Traces of stone working are an integral part of natural stone objects and artefacts of historical value. Each preserved trace does not only carry a value in determining the type of tool used, but also provides information about the historic stonemason’s work process and technology. For this reason, it is desirable to assess the restoration method’s influence on the change in surface topography. The effect of restoration interventions was investigated on five stone artefacts, three of ‘opuka’, one of sandstone and one of limestone, four of which showed historic working traces. For this purpose, selected restoration methods—chemical, mechanical and laser—were used. The examined artefacts were accurately photogrammetrically captured before and after the restoration interventions in order to assess and evaluate changes in the degree of preservation of the traces. Fine results using common tools were achieved in terms of geometric quality, level of detail and the documentation’s predictive power. The models’ geometric accuracy is in the single tenths of mm, as well as the matching of the two datasets (before and after).

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The surface of building stone on historic buildings often bears the original traces of craftsmanship processing. These are an integral part of the visual appearance of the monument and thus its value, which needs to be protected. For studying and identifying traces and subsequent reconstruction of stonemason's tools, we use the methods of traceology and mechanoscopy. Using modern imaging techniques, we can identify the stonemason's tool used, reconstruct the shape of its blade, and determine how it was used. The obtained results can be used in the process of monument care, especially in the process of preparation and implementation of restoration interventions on the objects, but they are also useful for completing the historical context of the monument. Our research is focused on the systematic study of the surface topography of the stone monuments in Prague. The obtained results were systematically divided according to individual historical period. As a model example of the use of the above-mentioned methods and approaches, we present the topography of stone elements and the development of stonemason's craft in Gothic Prague. The development of the stonemason's craft within one city in a given period can be documented on selected examples arranged chronologically in succession.

Article presents the results of a complex traceological research of the famous statue of the „prince”of Glauberg, found in an Early La Tène funeral complex in Glauberg (Hesse). Research focused also on two other fragments of related sandstone sculptures, found together with the Glauberger prince. The sandstone „prince”of Glauberg was already in the past a subject of many archaeological studies. Nevertheless, all or absolute majority of them were focused on aspects of art historian nature or on the question of the origin, role and function of such sculptures in the Early Iron Age Central Europe. On the contrary, the aim of our research is oriented exclusively on the questions related to the manufacture of this sculpture, identification of used sculptor´s tools and applied working techniques. Our research was realised by means of digital documentation followed by the aplication of traceological methods. The character of the survived working traces on the sculpture´s surfaces was studied by mechanoscopy, while the material of used tools was determined by X-ray fluorescence. The reconstructions of used tools were compared with the existing tools as represented by the Iron Age archaeological finds. This comparison was oriented on the most relevant regions of developed La Tène culture, particularly on South Western Germany and Bohemia. However, also other relevant area, significant as the possible source of inspiration of Celtic sculptors for the creation of the monumental sculpture–Apennine peninsula, was taken into consideration. Our research revealed individual steps and phases during the sculpture´s manufacture, enabled the reconstrucion of used tools and confirmed real existence of such tools in mentioned regions. Finally it has brought first indices of the necessity of the distinguishing between ideological and technological aspects of related Celtic sculpture, when considering possible influence of Apennine peninsula on transalpine Central Europe.