On the twentieth anniversary of their unveiling, the “Cavalli Trilitici” of Castelfranco Veneto (TV), a monumental sculptural work by artist Costantino Morosin, have been reborn from the “ashes” of atmospheric pollution and the effects of time with a cleaning and restoration project sponsored by FILA INDUSTRIA CHIMICA SPA, an Italian company that is international leader in the care and maintenance of surfaces.
Unveiled in Piazza Serenissima on 13 May 1999, these five-metre-high “Stone Horses” are one of the largest sculptured marble complexes created in the modern era and, as in prehistoric dolmens, they guard the past, protect the present and, with their eyes looking to the future, welcome the Third Millennium; described by the architect Paolo Portoghesi - in the introduction to the catalogue of the work - as "one of the most convincing images of Italian sculpture in recent years", they are still widely studied and admired.
Morosin’s art draws its inspiration from the direct relationship between man and nature and, unlike the dynamism and vorticism of De Chirico, his horses are firmly rooted in the ground in an intimate and solemn architectural equilibrium with the surrounding space.
The project was promoted by the Lions Club of Castelfranco Veneto as a service to the city and was personally supervised by their president, the architect Simonetta Benetollo, upon authorisation by the Municipality of Castelfranco Veneto. The work was funded by FILA, which provided products and consultancy, and was carried out by specialist technicians from Associazione ReSolutions headed by Alberto Sgarbossa and Eugenio Rigoni.
The project was carried out in three phases: the elimination of organic deposits (lichens, algae, etc.), patinas of black smoke and atmospheric particulates; the removal of enamels and spray paints (writing and graffiti); and treatment of the surface with anti-stain and dirt-repellent protective products.
The entire maintenance project adopted the logic and methodologies used in restoring listed historic heritage sites, even though the work is not classified as such; this meant that the “Cavalli Trilitici” benefited from work methods that avoided altering the physical-chemical characteristics of the original stone.
Through this project FILA confirmed its commitment as a strategic partner to heritage boards, public administrations and associations in the protection, restoration and safeguarding of the Italian artistic heritage.