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MARCH. 1924

"I hardly know that association of shaft or tracery, for which I would exchange the warm sleep of sunshine on some smooth, broad, human-like front of marble." —Lxtmp of Power: RusKiN. p BIE] Era CHIE] Era Bl£] D EJ3 B13 Era B13 Eia B13 ^

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VOL.1 MARCH, 1924 NO. 11

CONTENTS

PAGE

CLYTIE Frontispiece

ORPHEUM THEATRE 3

A NEW YORK CHURCH 5

BANK INTERIORS Q

A SEATTLE COURT HOUSE 15

MEMORANDA ABOUT MARBLE 18

MARBLE FLOORS IN DEPARTMENT STORES 23

GOTHIC ARCHITECTURE IN GERMANY 27

A LIST OF THE WORLD'S MARBLES 35

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 Mailing Privilege has been filed at Baltimore. Md. Subscription Price $3.00 per year Single Copies 35 cents

Copyright. |Q24. NATIONAL ASSOCIATION OF MARBLE DEALERS "CLYTIE." considered the masterpiece of \Vm. Henry Rinehart. the famous Maryland sculptor, who died in 1870. This C arrara marble statue is owned by the Peabody Institute, of Baltimore. Ul

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

VOL. 1 MARCH. 1924 NO. U

ORPHEUM THEATRE A Boston Playhouse that Makes Good Use of Marble for Ornamentation and Attractiveness

"^HEATRES used to rely almost wholly dillo. a marble with light green background on stucco work with wood and mirror marked by striking and irregular splashes I effects. It is only within recent years of white and pink. These columns were that the owners and lessees have begun to chosen and erected regardless of any match• realize the additional value that is derived ing among them and it is the wild irregu• from the use of interior marble. The Loew larity that enhances the artistic effect. interests were among the first to see that The stairway treatment of the ramp and the theatre-going public appreciates the twist is made up of Gravina and Tokeen finer, the more beautiful and substantial marble from Alaska. The particular feature manner of treatment that marble yields. here is the wainscot paneling. This is of One of their recent structures is the Or- Marine Brocadillo. and the name "Marine" pheumTheatre in Boston and it is well worth applies with peculiar aptness, for the colors a study. The Hoffman Company and Thomas with their green and white hues can well be W. Lamb were the architects and they taken to represent a storm at sea. effected a noteworthy result through the Around the well hole in the mezzanine adoption of a warm color scheme that is floor is a marble balustrade, while beyond both striking and attractive. Marble itself one gets a glimpse of the wainscot and pi• plays a strong part in this splendidly in• lasters on the side wall. A balustrade when terpreted picture. Moreover, it gives to the well designed is of itself a thing of beauty, complete interior a solid and substantial and in this case its good qualities are en• effect that could be secured in no other way. hanced by a beautiful blend of Gravina and The Main Entrance Lobby, as the chief Brocadillo. interior architectural feature, was treated In the foyer of the mezzanine are also with special elaboration. Here the vase and found columns of Marine Brocadillo. with pediment effects are obtained through the its wild dashes of color. The general color use of deep rich Gravina marble from Alas• scheme is of a soft restful effect and the mar• ka. The column shafts are Marine Broca- ble lends just the touch of life that is needed. THROVGH THE AGES

A building of this kind proves that "it That this is true is borne out by the ex• pays" to use marble for decorative effects, periences of amusement enterprises in many and that, for certain purposes, marble has parts of the country. The Tired Business a commercial as well as an artistic value. Man is never too tired to be stimulated by People will pay something for the privilege beautiful surroundings. Such theatres as the of being entertained in such a building. McVickers in Chicago; the Majestic at Port• They demand more than the cheapness of a land ; the Rialto and the Orpheum at Omaha; large plain auditorium. They want to be Loews at Montreal and Quebec; the Lyric entertained in a building that is artistically at Birmingham and the Majestic and Or• and yet substantially treated and they are pheum in Seattle have all received ample willing to spend more for this satisfaction. returns from the money spent on them.

The Main Entrance Lobby of the Orpheum Theatre. Boston, Massachusetts. The columns are Marine Brocadillo. with bases and pediments of Gravina (Alaska) marble.

[4 THROVGH THE AGES

A NEW YORK CHURCH

' I 'HIS building, erected for the Second steel beams, which support the wire lath and Church of Christ. Scientist, is oppo• concrete. The roof is carried on steel trusses, site Central Park, on Central Park the two main trusses q4 feet long and 18 West, at Sixty-eighth Street, New York feet deep, and spaced 40 feet on centers. City, and occupies a rectangular area about These main trusses support small cross io6 by 127 feet, with a total height of 110 trusses and trussed purlins. The roof dome feet. The exterior is designed in the archi• is about iQ feet above the inside ceiling tectural style of French Renaissance, and dome, and is 42 feet in diameter, and has this same style has been brought out in all sixteen segmental steel ribs 11 feet rise. It parts of the interior detail. The exterior is paneled on the exterior with copper, and base of the building, including the entire glazed with alternate oval and rectangular basement to the top of the water table, is windows of white hammered glass. In the faced with white Concord, N.H.. granite. lantern surmounting the dome, and each of The remaining upper part of the entire four the four pinnacles, there is a circular vent sides is faced with white South Dover. N.Y., opening, closed by light horizontal steel marble. The exterior of the dome above the doors operated by chains from the first story. roof is finished with copper, and the roof is With the exception of a few small windows covered with black slate. of the exterior, which have wood frames The floors and roof are constructed with and sash, all main windows which are glazed

[5] THROVGH THE AGES

In the design of this building it has been the aim to use as little woodwork as pos• sible, and in bringing out this result many new features of construction have been de• vised. On account of the average partition being about two inches thick, when plastered on both sides, the door openings are cased with a special casing about two inches wide. The windows have the sides and head jambs fin• ished with plaster, and all window sills and stools are of Tennessee marble. The main entrance to the Auditorium is reached by twelve steps, and the two main entrance doors have cast-bronze door frames The Main Entrance. and jamb, with an ornamental carved head jamb. The doors are a combination of ma• with art glass have copper frames. The cas• hogany and bronze, and the panels of doors ings and all mouldings show the same de• are glazed with plate glass. The main en• sign both inside and outside. It is a well- trance vestibule is 15 by 70 feet, and at each knoun fact that in church work, where a end is a marble stairway to the gallery which large surface is glazed with art glass, that on goes across the entire rear of .Auditorium account of the difference in temperature in• over this main vestibule. In the gallery the side and outside of the building, water con• stair hall is enclosed with a metal frame and denses on the inside of the glass and runs plate glass, so that the noise from the main down on the window-sill, therefore it is of vestibule and outside can not reach direct special interest to note the arrangement for the Auditorium. collecting this water and carrying it to the The platforms for outside of the builing. seats in gallery are The detail calls for a continuous gutter on raised, and are en• the inside of the copper casing, and from tirely formed of this through the metal window-sill, one- Tennessee marble. half inch copper tubes are located, which The floor is laid The Reader s Desk. drain on the outer window-sills. As the large with marble mosaic windows are glazed double—that is, the art of different shades, in a special design, in• glass is on the inside of the window, then a troducing the scheme of decoration. The space of about two inches, and the outside floor base is of black and gold marble, while glazed with hammered plate glass—to allow the wainscot, door casings, and entire stairs for any further condensation, an inside to gallery are formed of black and white gutter is between the glass, and this also is marbles from Italy. drained into the metal tubes already spoken In the design of the stairs the balustrade of. The further advantage of this detail is, is formed of marble with the panels filled that by its construction more glass surface with cast-bronze ornaments, and upon each is obtained in the openings. newel post is a bronze lamp with five globes.

[6] THROVGH THE AGES

In a recess at each side of the exterior doors are located large steam radiators, and this recess is enclosed with a cast-bronze grille of open design, and the opening is cased with marble. The ceiling of the vestibule is groined with plaster arches, beams, etc., and in the small panels of the beams are electric lights, forming the centers of plaster floral orna• ments. The decoration scheme is of light old rose and ivory, with a slight blending of green and browns. The Auditorium, which has a seating ar• rangement of 1500. is 76 by 80 feet on the View of the .Auditorium. floor and 80 by 108 feet on the ceiling, and is 58 feet high to the flat panels of ceiling front the window is 22 by 24 feet. These and 72 feet to top of dome. The dome is 36 openings are filled with colored art glass set feet in diameter, and has a flat segmental in copper frames. curve with a lo-foot rise. It is glazed with The Auditorium floor inclines about two amber-colored cathedral glass of fish-scale feet from the rear to front, and the base at pattern, and is paneled with deep plaster floor, which averages about 3 feet high, is ribs. formed with dark red Numidian mosaic. At each side of the room are large windows, The Office and Reception Room of the each 24 feet wide and 30 feet high. At the First Reader is on the same level as the Au• ditorium, and also opens directly off the main entrance on Sixty-eighth Street. The Reception Room is about 17 by 42 feet, and is finished in mahogany and white enamel, and the side walls hung with shades of brown tapestry. Opening directly off the Reception Room is the Private Office for the First Reader; this is finished in mahogany and the side walls in green tapestry. This room has a mantel and gas-log fireplace, and a small coat-closet with washbasin. The main entrance to the Reading Room is from Sixty-eighth Street, and this Hall, as well as the entire stairs to the Basement, is finished in dark red Numidian marble. The Basement, about 12 feet high, extends under the whole building, and is accessible by stairways in three corners. The Reading The Sixty-eighth Street Entrance. Room is about 50 by 54 feet, and has large THROVGH THE AGES IMM^ area windows opening on Sixty-eighth Street. the south area through specially constructed A Library, 8 by 26 feet, communicates with ducts, and this fresh air is screened clean, the Reading Room by an archway on one and drawn through the heating stack of side, and with the front stair hall, or cor• about a mile and a half of pipe. The fan is ridor, on the opposite side. On the corridor located inside the boiler room, and is op• side it is fitted with sliding windows and erated by an electric motor, and forces the counters for the sale of literature before or air through the heating ducts which run after church services. under the enti re Basement floor of the church, At one end of this corridor there is a large some of these ducts being five feet square. Office Room, with art glass windows open• The warm air is taken from these ducts into ing on Central Park West. This Office Room various rooms and corridors and let into is used by the Second Reader of the church, these rooms about eight feet from the floor. and the large corridor serves as the Recep• In the Auditorium the hot air inlets and tion Room for this Office. The floor of the pipes are located one at each comer near the Reading Room and Offices are of quartered ceiling. Each pipe, and also each division of oak; all the remaining floors of Basement the building, is controlled by valves and are of white marble mosaic with a Tennessee dampers. marble base. The partitions in all the Toilet In connection with the architectural Rooms, also the wainscoting, is of polished work, the organ case, platform furniture, Tennessee marble. marble work, floors, bronze work, hardware, The heating and ventilation system of the lighting scheme and fixtures, art glass, dec• building is of special importance, and the orations, etc., were executed from special layout of the entire work was given very designs prepared by the architect, F. R. careful study. The fresh air is brought in at Comstock, of New York City.

The Second Reader's Reception Room. THROVGH THE AGES

The Springfield Institution for Savings. Springfield. Massachu.setts. The bank screen and pilasters are of Verde Antique.

BANK INTERIORS

Why Marble Offers Unusual Advantages in Securing the Necessary Effects

By WiLLi.\M W. EMMART. Architect, Baltimore. Md.

ARCHITECTURAL composition can phases of nature as may appeal to him. and /-% never be brought down to rigid and the sculptor, too. may choose his subject, fixed formulae—each problem that but the architect must always be limited in the architect must .solve has its own limi• his designing by the necessity of solving the tations as to space and cost, and its relation demands and requirements of others. to the setting and surroundings. His duty The designing of a bank requires, first, is to work out a practical and efficient solu• the practical creation of a plan that shall tion of each problem presented to him. and provide for all the highly specialized activ• at the same time clothe the result with ities of that business; and this plan must beauty and aesthetic fitness, which is beauty. provide for these in a way that shall be fit• The architect, then, is never a worker in ting with the importance and significance the abstract, a creator of mere beauty alone. of such an institution to community and The painter is able to portray at will such state. Cleveland Trust Branch Bank. Cleveland. Ohio: Al• fred G. Hall. Architect. Madre Veined Alabama and Import• ed Verde Antique marbles were used here.

The Deseret National Bank at Salt Lake City. Utah, has bases and counters of Dark Utah Golden Travise. with the Light variety used in the dies, rails, columns and balustrade.

lO Holmes and Winslow. the Archi• tects of the First National Bank of South .A.mboy. New Jersey, chose Napoleon Gray marble for this effect .

The Market Street Title and Trust Company's banking rcxtm shows an excellent treatment of .American Pavonazzo and Verde Antique.

1 1 THROVGH THE AGES

This massive dignity of the Kansas City Federal Reserve Bank, is aug• mented by the use of San Saba marble for half-col• umns, desks and die.

These beautiful panels of American Pavonazzo contrast vividly with the white of the Second Statuary u.sed in the walls and columns of the First National Bank of Pittsburgh.

Ill] THROVGH THE AGES

The National Bank of Tacoma. Washington State, makes excel• lent use of San Saba Texas mar• ble in this well-designed room.

.Viother interesting com• bination of American Pavonazzo and Verde Antique marbles is found in this bank at Hazelton. Pennsylvania—the First National. m THROVGH THE AGES

111

American Bond and Mortgage Companv. New York; G. Howard Crane, Architect. French HautcviUc. Black and Gold and Tennessee (Pink and Gray) marbles were used in this remarkably hand.some interior.

Dignit\-. fidelity and security are there• and cost is again an ever-present limitation fore requisites in the design and a proper upon the architect, as with no other worker selection of materials is vital if these qual• in the arts. ities are to be given proper expression. De• The fine grain and close texture of mar• sign is always dependent upon texture and ble particularly lends itself to the proper ex• color, as well as beauty of line and propor• pression of detail and carving. Flat sur• tion, and where these qualities are sought faces give opportunity for the use of a no materials can ever replace marbles. wealth of color and veining. The misuse of In the interior treatment of the bank the latter and the too free use of high polish there is a wide range of marbles of varying have often worked to the detriment of the textures and colors to choose from. These final results; yet. in the hands of the skilled, are qualities that are well fitted for what• sensitive designer, no material can ever ever phase of design and use is involved. supplant marble, nor so well contrast with Moreover, there is as wide a range in cost. the iron or bronze of gate and grille.

[14] THROVGH THE AGES

A SEATTLE COURT HOUSE

' I ^HE King County Court House in some green marble from Vermont of the I Seattle. Washington, was built in i Q 15. kind called Verde Antique, which was used The architect was A. Warren Gould. for base and panel trim in the wainscoting It presents an imposing appearance and is and floor borders. This is really a serpentine one of the largest and finest of Seattle's pub• and takes a very fine polish. lic buildings, covering one entire block facing The main entrance hall opening off City the City Hall Park. Hall Park is noticeable for its fine well- The marble is a very prominent, decora• matched panels on the walls, on either side, tive feature in this building. Alaska marble and its graceful arched ceiling supported by was used throughout with the exception of massive square columns. From either side

15 THROVGH THE AGES

Floors, stairway and wainscoting arc all made of domestic marbles from Alaska and Vermont.

One of the matched panels set off by a border of darker marble at the east end of the second floor corridor.

The .striking appearance of the richly veined marble used on the third floor.

i6 THROVGH THE AGES of the entrance hall a curved stairway leads elevators, which are made up of four slabs to the first floor, and the light marble blends carefully matched, and set off by trim of well with the dark trim and makes a most dark Alaska marble. attractive appearance. All of the floors and corridors in the build• All of the corridors above the first floor ing are made of contrasting light and dark are wainscoted with marble to the height of Alaska marbles. In the large center rotunda the doors. The long stretches of wall space in front of the elevators, there are elliptical in these corridors afford an unusual oppor• and circular marble patterns on the floor. tunity for displaying the striking veining of The wainscot on all the floors except the the Alaska marble. The matching, or book• third is of light Alaska marble with dark ing, of the several slabs at the joints forms base, cap and door trim. The third floor figures and patterns that have caused much wainscot stands out prominently in contrast favorable comment. with the other floors because the dark, The marble on the pilasters of the ground heavily veined marble lends itself to various floor extends to the height of the pilaster pattern combinations with good effect; and caps. The prominent feature of this floor is this, by some, has been more admired than the arrangement of the panels between the the light wainscoting on the other floors.

One of the marble panels between the elevators, showing the care used in matching.

[17] THROVGH THE AGES

MEMORANDA ABOUT MARBLE With Special Reference to Southern Marbles

By JOHN STEPHEN SEWELL, President of the Alabama Marble Co.

(Reprinted in f)art through the courtesy of The Southern Banker)

ARBLE is crystal 1 i ne 1 i inestone. Most made of marble the most beautiful of all the of the limestones of the world are stones available for building purposes, also M believed to have originated from the made it erratic in many ways so that there accumulation of the calcareous remains of is always great waste in producing it. es• marine animals, such as corals and crinoids. pecially in the more desirable kinds and on the bottom of the sea. This material ac• grades, and often no commercially suitable cumulated through long ages, and in great stone is obtained until after a great deal of thicknesses. In many cases they have been development work has been done. This subsequently consolidated into limestones makes it intrinsically more expensive than and then through earth stresses, under suit• many other building stones, but it is a prod• able conditions, compelled to crystallize into uct which is never sold at an exorbitant marble. Most of the marbles of the world margin of profit, and it is worth all it costs belong to the Paleozoic era, the earliest of and more. Possibly if it were less expensive the geological eras in which there is an to produce, it might also be less highly abundant record of life. Considering the ex• prized, notwithstanding its intrinsic beauty. tent to which modern civilization is depend• Marbles in an endless variety of color and ent upon coal, iron ore and limestone, it is texture are produced in Italy. Greece, interesting to note that the more important Africa, France, Spain. Belgium. Norway, deposits of all three of these materials are Germany and Switzerland in the Old World. referred to the same era. They are all be• The Greek and Italian deposits were worked lieved to owe their accumulation to organic long before the Christian era. agencies, either vegetable or animal. It is a It is interesting to note in Pliny's letters theme for philosophical reflection that these that in the days of the Romans marble was three rocks, as the geologist calls them, sawed into thin slabs by the same method which are so necessary to modern civiliza• which is used today; that is, by a strip of tion, were accumulated ages ago by more iron moved back and forth, using sand and primitive forms of life, which, so far as we water as an abrasive to wear the sawcut know, flourished and disappeared before the slowly through the marble. Today we have human animal appeared upon the scene. gangs of saws and mechanical feed for the Marble occurs in endless variety and great sand and water, so that whereas the Romans abundance. The successful development of sawed off one slab at a time, we can have as a marble deposit is. however, a slow and ex• many as seventy-five or eighty saw blades pensive proposition, and the available sup• working in the same block of marble at the ply is dependent upon developed quarries, same time. Pliny indignantly condemned and not upon the great extent and abund• the use of marble for the interior of build• ance of deposits. The same agencies which ings as an unjustifiable waste of money. He

.8] THROVGH THE AGESlt^M-i-HT

also remarked that the Gods having placed entire world, for that matter, supplement marbles up in the tops of the mountains (as each other so as to make available any sort they actually did around the Carrara dis• of complete scheme that the architect may trict), it was impious for man to presume to have in mind. Differences in crystallization invade the mountain fastnesses and undo gives him a great choice in the matter of the work of the Gods. Notwithstanding his texture ; differences in coloring and in distri• economical and religious objections to this bution of coloring makes it possible for him use of marble, he described in a very prac• to have almost any color scheme that the tical manner how it is sawed, and strongly mind of man can conceive. censures those contractors who delivered for In Vermont are produced a considerable the purpose of sawing the marble, sand of variety of marbles varying from fine crystals such a coarse grain that the sawcut was to those which have crystals of moderate made unduly wide and wasted much ma• size. There may be coarsely crystalline mar• terial in which money was already tied up. bles in Vermont, but so far as known, none Pliny's condemnation of the use of such a are being produced at the present time rich and expensive material for the interior Among the Vermont marbles are many finish of buildings was no doubt a good ad• grades of white marbles, that is, marbles in vertisement in those days for the material itself. Just as condemnation of the auto• which the background is white even though mobile in these days probably only serves to there may be considerable veining and cloud• increase the use of automobiles. Human ing. Among the white marbles a certain nature seems to have been much the same in portion are very free of color; that is. almost all ages. pure white and eminently suitable for all the purposes for which such marbles are desired. In the United States, marbles have been The veined and clouded marbles are suitable produced in Vermont. Massachusetts. New for interior finish as well as for exterior and York, Pennsylvania, Maryland, Tennessee. monumental work. Vermont also produces Georgia, Alabama, Missouri. Oklahoma. a very desirable variety of Verde Antique, Texas. New Mexico. Nevada. Arizona. Colo• which, while classified as a marble, is not a rado. California, Minnesota and .Alaska. crystalline limestone, but is really a rock Marbles are also now being produced from constituted largely of serpentine. Vermont Central America and South America. also produces a number of so-called fancy Marbles vary in color from white to black marbles. That is. those which are rich and through almost every color and shade of the variegated incolor and suitable for highly dec• spectrum. Sometimes they are coarsely orative work. The leading marble company in crystalline, and sometimes finelycrystalline . Vermont is believed to be the largest marble Almost any marble which can be produced concern in the world. The history of its in• in merchantable form finds its appropriate ception and growth is one of the romances of use somewhere in the market. As a rule, a business which, if viewed from the proper coarsely crystalline marbles are not as at• angle, is never free of its romantic side. tractive as others for polished interior work. In Massachusetts and New York have On the other hand, many of them are unsur• been produced marbles which would all be passed for exterior building work, and for classed as white, although they contain gen• monumental work. To a large extent, the erally, more or less clouding and veining. marbles of the United States and of the They have found extensive use for the ex- THROVGH THE AGES teriors of buildings. The same is true of able. Most of the Georgia marbles have a marbles produced in Maryland and Penn• white or light gray background, but some of sylvania, although Maryland has produced them have such an amount of heavy black a small amount of fine grained white marble clouding that becomes the distinguishing which has been used for interior work. characteristic. There is also one variety In Tennessee are produced a great variety which has a pink background with the other of marbles of excellent quality. Their ground clouding, which is characteristic of Georgia marbles generally. As an exterior building tone varies from a light warm gray and vari• stone, Georgia marble is unsurpassed. Se• ous shades of pink and brownish pink to a lected grades have a beauty and character dark chocolate. All grades and kinds of Ten• all their own for monumental work, which nessee marble have more or less of the char• makes their standing in this field secure for acteristic pinkish hue which distinguishes all times. The variety which has a pink them. Sometimes it is barely perceptible, background with a good deal of gray and at other times it is the outstanding char• black veining and clouding has been used in acteristic of the marble itself. In size of the Federal Reserve Bank Building at Cleve• crystals. Tennessee marble occupies a me• land. Ohio, and has produced a wonderful dium position, but the crystallization is effect of soft texture combined with strength never coarse enough to disqualify it for in• and massiveness. It is a variety of Georgia terior work. Tennessee marble is also inter• marble which in the past has not been suf• esting from the fact that the traces of the ficiently appreciated, possibly because its marine animals whose remains were the raw best sphere of usefulness has only recently material of which it was made, have not in been found. all cases been wholly destroyed, but can be recognized very easily by a close examina• Alabama contains a number of different tion of the stone. The fact that some of kinds of marble. At the present time, the these forms have been perpetuated in the only variety of marble actually produced in crystallization of the stone lends beauty and Alabama is a fine grained white marble, gen• interest to the stone itself. Where white erally containing more or less veining and marble is not desired and a rich variegated clouding but occasionally yielding pieces of effect is also not desired, but where agree• moderate size which are practically of stat• able color, richness of texture and quiet dig• uary quality. Alabama marble has found nity are desired. Tennessee marble is with• its best use in the interior finish of buildings out any superior for interior work. It is also where N\'hite marble is desired. There has the best floor marble for floorstha t are sub• been no difficulty in selling the output of all jected to very heavy foot traffic. It is nearly of the active quarries for this purpose. Both always sawed across the grain, and marble, the finer grades of Vermont marble and all like wood, always wears better under traffic grades of Alabama marbles have a back• if the grain stands on edge or on end instead ground which is distinctly '\\ arm or creamy of being parallel to the exposed surface. in tone as compared with the !\'hite marble The Cjcorgia marbles are coarsely crystal• imported from Italy. This has made them line. This is their only drawback for in• especially desirable in cases where this par• terior work, and even this would not be a ticular effect is desired, but it has been a drawback but for the fact that finer grained cause for preference of Italian marbles in marbles with the same color value are avail• cases where the opposite effect is desired. In

20 THROVGH THE AGES addition to the white marbles Alabama has at the present time, for all purposes, is pro• large deposits of marbles of a gray or buff duced in the South, so that the marble busi• gray tone and agreeable texture. It also has ness has become a very important southern deposits of red and white variegated marbles industry. Where marble is finished at the and of \'arious kinds of black marble, one of point of production, there is no business which seems to be really black Verde An• which brings a larger percentage of the final tique. None of the Alabama marbles, how• value of finished product into the state ever, except the white, have so far been where it is produced than marble. commercially exploited. At the present While the marble business is not a large time, the only places in the United States one as compared with steel, cement, coal, proper where fine grained white marble suit• etc., it is, considering the volume of the busi• able for interior use can be obtained are Ver• ness, a highly important factor in the indus• mont and Alabama, but marbles of this trial upbuilding of any state where the in• type are also produced in Alaska and find a dustry is maintained. ready market on the Pacific Coast. While marble is not the least expensive in Missouri produces a variety of marbles first cost, it is at least as permanent and sat• generally of a gray or buff gray tone, which isfactory in use as any finishing material take a good polish, and have found a ready available. The cost of maintaining it is very market where marble is desired and cost is a small, and in high-class buildings when first vital consideration. They are generally cost and the cost of maintenance are con• somewhat less expensive than other marbles sidered together, marble is of all finishing of the same general character, and are very materials available, the most economical. 11 satisfactory, although ordinarily some of the resists stains and discolorations, at least as imported marbles or some of the Tennessee well as anything available. It is very easy to marbles would be considered somewhat more clean and keep clean. Properly cared for. it attractive. Even here, however, there are will retain its polish or other finish practic• cases where marbles like the Missouri mar• ally as long as the building stands, but, if bles are more suitable from every point of desired, the finish can be removed or changed view than other marbles. So that each va• without prohibitive cost. The owners and riety of marble finds its own sphere of use• managers of buildings in which the interiors are finished with marble should be warned fulness in which it stands at the head of the about certain things: list. Of course, there is more or less over• lapping, but it is interesting to note that the First: Ordinarily the best way to clean southern states which are now producing marble is to use clean water and clean rags, marbles really produce a number of varieties and nothing else. which supplement each other and which are Second: Sometimes the film of dust that not really competitive, at least not for those settles upon finished surfaces in large cities uses to which each is best adapted. contains a little grease. Under such circum• So far as known the quarries in Oklahoma. stances, a little ammonia or diluted alkali Texas, Nevada, New Mexico and Colorado added to the water will produce satisfactory are not. at the present time, operating; or if results. Alkalis will not injure the marble. they are, they have only recently started up. As marble is limestone, acids will injure it, It is probable that more than one-half of therefore, they should never be used. the marble produced in the United States, Third: Under no circumstances should THROVGH THE AGES soap be used in cleaning marble. There is gone over occasionally with the floor rub• alvxays some uncombincd fat in soap. This bing machines with vxhich they were fin• will leave a slight film on the surface and ished in the beginning. On the upper floors will ultimately cause a disagreeable yellow• of an office building, this will be necessary ish oily appearance in white or delicately only once in many years. In places where colored marbles. This can be removed by the traffic is extremely heavy, it ma\- be nec• the use of alkali, but it is much better to essary to do this several times a year. avoid the use of soap, then the discoloration Fifth: It rarely happens that any discol• will not occur. This discoloration due to oration will make its appearance in marble soap only makes its appearance after a long which cannot be effectively removed or pre• time, and after the persistent use of soap or vented, if the precautions above stated are cleansing powders containing soap, but a observed. In the rare cases where such weak alkaline solution is better than the things do occur, the trouble can nearly al• soap to begin with, therefore, soap should ways be corrected by the use of javel water, never be used. a preparation of bicorbonate of soda and of Fourth: Cleaning marble floors the same chloride of lime, which can be obtained precaution should be observed, but in this from any druggist. The chloride of lime is a case gritty material carried on the feet of the bleaching agent and it will not injure the people who walk on the floor may grind it• marble, since the chloride in it already has self into the surface of the marble slightly. all the calcium it can combine with. Iron \\hich would be somewhat difficult to re• rust is the one staining agent which is able move by ordinary effort. Where the traffic to penetrate and which cannot be removed. is light, this is entirely negligible. Where it Therefore, in setting marble, care should be taken to prevent it from being in contact is heavy this may become a matter of con• with any steel or iron >\ hich might be sub• sequence. In any case, it is always well in ject to rust. maintaining marble floors to have them

Loading Marble in a Southern Quarry.

[22 THROVGH THE AGES

III®

IliUJ nil I llli nil nil III! I!:;3;iimn

mmnnilllitni

Famous & Barr Co.. of St. Louis, Missouri.

MARBLE FLOORS FOR DEPARTMENT STORES

By FRED Z. SALOMON, General Manager May Department Stores Cx)mpan\

' I 'HE May Department Stores Co. is painted and cleaned, and a small army of I one of the largest retailers in the people have to be constantly employed United States, operating stores in making replacements to keep up the ap• Akron. Cleveland, Denver. Los Angeles and pearance of the establishments. St. Louis. Naturally, where great crowds One of the most serious problems had of people are constantly passing through a always been the maintenance of floors in a store, the question of maintenance is quite first-class condition. For years it had been a serious one. Fixtures have to be repaired our custom to use wooden floors, just as and replaced, walls must constantly be thousands of other stores all over the coun- ^3] THROVGH THE AGES j

ials suggested and com• paring their merits and costs, we finally decided on marble. This was es• pecially necessary in those areas where it was to be subjected to the greatest wear. It meant, it is true, quite an in• vestment, as all the stores were to have the same treatment. The store in St. Louis alone required in the neigh• borhood of fifty thou• sand square feet. As scon as we had de• cided that marble was -Marble blocks in the main floor. the material best suited try had been doing. We had given a great to our requirements, plans were made to deal of thought to the care of these floors, make the change at once, and the work but had never really thought much about was quickly completed. The deciding fac• the flooring material itself. Our experience tors in our choice were: First Cost, Appear• with them was very unsatisfactory, espec• ance. Cleanliness. Economy. Quietness, Safe• ially where traffic was heaviest, and it fi• ty and Health. We are convinced that we nally was forced upon us that we would have to find some other material that would be more suit• able to our needs. Good business logic suggested that we use a floor cov• ering that was econom• ical in first costs, easy to maintain and safe to walk upon. The whole matter of floor covering received our serious considera• tion from every angle. Any change, if not sat• isfactory, would prove a serious expense. After investigating all mater• Here the marble is set in herring-bone style.

24 1^ ^

One of the display windows in the Nlay Department Store.

have made a wise decision, and selected the on wooden or carpeted floors. Furthermore, material that best complies with the re• it is easier to remove dirt as well as stain• quirements and meets the exactions most ing liquids from marble. We have never had fully. a stain on our marble floors that we have The First Cost of marble is not prohibi• not been able to remove without injuring tive. As a matter of fact, when we took into the appearance of the marble. These stains consideration the lasting qualities of this include red and black ink. shoe blacking, material, we found it to be one of the least patent medicine, fruit juices and flavoring expensive materials we could have used- syrups. The wooden floor had to be replaced every When we scrubbed our wood floors by three or four years—an inconvenience as hand, it required thirty women working well as an expense—whereas the durability twelve hours to finish the job. and we could of marble is practically unlimited. only do it once a week. When we scrubbed The marble floors add more to the Ap• the floor nightly by machine, it required pearance of the store than any other im• ten men. two machines and four and a half provement of equal cost, not only in them• hours each night. Since installing the mar• selves, but because they enhance the ap• ble floors, two men do the work every night pearance of fixtures and merchandise as and do the job well. So much for their Econ• nothing else can do. omy. The floors not only look Cleaner, but are The noise of thousands of footsteps is cleaner, because both employees and cus• subdued on marble floors. They make a tomers respect their appearance and do not Quiet store. throw paper and trash on them, as they do People do not slip and fall on marble

[2;] ^^[THROVGH THE AGES floors when rain and slush are tracked in. our show windows are much cleaner than They are Safe floors. they were when we had the old wooden We notice that the lighting fixtures, in• floors, due to the fact that no dust remains verted bowls, etc.. do not need to be cleaned on the niarble to be stirred up and forced oftener than every three or four u eeks now through the partitions into the store. Be• that marble is used. Formerly they were sides this, we have found that marble adds not cleaned often enough when we cleaned very much to the appearance of our show- them e\-ery week. This is fairly evident windows, and in our St. Louis store we ha\ e proof that the amount of dust in the air has used marble in some of our more conspicu• been materially reduced. This probably has ous windows to enhance their appearance a direct bearing on the general Health of our and to display our goods to the best advan• employees, in particular, and perhaps of our tage. On the same principle, we have also customers also. used marble bases on fixtures quite exten• In addition to these advantages, there are sively within the store. two others worth mentioning. We had noted Since our highly satisfactory experience that it was almost impossible to make dust- with them, we would have no hesitation in proof the partitions between our show win• recommending marble to any concern that dows and general store. We have discovered is interested in securing the maximum of that since putting in the marble floors that advantages in flooring.

The use of marble floors in the show windows insures cleanliness and adds much to the elTect.

26 THROVGH THE AGES

West Front of Strasburg. built by Erwin. of Stcinbach. and his sons. It has been through successive fires, earthquakes and bombardments. TTiere are countless statues and bas-reliefs, blackened by the storm, heat and smoke of centuries.

[27] THROVGH THE AGES

GOTHIC ARCHITECTURE IN GERMANY

' I ^HE Gothic of Germany is not nearly buildings previously created by German j of equal importance with that of Romanesque, nor in the picturesque Ren• France or Great Britain, nor is it as aissance types that followed. interesting to the student. Statham says of Because the conservative Teutons were it that it "consists of inferior variations on slow to abandon their Romanesque churches^ the central type, coloured by racial or we find a transitional period of fifty years or national influences." Furthermore, it was more in which are mingled Romanesque and introduced at a later time, and its develop• Gothic forms; and even when the pointed ment was much slower than in the neigh• arch and vault had been generally accepted, boring countries. We find fewer buildings we still see the Romanesque plan and meth• of real merit in the Gothic style, and cer• od of construction in use. The pointed style tainly those that are worthy of remark lack was adopted from France by a deliberate any strong national individuality such as is imitative choice, not by any gradual evolu• characteristic of the French and English tion. structures. There is a provincialism about The earliest example of its use, according them that is not found in the imposing to Statham. is perhaps the nave of St. Ger-

[28] THROVGH THE AGES

and the mouldings of the cathedrals of Bam• berg, Naumberg.Munster and other churches of about the same date show Gothic char• acter, while the German plans differ from each other in the usual Romanesque way. The influence of foreign models, especially the great French cathedrals, was not to be i denied, and it was not long before foreign 1 architects were employed, and the Gothic styles were dominant. Unfortunately, the early conservatism was replaced by an ex• aggerated ostentation, that shortly found expression in such curious traceries as we discover in the churches and houses of Nu• remberg; such complicated decorations as exhibited by the tall spire of Strasburg; and such unreasonable proportions as we find in the slender mullions of Ulm. German Gothic may be divided most simply into four periods that correspond in sequence to similar periods elsewhere, though the dates are quite different. The Transi• tional period lasted from about 1170 to 1225. The Early Gothic followed, and this was succeeded by the Decorated period in 1275. This in turn developed into the Florid, some• time about the middle of the fourteenth century. The last period continued until Phdto courtesy Edw. H. Gliddcn. Architect, Balto.. Md. 1530. The divisions are not at all clearly de• Details of the tower and flying buttresses. Q)logne Cathedral. fined, since the progress and development eon at Cologne, which was built about 1200 in the different provinces was not uniform. A.D. This is an elliptical jDointed-arch nave The first purely Gothic church was that added to a long narrow Rom.anesque choir. at Treves, built between 1227 and 1243 The roof is an elliptical dome with ribs, but (this according to Kimball and Edgell). and these ribs have no structural value. There it was a faithful copy of the church of Saint is a main arcade giving access to a series of Yved at Braisne. This was followed by the deeply recessed chapels, a triforium gallery minsters of Strasburg and Freiburg, both and two tiers of clerestory windows. fashioned after the abbey of Saint Denis. There is about the early German Gothic The cathedral of Cologne, about which we buildings, it is true, a certain originality, as shall speak in more detail latter, reproduced is to be expected when we consider that they the system used in Amiens, though differing represent a reminder of German Roman• from it in many minor details. In spite of esque combined with a liberal use of French this, it is the most imitative of all the Ger• Gothic detail. The pointed vaults and arches man Gothic buildings.

2q ^ THROVGH THE AGES Pi^^

The nave of the fivc-aisled cathedral of Cologne, impressive though imitative to the highest degree.

The hall churches, or Hallenkirchen. were no longer dominated the edifice. The pier the most original in Germany. These were arches and side walls being greatly increased three-aisled, domically-vaulted buildings in height, flying buttresses were no longer with the side-aisle vaults having an equal needed. height to that of the central aisle. They Generally speaking, there was more vari• were somicwhat like the churches of the same ety in plans in Germany than in any other type in southwestern France and the latter part of Europe except Italy. Some of these may have been the source of inspiration. plans retained the short choir and second In appearance, they resembled a great hall, western apse of the Romanesque. Naum- usually with a poK gonal apse as wide as the berg was an example of such a type. Others, aisleless choir, and transepts of the same size generally the Cistercian churches, had square with polygonal sides, as in St. Elizabeth at east ends, and still others had no ambula• .Marburg, the Wiesenkirche at Soest. St. tory attached to the polygonal eastern apse, Martin's at Landshut (1404) and St. George as in the cathedrals of Ratisbon and Vienna, at Nordlingen. Brick was the favorite ma• and the minster at Ulm. Madgeburg Cathe• terial employed in their construction. The dral ( 1208-11) had a chevet with a single clerestory disappeared and the central aisle ambulatory and radiating chapels, as did

30 THROVGH THE AGES

width throughout, except at the transept: it has complete double aisles in both nave and choir, three-aisled transepts, radial chevet-chapels and twin western towers. There are no lateral chapels, and the east end is semi-circular. The design is typical of the latter part of the thirteenth century, though a great part of the building was fin• ished in modern times from the original drawings. The prevailing weaknesses of German Gothic are strikingly shown in its exaggerated height, the unnecessary multi• plication of detail, the total lack of repose. For example, the enormous crocketed fin- ials at the apex of the spires are architec• turally vulgar and dwarf the whole front. Similarly, the absurdly long windows of the church at Soest, and the vast openwork spires of Freiburg and Ulm portray the tendency to abnormal verticality. Stras- burg, with its one completed tower, is far more refined in general design and detail, but even here hundreds of iron ties and cramps were used to secure what is at best a risky piece of masonic construction. The South Door of the Cologne Cathedral "Broad wall-surfaces with small win• is finely proportioned. dows and a general massiveness and lowness of proportions were long preferred to the also Altenburg, Lubeck, Zwettl, Cologne, more slender and lofty forms of true Gothic Freiburg, Prague and St. Francis at Salz• design."' So speaks Hamlin, in his History burg. The cathedrals of Lubeck, Munich, of Architecture. The tenacity of Roman• Prague and Zwettl showed side chapels to esque constructive methods, as already the nave or choir. The church of Our Lady mentioned, is seen in many German Gothic (Liebfrauenkirch, 1227-43) 3t Treves had buildings. The large vaulting-bays that a circular plan produced by polygonal covered two aisle-bays persisted, and the chapels on the axis of each of five aisles and ribbed vault was never developed as in the whole doubled on either side of the trans• France and England. When French methods verse axis. became dominant in the second half of the Cologne cathedral is easily the largest and thirteenth century, vaulting in oblong bays most important of all the Gothic German was generally used, influenced no doubt by structures, and the most magnificent as such designs as Freiburg, Cologne, Ratis- well. It is to Gothic what St. Peter's is to bon and St. Catherine at Oppenheim. The Renaissance. There is no expansion of the Germans used multiplied decorated ribs in choir; it is a five-aisled church of the same the fourteenth century, but they were em-

[31 THROVGH THE AGES ployed purely as decorative features and not as structural factors. Examples of such use are seen in the cathedrals of Freiburg. Ulm. Prague and at Vienna, but we fail to find any such ceilings as are constantly met with in the chapter-house vaulting of Eng• land. The most skillful exhibition of the builder's art in Germany is seen in the transition from the simple square tower below to the eight-sided belfry and spire above. Some strikingly beautiful spires are found in which openwork tracery took the place of the previous solid stone pyramids. The spire of Strasburg. built by Junckher of Cologne in 142Q, extends upwards to a height of 468 feet; those of Cologne are 500 feet high, while those of Ratisbon and Ulm are worthy of comment. Not the least of the faults found in Ger• man Gothic is the window-tracery, espec• ially in the hall-churches. We see a mechan• ical awkwardness due to over-slenderness of shafts and mull ions, which developed in the fifteenth century and later into a stone Photo courtesy Ldw. H. Gli^lJcn. Architect, Balio , VIJ. caricature of rustic-work represent ing boughs The Spire finial of Qjlopne Ciirhednil, and twigs, with bark and knots, and known 1 3 feet high. as branch-tracery. The designs ^^•ere poor, although the execution was very fine. the nave of Strasburg; in Baden in the na\'e The most desirable examples are to be of Freiburg; in Bohemia in the Prague; and found in those buildings where the patterns in the south in Ratisbon. the most dignified were closely copied from the French, though as well as one of the most beautiful of all the even here the height of the w indow was ex• Gothic German churches. Ratisbon is al• cessive in proportion to the width. The carv• most completely French in its execution, but ing of intersecting mouldings, as well as foli• German in its plans. age in capitals and finials is not character• In north Germany, where stone was hard ized by any special originality, being merely to procure, are brick churches that were dis• the modified imitation of French technique. tinctly individual. They had flat walls, The French influence is observable as square towers and they abounded with col• early as the first part of the thirteenth cen• ored tiles and brick. St. Godehard and St. tury in the cathedral of Madgeburg (1212), Catherine at Brandeburg. Tangermunde which follows the choir plans of Soissons, and Konigsberg at Prentzlau. and St. .Vlary and it may be traced to its maximum in the and St. Catherine at Lubeck are the best ex• cathedral of Cologne. We find it in .Alsace in amples of this type of exterior simplicity.

32 THROVGH THE AGES

i'tJlrfii •fitI

II II 1'

West front of Cologne Cathedral. In spite of its great bulk, the multitude of ornaments, small turrets, galleries and decorations rob it of weight and gi\ c an impression of magnificence without gloom, of airy serenity.

33 THROVGH THE AGES

Following the thirteenth century, we find, credit many Gothic buildings of a secular as in France and England, a cessation of ac• nature. At Marienburg in Prussia there was tivity in laying the foundations of new completed near the end of the fourteenth churches. The fourteenth and fifteenth cen• century a castle that was begun in 1280. turies are notable more for the completion This shows vaulting of the most complicated and reconstruction of existing structures, type, very beautiful in spite of the multi• though there were many fine town halls, plicity of the ribbing. The plan consists of guild halls and dwelling houses built during two courts, one forming a closed square con• this period. Many of the churches were, up taining the chapel and chapter-house of the to this time, still without naves, and the Order of the German Knights; the other complicated ribbed vaults were also a work containing the Great Hall of the Order. .At of this late Gothic period. The erection of Karlstein in Bohemia (1347); at Marien- spires became general, as well as the habit of werder in Heilsberg. East Prussia: and at overloading the facade with traceries and Meissen in Saxony (1471-83), are other nota• minute detail. The buildings at Nuremberg ble castles, though the last of these is per• are examples of this exaggerated treatment, haps of the most importance. The city gates as seen in St. Sebald and St. Lorenz: while of Basle. Cologne, Ingolstadt and Lucerne such structures as St. Stephen at Vienna are quaint specimens of the German Gothic. (1359-1433), the Cathedral of Kaschau in At Nuremberg is found the Rathhause or Hungary and Chemnitz Cathedral show the Council House, built in 1340. Similar build• same characteristics. ings were constructed at Brunswick (13Q3) As mentioned before, Germany has to her and Cologne (1407-15).

34 THROVGH THE AGES A LIST OF THE WORLD'S MARBLES

By ]• ]• MCCLYMONT

Note—In a past issue. Mr. McClymont proposed, 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• bles, 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 shape, 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 somewhat more ex• proved manner, reinforced blocks or slabs without a pensive than those in Group A. where 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 con.sumer as unsound marble.

Clarendon Dark Cloud—See Dark Cloud from the quarry at Assouan, near Syene, Clarendon. which was worked by the Old Empire Clarendon Light Cloud—See Light Cloud about 2830 to 2850 B.C. From this it Clarendon. would seem as if Egypt is the original home of the granite industry. Clarendon Valley Gray—Group B. Quarry located in the Clarendon Valley, Clerhane—See Irish Gray. near Clarendon, Vermont. CI if den—See Connemara. Very light bluish gray with bands of dark gray. Clonford—See Gal way Gray. Clonlonan Barony—See Irish Gray. Clarendon White—Group A. Quarried in the Clarendon Valley, near Cloud—See Freedley Cloud. Clarendon, Vermont. Bluish white with few gray streaks. Clouded Calcite Marble This would apply to any one of the large Claret number of marbles which contain clouded Quarried at Claret in the Lower Alps. calcite. White and gray speckled with black. Clouded Yellow Cleopatra's Needles Quarried near Plymouth, Devonshire, It is of interest to know that the one now England. standing on the Thames Embankment Light pink, with yellow mottling, and net• was finished at least 4,000 years ago and work of veins. that, according to Elsden and Howe, Cluny "Stones of London," page 126, the ma• QuarrynearCluny, Saone-et-Loire, France. terial from which this particular Cleo• patra's needle was formed is not a true White. syenite but a hornblende granite and came Cluse—See La Cluse.

351 THROVGH THE AGES

Coade's Stone .•\nother deposit, same region, was opened An English artificial stone. by the Crystal River Marble Compan\. but the production up to date is limited. Coarlou In Pueblo County, about thirty miles Quarried at Coarlou. Cote d'Or, France. from Pueblo, near Canon City, occur ex• Ashy gray with buff markings. tensive deposits of variegated marbles, Not available. some of which have been partially devel• oped. This material is described by Mr. Cobdar Blanco J. G. Kerr as a "reddish brown marble Quarried near Cobdar, Sierra De Las very similar toNumiclian, but very flinty. " Filabres. Almeria. Spain. A Lava Stone called Travertine is being Bluish white. c|uarried by the Colorado Marble and Used chiefly for monumental work. Stone Company in Fremont County, Cockeysville—See Beaver Dam and Cockeys- three-quarters of a mile from the main ville Dolomite. line of the D. & R.G.W'.R.R. See Trav• ertine (Colorado). Cockeysville Dolomite See Amazonite, Beulah Red, Colorado Quarried in the Green Spring Valley, near Yule Golden Vein. Colorado Yule White. Cockeysville, Maryland. Crystal River. White, with light brown wavy veins and floral markings. Takes medium polish. Colorado Onyx Undeveloped Onyx deposits are reported Coirochatachan—Similar to Skye Marble. from Colorado.

Colonial Gray—See Carthage Colonial Gray Colorado Travertine—See Travertine Col• Veined and Veinless. orado.

Colorado Amazonite—See Amazonite. Colorado Yule Golden Vein or Golden Vein Colorado Yule. Colorado Marbles Quarried on ^'ule Creek, near Marble, The best known marble deposits are Gunnison County, Colorado. found in Gunnison County on the Yule White, with veins of a creamish yellow Creek about four miles above the point where it joins the Crystal River at Mar• light clouding. ble. Colorado. The deposits have been opened at various Colorado Yule White or White (Colorado points by several different companies. Yule. The most extensive operations were con• Quarried on Yule Creek, near Marble, ducted by the Colorado Yule Marble (junnison County, Colorado. Company, who were succeeded by the White, with streaks of bluish tint and Yule Marble Company and the Carrara traces of clouding. Yule Marble Company. The former owns the mill and finishing plant; the latter the Colored Statuary Pyrenees -See Gris De St. quarry. Beat.

36] THROVGH THE AGESliM^

Colors of Marble Comblanchain or (x)mblanchian or Com- The chief coloring matter in Marble is blanchien. iron, which exists either in chemical com• Quarried at Corgoloin, Cote d"Or, France. bination with other elements, as in Mica Light buff with frgaments of fossils. and Hornblende, or as free oxides or sul• Takes high polish. phides. Free oxides of iron impart a brownish or Conglomerates or Puddingstones. reddish hue; the carbonates or sulphides a Differ from Breccias in the shape of the bluish or gray hue. various fragments in the conglomerates. Carbonaceous matter generally produces The fragments are rounded while those of blue and black. the Breccias are angular. If a marble is formed without contact Connecticut Marble with any coloring matter it is of a very light color or white. "In the northern part of Litchfield County The varying shades are due to the scar• near the Massachusetts line, in the towTis city of, or the mixture of, various coloring of Canaan, East Canaan and Falls Vil• matter. lage, there occur massive beds of a coarsely crystalline white dolomite, which have in Coltshill years past furnished valuable building One of the Swansea Marbles is quarried at marbles, though recently they have been Coltshill. but little worked." (Merrill) It is of interest to note that at Marble Columbia Dark Blue Dale, Milford, Connecticut, the first mar• Columbia Quarries, Tuolumne County, ble quarry was operated and as late as California. 1830 fifteen or more quarries were being Dark variety of blue gray. operated in this vicinity, none of which are now being worked. Columbia Light Blue—See Light Blue Cali• fornia. Connecticut Serpentine This was quarried near Milford and New Columbia Light Marble—See Light Colum• Haven shortly after 1811, but work was bia. abandoned a few years later. One reason for its lack of success is attributed by one Columbia Marbles—See Dark Blue Colum• writer to the fact of its having been bia, Dark (Columbia, Light Blue Colum• marketed as Verde Antique, Antique bia, Light Columbia, Portola, White being a term used in European countries Columbia. to designate any ancient marble, the source of which is unknown. Columbian Columbian Quarry near Proctor, Vermont. Connemara or Galway Green, Galway Ser• White clouded. pentine, Irish Green and Irish serpentine Takes medium polish. —Group C. Ballynachinch Quarries. Galway County, Columbia White—See White Columbia. Ireland.

[37] THROVGH THE AGES

Bright sap green semi-translucent with Connemara Light—Group D. (A serpentine few irregular veins. crystalline limestone or Ophicalcite.) Takes high polish. Streamstown Quarries, near Clifden, Gal• A serpentine marble with considerable way County, Ireland. calcite. Twisted and interlacing bands of green, Lissoughter Quarries, near Reces, Gal- varying from a deep sap green shade to a way County, Ireland. translucent pale yellowish green with Watson describes three varieties from veins of white calcite or crystalline dolo• this quarry. mite. Occasionally a few black veins ap• (a) —Veinings are more regular, other• pear with the white. (Watson) Takes high polish. wise similar to the last mentioned marble. Takes high polish. Connemara White—See Pinka Crenna. (b) —Both light and dark Green Ser- pentineous veinings on sap green back• Consolidated Gray—Group A. ground. Consolidated Quarry, near Knoxville. Takes high polish. Tennessee. (c) —Sap green background mixed with a Gray to light pinkish gray with occa• greenish gray. sional veins. Takes high polish. Takes high polish.

Connemara Black—Group D. Convent of Arrabida Lissoughter Quarries, Galway County, This convent formerly owned the Arra• Ireland. bida Quarries, which produce Arrabida A dark close grained Hornblende, practic• Marble. ally black. Convent Siena—See Siena Old Convent. Connemara [Dark)—Group D. Convent De Siena—See Siena Old Convent. StreamstouTi Quarries, near Clifden, Gal• way County, Ireland. Convent De Montarenti—See Siena Old Con• Winding bands of dark green to yellow vent. with occasional bands of gray. Takes high polish. Coolham—See Sussex.

Connemara Green—See Connemara, Conne• Coping mara (Dark). Connemara (Light). A term used in marble plants; breaking to size. Connemara Green St. Vein—See Connemara, Lissoughter Quarries, Variety A. Coquina Spanish name for a limestone composed Connemara Irish Green simply of shells cemented together which Lissoughter Quarries. Galway County. was formerly quarried on Anastasia Is• Ireland. land about two miles from St. Augustine, Green with gray mixture. Florida. This quarry was opened upwards Takes high polish. of 240 years ago.

38 THRQVGHTHE AGES

Coral Marble—See Madre Pore Marble. nearly all of which are located on the Pen• Any marble containing Coral Fossils. insula of Lizard. Comwall. England. The following list is from Watson : Corallian Rocks Balk Quarry—Dark olive green and Rocks assigned by English geologists to black with small white dots. the Jurassic System, corresponding with the middle cretaceous group established Cam Kennaek Quarry—Red and black mottled. by the U.S. Geological Survey. Takes good polish. Corallo or Vidraco Quarry near Cam Spermic—Chocolate A Portuguese fossiliferous marble. Quar• red with dark green spots to purplish ried at Pedro, Pinheiro, near Libson. brown and green. Light red without prominent markings. Takes good polish. Gew Gaze Quarries (partially brec- Corbigny—See Bourbonnais. ciated)—Light grayish cream-colored fil• ler or paste cementing the dark green Cordoba—See Calera. fragments, running to a greenish gray ser• pentine with white veins. Corgoloin—Group C. Takes good polish. Quarried at Corgoloin, twelve miles north Good Castol Quarries—Lion Rock- of Dijon, Cote d"Or. France. Dark olive green and black with veins of Light buff with few fossil markings. violet. Takes high polish. Takes good polish. Note — Comblanchien comes from the Gwendreath Quarries near Carleon Cove same quarry and is sometimes called Cor• —Yellowish shade with brown specks and goloin Marble. mottles with occasional green veins and Cork County Marbles—See Churchtown, white spots. Cork Red, Middleton, Victoria Red. Holestrow Quarries. Kynance Cove— Dark green and purple with broad cream- Cork Red—Group D. colored veins. Middleton Quarries, on the River Bal- Takes good polish. lincurra, seven miles northeast of Queens- Quarry near Kennaek Cove—Light town, Cork County, Ireland. green and red with white spots and fairly Variegated with mottles of pink, red and parallel veins. brown, with few white spots. Takes good polish. Takes good polish. Quarries near Poltesco Cove—Mottled Comae reddish green with slight white veins. In the neighborhood of Comae, Lot. Takes high polish. France, are quarried red marbles with Pengersick Quarries—Red and green white and greenish gray veins. with occasional white markings. Takes high polish. Cornish Serpentine—Group D. Kildown Point Quarries- Dark green This is produced by various quarries and purplish background with cream-

39 ^1 THROVGH THE AGES_

colored veiningwindin-throu-h the mass. CoUian A/^- (Scrpenlinc) Same as Vert Takes high polish. Maurin.

Coublevie Commune—See Rose Des Alps, Cornwall {Malachite) Roche De Ratz. "Sometimes found in Cornwall, England, but not pure enough or in sufficiently Cou^anc^—Same as Le (^ousance. large quantities to be used commercially." (Watson) Cra igg Pink—G roup A. Quarried near Knoxville. Tennessee. Cornwall Peridot ite—Same as Polyfant Stone. Reddish pink with few fine veins or crow feet. Cornwall Serpentine—See Cornish Serpen• tines. Takes high polish.

Corsehill Stone—A red sandstone from Dum• Crastaler fries, Scotland. Quarried near Lake Worth and Town of Klacenfurt. Carinthia, .Austria-Hungary. Corsham Down Stone Light colored mottled with white and Fine Grained Monk s Park Stone. (From light gray. (Watson) another Quarry, same locality, is similar.) Crc^am Antique or Middlebury Cream. Quarried near Bath, Somersetshire, Eng• Quarried at Brandon, Vermont. land. Creamy white slightly mottled. Pale light brown (Freestone). (Eldsen and Not available. Howe). Cream Lauville C. M. Company's Quarry, Clarendon, Cosne Quarried at Cosne, Nievre, PYance. Vermont. Cream White crossed by numerous not Red with white spots. very distinct veins of a grayish, bluish, Takes high polish. or yellowish tint. (Vermont State Geo• Cote d'Or—See Comblanchien, Corgoloin, logical Survey.) Marbre De Viliars, Rose Liseron. Rose Takes medium polish. St. George. Cream Pavonazzo—See Middlebury Pavo- Cosuale di Mugnione {Breccia)—Group D. nazzo—Group B. Quarried near Mugnione. Tuscany, Italy. Quarried at Brandon, Vermont. Green filler with spots of reddish yellow Cream background with veins of varying crossed with veins of darker shade. shade. Not available. Cotham Stone—See Landscape Marble. Cream Statuary—Group B. Eastman's Quarry, West Rutland, Ver• Cotonello mont. One of the ancient red variegated from Delicate cream-color with very pale brown unknown quarry. [40] THROVGH THE AGES

minutely placated waves up to one inch Mention is made of white marble in large wide. blocks being quarried on the Isle of Pine's. Takes medium polish. Cuenca—See Jaune De Cuenca. Creole Dark—Group A. Tate Quarry, Pickens County, Georgia. Cum6er/an(i (Gypsum)—See Alabaster Eng- Bluish markings over large portion of Ush. white background. Takes high polish. Cumberland Marble—See Alston.

Creole Georgia or Georgia Creole—Group A. Cunard Pink (American name for an Ital• Tate Quarry, Pickens County, Georgia. ian Marble)—Group B. Bluish black and white mottled. Quarried near Chiampo. Venetia Province, Takes high polish. Italy. Crestola—Group A. Reddish pink with f^at veins of light yellowish pink and few fine veins of dark Quarried near Carrara. Italy. shade. Creamish white. Takes high polish. Cuneo Marble Blagrove rates this as scarcely inferior to Near the village of Valdieri a few miles Falcovaia Statuary Crestola Poggio-Sil- from Cuno in Piedmont. Italy, the Veine vestro. Torano and Miseglia. Dore Marble is quarried. Cretaceous Cuneo Onyx—See Italian Onyx. A period assigned by English geologists, which corresponds with the upper or At• Cur ley Gray Tennessee—Group A. lantic and Gulf area of cretaceous period Ross Republic Quarry, near Knoxville. as arranged by the U.S. Geological Sur• Tennessee. vey. Medium pink with wavy veins of darker Croset—See Le Grose t. shade.

Crystalline Limestone—See Marble. Takes high polish.

Crystal River Cyclades Quarries on Yule Creek about four miles Name given to a group of islands in the from its junction with the Crystal River /Egean Sea. See Parian and Tinos. at Marble. Gunnison County. Colorado. Cyzican White with light yellowish veins. Marble from the Island of Marmora was Although several openings have been used extensively in the ancient toun of made the marble has never reached the Cyzicus on a peninsula then called by the market. same name, but now known as Kapa Dagh. The town was destroyed by an Cubian Marble earthquake in 1072 and marble from its The only marble on record is from the ruins is still known as Cyzicus. U.S. Geological Survey Stone in IQI8, For marbles from Marmora Island see page 1248. Marmora and Rose d'Orient.

[41 THROVGH THE AGES"

LIST OF aUARRIES AND MARBLE MANUFACTURERS REPRESENTED IN THE MEMBERSHIP OF THE NATIONAL ASSOCIATION OF MARBLE DEALERS

Representative City and State Comjbany 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 Birminginam, Ala. M. W. O'Brien Boston, Mass. Troy Bros. &l Company Geo. W. Maltbv &i Son Company Wm. C. Maltby Buffalo, N.Y. R. K. Glass Buffalo. N.Y. Lautz Marble Corporation .-Xmosti Marble Co. A. Arnosti Carthage, Mo. Geo. S. Beimdiek Carthage, Mo. Carthage Marble and White Lime Co. Consolidated Marble and Stone Co. Millard Bpy-an Carthage, Mo. T. R. Givens Carthage, Mo. Ozark Quarries Co. F. W. Steadley 6z 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 Corley-Meservey Marble Company B. F. Meservey Chicago, 111. Humbert Davia Chicago, 111. Davia Bros. Marble Company Enterprise Marble Company Thos. A. Knudson Chicago, 111. F. A. Flavin Chicago, 111. Flavin Marble Mill Frank P. Bauer Marble C/)mpany Frank P. Bauer Chicago, III. H. K. Townsend Chicago, 111. Henry Marble Company Jas. B. Clow & Sons Company Jos. Little, Jr. Chicago, 111. Thos. F. Keating M. Keating &l Sons Company Chicago, 111. Thos. Naughton Chicago, 111. Naughton Marble Company Frank J. Peer I ing Chicago, 111. Peer I ing Marble Company Chicago, 111. Standard Mosaic Tile Company C. R. Borchardt Chicago, III. 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 Ha worth 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 Columbus, Ohio Wege Marble and Tile Company C. F. Wege J. C. Bruggen Dallas, Texas J. Desco &l Son J. Desco Dallas, Texas William Jessop Dallas, Texas Southwest Marble Company .McEIhinney Tile and Marble Co. D. C. McEIhinney Denver, Col. W. D. Watson Denver, Col. Denver Mantel and Tile Compan\ Des Moines Marble and Mantel Co, J. R. Golden Des Moines, Iowa H. F. McAdow Des Moines, Iowa Holbrook Marble and Tile Compan\ E. L. Leavenworth Detroit, Mich. Christa-Batchelder Marble Co. B. L. Cummins Detroit, Mich. Detroit Marble Company

42] THROVGH THE AGES

City and State Com/)any 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 Kansas City, Mo. Mast in Simpson Sutermeister Stone Company C. O. Sutermeister Kasota, Minn. Babcock &l Willcox Kasota, Minn. Tyrell S. Willcox Breen Stone and Marble Co. Tyrell S. Willcox Knoxville, Tenn. Candoro Marble Company Knoxville, Tenn. T. O. Couch Gray Eagle Marble Company E. F. Klein Knoxville, Tenn. Gray Knox Marble Company Knoxville, Tenn. J. B. Jones John J. Craig Company John J. Craig Knoxville, Tenn. Knoxville Marble Co. Knoxville, Tenn. John M. Ross Ross dii Republic Marble Co. W. E. Moses Knoxville, Tenn. Salomone-O'Brien Marble Company Knoxville, Tenn. Walter O'Brien Tennessee Producers Marble Co. B. L. Pease Little Rock, Ark. Southwestern Tile Company R. E. Overman Long Island City, N.Y. Clarendon Marble Company Louisville, Ky. Alexander Thomson Peter & Burghard Stone Co. Jos. E. Burghard Memphis, Tenn. Central Mosaic and Tile Co. Milwaukee, Wis. Louis B. Marus Andres Stone and Marble Company Edgar Andres Milwaukee, Wis. Breidster Marble Company Milwaukee, Wis. I- red. W. Breidster McCliTnont Marble Company J. J. McClymont Minneapolis, Minn. Twin City Tile and Marble Co. Minneapolis, Minn. F. O. Streed Northwestern Marble and Tile Co. Chas. 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., Company J. P. Williams Peoria, III. Peoria Stone and Marble Works Pittsburgh, Pa. H. A. Farley American Marble Company Max Weiner Pittsburgh, Pa. Iron City Marble Company Pittsburgh, Pa. George L. Sibel Pennsylvania Marble and Mosaic Co. John A. Fiore

Somerville, Mass. Phil. H. Butler 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 &l Jennett Marble Company St. Paul, Minn. Joseph Weis 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 & Sons, Inc. C. W. McCaulley Winchester, Mass. Puffer Mfg. Company A. W. Puffer

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

[43] THROVGH THE AGES

This striking Gothic mantel of Hauteville marble was made for the residence of D. S. Blossom, Cleveland, Ohio. It was designed by the architect. Abram Garfield, of Cleveland, and fabricated in this plant.

HILGARTNER MARBLE COMPANY Importers and Finishers of Interior Building Marble

BALTIMORE :: MARYLAND

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