by Armando Baigorri, also called Armando Rustigenio. He was born in the early 1960s in  Aragón in a family with a very creative mother, but spent most of his life in Navarre, where he had a bakery in Monteagudo.

the house around 2010

Baigorri might have inherited his creative abilities from his mother, for when he had built a house on a piece of land where there used to be a plaster factory, around 2005 he began to decorate the house and the surrounding space in an extraordinary way.

Baigorri's decorative work has two distinct perspectives, firstly the often high-rise creations of recycled iron and furthermore the covering of the walls of the house with creatively arranged stacked stones.

The picture above depicts the house as it was around 2010. The wall that is visible, is only partly covered with stones, and iron creations can already be seen.

Based on this state of development, it can be assumed that Baigorri started in the early years of the new century, if not earlier.

the site in 2010

Metal structures

As above picture shows, already in 2010 the outside area was equipped with a large number of metal structures. Baigorri used all kinds of discarded material to construct these metal creations, such as old farm implements, horseshoes, chains, wheels, wrought iron, parts or plows and so on.

One of the larger structures is a ten meters high cross made from more than 4000 horseshoes, a creation that took Baigorri about two years to complete.

The picture (2016) above gives an impression of the various iron structures Baigorri created. At the left the 10 meters high cross.

The picture below (also 2016) shows more details.

Stacked stones

By decorating the living house with a variety of stones which differ in size, color and form, Baigorri has created a specific singular architecture that's rather unique in the field of art environments in Europe ¹.

There are no other examples where a house, so to speak,  has been encased in a large quantity of stacked stones, which, moreover, are arranged in a decorative manner, such as the flower-like upper left configuration and other arrangements as in the picture (2016) below.

The next picture (also 2016) shows a fragment of the wall, wherein a round (mill?) stone is placed in the middle of horizontally situated flat stones.

Both with regard to the iron structures and the stacked stone, it appears that what at a first glance seems to be a chaos, on closer consideration is a thoughtful and deliberate arrangement of found stones and recycled materials.

As formulated in the weblog Donde me lleven mis bottas (see documentation): "......cada piedra, cada una de las obras de forja están colocadas según un escrupuloso motivo, y lo que, a a simple vista se antoja un caos y un descontrol de restos de forja y metal, como el propio Baigorri explica, con la apropiada luz del sol, cobra sentido y muestra toda su belleza ...." (....each stone, each one of the wrought iron works is placed according to a scrupulous motive, and what, at first glance, seems to be a chaos and a lack of control of wrought iron and metal remains, as Baigorri himself explains, with the appropriate sunlight, makes sense and shows all its beauty .....)

Other elements 

In addition to the two main elements that determine the design of this art environment, namely the stone-packed house and the iron structures in the surrounding space, the site has some smaller-scale items, mainly made from stacked stones, such as an archway, some sculptures and a cave.

Situation late 2021

The photo above was taken in October 2021 by Tiramisu Bootfighter, who traveled through Spain as part of his project La Valise, Galerie Ambulante.  .

Documentation

* Article (August 2012) by Joseba Ayensa in his weblog
* Article (December 2013) on weblog Donde me lleven mis bottas
* Article (April 2015) in regional journal Heraldo

* Article (June 11 2026) on the weblog of Sophie Lepetit, with a variety of photos.

* Videos

* Video by Paeando Espana (around 2010, 4'13", You Tube)

* Video by Angel JJ (April 2015, 1'28", YouTube)

* More videos:
- Rustigenio, by Anandor Producciones on Vimeo,
- Esta casa es mía, by Decasa TV
- Casa del sol naciente by AngelJJ

note
¹  Other currently existing sites in Europe with built structures of stacked stones (not as bulky as those of Baigorri) are: Michel Rousseau, Garden of lost stones, France and Devan Manfredo, Dreamwoods, Italy. An older site including towers built with stacked stones, currently not existing anymore, is the one by Auguste Bourgoin, Public ruins end of the (19th) century

first published November 2019, last revised June 2026.

Armando Baigorri
The house of the rising sun
Monteagudo. region Navarre, Spain
can be seen from the street

Georges Maillard, Jardin des pierres Rocamberlus / Rock garden Rocamberlus

this picture and the next three courtesy of the 

Inventaire du Patrimoine Île-de-France

© Laurent Kruszyk, Région Île-de-France

Osny is a community in France, located some 30 km northwest of Paris. The community currently is part of Cergy-Pontoise, a suburb of the capital that began to emerge in the 1970s.

Life and works

When in 1964, Georges Maillard (1932-2022) bought a piece of land of some 1000 m² in Osny, the community was surrounded by an area with a rural and woody character, because at that time the urbanization had yet to begin.

He bought the site to establish there a country cottage (in French a cabanon), a place for relaxation. Later, in 1968, he decided to locate a house on the property. He started living there in 1972.

Maillard was a postman with an artistic slant. He loved photography, the theater and writing, but making sculptures became his favorite activity, in such a way indeed that he transformed the undeveloped, partly upwards inclining part of his property into an art environment.

The available documentation does not state when Maillard started working on his art environment. It is possible that it was when he moved into the house in the early 1970s, because it has been reported that one of his first creations included a letterbox, and then a box that was decorated in a special way.

The pictures in this post demonstrate the specific character  of the sculptures Maillard created. In the fields around Osny, but also on chalk cliffs along the coasts of Picardy and Normandy, he went in search of stones, especially sandstone and sometimes millstone, and then especially those with a special shape or profile, so that, when combined, they get kind of a human or animal look,

Because the stacking consisted of around two or three stones, the sculptures appeared in a modest size, which also added to their charm.

In addition, Maillard treated the creations with humor and playfulness by providing some with attributes such as a baking pan as a helmet, a flowerpot, a funnel or a scarf.

Looking at the accompanying photos, it is striking to see how naturally the various sculptures take their place and relate to their neighbors, as if they were not grouped by human hand, but are a collective of personalities, busy with all kinds of activities, stiffened for a split second in the click of a camera. 

Incidentally, here is also a relation with Mallard's love of  photography and the theater, in particular the aspect of staging amidst sets.

In the available documentation, published around 2012, it is stated that Maillard has also made some wooden sculptures, one of which still existed at the time, while he also must have made concrete sculptures. However, it's evident that around 2012 the stacked stones already formed the dominant aspect of this art environment.

Actual situation (2022)

An image on Streetview from 2019 of the garage of the house, with unscathed sculptures on its roof, gives the impression that the site at hat time was still in its original state. And indeed, some time after this article was published, a reader from Osny reported (July 2020) that Maillard, at age 87, was still active in embellishing his art environment.

Mailard's wife died in November 2021 and he himself passed away on October 7, 2022

Documentation

* Article on her website Cartographie  des Rocamberlus  by Sonia Terhzaz, reporting about her meetings with Maillard in the period 2020-2022. The designation Rocamberlus she uses in her website for creations in art environments comes from Maillard

* In an article in his weblog (October 1, 2020) De la sculpture automatique, un masque du facteur Georges Maillard  (Automatic sculpture, a mask by the postman Georges Maillard), Bruno Montpied discusses some of Maillard's sculptures.

* Entry about Maillard on the website Inventaire du Patrimoine, Île-de-France (file about Maillard realized in 2012)

Video

* Video  (2025, YouTube, 6'48") by Sonia Terhzaz with scenes of the site from 2022 -2024

first published October 2019, last revised October 2025

Georges Maillard 

Jardin des pierres Rocamberlus 
16 rue des Marines
95520 Osny, dept Val-dÓise, region Île-de-France, France

can (partly) be seen from the street

streetview

René Morice, Alignements des structures en pierre / Alignments of stone structures

picture (2017) courtesy of Sophie Lepetit
from her weblog

The above pictured structure of stacked stones, a creation by René Morice, is part of a large series of built stone structures, predominantly situated in roadside alignments.  

The following screenprints (via streetview, 2013) give an impression of the specific lay out of the component parts of this art environment, that is located in Kerbescond, part of the community of Pommerit-le-Vicomte in Brittany, France.

Taking the first road left on the road from Pommerit-le-Vicomte to Saint-Gilles-les-Bis (D65), one soon arrives at a first triangular part of the line-up, left from the road just before a junction.

Going left at the junction one passes by Morice's farm on the right, with an arrangement of stone structures at the front of the living house, and also ....

..... at the left of the road, opposite the living house,  another triangular arrangement of structures ....

......and then past the farm the next parts of this art environment are located left and right of the road, with the alignment on the left side of the road extending approximately 200 meters. 

Life and works

René Morice (1930-2023) became a farmer. living in the outskirts of Pommerit-le-Vicomte, a small community of some 1800 inhabitants near Guingamp in the Breton department Côtes-d’Armor.

Once retired, probably around the turn of the century, he experienced that he had little left to do and so in 2005 he started cleaning up the space around the farm where he lived. 

In the process, he began to tidy up a fountain in front of the farm, leaving a pile of stones that somehow put him in a creative mood

one of the numerous stone structures

this picture and the next two (2017) courtesy of Sophie Lepetit

So Morice started to put bricks together, using cement, forming structures that sometimes depict a certain character, and sometimes only have a spatial shape. He made single, stand-alone structures, but usually he united a number of structures into ensembles, sometimes using iron as a connecting material. 

 A number of ensembles and stand-alone structure were arranged in more or less triangular spaces near the farm, but it is a special feature of this art environment that most stone structure were arranged along the road in alignments.

This can of course be related to the space that Morice had at his disposal, but it is also tempting to see a relationship with the alignments of neolithic stones that form a characteristic (and famous) spatial element in Brittany.

Other observers, watching the creations in line, got an association with a crowd, gathered at the edge of the road, waiting for the passage of any event. 

But perhaps this is all too far gone, given Morice's statement in an interview: 

 

J’ai fait ça grossièrement, sans trop m’appliquer ! Si j’avais su que cela attirerait les regards, je me serai appliqué un peu plus (I did this roughly, without applying too much! If I had known that it would attract attention, I would have applied a little more).

Morice gave this interview in 2017. At that time he was 87 years old and he had worked for about twelve years on the art environment, which since the start in 2005 had got a large size, with its alignments with a length of over 200 meters. 

So in his late eighties Morice decided to end the further expansion of the site, partly because of his age, but also because the company where he bought the cement was closed.

He passed away in December 2023, at age 93.

Documentation

* Article  (October 2024) on website Tipeek

* A large collection of pictures in the weblog of Sophie Lepetit (June/July 2017), alignments, a first series of structures and a second series of structures, 

* Article (January 2017) in regional journal Ouest-France

* Article (January 2017) in Actu France

René Morice

Alignments of stone structures

Kerbescond (part of Pommerit-le-Vicomte), dept Côtes-d’Armor, region Brittany, France

can be seen from the road

Roselyne Descamps, Jardin décoré de la Villa Kernetra / Villa Kernetra's decorated garden

"map of the world" under construction

all pictures from Facebook 

The picture above shows a creation named Map of the World  under construction. It is one of the cercles (circular thematic sites) included in Roselyne Descamps' decorated garden around the Villa Kernetra, which is located in the community of Lanvollon in Brittany, France.

This cercle consists of a female statue surrounded by a circle of stones and benches on which a frieze will run with the twelve signs of the zodiac.

another view of the "map of the world"

Life and works

Born in May 1946, Roselyne Descamps studied at the University of Rennes, Brittany, being educated as a botanist. She was a horticultural trainer at an employment pole in Guingamp and conservator of the Kerdalo Gardens in Trédarzec.

In 1978, when she was in her early thirties, she could buy Villa Kernetra in Lanvollon. By this time Roselyne had also become skilled in making ceramics. Her qualities as botanist and ceramist, combined with a lively interest in myths, legends and tales of the Breton past, would have a major influence on her further life and the special development of the garden around Villa Kernetra.

 another specific site in the garden 
is the "Templar garden"

This villa was built in 1890 on a spot where in the seventh century a monastery -founded by an Irish monk- was located. The garden of the property, over one hectare in size and separated from the street by a 40 meters long brick wall, was very suitable to realize Roselyne's idea to create a symbolic and thematic garden in the spirit of Niki de Saint Phalle's Tarot Garden, facteur Cheval's Palais Idéal or Robert Tatin's Musée.

 the cloister is a place of meditation and contemplation, 
gathering stones that originally were scattered all over the garden

The garden was also transformed in botanical terms, for a part because of the damage caused by the great storm of 1987 that struck Brittany, but above all to give expression to contemplative and mythical concepts, reflected in special arrangements of trees and shrubs, such as the clairière des  druides (clearing of the druids) -a collection of large trees in an arc- created in 1990-1992, a collection of hellebore under a weeping beech or palms and laurels planted in memory of the Templars and the cathedrals they built.

 the circle of druids 

Mosaics on a brick wall and other creations in the garden

Assisted by volunteers,  Roselyne Descamps from around 2011 until 2015 has been building a wall of about 70 meters long, made of white blocks of stone. This wall, which meanders through the garden and fits smoothly into it's landscape, is a decorative and -in sacral respect- a protective structure. In practical terms it offers the opportunity to fix the many mosaics that in the course of the years have been created to adorn the garden.

Here is a small selection of these mosaics and other creations that decorate the garden.

fresque des Preuses Cavalières

The picture above shows part of a group of all together nine Preuses Cavalières. Historically seen these are ladies, in general from aristocratic origin, who shared a chivalrous ideal and organized tournaments or formed part of military orders. The scene is based upon an Italian wall painting in the Castello della Manta Museum near Saluzzo in the Piedmont region in Italy.  

On the wall of white blocks the visitor will see a large number of mosaics and frescoes of cards 

from the Tarot. 

Above a a combination of dark blue mosaic made from sandstone, glazed at 1260°,

representing card number 20, the Jugement.

Left above the Zodiac sign Le Bélier (in English: Aries) created by Gérard Buissonnière, an artist from Paimpol. As it is the first astrological sign of the zodiac, Aries marks renewal and beginning. 

Right above the Egyptian deity Apis, in the shape of a bull with horns.

Above a sculpture of Medusa, a monstrous appearance in Greek mythology with hair of winding snakes. In the setting of the garden this creation also represents tarot card number 8, Justice.

The above multicolored glass mosaic depicts a dragon, a creature that in the western world since the rise of Christendom represents evil and is synonymous with demons. 

Below a mosaic with blue elements depicting a tree. 

Since 2013 the garden is registered in the Guide des céramistes de France. It can be visited on open days or on appointment

Documentation

* Article (May 2010) in Breton journal Le Télégramme

* Article (October 2013) in journal Ouest-France

* Article (October 2015) also in journal Ouest-France

* Article (June 2017) in Breton journal Le Télégramme

Roselyne Descamps

Jardin décoré de la Villa Kernetra

10, rue des Fontaines

22290 Lanvollon, dept Côtes d'Armor, region Brittany, France

can be visited on open days or on appointment

Michel Rousseau, Le jardin aux pierres perdus / The lost stones garden

pictures courtesy of Sabine Campion (Le Mille-Pattes)

Along the departmental road D 303 near Bessé-sur-Braye in the Sarthe area in France, there is a singular garden filled with a variety of meters-high cylindrical constructions with a domed top, made entirely of stacked stones.

Life and works

This art environment was created by Michel Rousseau, (1936-2024) who was born in Savigny-sur-Braye.

After his primary education he for some time was employed as a farm hand until he was called for military service. After this he trained and worked as a mason with the Compagnons du devoir, to finally settle in Bessé-sur-Braye in 1978, where he had job in a factory and where he met his wife.

Retired in 1996 Rousseau increasingly felt the need to fill his days with activities where he could use his manual skills and where he could feel united wit the earth under his feet.

In 2004 he bought a piece of land along the D303 not far from the house where he lives. A pile of building material left on that land inspired him to use this material to build these typical cylindrical dome topped structures.

Such buildings do not have their own name in French and may be referred to as cabanes or maisonettes. The site as such does not have its own name either.

When Rousseau was asked about this, he said that the site can be regarded as le reposoir Sarthois (the Sarthois repository). A reposoir is a place where one can rest or make a stop and the term can also indicate a place to temporarily shelter the religious icon which is carried around during a procession.

Since Rousseau decorated one of his constructions with a found street sign with the designation Rue de la pierre perdue (Street of the lost stone), the site is also named after lost stones.

The connotation of Rousseau's art environment is indeed that of stones that, after having been used elsewhere, now have a place where they can stay quietly and from an ecological point of view are not wasted.

This also goes for the various other items Rousseau uses to decorate the structures, such as pots and pans (as in above picture), but also items that have been found or bought in flea markets such as figurines, flower pots, car wheel covers or bottles.

Very characteristic of Rousseau's working method is that he simply stacks the bricks, and so does not use cement or grout to achieve the strength of the structures, the highest of which measure about 4 meters. 

In the field of art environments such a method is rather rare. In France Auguste Bourgoin's towers have been constructed in this way and in Italy Manfred Flucke makes structures by stacking stones.

Around 2018, when Rosseau was in his early 80s he stopped adding new creations to the site, which meanwhile includes some thirty built structures. He passed away on April 30, 2024,

The site is currently cared for by someone who lives near the lost stones garden.

Documentation
* Article (April 2013) on Jean-Michel Chesné's weblog (includes a series of pictures)
* Article (September 2015) on website Actu France
* Article (August 2017) in regional newspaper La Nouvelle Republique

* Article about the site by Sonia Terhzaz on her website Cartographie des Rocamberlus (environments d'art singulier), reporting the visit she paid in June 2022, with a series of photos

* Article (September 2024) on the website Tipeek, with a series of photos

Video

* Video by TV France 3 on Facebook (2018, 2'33")

Michel Rousseau

Jardin aux pierres perdus

42 route de la Chartre (also D303)

Bessé-sur-Braye, dept Sarthe, région Pays de la Loire, France

can be seen from the road

streetview (2016)

Míro and Pédro, Esculturas de pedra ao longo do rio Tejo / Stone sculptures along the river Tagus

all pictures courtesy of Alexandra Sousa

The river Tagus (rio Tejo in Portuguese), with its length of a thousand kilometers the longest of the Iberian peninsula, flows into the Atlantic Ocean near Lisbon, the capital of Portugal. 

A walk along the quays of the city guarantees many beautiful views, for example the view of the Vasco da Gama bridge, the longest in Europe, but also - of a completely different nature- the sight of a modest art environment along the river as shown in the photos.

The site is located along a quay along the river named Avenida Ribeira das Naus, near the Cais das Colunas, a place along the river marked by two pillars. where high guests who travel by ship can be welcomed.

The project

The sculpture project started mid 2016. Two pensioners, both in their early sixties and living in Lisbon, had met each other, and it appeared that both were interested in art as made by Picasso, Dalí or Miro.

They are known only by their first names, Míro and Pédro. Although both self-taught, they decided to try out to make sculptures themselves, especially by stacking and decorating stones.

The place along the river, with an abundance of stones within reach, became both their studio and exhibition space.

Míro is the one who takes care of a balanced stack of stones, Pédro does the decorative part, using nail polish to bring forth the images.

They create sculptures with different dimensions, shapes and colors, and it always about a "balanced image with a touch of our magic and the magic of stone", as Pédro said in an interview.

In 2018, when this article was edited, Míro and Pédro had been actively involved in their project for over a year and a half and every day they came together at the waterfront to build new sculptures and to repair those that collapsed at night.

With their work they attracted  a lot of interest from the people coming along. The spectators were generally enthusiastic and sometimes make applause.

One of the charms of this collection of stone sculptures is the constant changeability: some sculptures collapse and disappear, new ones are added, others are repainted and given a different appearance.....

Of course, the vulnerability of such an art environment is so great, that it undoubtedly will disappear as soon as the makers no longer will or can take care of it. In case this should happen, the entry in this documentation is a modest contribution to keep the memory of the site alive.

Documentation
* Article (January 2017) As pedras pintadas junto ao Cais das Colunas on Flores, Cores e Amores weblog

* Some articles published in local newspapers in 2018 are currently no longer available

first published February 2018, last revised October 2024

Míro and Pédro
Stone sculptures along the river Tago
Avenida Ribeira das Naus
Lisbon, Portugal
could be seen from the street 

Deva Manfredo, La selva di sogno / Dreamwoods

Mainly composed of single-handedly arranged stones, Dreamwoods, located in a forest in northern Italy, is one of the few sites in the field of European art environments made almost exclusively from a large variety of stones ¹.

Life and works

The self-taught artist who created this artwork was born in 1949 in Duderstadt, Germany as Manfred Flucke. After primary education, he went to Hamburg to study sociology and history, after which he for some years wandered around making paintings and drawings, until he in 1977 felt inspired by meditation.

He joined Osho's movement and renamed Deva Manfredo, around 1980 he moved to Italy where he went to live in Osho Miasto, the biggest Osho center in Italy, located in a beautiful area in Tuscany, not far from Sienna. He would reside there for some 25 years, working as a graphic designer, photographer and barkeeper.

Around 2006 Manfredo left the Miasto commune. He has kept "Manfredo" as his artist name and currently lives in a Tuscan village.

a decorated tree
(this picture and the next four {2017} courtesy of Boris van Es)

In an interview Manfredo said:  "Since I was a child I was fascinated by the beauty and form of stones, particularly the ones which have been polished to perfection by the to and fro of the ocean waves".  He especially likes the immobility, timelessness and eternity of this material.

When one day around 1980 he just by chance was busy with some stones and felt that by arranging them he had created something beautiful, he got inspired to make a number of such creations and install these in a natural  area.

So soon after Manfredo had settled in the Osho center, he began to consider setting up an outer space with a specific collection of stones. He was aware of a place in an extensive oak wood near the center where he lived and in 1981 he installed there his first stone works.

faces

The forest was not his property, maybe it belonged to the commune, but anyhow initially there was no question of appropriation, because the site remained without a fence and the stones Manfredo used for his compositions were laid loose on the ground or on top of each other.

Currently (2017), some 35 years later, the land is rented long-term from the owner of the grounds, the site has some 200 creations, some quite a size, there is a gift shop at the entrance and paths cross the forest, but there still is no fence and the animals of the forest have free access.

a large mandala of colored stones

Sorted into a large compartmentalized storage box, Manfredo has a large stock of stones in many colors, an item already intrusive as such and rather useful to make multi colored planar structures.

From his passion for meditation it is obvious that among the creations in Dreamwoods one finds a number of mandalas, circular geometric patterns of Hinduist origin that symbolically depict the cosmos. The figure picture above shows that such a mandala can have a rather large size.

a mosaic

But there are also less esoteric mosaics, often performed in squares or rectangles and located on the ground.

rising structures

The site also includes a large number of vertical structures made of stacked stones, some standing on their own, others standing in a smaller or larger combinations.

Piling the stones into stacks, Manfredo uses no glue or cement. The stones are just hold together by gravity.

picture from Facebook

Some of these combinations of stone piles are grouped in such a way that one gets the impression to look at an impressive citiscape with a variety of high and low elements, some rising up to five meters.

The picture above shows the City of Mandaland, as it was in 2021, when new items such as a piazza and a theater had been added. In such artworks Manfredo may also processes glass and marble.

anthropomorphic figure

(picture {2017) courtesy of Boris van Es)

At some moment Manfredo also began making anthropomorphic characters. An observer of these creations said: 

"... I have the impression that they do not seem to have been ‘put’ there, rather it is as if the stones had decided one early morning to arrange themselves into these forms".

this picture and the next one (both 2019) from Facebook

In 2019 Flucke began using recyclable material such as the plastic bottles and the stacked plastic cups, shown in the photo above

.......just as he also created ensembles from remnants of metal. 

It's a developing story.

picture from Facebook

Indeed, early 2020 there was further development. Manfredo started working with driftwood, which he gathered along riverbanks or on a beach. The photo above shows an ensemble consisting of pieces of driftwood with bright colors. 

In the course of 2020 a new item made from stacked stones was added, a contemporary interpretation of Noah's Ark, as depicted in the photo above (from Facebook).\

Visiting Dreamwoods

Visitors of the site can follow a specified trail along the artworks in the forest. It is advised to allow about two hours for a visit and make the walk in silence.

Dreamwoods is closed from November until end March and during these months Manfredo may make trips abroad, visiting family members and old friends in his hometown Duderstadt or collecting stones or driftwood from beaches or rivers all over Europe.

Documentation

* Manfredo's website Stoneart/Steinkunst/Arte in pietra
* Manfred Flucke's Facebook page
* Article (in German) on website Costa Blanca Forum, August 2013

* Article Poems in a landscape in Osho News, May 8, 2016
* Article (in English) on touristic website Toscana900 with route map
* Article (in Italian) with a large series of pictures on Valdelsa.net, March 5, 2017

Video

* Video by Start Production (8'40", YouTube, uploaded February 2014)

first published August 2017, last revised September 2023

note

¹ Italians who, each with a specific approach, collected and displayed stones:

- Luigi Lineri, El santuario dei sassi

- Pasquale Paolucci, Museo di pietras

In Spain Manfred Gnädinger's Museo has sculptures made from stacked stones found at the beach

Deva Manfredo (Manfred Flucke)

Selva di sogno (Dreamwoods)

Località San Giorgio

Chiusdino, region Toscane, Italy
open from end march until early november
for opening hours look here