The pre -Apuan hill where Gigi Guadagnucci lives is covered with woods and air is scented by essences. Access to it is by a steeply winding road which miraculously permits the passage of even mammoth truckloads of sculptor's marble. In an annex to his house, Guadagnucci has established a studio opening C j onto the Massa plain which extends as far as o the sea, where he can work on anything up to large-scale sculptures. This peaceful, silent recess sometimes becomes a venue for get- togethers with intellectual and artist friends animated by common interests and passions: an ideal habitat for preserving the artist's . N personal privacy without robbing him of a social life consistent with his cordial, effusive nature. In the surrounds of the studio there are signs just about everywhere of the artist's activity which create the immediate sensation 'S of a sculptor's domain. The sight of a small, charming, skilfully worked fountain is . sufficient in itself. It is significant that for many years Guadagnucci lived in Paris where he still occasionally returns to the studio he has kept there. His vivid memories of the period spent in France are evident in the way he speaks, in his use of certain phrase constructions and terms which he hastily translates. Yet he has come back to his native land to live and work, still in the prime of a progressively achieved creative vitality.