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FEBRUARY. I924

What shall we make his monument— A shaft of marble, straight and tall, Wreathed by the city's smoky pall— To mark the streets where he came and went? To gleam in the city's myriad lights— To catch the flame of the morning sun- To tower above us when day is done— A dim shape seen in the murky light? M. R. s. EJB ElE] Era [513 Bra BIS D BTEl Eia Era E13 EJa Bia

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VOL.1 FEBRUARY. 1924 NO. 10

CONTENTS

PAGE

CLOISTERS OF LINCOLN CATHEDRAL . . FrontislDiece

A TROJAN PUBLIC BUILDING

MEDICAL HISTORY IN MARBLE

THE ORIGIN OF TENNESSEE MARBLE 11

A LIST OF THE WORLD'S MARBLES 13

MANTELS FOR THE HOME 1Q

ENGLISH GOTHIC CHURCHES 23

THE MINNESOTA CAPITOL

SAFER WALKWAYS 35

MEMBERSHIP DIRECTORY 4^

Published Monthly by the NATIONAL ASSOCIATION OF MARBLE DEALERS GAY AND WATER STREETS. BALTIMORE. MD. Executive Offices: 242 ROCKEFELLER BUILDING. CLEVELAND. OHIO Application for Second-Class Vlailing Privilege has t>een filed at Baltimore. Md. Subscription Price $3.00 per year Single Copies 35 cents

Copyright. 1924. NATIONAL ASSOCIATION 01- VIARBLE DEALERS jitimore. Maryland.

Corner of the Cloisters of Lincoln Cathedral, in England. This Gothic structure was begun in i iqi and finished about 1280 A.D. 1

A Monthly Magazine devoted to the uses of Marble - its universal adaptability, beauty, permanency and economy

VOL. 1 FEBRUARY. 1924 NO. 10

A TROTAN PUBLIC BUILDING

Troy, New York, Gas Company's Home Has a Pleasing Interior of Marble

ACK in iqi6. there was completed in window. Each entrance is equipped with a B Troy, New York, a new building for revolving door that is encased in marble, the the Gas Company of that city. The first touch of the stone that is used so amply architect, Mr. L. N. Milliman, was told that within. The first story is of rustic-work, there were three things that the Company with heavy arches over the show windows. wished to attain. The structure was. first of The second and third floors are included in all, to be built for the convenience of the gas an Ionic order, with heavy monolithic col• consumer. This was to be a paramount con• umns having fluted shafts and carved cap• sideration. The comfort of the employees itals. The fourth floor is incorporated in a was considered as of almost equal import• frieze and the whole crowned by a cornice, ance. Finally, there was to be no sacrificing supported by a dental course and heavy of beauty of design, especially of the in• mouldings, with an overhanging parapet terior, for the purpose of utility. enriched with an interlacement band en• That the architect has succeeded in carry• closed by cartouche-crowned tops at the end ing out the suggestions of his clients is amply piers. proved by the fact that today the Troy Gas The building has a frontage of fifty-two Building is the pride of the city. No other feet and all floors are made either of marble building in Troy can compare with it in the or a niarble composition. The first floor con• manner in which such attractiveness and tains the main display room, cashier's room, adaptability have been combined with such collectors' room, and street and electrical striking effect. It is significant that in the superintendents' offices. The display room achievement of this result marble has played is wainscoted to a height of ten feet six a very important part. inches with marble set off by monolithic The exterior architectural style is an marble columns and pilasters with orna• adaptation of the Italian Renaissance.There mental capitals. The marble used was Ameri• are two main entrances, with an entablature can Pavonazzo. from the underground quar• over each finished with a wreath-enclosed ries of West Rutland. The heavv moulded THROVGH THE AGES ceilings and the floors of a red variegated West Rutland marble with characteristic marble augment the impressiveness of these green markings. The red marble of the chambers. floors is Oriental, obtained from the Swan- The base courses of Verde Antique are in ton quarrying district. notable harmony with the lighter tints of All corridors, hall rooms and staircases are the walls. In these the arrangement of the vx-ainscoted in marble and the floors of the color is the reverse of the Pavonazzo—the upper stories are of terrazzo. The interior of background is of dark green and the \ eining the new building, taken as a whole, is some• is white. The corridor base is of this same thing more than the home of a large organ• stock and so are the insets of the floor. The ization. It is a tribute to American marble walls in the corridor are Brocadillo, another and the methods of American workmanship.

Display room of the Troy Gas Co. The columns and walls are of American Pavonarzo.

[4 THROVGH THE AGES MEDICAL HISTORY IN MARBLE

^ I "»HE earliest sculptures in the history of Statue of .Esculapius near them, brought I medicine are those found in the Egyp• good health, and as a consequence of this im• tian tombs, and they date as far back pression a whole store of statues of /Escula- as 4500 years ago. They depict surgical op• pius have been excavated all over the Greek erations of a rather painful nature and show region, not onK' in what we now know as quite clearly the sufferings of the patients. Greece, but all along the Asia Minor coast These stone engravings were discovered by and in the southern part of Italy which came Professor Max Muller while on a mission for to be known as Magna Grecia, and also even the Camegie Institute. in the center of Italy. Many cities appar• The remains of Greek sculpture which ently felt that their health would be ever so much better if they had a statue of this Greek god of medicine who was held in such reverence. And so they erected one. One of the handsomest of these statues of /Esculapius, an example of Greek sculpture

Earliest surgical operation pictured in theNecropolisof Saqqarah at Memphis,

have been found in recent centuries contain a great many examples of statues of JEscu- lapius. This Greek god of medicine, who was probably a great physician and surgeon whom the gratitude of his patients deified, must have been held in very high estima• The famous black marble statue of tion. After his death people could not bring .-Esculapius, Capitolinc. Rome. themselves to believe that a man who had shown, as it seemed to them, such power over f rom an early period and famous above most life and death in the case of others, could be of those that we know, is the statue in an• himself completely amenable to the illnesses tique black marble which is to be seen at the of life, or even to death itself, and so they Capitoline Museum in Rome. A picture of transferred him to a place among the im• it is here presented which shows quite well mortals. Manifestly a great many people the esteem in which the Greeks held this must have thought that the having of a great physician of their early history. There

Illustrations and part of reading matter courtesy N'ew York Pharmacal .-Xssociation.

[5) ^31: 7"H ROVGH'THE AG ES

is something more than human in the dig• as an extremely nity of this wonderful old piece of statuary, thoughtful looking, so that it is easy to understand that it has high-browed kindly come to be one of the best known of the re• gentleman with a beard, mains of Greek sculpture that we possess. very much like that Naturally theGreeksappreciatedthe value which his colleagues in of health and thought seriously of the neces- country places, partic• ularly of a couple of generations ago. used to effect. Nearly every museum of any import• ance in Europe has an original Hippocrates Statue of Hippocrates. sculpture from theolder British Museum. time and the one here presented, an antique bust which may be seen in the British Museum, is one of the most characteristic of these representations. Many other physicians in Greece besides Hippocrates had their lives and personalities preserved in marble for us and one of these, Jason, is here presented making an examina• tion of a patient by means of pal pation. His fingers rest just below the edges of the ribs

Hygcia and /Esculapius, the Goddess of Health on the left so that it was probably some and the God of Healing. Ottoman Museum. Constantinople.

sity for preserving it. and so many examples have been found, in the excavations, of com• panion statues or sculptures of Hygeia and /Esculapius. the goddess of health and the god of healing. This goddess who rules over and maintains well-being and the divin• ity who presides over the restoration of good health, when for some reason it has been lost, are very worthy complements of each other. The Greeks honored the great father of medicine, Hippocrates, only less than ^^^s- culapius, the god of medicine, and so it is easy to understand why an immense number of busts and figures identified as Hippo• crates have been found in the course of mod• Tomb monument of Greek physician Ja.son. ern excavations. He is usually represented British Museum. THROVGH THE AGES stomach complaint of his patient that he family shared the risk and so they honored was trying to locate. At the feet of the them with him. patient on the left there is one of the huge Physicians are often mentioned on tomb• cupping instruments which the Greek physi• stones from the old Roman times and not cians made so much use of in the treatment infrequently various sym• of their patients. The size of it would in• bols of their profession dicate that they must have obtained some were carved upon the rather vigorous action by means of it. monument. We present Not all the Grecian statues that have an here the memorial tablet interest in the history of medicine were of of the physician of the heroic size. Some of them were monuments town of Palestrina, now AELioriO meant to perpetuate the memory of men known as Prasneste, not VRTIANO who were looked upon as just ordinary in• far from Rome. Above it ICOAMiq^ dividuals, but who had done something that are carved an instrument made it worth while case and two rol Is of band•

to preserve their mem• age which seem to indicate Tombstoncof.dius that this particular mem• Pius Curtianus ory, and so they were at Palestrina. sculptured about nat• ber of the profession fol• ural size. In the mu• lowed the avocation of a surgeon rather than seum of the evangel• a physician. ical school at Smyrna Portrait sculpture developed early in the there is a statue from history of humanity and the Egyptians some theoldertimesof Arte- 5,000 years ago made some of the finest mon, a physician of portrait heads that have ever been made. the city of Smyrna, The making of portrait statues had another presented in high re• lief and with charac• teristic fine Greek art. He is accompanied by two boys in short Statue of the physician .'Xrtemon in Smyrna, clothing, one of whom erected by the city. carries upon his shoulder a small casket, evidently containing the medicines and perhaps some instruments. What is most interesting about the statue is that it • was erected by the city of Smyrna in honor I of the physician whose name Artemon is thus preserved for us, probably because of heroic work done during a time of epidemic in the city. It is noteworthy that with his name is linked that of his family. These old Asia Minor Greeks rightly thought that Marble monument to an unknown Roman when a man risked his life in an epidemic his physician in the Lateran Museum. Rome.

[7l THROVGH THE AGES supreme era of development, 3,000 years later usually called, many present incidents and among the Romans, and there have been customs in the lives of the various profes• found in the Roman excavations statues of sions and crafts of Florence. Among them ph\sicians which give an excellent idea of there is one devoted to the physician. He is the man of medicine of 2.000 years ago. One represented seated in his office, surrounded which is preserved in the Lateran Museum by jars and ampullar of various kinds, hold• in Rome represents a man of about the time ing what is evidently a glass jar in his hand. of Christ. He had a strong face, an intel• Most of these sculptures on the Campanile lectual forehead, a chin and nose indicative in Florence are attributed to Giotto himself, of character and yet, as may be seen from though he is known ever so much better in our reproduction of it here, there is a look of the history of art for his painting than his kindly interest in his face, even in the mar• sculpture. This is, however, one of the ble, which must have made patients ready to sculptures that is said to show very strik• confide in him. Certainly the sculptured ingly the great Florentine's power with the head makes us feel that we would like to chisel as well as the brush. John Ruskin felt know a good deal more about the man. but that he could scarcely say enough in praise unfortunately all that we know of him is of these wonderful gems of art. He even did contained in the brief inscription which tells not hesitate to say that of their kind they us that he lived and died and was a physician. "must be held certainly the chief in Europe From the middle ages there have come to and that these medallions in bas relief made us a number of very interesting sculptures the most precious kind of decoration." which are of special interest and significance Farther on in the middle ages sculpture for the history of medicine. In the well- relating to medicine usually has reference to known series of medallions on the Cam• the many epidemics which took place and panile in Florence, Giotto's tower, as it is carried off so many people. It was not an unusual thing for an epidemic, for instance, to carry off more than half the inhabitants of a city before finally its virulence abated and the disease began to disappear or to occur in such milder form that many of the patients recovered from it. No wonder then that such events should occupy a prominent place in history and art. In Vienna is the famous Pest Column, as it is called, situated on the Graben in that city. The column commemorates the awful epidemic of pest which occurred in Vienna in i6q7 when, it is said, some 70,000 victims of the disease died before relief came. The column is erected in the florid detailed style of the early eighteenth century, but it makes an extremely impressive monument. In Bologna there is a handsome statue, The doctor's diagnosis. Medallion on the C^ampanile, Florence. Probably by Giotto. which we have reproduced, of Tagliacozzi,

[8] THROVGH THE AGES

the distinguished Italian handsomest of modern monuments to a surgeon, who in the clos• physician is that made by Thorwaldsen, the ing years of the sixteenth famous Danish sculptor, to Berlinghieri. the century revived the op• Italian eye specialist at the beginning of the eration of rhinoplasty for nineteenth century. This fine monument in the making of a new nose which a great nineteenth century sculptor to replace one that had has dared to invite comparison with the been cut off or had ulcer• antique, is one of the very interesting sights ated away. He is repre• of the historic Campo Santo at Pisa, not far sented with a new made from the well-known Leaning Tower. As the nose in his hand. Campo Santo is full of artistic monuments The Italians have been of one kind or another from many centuries, rather faithful in the it has an appropriate setting. erection of sculptured monuments to their great scientists, and vis• itors to Florence will re• call this handsome mon• ument to Francesco Red i Pest Column (died 1694) to be seen at in Vienna. the entrance to the gal• leries of the Uffizzi in Florence. Redi was a naturalist rather than a physician, but he gave the deathblow to the idea of spontane• ous generation. To him we owe the well- known maxim of natural history. omne vivum ex ovo,

(every living CE.sco nv.m

thing comes from Statue of Francesco Redi, Naturalist. an egg). He is Physician. Litterateur, on the por• tico of the Uffizzi. Florence. represented in this statue with One of the most striking monuments to a the /Esculapian modern physician is undoubtedly that to staff and the ser- .^Ibrecht \^on Graefe. the eye specialist in pent coiled Berlin. It is beautifully cared for, or was in around it. butalso the days before the war. and the patient with a lyre. These training of the ivy around it has greatly en• two are symbolic hanced its beauty. Von Graefe amply de• of the fact that serves it. He was a handsome man who died he was a littera• at the early age of forty-two with the repu• teur as well as a tation of probably being the greatest of Monument to Casparo mcdical Scientist. modern eye surgeons. Tagliacorzi. in r ^ 1 Bologna. One of the The Virchow memorial, the plan for which

(Q THROVGH THE AGES was selected after competition among the morials of his sculptors of Germany, is a characteristic ex• work. On the ample of modern German sculpture. The sides of the group that crowns the monument consists of monument the giant Science who has taken the monster thatcannotbe Disease by the throat and is evidently about seen in the to strangle her to death, for she is repre• picture there sented with a female human head and an is a shepherd animal body. Beneath this symbolic figure with his flock there is a head of Virchow in low relief and a and a farmer single word, his name. Virchow's work in driving his pathology deserves sturdy steers, such memorializa- tributes to tion as this, for more Pasteur's con• than any other in quest of an- the nineteenth cen• thrax and tury he enabled other cattle physicians to under• diseases. On stand disease. the right side of the monu• The pride of med• ment, as it is ical Vienna in the Monument to Theodor Billroth by pictured, Kaspar von Zumbush in Vienna later nineteenth there is a century was Theo- dor Billroth, the farmer girl resting in peaceful enjoyment of surgeon. Billroth her labors. On the left the large figure is a was well worthy of mother holding her daughter in her arms. all the honor that the Austrians gave Monumcnt to Virchow by Frit: Klimsch. him. He was the pioneer of visceral surgery, and he made the first resection of the esophagus and the first successful resec• tion of the pylorus for cancer. This monu• ment to him by Kaspar von Zumbush is in the University of Vienna. Our twentieth century has done nothing better in monuments to a physician than the Pasteur monument in the Place de Breteuil. Paris. The picture we present gives a very good idea of it. It is about twenty-three feet high. Pasteur, seated in the familiar attitude of his later life, crowns it and on the four sides of the monument below there is a Pasteur Monument in Paris, by Alexander series of life-size figures, symbolic me- Falguiere

10 THROVGH THE AGES

THE ORIGIN OF TENNESSEE MARBLE

B3.' JOHN STEPHEN SEWELL

.\RBLE is crystalline limestone. brought down by the rivers of those days M Most limestones are believed to ha\-e had time to settle, so that no great amount originated from the deposit in shal• of sediment from the shore was deposited low seas of the remains of marine organisms with the material which afterwards changed like corals and crinoids which secrete lime into marble. skeletons or shells. Tennessee marble is After this process went on for a long time, known to have originated in this way. be• perhaps for millions of years, conditions cause under the microscope, and sometimes changed and the lime deposits on the bot• to the naked eye. the remains of these organ• tom of the sea became covered with other isms are still apparent and can be recog• materials and final 1 y began those earth move• nized as such. Often they are plain enough ments u'hich resulted in the uplifting of the for the scientists to separate them into mountains which lie between the Tennessee genera and species. Valley and the eastem slopes of the Blue It shows that the area where the Tennessee Ridge. During this process the heat and Marble occurs must have been covered by pressure changed the sediments accumulated the sea at the time of its formation. .-\s a by the marine organisms into crystalline matter of fact geological history shows that limestone which is now Tennessee Marble. from the earliest times there was a backbone It is believed that nearly the whole of the of dry land running northeast and south• Tennessee Valley was at one time covered west approximately along the location now by these sediments. What remains is prob• occupied by the Blue Ridge Mountains. At ably less than ten per cent of the whole, but the time the Tennessee Marble was formed, no one need worry on that account about the dry land of North America consisted of a the exhaustion of Tennessee Marble. There is enough to last at the present rate for large area, mostly in what is known now as thousands of years. Canada, but extending in a strip running to the southwest along where the Blue Ridge Geologists can easily tell us the order of Mountains are now, and in a similar strip in the different ages and give us fairly accurate the far western part of the country. In other estimates of their relative duration, but words it is as though the Gulf of Mexico had u hen it comes to expressing them in years, extended over the land and covered nearly there is great uncertainty. From the best the whole of the United States. estimates available, it is probable that the These marine organisms must have very time that has elapsed since this marble be• clear water in which to live and the water gan to be formed is not less than one hun• must not be more than six hundred feet dred million years; probably it is not more deep. Likewise the climate must not be too than five hundred million years. In any cold. Therefore, while the Tennessee mar• case when you gentlemen are quarrying it ble was being formed, the area now occupied out in blocks you ought to do it with more or by it must have been covered by the sea and less reverence, as though you were opening it must have been far enough from the shore up the time-worn tomb of Tutankhamen. lying to the east of it so that the sediments It is a very interesting fact that the three

[n ["THROVGH THE AGES rocks, as the geologist calls them, which are table matter. It is also an interesting fact being more extensively used than any others, that the greatest deposits of all these stones all owe their origin to organic agencies.These are believed to have originated during one are limestone, coal and iron ore. The lime• geological era which is known as the paleo• stone owes its origin to marine animals like zoic, which merely means ancient life: so corals and crinoids; the coal owes its origin that to these primitive forms of life which to vegetable matter accumulated in bogs flourished and disappeared millions of years like peat bogs and subsequently changed by ago, we owe the accumulation of the three geological process to its present form: iron kinds of deposits which are probably most ore is believed to owe its origin mainly to the necessarv to us in this modern dav and action of acids produced by decaying vege• .generation.

Narcissus." a statue carved out of Pink Tennessee marble and placed at the head of a small garden pool in Forest Hills. Long Island, N.Y, It expresses with charming gayety all the whimsical mischie\ousness of vouth. The sculptor was .Adolph A. Weinman, of New York City.

[,2] THROVGH THE AGES

A LIST OF THE WORLD'S MARBLES

By J. J. MCCLYMONT

Note—In a past issue, Mr. McClymont pressed, for the .sake of convenience, to divide the different marbles into four groups. These arbitrary groupings were as follows:

GROUP A — Any marble or GROUP B — Any marble or GROUP C — Any marble or GROUP D—All marble, stone stone sold to the trade in fair- stone sold to the trade in slabs stone that cannot be sold as and so-called serpentine mar- sized slabs or blocks of com• or blocks of fair or medium sound but contains a mini• bias, and Onyx, which, by mercial size, rectangular shape size, generally rectangular mum amount of natural de• their peculiar formation are and guaranteed by the seller shapn;. guaranteed to be .sound fects, such as dry seams, old known to be fragile, such as to be sound, free from natural and free from natural defects, fractures, partially or com• Breccias and nearly all highly defects, that can be finished the finishing of which, be• pletely healed surface voids, colored marbles and serpen• at a minimum cost, and sold cause of texture, the size of etc.. to be treated by the tines, and that are sold to the to the consumer as sound slabs, the shape and size of manufacturer in the most ap• trade in irregular shaped marble. blocks, is someu-hat more ex• proved manner, reinforced blocks or slabs without a pensive than those in Group A. \xhere necessary by liners on guarantee as to their sound• back or metal inlays and sold ness, treated by the manu• to the consumer as semi- facturer in the most approved sound marble. manner, reinforced where nec• essary bv liners on back or metal infays and sold to the corjsumer as unsound marble.

Caste ra-Verduzan Catlinite or Indian Pipestone. Quarried at Castera Verduzan, in Gers, Is found in various places in Minnesota France. and Wisconsin. The principal source is at Fine yellow tint, almost uniform. Pipestone City, Minnesota. This is not a true mineral but an indur• CasUe Island Marbie—See Golden Breccia. ated clay of quite variable composition.

Castletown Cat's-Eye Agate Alabaster—See Satin Spur. Scarlet Quarries, near Castletown, Isle of Man. Cattedown—See Deadman"s Bay. Dark blue-gray streaked with white veins and sometimes showing a few fossils. Caunes—See Languedoc Griotte De Caunes and Vert Moulin De Caunes. Castletown {Fluor S^yar)—See Blue John and Blue John Amethyst. Cara Romana—See Travertine (Italian).

Castres—See Noir De Castres. Cave Marble or Cave Onyx. This name is given deposits of Onyx Mar• Caswell Sound ble that occur on the floors, sides and roofs Caswell Sound Quarries, Otago, New Zea• of caves. Few of those deposits in various land. countries have produced and are produc• Light gray crystalline rock through which ing Onyx for the trade, but generally cave run veins of a darker shade. deposits, especially those on the sides and Takes a good polish. roofs, are but thin veneering and of no Catacolon Quarries on the Island of Mar• commercial value. mara produce Marmara Statuary and Cavendish Marble—Undeveloped deposits Rose D'Orient. of marble occur in this township in west- Cathim Stone—Same as Caen Stone. em Vermont.

[13] THROVGH THE AGES

Cavernous Chair—Carnation or flesh color. Containing irregular cavities or pores. Chalen—Same as .Mar\-illa. Ce Quarried in. the Valley of Seriana, Italy. Chalenches Leaden gray with white markings. Quarried in Chalenches. in Isere. France. Pinkish white, with small white spots. Celbridge—See Irish Black. Cellular or Vesicular. Chalk (a soft limestome). Containing cells or vesicles; very common White, gray or buff. in eruptive rocks. The harder kinds of chalk were used in the rubble walls of Roman times in London, Central African (SoafDslone)—See Steatite. and have been used in cottages and oc• Central Asia—See Lapis Lazuli. casionally in churches of \'arious places in Central India—See Sabalgarh. England, where it is known as Totternhoe Stone from quarries and mines around the Ceon village of Totternhoe near Dunstable. Quarried in the Valley of the Ceon, Lot, Bedfordshire. England. This variety is France. described as almost white, another vari• Clear brownish yellow, with black clouds. ety knoun as Beer Stone from mines close Takes good polish. to the village of Beer, near Seaton, Dev• Cere—See St. Cere. on, has a creamy white tint when fresh and a paler color after being exposed. Cerfontaine (Fossil) Cerfontaine Quarry. Ardennes. Chalons—Same as Eschaillon. Red. gray, blue and white. Cervelas or Cervelatte or Sausage Marble. Champion Pink—Group A. An ancient marble said to ha\-e been Gray Knox Quarry, near Knoxville, Ten• quarried in North Africa. nessee. Dark red. with gray veins and white spots. Light pink with waves of darker shade and occasional veins or crow feet. Cervelas Rose Vif—Same as Languedoc from Takes good polish. the Aude Quarries. Cham plain Black—See Swanton Black. Cervelatte or Sausage Marble. A name given to many red mottled French Champlain Lake or Champlain Marbles— marbles. See Jasper, Lyonnaise, Olive, Oriental. Cette Royal Red. Swanton Black. Swanton Quarried near the Port of Cette. Herault, Do\ e. Vermont Verde .Antique. France. Dark red. with gray and white markings. Champoli Quarried in Loire, Champoli. France. Ceylon White Blue, gray, white and \ ellow. Limestone Quarries. Kandy. Central Pro\ - ince. Ceylon. Champ-Robert White, with spots of yellow, purple, and Champ-Robert Quarr\-. Nie\Te. France. black. Gravish white with small black \ eins.

14 THROVGH THE AGES

Ckampville—Group C. ChellastonSee .Alabaster (English). Quarried in France. Chemtou Cream-yellow color, with occasional rose Modem name for Simittu Colonia. in the coloring. Is a fine grained dense marble. Medjerda Valle\\ Tunis. .Africa. Takes medium polish. Near this place are located the quarries Charlemont that according to Playfair produced the Quarried at Charlemont in .Xrdennes. Roman Giallo .Antico (Numidian "Y'ellow). Deep red with \\ hite veins. The location of the quarry v^as lost for Charleroi—See St. .Anne. many centuries and accidentally discov• ered when the railroad from .Algeria to Charleville (Fossil) Tunis was under construction. The quarry C^harleville quarries in .Ardennes. was reopened and has been in operation Red. mottled with gray, blue and white. almost continuously for many years, but Chartreux is not operating at present. Quarried at Cambovin. in Drome, France. Chenove White. Quarry near Chenove. Cote d'Or, France. Takes a good polish. Light brown with white spots. Chassignelles For el des Brousses Quarried in France. Cher Light whitish color. Quarried at Salle-.Au-Roi. Cher. France. Red and gray. Chateau (Breche)—See Breche Montagne du Chateau. Cherani One of the quarries producing Marmara. Chateau De Pratz—Same as Jaune Lamar- tine. Chercos Beteado—Group .A. Chateau-Landon Quarried at Chercos. Sierra De Las Fila- Chateau Quarry, in Seine et Marne. bres. .Almeria. Spain. France. White, tra\'ersed with numerous gray Banded with varied shades of yellow and veins. white veins and fossils. Chercos Blanco—Group A. Chatelperron Marbles Quarried at Chercos. Sierra De Las Fila- Quarried at and near Chatelperron. in bres. .Almeria. Spain. Allier, France. A white statuary. .Are generally of a grayish white. Some Obtainable in large blocks. have pinkish \eins. and others quarried Cherokee—Group A. at Gilly are veined with yellow, while Tate Quarry. Pickins County. Georgia. others are uhite and some are mottled Bluish white with clouds of darker shade. blue, white and gray. Takes good polish. Chauk-Sen—The name b\- which Jade is Cherokee County Marble—See Regal Blue. known in Burma. Cherokee Strip Marbles—Same as Oklahoma Chaumont—Quarried at Chaumont. Marne, Marbles. France. Whitish gray v\'ith pink spots. Chester Countx Marble—See Penna. White.

[i5l THROVGH THE AGES

C/iiampoDar/corTavernelleDark—GroupC. Chili Lapis Lazuli Quarried at Montalato, Venetia. Italy. Quarried nearOvalle, Chili. From light yellow to brow nish yellow. Dark Azure. Takes high polish. Occurs in small nuggets only.

Chilmark Stone Chiampo Flurie or Tavernelle Flurie— An English Limestone, which has been Group C. used for hundreds of years. I.M.V. Quarries near Chiampo, Venetia, "^I'ellowish brown, but assumes a greenish Italy. tinge when exposed to the weather. Creamish yellow with fine bluish mark• Contains about lo per cent of Silica. ings. Takes high polish. Chinese Black Sui Hing Quarries, Tung on Mt. Kwang, C/iiamjt)oPer/aorTavemelleClair—GroupC. Tung Province. China. Quarries near Chiampo. Venetia, Italy. "The black marble of South China is a Light creamish yellow slightly varie• sub-crystalline rock and very fine grain." gated. (Watson) Takes high polish. Takes good polish.

C/i/am/5o/^o5a7oorTavernelleRose—GroupC. Chinese Black and ^"hite I.M.V. Quarries near Chiampo, Venetia. Sui Hing Quarries. Tung on Mt. Kwang, Italy. Tung Province. China. Light creamish yellow slightly variegated "Composed of alternating black and white with rose markings. clouded and contorted bands and veins, Takes high polish. with a few black and white patches." (Watson) Chian Chinese Breccia The Porta Santa of the ancient Romans Sui Hing Quarries. Tung on Mt. Kwang, was quarried on the island of Chois, .Asi• Tung Province. China. atic Turkey. "It is a shattered limestone with dark red Light and dark gray with fine red and veins and occasional white calcite patches, yellow veins. the ground mass is mottled with white Not available. and pink." ( Watson)

Chickamauga Limestone Chinese Breche (French) Name given by American geologists to a Same as the French marble Breche Chin- formation occurring in about the middle oise. of the Ordovician System. Chinese Gray This is probably Gray Siam. as large Chiem Lake Marbles quantities of this material are used by See Ruhpolding Red and Red and Green, Chinese marble makers. which is quarried near Lake Chiem. Until a few years ago Italian marble was

16 THROVGH THE AGES

brought in large quantities to China and Cintra when worked into buildings and accord• Quarried at Cintra, Estremadura, Portu• ing to Watson were then known as Chi• gal. nese white. Gray mottled and veined with blue and black. Chinese Variegated Sui Hing Quarries, Tung on Mt. Kwang, Cipolinnacci di Carrara Tung Province, China. This is no doubt the same as Cipollino Delicate pink to pink and purple flowered Italian, although name indicates that it patches, with white and occasional red comes from Carrara. veins. Cipollino Antico {Greek)—Group A. Chinese White Quarried in Greece. Ting Tak Quarries, Fe Shu Ngan Mt. Light green background with dark green Kwang, Tung Province, China. deep violet veins. Dull white with few pale green markings. Takes high polish. Chios Island—See Chian. Cipollino Grand Antique—Group C. Chip pal Light green for ground tone with light to Quarried in the Vosges, France. dark green violet veins. One variety is whitem others are grayish Takes high polish. white with blue veins. Cipolla—Onion. Chlorite or Viridite. The name Cipollino is given to this mar• Under the general name of Chlorite are ble because of its resembling the color and included several minerals; the three prin• wave like lines of an onion. cipal varieties are Ripidolite, Penninite Cipollino or Cipollino Medium (.American) and Prochlorite. —Group B. Charges—See Portor Vermont Marble Company's Qua r ry, West Chudleigh Rutland, Vermont. Chudleigh Quarries, near Torquay, Dev• Various shades of slightly yellowish green onshire, England. with waves of a slightly darker shade and Deep black through which run a few veins of light green to brownish green. white veins and thread-like markings. Takes medium polish. Churchtown Cipollino American—Group B. Churchtown Quarries in Cork County, Eastman's Quarry, West Rutland, Ver• Ireland. mont. Red. speckled with white The three recognized varieties are: A brownish red and black marble is also Dark Cipollino—Rather dark but al• found at Churchtown. most a decided green not shading to• Ciacci wards olive. The veins of variegated One of the quarries producing Roman green and occasional greenish white are Travertine. very numerous. Cieix—See Bleu De Savoie, and Savoie Light Cipollino—Much similar to the Doree. dark, with the exception that the green

17 THROVGH THE AGES

shades are lighter and the whitish green by ancients as Marmor Carystus or Cary- veins are more prominent. stium). Medium Cipollino—This is as the name Pale green or grayish green with broad indicates of the same general tone. The and narrow wavy bands of darker shade. greenish white veins are more promi• Takes high polish. nent than in the dark, while the green Cipollino Red is somewhat lighter, and yet both the Quarried in Asia Minor. green and the veins are darker than in Deep red with broad bands of pinkish the light Cipollino. white. Cifjollino (American Light)—Group B. This was a popular stone in ancient times VermontMarble Compan\*sQuarry. West but no longer available. Rutland, Vermont. C ipollino (Swiss) or Swiss Ci pol 1 ino-G roup D. Greenish white to pale green with waves Quarries at Saillon. near Saxon, in the of darker shade and fine veins of from Canton of Valia. green to dark green. Occurs in two varieties: Takes medium polish. One known as Cipollino Grand Antique, Cipollino (Canadian)—Group D. (A Brec- or as Grand Antique. Pale green with ciated Serpentine.) well defined waves and bands of darker Bancroft Quarries, South Ontario, Can• shade. ada. The other known as Cipollino Rubanne Consisting of large fragments of dark or as Rubanne. Pale green with light green serpentine, uith occasional paler waves and bands. Sawed across the bed. spots or streaks embedded in a matrix of Takes a good polish. calcite. Cipollino Rubanne or Rubanne—See Cip• Cipollino D'Elba or Cipollino Italian, or ollino Swiss. Italian Cipollin—Group D. Citron Furuli Quarried on the Island of Elba off the Furuli Quarries, Fauski, Nordland, Nor• Coast of Italy. way. Very light pale green with irregular bands Very faint yellow tinted. and narrow waving veins of darker shade. Takes high polish. Cjellebak (i\'orway) Marble deposits are located near this Cipollino de St. Maurice—Group C. place. Quarried near Gap in the Upper Alps. White with large green veins. Clarence—Same as Le Clarence.

Cipollino Grand Antique —See Cipollino Claj-endonA—GroupA. (Swiss). Quarried at Clarendon, three miles south• east of West Rutland, Vermont. Cipollino (Greek) or Carystus Marble or Bluish white with little bands or rows of Marble of Carystus—Group D. spots of medium gray shade. (Vermont Quarries on the Isle of Euboea. (Known State Geological Survey).

[.8 THROVGH THE AGES^jgig'^^^;

MANTELS FOR THE HOME

^ I ^HERE is no other single interior decor• mottled or clouded marble should never be ative feature in domestic architecture used for this design, as it would spoil the that plays the important part belong• beautiful harmony of the carved effect. If ing to the fireplace and its mantel. This is the fireplace is intended for actual use. then true whether the material for this be wood, the hearth treatment should be carefully brick or marble, but it is most especially the considered, as most light monotone marbles case where marble is chosen. will discolor from hot coals and ashes. For On this and the two following pages are that reason it would be best to use a border shown various types of mantels for the home, of the width of the pilasters and make the with comments upon their uses, as well as field in keeping with the fireplace proper. their defects. In a mantel of this general character, the The one shown above is suitable for hall, size may be varied slightly to suit the con• library or living-room. It is built of French ditions, but the total height should not be Caen Stone, although it can be built of any less than six feet. Anything less than this monotone marble that carves well. Veined, would render the design ineffective.

Photographs courtesy McCIymont Marble Co.. Milwaukee. Wisconsin.

[IP Intended for a mcKierate siced living-room or large bed chamber It is built irom a dark variety of Second Statuary Italian marble with inluys of Black Belgium. The hearth treatment is rather poorly de• signed and the effect would be impro\ed if a border ol Second Statuary was used on the front and ends only and the field treatment made to correspond with the fireplace.

This mantel may be used in a hall, living-room, library or any other large room where it w ill harmon• ize with the surroundings. The material used is Vert Antico from Greece. A good hearth treatment would require a raised border of Vert .Antico set at least three inches above the floor and at least one inch above the hearth panels, w ith the top edges slightly rounded.

Designed to harmonize w ith the color scheme of a I'I large living-room. This is of Number 2 White Italian, inlaid with Red Verona. The hearth treat• ment is intended to harmonize with the mantel and should be carefullv worked out.

20] THROVGH THE AGES

This living-r(X)m mantel is of a purelv conventional design. It is built of Pavonazzo Italian. The"hearth shown is not in keeping with, and probablv was not intended to be used with, this mantel. It should be worked out in conformity with the mantel and the •other features of the room.

I his is intended for a living-rcx)m. and the top or •shelf treatment could perhaps be greatly improved. It is made of Pavonazzo Italian marble which, be• cause of its natural richness, requires but little orna• mentation. This mantel would be improved were the carving, if used at all. done on inlays of pure, cream white marble.

A very much used type of utility mantel, with the addition of conventional ornamentation. This latter does not give its full value, however, because of the interruption of the shadow effect produced by the various veins. If the projection or profile of this mantel had been reduced about one-half and the shelf offset to receive the pilaster, the effect would have been much better. The material used was selected, heavily marked Pavonazzo Italian marble.

[21] THROVGH THE AGES

Illustration courtesy E. H. Glldden, Architect. Baltimore. Maryland. South aisle of choir, in Winchester Cathedral. Built in 1076-93. it was remodeled later in early Gothic style.

22 THROVGH THE AGES

ENGLISH GOTHIC CHURCHES

'NGLISH Gothic was widely divergent and suchlike were common, and chapter• E1^ from the French, even at a very early houses and Lady-Chapels were grouped period, not only in plan but in struc• with the main building. The great square tural principle as well. Organic Gothic as stone lantern over the crossing was a strik• we have seen it in France, was not devel• ing feature and towers abounded in practi• oped in England. 'Englishmen depended cally every structure. The height and width on Romanesque sturdiness for structural of the nave were never abnormal, nor was safety, and this inevitably gave a different the clerestory very high. Extreme slender- expression to the building"—(Kimball-Edg- ness of line was never seen and the flying ell: A History of Architecture). There is buttress was not of overwhelming impor• hardly a fully developed flying buttress tance in the design, often being concealed system in England and yet, if architecture beneath the aisle roof. in England developed more slowly than in The English system of vaulting was more France, it developed more uniformly. It complicated than the French and exhibited was satisfied with the solution of simpler a richness and variety that contrasted with problems, and never sought to attain the the more organic continental uniformity. boldness of construction exemplified in Instead of using ribs purely for functional Amiens and Beauvais. However, as Ham• purposes, they gave to them the character lin says: "In richness of internal decoration, of decorative design. The early Gothic vaults especially in the mouldings and ribbed such as those in the naves of Chichester, vaulting, and in the picturesque grouping Salisbury, Gloucester and Wells were French• of simple masses externally, the British like in their four-part simplicity. Later, builders went far toward atoning for their however, the vaulting surfaces were broken structural timidity." up into long narrow triangles by having a In plan, the English building was narrow, large number of ribs springing from each and appeared longer, as compared with the support. This is shown in the naves and French. The transepts were boldly project• choirs of Lincoln, Exeter and Litchfield, and ing, generally doubled, with the shorter in the nave of Westminster. Where the straight rib of the ridge crossed a vaulting east of the longer. These secondary tran• rib, there was placed a carved rosette. Minor septs added greatly to the external picture- ribs were introduced and many complicated esqueness, as shown in the cathedrals of patterns resulted. The vaults of the choirs Salisbury, Lincoln, Worcester, Wells and of Gloucester, Wells and Ely illustrate this Hereford. The east end was usually square, method and it is also shown in the naves of and the choir was often nearly as long as the Tewkesbury Abbey, Canterbury, Winchester nave. In height they were comparatively and Norwich. lower than the French, and almost invari• ably they lacked apsidal chapels. The development of the process led to the Many conventional features were incor• fan vault, as seen in the choir of King's Col• porated in the plans of the English cathedrals lege Chapel at Cambridge, and the Chapel that distinguished them from the churches of Henry VII at Westminster, the Cloisters of the Continent. Cloisters, libraries, halls of Gloucester and many other places. The THROVGH THE AGES

to a central lantern that show s from within as well as from without. This was built by Alan of Walsingham in 1337 after the fall of the central tower. Very few English cathedrals are wholly of one architectural style. Remodelings at different periods resulted in admixtures of Norman and Gothic, often of great merit. Salisbury Ca• thedral. 1120-1258. was the first church designed and built en• tirely in the Gothic style. Dur• ham. Norwich and Oxford are wholly Norman hut for their Illustration cnurtcsy E H. Gliddcn. Architect, Baltimore, Maryland Gothic vaults. Ely. Gloucester Ely. showing West Front and Central Octagon and Hereford ha\-e Norman multiplicity of the ribs, resembling an na\-es and Gothic choirs. W'in- inverted pyramidal mass at each point of sup|X)rt. formed abo\e elaborate patterns of tracery that were far more decorative than functional, and less satisfactory than the earlier ribbed vaulta. At the junctures of the ribs and ridge either paneling was used, or keystones shaped like long stone pend• ants were inserted. Another form of ribbed vaulting that was employed in the thirteenth cen• tury is seen in the eight-sided chapter houses connected with the cathedrals of Lincoln, Northminster, Salisbur\- and Wells. In each a central column supports the roof through ribs radiat• ing to the sides and angles of the poly• gon, the whole interior representing a most logical structural entity and af• fording a striking example of the excel• lence of English Gothic at its best. The Ely Cathedral has. at the intersection of nave and transepts, a noble octagon the full width of the aisles, whose lustration cc>urtcs\- E. H. Gliddcn, Architect, Baltimore, Maryland The Central Tower of Lincoln Cathedral, groined and ribbed vault reaches clear a church of the thirteenth centurv.

J4l THROVGH THE AG"ES~|gl^

Chester has a Norman nave with late Gothic details added, and a pure early Gothic choir. So it goes with practic• ally all the better known English cathedrals. Like the French. English Gothic developed through stages more read• ily distinguished by tracery forms. It is common to divide the whole into three periods. The first was called the Early English or Lancet period, and was marked by its simplicity. Sculp• ture was scarce, decoration restrained, and the designs pure and dignified. The windows, at the beginning of the period tall and narrow (lancet win• dows), were grouped by twos and threes, though sometimes more, as in the York north transept, where we see five. The form of the openings, at first paramount in the design, became, as in France, subordinate to the pat• tern of the stone framework of circles,

bars, arches and cusps. rraiion courtesy E H. Gliddcn, .Archiicct, Baltimore, Maryland Construction was sturdy. The Nor• Fan-vaulting (late Perpendicular), in the nave of King's man massiveness was distinguished. College Chapel, at Cambridge. however, by clusters of shafts about the round piers. These shafts were mostly of the dark Pur- beck marble that seemed such a favorite with the English builder. The more important parts of Canterbury. Lincoln, Wells and. most of all. Salisbury, were in this style. The latter part of the thirteenth century saw the abandonment of the severity of the Early English style and the in•

Illustration courtesy E. H. Gliddcn. .Architect, Baltimore. Maryland. troduction of the Decor• West Front of Wells Cathedral (thirteenth century). ated style (1260-1360), THROVGH THE AGES

.w m

+ .•+•+•++•+

> 1 - -1 «

11 \

Illustration courtesy E. H. Gliddcn. Architect, Baltimore, Maryland. Notice the decorative elaboration of design in this triforium of Ely Cathedral. also called the Geometric and the Curvi• extended from 1360 to well into the six• linear (this in its later aspect). This period teenth century. It was distinguished by was marked by a profusion of decoration an emphasis laid on vertical and horizontal and an increase in the number of ribs, as well lines. Ribs were extended to the pavement, as by an enrichment of complicated mould• fan vaulting extensively used—as was also ings. In particular, bar tracery that some• the four-centered arch—and openings were what resembled the French Geometric enlarged considerably and filled with trac• tracery, was freely employed. This, at first ery in which the mullions were carried following simple lines, soon grew into flow• through to the top of the arch, and crossed ing tracery, with riotous lines of double at intervals by horizontal transoms. Rectan• curvature, resembling the French Flamboy• gular paneling became general and walls ant, though considerably simpler. Examples and vault surfaces were treated along the of the Decorated style are found in the fa• same lines. mous Angel Choir and nave of Lincoln, the The arch at this time was given a new side aisles and triforium of the choir of Ely, form. It was flattened, struck from several the west front of York Minster and in Wells. centers, and frequently had a much de• The last and most original of the English pressed point, to fit under the flattened apex Gothic periods was the perpendicular, which of the vault. At the same time the windows»

[lb] THROVGH THE AGES

Illustration courtesy E. H. Glidden. Architect, Baltimore, Maryland. Salisbun,- Cathedral was built about 1245: the Spire about 1300. especially of the square east ends, were feet, dimensions more prodigious than any• made of tremendous size, so that the ends of thing before attempted in England. the churches were practically huge walls of The fronts were never as impressive as glass. The chapels of St. George at Windsor, those of the French and were practically Henry VII at Westminster and the Cathe• mere decorative screens hiding the arrange• dral at Gloucester offer very complete spec• ment behind them. Effective they may imens of the Perpendicular style. The east have been; as entrances they were not to be window of Gloucester measures 38 by 72 compared with the noble fagades of Notre

271 THROVGH THE AGES

Dame. Rheims or Amiens. Occasionally terns, adding dignity to the crossing: while sculpture was used, but not nearly as freely externally, they usually appeared as mas• as in France, not even within, where the sive square towers. The finest of these was English church offered its best. The chief at Canterbury, but other notable examples exterior advantage of which most of these were at Durham. Lincoln. York and Glou• buildings could boast was in the matter of cester. Salisbury, Litchfield and Chichester location, for they were usually placed on a have spires over the lantern, the first of fine site which received scrupulous atten• these rising 414 feet from the ground. Nor• tion. They are not, even now, obscured by wich has a Norman tower with spire. the unsightly structures that are permitted The interior was distinguished from the to crowd about the Continental churches. French by three peculiarities of design. Perhaps York has the most elaborate west These are: first, the abundance of fine mould• front of any on the island, but those of Lin• ings in the pier arches: second, the elaborate coln and Peterborough are more interest• decoration of the triforium; third, the varied ing, while Litchfield and Wells are beauti• treatment of the clerestory. These three fully designed. combined to give the long low English As mentioned before, the central towers church a repose and grace that contrasted uere prominent features of the exterior de• sharply with the impression of majesty and sign. The majority, internally, formed lan• power con\'eyed by the French cathedrals.

Illustration courtesy E. H. Gliddcn, Architect, Baltimore, Maryland. Canterbury Cathedral.

28] THROVGH THE AGES

THE MINNESOTA CAPITOL

' I the average American of the East- ment from beneath the large dome. Marble I em States, Minnesota seems rather columns are ranged in pairs around the far removed from the centers of civi• drum, while its walls are penetrated by ped- lization; and the statement that it posesses imented windows. Above is a circular lan• a capitol building that ranks with the finest tern topped by a gold ball, its smaller mar• in the country is a matter of distinct sur• ble columns tending to carry out the general prise. However, the St. Paul structure is effect and accentuating the unity of the de• certainly worthy of such a classification and sign. The dome itself rests squarely upon its location upon an eminence rising some the central part of the main structure. The two hundred feet above the Mississippi plan is that of a very long rectangle, with a River adds to the dignity of this white mar• short north wing almost square extending ble edifice. from the center, the east and west wings Below spreads out the picturesque city of themselves being about twice as long as St. Paul, while the surrounding country pre• wide. sents a succession of gently rolling hills, The approach to the building consists of winding rivers and silvery lakes. In the day• broad terraces, with secondary stair-flights time, bathed by the golden sunshine, the to break the otherwise too sharp incline. purity and delicacy of the impressive archi• The main entrance is through a central pa• tectural proportions of the Minnesota capi• vilion with three large arched openings, tol make it the glory of the North Star state. while extending over the second and third The first capitol of the state, then a terri• floors are double-columned arched open tory, was located on Tenth, Cedar, Market loggias. Two square pierlike ends, one on and Wabasha Streets. After admission to each side of the openings, strengthen the the Union, the capitol of Minnesota took front and, with their truncated pyramidal fire and was destroyed March i, 1881. The form above the roof, suggest the sites for second capitol, built upon the same site, future heroic statuary groupings. The whole was opened January 4, 1883. In 1893, plans facade forms a parallelogram, with the for a new capitol were begun, including the curves of the arched openings repeated and appointment of a commission to select a magnified in the lines of the dome. The roof site, provisions for a ten-year tax to secure is relieved by flat glass domes upon the side the building funds, and the selection of an pavilions, while a repetition of the pediment architect. Ground was broken on May 6, over each of the four windows, two on the I8Q6; the cornerstone laid July 27, I8Q6; central and one on each of the side pavilions, the finishing touch added in iqc2: and the co-ordinates the various elements. building occupied by the legislative assem• Not the least of the unusual features of bly on January 3, iqo5. the exterior treatment is the windo>\ less at• It is built upon the lines of the Roman tic above the loggias of the main pavilion, Renaissance, of grayish-white Georgia mar• with its six statues executed in white mar• ble. The architect, Mr. Cass Gilbert, of St. ble by Daniel Chester French, one of the Paul and New York, departed from the con• greatest sculptors of the day. These figures ventional when he omitted the Greek pedi• attest a close study of Greek art and have THROVGH THE AGES

directing the various artistic ac• tivities through a general Board of Design is most evident. This Board, made up of Mr. Gilbert, the archi• tect. Mr. French, Mr. LaFarge. Mr. Garnsey. Mr. Blashfield and Mr. Simmons, was the final jury to settle any questions of dispute. It was not that there was any lack of harmony among the various art• ists: it merely gave them assurance that there would be no interference by non - professional authorities. This harmony of effort resulted in a harmony of decorative detail that is. unfortunately, rarely found in our public buildings. The dominant color note is the dull buff, almost pink, tone of the dolomitic marble used so freely in the walls of the rotunda and cor• ridors, as well as in the piers, pi• lasters, arches and entablatures. This material came from the local quarries and is known as Kasota Illustration courtesy Julie C. Gauthier. St. Paul. Minn. and Mankato stone. The many The architect has introduced into the beautiful Corinthian capita of the second floor a rosette representing the moccasin plant, other marbles used were chosen be• the recognized flower of the State of Minnesota. cause they either blended or pleas• ingly contrasted with the color of added much to the already large reputation these local marbles. of the artist. Heroic in size, they depict the In the center of each facade on the first six virtues essential to good citizenship— floor is an entrance opening into a large ves• Wisdom. Courage, Bounty. Truth, Integrity tibule with corridors extending the length and Prudence. and width of the building, and crossing at Above the attic is a square pedestal at the rotunda. This has a convex curved floor the base of the dome supporting a quadraga of marble, with a large glass star in the of gilded copper, by French and Edward center that serves both as a decoration and Potter, representing Prosperity standing as a means of lighting the rotunda base• upon a triumphal car drawn by four horses ment. Above is an encircling balustrade of led by two young women. This group is one Hauteville and Skyros marble from France of the largest of its kind in the country. and Greece. The walls are octagonal, four However pleasing the exterior, the inte• of them extending upwards to form the rior is at once both beautiful and dignified, piers that support the dome. These piers and it is here that the success of the idea of contain niches in which are placed statues

30] THROVGH THE AGES

Illustration courtesy Julie C. Gauthier. St. Paul. Minn. View from top of West Staircase.

31 f^^^THROVGH THE AGES

Illustration courtesy Julie C. Gauthier. St. Paul. Minn. Exterior of the Minnesota State Capitol, at St. Paul. of the state heroes of the Civil War. Above of the wall by a thick coat of white lead each niche is a panel of Old Convent Siena that acted as a paste. By this method of marble from Italy, and below is a marble treatment, the paintings can be removed bench of Skyros from Greece. without damage in case of fire, rebuilding or The four pendentives over the piers are for other reasons. filled with paintings by Edward Simmons, The first floor corridors have vaulted representing the Civilization of the North• ceilings decorated with pictures in the form west, mostly in deep blues and gold to match of bands, circles and rectangles of native the colors of the dome itself. These were grains and fruits, with panels of blue and originally done upon a seamless canvas in violet. On either side the main entrance are the artist's studio in Paris. France, and two finely carved benches of white Italian afterwards fastened to the curved surfaces marble, the gift of one of the members of

[32 THROVGH THE AGES

Illusiraiion courtesy Julie C. Gauthicr, St. Paul. Minn. View of Senate Chamber, in eencer of West W ins the State Capitol Commission. Mr. Jolin Haute\ ille marble, which resenibles Kasota DeLaittre. The floors are of stone inlaid but takes a higher polish. Skyros marble is with designs in the blue and green veined used for the balusters, while the panels on marbles of Georgia and Tennessee, and the the landings and the spandrels between the dark red Numidian from the Nile Valley. arches at the sides are Breche Violette and The door casings are of French Echaillon old Con\ ent Siena from Italy. marble, delicate and beautiful in color, but Surrounding the stairwells on the second hard in texture, and toning in excellently floor are thirty-six columns of Breche Vio• with the Kasota and Hauteville. lette, very highly polished. The ones at the On either side of the rotunda is a large east end of the corridor, and in front of the stairway, one in the west and the other in entrance to the Supreme Court Room are the east wing, built almost entirely out of mottled greenish-grav. Those at the west

33 THROVGH THE AGES end are much lighter, with larger mottled Chamber and here two marble fireplaces of spots. All have bases of Hauteville and red Numidian harmonize with the purples Corinthian capitals of dull gold. These and reds of the draperies, ceilings and panels. thirty-six columns, lighted by the amber- In the east end, on the second floor, is the colored semi-cylindrical vaults above the Supreme Court Room, severely dignified stairways, form a striking display of violets and richly but simply furnished. Four La- and soft greens and yellows. Farge paintings, one in each of the recessed Twelve small lunettes symbolizing the lunettes at the top of the sides, lend great various industries of the state are placed at charm to this apartment. Behind it is the the base of the skylight vaults. Other paint• Justices' Consultation Room, a copy of the ings are found in profusion, one, over the Supreme Court Room in Independence Hall entrance to the Supreme Court Room, and in Philadelphia, where the Declaration of another, over the west stairway, being par• Independence was signed. Its white marble ticularly noteworthy. Under the rotunda mantel and white woodwork are exacth' on the ground floor is a timbrel vault which suited to the mahogany chairs and table and has the peculiar property of echoing the gold-framed portraits. steps of anyone crossing the floor, giving The north wing contains the House of him the impression of someone following Representatives and its Retiring Room. directly back of him. Strangely enough, it The Speaker's desk is flanked by white Ver• can only be heard by the person walking. mont marble columns, while above is a large On the same floor is a restaurant at the ex• open arch. The mantelpiece of the Retir• treme end of the north corridor designed ing Room is of unpolished Numidian marble. after the style of a German Rathskeller. The ceiling is elaborately beamed, with The Governor's Reception Room, off the carved soffits and brackets. This room is a west corridor of the first floor, is extremely delightful reproduction of a chamber in ornate. One of its chief features is a mantel some old Italian palace or French chateau of unpolished Fleur de Peche marble from of the time of Francis I. France, with a base of Italian Levanto mar• The cost of the edifice alone was $3,2 50,000. ble. Here, too, are found the historically Including the expenses of the land and its accurate paintings by Blashfield, S. M. improvement, boiler house, site and tunnel, Arthurs, F. D. Millet, Howard Pyle, D. furniture, decorations and other items, the Volk and R. H. Zogbaum. entire sum expended was $4,500,000, the Ascending to the second floor, we find the amount appropriated by the Legislature. Senate Chamber in the center of the west The length from east to west is 433 feet, wing, with its display of what is easily the with an average width of 120 feet. The cen• most beautiful marbles in the building. Col• tral portion, which includes the north wing, umns, pilasters, door-casings and base are is 228 feet from north to south. The outer all of French Fleur de Peche, the soft creamy walls are 6q feet high, while the dome ex• tone at times deepening to yellow and tends 220 feet into the air. with a rotunda speckled with strong violets and warm reds. 60 feet across. 10.000 electric lights are Splendid paintings by Blashfield and four used, the illumination and heating coming lunettes by Willett are quite in keeping from an efficient plant situated at a distance with the fine decorations of this room. of two blocks, and completely out of view The Senate Retiring Room adjoins the on the decline of the hill.

l34l THROVGH THE AGES SAFER WALKWAYS

NOTE—The Nalional Engineering Council called for a con ference of those interested in making walk• ways safer against slipfying and inf)filing The \ ational Association of Marble Dealers offers the following information as it afyplies to marble—and follows ivith specifications incorporating what it considers proper standards, these latter to be made the basis of recommendation to municipalities for incorporation in their codes of building laws.

DEFINITIONS AND INFORMATION (1) Walkways with surfaces in which limits of size given, and even rather long marble is the sole or principal material sub• strips of narrow border, can be produced in ject to the wear and tear of foot traffic, in• considerable quantity from pieces cut from clude the following: larger slabs in executing other work, or (a) Floors and pavements finished with from other material which may not yield marble slabs, or with marble tiles with or merchantable stock except in the relatively without marble border. small sizes used for tile and border. "Tile (b) Floors and pavements finished with and border" therefore constitute to a cer• marble mosaic, with or without marble tain extent a by-product of the industry, border. and this influences the price at which they (c) Floors and pavements finished with are sold. marble terrazzo with or without border of If pieces of border are more than 12 inches marble strips or of marble mosaic. wide, or more than 6 feet long, or contain (d) Treads and platforms of stairways more than about 4 square feet, they cannot made entirely of marble in some form, or ordinarily be obtained except from large finished with it, in some form. So far as slabs of merchantable stock — and thus knoU'Ti, marble mosaic is never used for cease to be, in any sense, a by-product. treads. But steps may be made of terrazzo If tiles exceed 12 inches in their least di• moulded solidly to shape, and platforms, mensions, or contain more than 2 square like floors, may be finished with marble in feet, they likewise cease to be obtainable as any form. a by-product in any appreciable quantity. MARBLE TILES Small tiles, less than b inches by 6 inches, used in pattern floors, are usually known as (2) These are merely small thin slabs of "dots." marble rubbed or cut to suitable size and shape. In sizes varying from 6 inches by 6 Tiles and border, in the sense understood inches to 12 inches by 24 inches and not ex• in the trade, are made from stock that is ceeding about 2 square feet in area, such from 7^ inch to i>4 inches thick, as it comes slabs are called tiles. In sizes larger than from the saws: the finished niaterial will this, they are called "floor slabs.'" The long vary in thickness from about ^4 inch to lyi narrow strip used as boundaries and sub• inches; but at least qo per cent will ordinarily divisions in floors finished mainly with mar• run about j i; inch. If specifications require ble tiles, mosaic or terrazzo, are known as thicknesses beyond those limits — or any "border." perfectly uniform thickness—the advantage The distinction between "slabs" on the of using a by-product is lost, and in the opin• one hand, and "tile and border" on the ion of the trade, no useful object is accom• other, is due to the fact that tiles within the plished.

35 THRQVGH THE AGES

MARBLE MOSAIC inch ring) mixed with enough finer material (marble crushed to a size to pass l^'-inch (3) This material consists of marble screen and be retained on a j/^-inch screen) sawed or broken to a generally rectangular to fill the voids between the larger fragments. shape, and of such sizes as to present a sur• This mixture of aggregates should be made face in the finished floor varying from about into concrete with neat Portland cement ^ inch by }i inch to not more than i>2 in• and water, spread and tamped into place so ches by lyi inches. The thickness varies that when finished, there shall be at least from a little less than >^ inch to 34 inch, "yi \]4 inches of perfectly homogeneous marble inch or sometimes i inch. For elaborate concrete over the entire area where used. designs, pieces of triangular or other shape When terrazzo is made entirely of the smaller are often necessary. sizes, the pieces of marble will soon begin to In laying mosaic floors, it is customary pluck under heavy traffic, producing an un• first to arrange the pieces, face down, on even and dangerous surface. sheets of paper large enough to contain units of the floor of reasonable size. The (5) When any walkway surface is to be pieces of niarble are made to adhere to the finished with marble, the following points paper by some adhesive material which will should be considered: lose its strength when wet. The units, so Tiles, slabs and mosaic must be set in a formed, are laid in place paper side up, on a bed of stiff mortar, otherwise accurate lay• bed of fresh cement mortar, and the paper ing is impossible; soft mortar will not hold is stripped off as soon as this can be done the surface true while the cement is setting. without plucking out pieces of the marble. A certain minimum thickness of mortar— Usually the work necessary to connect ad• not less than i inch—is necessary to enable jacent units is done by placing the inter• the marble setter to set his pieces of marble vening material, piece by piece, by hand. and bring them down to a solid bed with up• More or less work of this kind is nearly al• per faces true and at the proper level. ways necessary to complete the job. Conduits, pipes, etc., that are run over the rough floors under the marble should be MARBLE TERRAZZO securely and rigidly fastened dox^n and the general level of the rough work should be (4) Properly speaking, this is a finished such that the minimum thickness of bed• wearing surface of marble concrete. Actu• ding mortar can be everywhere secured over ally it often consists of a bed of cement the highest points of such conduits, pipes, mortar in which marble chips have been etc. It is better to completely bury all such spread and tamped in while the mortar is features in a bed of rough concrete finished soft. It is this latter type of cheap work at such a level as to afford the requisite which has often given a bad name to a type space for bedding and laying the marble. of floor which, when properly executed, is capable of rendering excellent service. When (6) Where the foot traffic is very heavy properly made, however, it is almost as ex• and unusual wear and tear are to be ex• pensive as marble tiles. pected, it is very desirable to finish all floor For the best results, the aggregate for the areas so exposed with the same kind of mar• marble concrete should consist of relatively ble: or if different kinds are used and com• coarse pieces (such as pass a 3/^-inch or i- bined into a pattern, the designer should

[36) THROVGH THE AGESlN^^?^^ confine himself to kinds that offer equal re• neither hone nor sand is the principal abra• sistance to abrasion. sive used, since the introduction of artific• (7) Stai rwayssubject to abnormal 1 y heavy ial abrasives. It is considered that the best traffic should present themselves, top and results for marble walkway surfaces in pub• bottom, squarely to the stream of traffic lic places will result from specifying that and all treads should be completely con• they shall be finished with "No. 80 grit tained between the strings. Otherwise ob• abrasive." This gives a finish uhich is not lique streams of traffic, use of treads spread• slippery, is easy to keep clean, and in most ing out around newel posts, etc., will re• cities is nearly the same as the final finish sult in unequal density of traffic. If stair• resulting from the gritty material on the ways are wide, intermediate hand rails are feet of the users. of assistance in securing uniform density. The hone finish and fine sand finish are Unequal density of traffic will finally pro• still used in the shop. In the case of stair- duce unevenness of surface. treads, which are very rareh' rubbed after being installed in the building, it is more in (8) Method of INST.\LLATION and FINISH accordance with the average state of affairs of marble walkway surfaces. From the to call for a fine sand finish. Unless sonie- standpoint of satisfactory service generally thing else is specified the treads will be given and especially from that of safety against a fine sand finish on the rubbing bed and tripping and slipping, all types of marble nothing further will be done to the surface walkway surfaces should be so installed that after they are set in place, except, of course, individual pieces will neither pluck out. be• to clean them off. come loose, nor wear unevenly under traffic; the finished surface should be such that it (10) Tile and border should be not less will not be slippery and can be easily cleaned: than 34 inch thick, and the edges should be it should be so maintained that the surface "full" for at least }/2 inch from the top. If in itself shall not become slippery nor un• the edges are "undercut" too near the top even. surface, under heavy wear and tear, the thin edges crumble and wear away, the joint SURFACE FINISH grows progressively wider and irregular, and (Q) It has become customary in many inequalities finally result which materially cases, to specify a "hone finish" for all kinds increase the danger of slipping and tripping. of marble walkway surfaces. Strictly speak• Tiles cut to size with an abrasive wheel ing, the "hone finish" is the final step in pre• generally have full edges for the entire thick• paring marble that is to be polished, for the ness : those that are squared up on rubbing a operation of "buffing" or polishing proper. bed generally have undercut edges. Too It gives a dull gloss and leaves a very smooth much undercut has the disadvantages just surface, but a real hone finish in a hard niar- named; but a little undercutting makes it ble especially, may be appreciably slippery. easier to bed the tile accurately, because it What used to be called a "fine sand fin• leaves a little space to take up surplus mor• ish"—'Which was the smoothest finish ob• tar when the tile is tamped into place. It tainable, by using fine sand grit—was just as also facilitates perfect groutting and in• good as a hone finish from every other stand• creases the adhesion between the tile and point and it was less slippery. However, the mortar below it. Good jobs can be pro-

37 THROVGH THE AGES duced with both kinds of tiles. It is best to method will conipletely avoid this—it does let the marble man use either, requiring all no harm if the work is well done, and it is tiles to have full edges for inch. By the useless to strive for a purely theoretical time traffic has worn away >^ inch, it is standard of no practical value. time to replace the floor, in any case. The custom, often followed, of tamping When large slabs are used, it is well to tiles and slabs with a rod or other instrument make at least i^'4 inches thick, to enable to see if they sound hollow, is often mis• them to stand ordinary handling in the pro• leading. The structural floor, even if of re• cess of bedding; once well bedded, nothing inforced concrete, will nearly always give is gained by making them thicker than tiles. forth a hollow sound if so struck, both be• But getting them down to a solid bed on fore and after the tiles or slabs are in place. stiff mortar is a delicate operation, unless Many good and well bedded tiles have been they are a little thicker than tiles. When the ripped up because the structural floor was a slabs are more than i8 inches wide, and sounding board. It would be better to re• more than 4 feet long, or contain more than quire the marble contractor to guarantee 6 square feet, it is w ell to specify the greater the floor against loose tiles or slabs for one thickness. year. If he himself does not loosen any of After the underlying mortar bed has set them in the final rubbing, it is highly im• hard enough to bear the weight of the work• probable that any of them are imperfectly men, the joints of all tile and slab floors bedded. should be thoroughly grouted with neat The joints in marble floors should be held cement, brushed in until all joints, including down to inch without undue cost. To spaces under the edges of undercut tiles, are make them thinner than this is not only ex- solidly filled with grout. After this has set. tremeh' expensive, but if the tiles and slabs the floor should be cleaned and rubbed un• are well bedded and either part of a large til it is perfectly clean and has the finish due area or confined between unyielding walls, to No. 80 grit abrasive. This operation, how• expansion due to inevitable \'ariations of ever, should be deferred until the owner or temperature will either loosen individual general contractor is prepared to take over pieces, or else cause spalling along the upper the floor as finished and to be responsible edges. Tocompletely avoid the latter trouble, for any damage done by other trades. it is better also to have the floor extend under the base, instead of having the base set first The exact significance of the expression and the floor finished against it. Incidentally "solidly bedded" should be explained. In the the method recommended is somewhat less case of tile and border actual solid contact expensix e than the other. The differences of with the mortar bed can be secured over qo opinion on this subject could all be recon• per cent of the area of each individual piece. ciled by always using a coved border. For larger pieces, the mortar bed must be CRACKS IN MOSAIC AND TERRAZZO furrowed or otherwise prepared to permit of tamping the slab down to proper level after (11) To avoid expansion and contrac• it is otherwise in place. It is impracticable tion cracks in mosaic and terrazzo floors, all to avoid having here and there small areas areas should be divided into sections of mod• in which there is lack of contact between the erate size—not greater than about b feet by slab and the mortar bed. No practicable b feet, which should be laid separately. The

(381 THROVGH THE AGESn:@^^ best results are obtained by using marble substances (but no soap or grease in any strips and border for the subdivision of mo• form)—are effective cleansing agents for saic and terrazzo floors. marble, and will not injure it nor change the (12) In all kinds of marble floors, con• texture of the surface. If marble of any kind sideration should be given by the designer to becomes stained or is allowed to get into a the location and distribution of structural bad condition from neglect, experts in the beams and girders. Unless these are well marble work should be called in. But the imbedded in the masonry of the structural regular use of proper cleansing agents will floor, they will often cause cracks in the fin• keep the material in good condition at very ished floor. Subdivision into units so as to small cost. It is well to go over marble walk• bring the strips and border directly over way surfaces occasionally with floor rubbing such beams, may confine their effects to a machines, to keep and maintain the proper slight expansion of straight joints, in cases surface finish. If this is done and the surface where the effect cannot be altogether a voided. is kept clean and dry. slipping should be a rare occurrence and tripping, due to the con• dition of the surface, should not occur at all. STAIRWAYS (13) Nosings of stair-treads should not be SFECIFICATIONS FOR MARBLE WALKWAY rounded at the upper corner to too great a SURFACES radius: otherwise there is some danger of slipping in descending the stair. A perfectly (Floors, Pavements and Platforms finished sharp corner is easy to snip and thus may with Marble Tiles or Slabs.) also become a source of danger. Rounding Marble Tiles and Border: Marble tiles and to a radius not less than }i inch and not border must be not less than inch thick more than 14 inch (or in extreme cases ^4 when finished; the edges must be rubbed, or inch) will give satisfactory results. otherwise finished, true and at right angles Winders are dangerous in any stairway; to the upper face, and must be "full" for at treads less than 10 inches wide are danger• least J 2 inch. In the case of white marbles ous. Spiral stairways of monumental de• and all other marbles in which sticking and sign should have the minimum width of patching are not allowed, tiles must be free tread not less than 10 inches if possible. of cracks, seams or veins of soft material, such as schist, and the amount of clouding CLEANING or \-ariation of color must come within the (14) Marble floors and walkway surfaces limits of the grade specified. of all kinds should be cleaned without the Tiles made of those colored marbles, in use of soap. Soap always contains more or which patching and sticking are necessary, less uncombined fats; these will be slightly must conform in this respect to the recog• absorbed and will adhere to the surface, nized commercial standards applying to the finally forming a thin film of lubricant, and marble of which they are made. If these thesurface will become slippery. Clean water, permit of sticking, filling, etc., this work or water containing ammonia, caustic soda, must be thoroughly done, so that the tiles sodium carbonate or similar alkalis, with or shall remain intact under wear and tear. without bleaching agents, like chloride of Pattern Floors: Where dots and tiles or lime—or cleaning pON\'ders containing these other forms of pattern floors are used, in

3Q THROVGH THE AGES places where the traffic is severe, as in rail• must be determined so it will have the nec• way stations, arcades, etc., the different essary transverse strength. marbles used together must be equal in re• Marble Stairs: For use in public places sistance to abrasion, so as to wear equally. where severe traffic is to be expected, and Generally, in such places, floors of simple for the stairways in office buildings, hotels, rectangular tiles, with or without border, all department stores, and other buildings of one kind of marble, are preferable from where the stairways may have to be used as the standpoint of safety against slipping. emergency exits, winders must not be used; but this is not intended to prohibit the use Setting of Tiles: Floors that are to be fin• of spiral stairways in which the minimum ished with marble tiles must be finished to width of any tread, including the nosing, is such a level and with such accuracy that the not less than 10 inches. Ten inches should be thickness of mortar under the tiles shall at the minimum width of any tread. no point be less than i inch nor more than Iinches. Finish of Treads: Marble treads for use Tiles shall be set in a bed of mortar com• in public places should have a No. 80 grit posed of Portland cement and sand in the abrasive finish or an equivalent sand finish proportions of one and two. The niortar and the nosing should have its upper edge must be mixed so as to be quite stiff; it should rounded to a radius of not more than one- require severe ramming to bring the mois• fourth to one-half of an inch. ture to the surface. Tiles must be set with Soap must not be used in any form in joints not exceeding inch unless a wider cleansing marble treads in public places. If joint is specified for artistic effect. The joints metal non-slip treads are applied to marble shall be grouted with neat cement. After the treads they must be countersunk so as to floor has set sufficiently hard, the surface have their upper surfaces flush with the up• shall be rubbed to a final finish with No. 8c per surfaces of the marble treads. grit abrasive. Marble Mosaic Floors: For use in places Maintenance: Marble tile floors must not where hea\ y traffic is to be expected, the be cleaned with soap nor with any powders thickness of the mosaic should be not less containing soap (liquids or powders based than 34 i'nch. If different marbles are used on alkalis like ammonia, caustic soda or together, to produce a pattern, they should washing soda, with or without bleaching be so selected as to wear evenly under the agents, like chloride of lime, may be used). traffic; the final finish should be No. 80 grit abrasive finish and soap should not be used Marble Slab Floors: Marble slabs more for cleansing. To avoid contraction cracks, than 4 feet long or more than 18 inches wide it is recommended that marble mosaic floors and containing more than 4 square feet, in- be divided into simple rectangular patterns intended for walkway surfaces, should be by border or strips of marble, and that the made from i J^^-inch slabs, if they are to be work be done in units. solidly bedded, like tiles. In this case except for the greater thickness, the above specifi• Marble Terrazzo Floors: These should con• cations for the tile floors apply in every sist of a finishing coat of marble crushed and respect to floors finished \\ ith marble slabs. screened to size, made into concrete spread If. in such cases as stair platforms, a mar• in a thin layer, tamped down and then rubbed ble slab is not solidly bedded, its thickness to a smooth surface. The layer of marble con-

[40 THROVGH THE AGES

Crete should be at least i J 4 inches thick enough of the smallest size to act as coarse after finishing: the final finish should be a sand. This should be mixed with neat cement. No. 80 grit; soap must not be used in cleans• Terrazzo floors, to avoid contraction ing. The concrete should be made mainly of cracks, should be divided into units of the larger size of crushed marble (that which reasonable dimensions with marble border, will just pass a ^4-inch or i-inch screen) with and these units should be laid separately.

4-

The highest work of masonry in the world. Washington Monument in Washington. D.C is 555 feet and was begun in 1848. from plans ofRobert Mills. The first i 50 feet of facing is a large-grain marble from Texas, Md. The balance of the exterior walls to the apex is of White Beaver Dam marble from Miirylund.

41 LIST OF QUARRIES AND MARBLE MANUFACTURERS

REPRESENTED IN THE MEMBERSHIP OF THE

NATIONAL ASSOCIATION OF MARBLE DEALERS

Representative City and State Company Flower .Marble and Tile Company Jas. T. Flower Akron, Ohio .Alex. Reeves Atlanta, Ga. Reeves .Marble Company A. H. Hilgartner Baltimore, Md. Hilgartner Marble Company Jos. B. Dunn &l Sons, Inc. Chas. Scheldt Baltimore, Md. Richard T. Salter Baltimore, Md. P. B. and W. Marble and Tile Co., Inc. .Alabama Marble Company John S. Sewell Birmingham, Ala. M. W. O'Brien Boston, Mass. Troy Bros. & Company Geo. W. Maltby &z Son Company \Vm. C. Maltby Buffalo. N.Y. R. K. Glass Buffalo. N.Y. Lautz Marble Corporation Arnosti Marble Co. A. Arnosti Carthage. Mo. Geo. S. Beimdiek Carthage, Mo. Carthage Marble and White Lime Co. Consolidated Marble and Stone Co. Millard Bryan Carthage, Mo. T. R. Givens Carthage, Mo. Ozark Quarries Co. F. W. Steadley & Company, Inc. K. D. Steadley Carthage, Mo. F. J. Lautz Carthage, Mo. Lautz Missouri Marble Company Spring River Stone Company John E. O'Keefe Carthage, Mo. T. J. Murphy Chicago, 111. .-American Marble Mill Company Black & Gold Marble Company J. J. Bauer Chicago, 111. C. N. Marthens Chicago, 111. C. N. Marthens Marble Company B. F. Meservey Chicago, 111. Corley-Meservey Marble Company Humbert Davia Chicago, 111. Da via Bros., Marble Company Thos. A. Knudson Chicago, 111. Enterprise Marble Company F. A. Flavin Chicago, 111. Flavin Marble Mill Frank P. Bauer Chicago, 111. Frank P. Bauer Marble Company H. K. Townsend Chicago, 111. Henry Marble Company Jos. Little, Jr. Chicago, 111. Jas. B. Clow &l Sons Company Thos. F. Keating Chicago, 111. M. Keating &l Sons Company Thos. Naughton Chicago, III. Naughton Marble Company Frank J. Peerling Chicago, III. Peerling Marble Company Chicago, 111. Standard Mosaic Tile Company C. R. Borchardt Chicago, 111. Taylor Marble Company Geo. W. Bower Cicero, 111. National Mosaic Tile Company George Wilde Cincinnati, Ohio Cincinnati Marble Company H. L. Pike Cleveland, Ohio Allen Marble Company R. M. Allen Cleveland, Ohio Empire Marble Company Frank C. Smith Cleveland, Ohio Haworth Marble Company W. J. Haworth Cleveland, Ohio Interior Marble and Stone Co. E. M. Fritz Cleveland, Ohio Prospect Mantel and Tile Company S. J. Weingarten Cleveland, Ohio Roy-Cliff Marble Company L. G. Yeau Wege Marble and Tile Company Columbus, Ohio C. F. Wege

J. C. Bruggen Dallas, Texas J. Desco Dallas, Texas j. Desco & Son William Jessop Dallas, Texas Southwest Marble Company D. C. McElhinney Denver, Col. McElhinney Tile and Marble Co. Denver, Col. Denver Mantel and Tile Company W. D. Watson Des Moines, Iowa Des Moines Marble and Mantel Co. J. R. Golden Des Moines, Iowa Holbrook Marble and Tile Company H. F. McAdow Detroit, Mich. Christa-Batchelder Marble Co. E. L. Leavenworth Detroit, Mich. Detroit Marble Company B. L. Cummins

[421 City and State Comfxmy Representative East Cambridge, Mass. Johnson Marble Company T. J. Johnson Fort Worth, Texas Good Marble Company H. G. Good Houston, Texas Salt Lake Marble and Supply Co. Geo. E. Rieder Indianapolis, Ind. F. E. Gates Marble and Tile Co. F. E. Gates Kansas City, Mo. Kansas City Marble and Tile Co G. F. Keller Kansas City, Mo. Phenix Marble Company Mast in Simpson Kansas City, Mo. Sutermeister Stone Company C. O. Sutermeister Kasota, Minn. Babcock &i Willcox Tyrell S. Willcox Kasota, Minn. Breen Stone and Marble Co. Tyrell S. Willcox Knoxville. Tenn. Candoro Marble Company T. O. Couch Knoxville, Tenn. Gray Eagle Marble Company E. F. Klein Knoxville, Tenn. Gray Knox Marble Company J. B. Jones Knoxville, Tenn. John J. Craig Company John J. Craig Knoxville, Tenn. Knoxville Marble Co. John M. Ross Knoxville, Tenn. Ross & Republic Marble Co. W. E. Moses Knoxville, Tenn. Salomone-O'Brien Marble Company Walter O Brien Knoxville, Tenn. Tennessee Producers Marble Co. B. L. Pease

Little Rock. Ark. Southwestern Tile Company R. E. Overman Long Island City, N.Y. Clarendon Marble Company Alexander Thomson Louisville, Ky. Peter & Burghard Stone Co. Jos. E. Burghard

Memphis, Tenn. Central Mosaic and Tile Co. Louis B. Marus Milwaukee, Wis. Andres Stone and Marble Company Edgar Andres Milwaukee, Wis. Breidster Marble Company Fred. W. Breidster Milwaukee, Wis. McClymont Marble Company J. J. McClymont Minneapolis, Minn. Twin City Tile and Marble Co. F. O. Streed Minneapolis, Minn. Northwestern Marble and Tile Co. Chas. N. Gramling

New Orleans, La. Albert Weiblen Marble and Granite Co. Albert Weiblen

Oklahoma City, Okla. Taylor Marble and Tile Company G. W. Taylor Omaha, Neb. Sunderland Bros., Compan\- J. P. Williams

Peoria, 111. Peoria Stone and Marble Works H. A. Farley Pittsburgh, Pa. American Marble Company Max Weiner Pittsburgh, Pa. Iron City Marble Company George L. Sibel Pittsburgh, Pa. Pennsylvania Marble and Mosaic Co. John A. Fiore

Somerville, Mass. Phil. H. Butler &l Son Company P. H. Butler St. Louis, Mo. Bradbury Marble Company I. P. Morton St. Louis, Mo. Pickel Marble and Granite Co. H. A. Feldman St. Louis, Mo. St. Louis Marble and Tile Co. R. C. McDonald St. Louis, Mo. Shaw Marble and Tile Company A. Coerver St. Louis, Mo. Union Marble and Tile Company W. C. Fox St. Louis, Mo. Weis & Jennett Marble Company Joseph Weis St. Paul, Minn. Drake Marble and Tile Company W. E. Andrews

Tate, Ga. Georgia Marble Company Sam Tate

Wichita, Kan. Hawkins Interior Marble Company M. K. Hawkins Wilmington, Del. Geo. W. McCaulley &l Sons, Inc. C. W. McCaulley Winchester, Mass. Puffer Mfg. Company A. W. Puffer

CO-OPERATING— Vermont Marble Company, Proctor, Vermont.

43 THROVGH THE AGESJB

^11

N.-\TIONAL CITY BANK 42d St. 6^ Kladison Ave. NEW YORK CITY

.\lcKiM. MEADE 6* WHITE. Architects GEO. A. FULLER CO.. Cen t Contractors M^LALRY MARBLE CORP.. Interior Marble Work

The marbles used were Botticino. Travertine and Tennessee

M£LAURY MARBLE CORPORATION

WALNUT AVENUE 6* EAST 141ST STREET, NEW YORK

44