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lANUARY. 1927

"We require from buildings, as from men, two kinds of goodness: first, the doing their practical duty well; then, that they be grace• ful and pleasing in doing it; which last is itself another form of duty." —RUSKIN: The Stones of Venice. THR

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VOL.4 JANUARY. 1927 NO. 9

CONTENTS

PAGE

THE MAJESTIC THEATER, DALLAS Frontispiece

REMOVAL OF STAINS FROM MARBLE 3

Bv D. W. KnssLER

THE KEITH THEATER AND OFFICE BUILDING .... 12

STABILITY 18

MARBLE IN THE BUILDINGS OF DALLAS—PART II . . 19 By L. W. HicKF-Y

FRENCH RENAISSANCE ARCHITECTURE The Style of Louis XIV—Part il 25

THE ILLINOIS WAR MEMORIAL 31

AUSTRALIA HOUSE 34

A LIST OF THE WORLD'S MARBLES 39

Published Monthly b\ t/ie NATIONAL ASSOCIATION OF MARBLE DEALERS GAY AND WATER STREETS, BALTIMORE. MD. Executive Offices: 648 ROCKEFELLER BUILDING, CLEVELAND. OHIO. Applicauon lor Second-Class Mailing Privilege has been filed at Baltimore, Md. Subscription Price $3.00 per year Single Copies 3 5 cents

Copyright 1927, NATIONAL Assi>r.iATrnN or- MARBLE DEALERS A graceful staircase of Texas marble in the Majestic Theater. Dallas. The ficxjr is gray Georgia and black Vermont marble. John Eherson, Chicago, architect. A Monthly Magazine devoted to the uses of Marble - its universal adaptability, beauty, permanency and economy i

EIH] CH/S CHJH3

VOL.4 JANUARY. 1927 NO. 9

REMOVAL OF STAINS FROM MARBLE

Suggestions for Treating Stains Caused by Oil, Fire, Urine, Copper and Those From General Service

By D. W. KESSLER (Published by Permission of the Director of the National Bureau of Standards of the U. S. Department of Commerce)

N the September, 1926, number of contact with the marble result in a consider• THRO\-GH THE AGES methods were dis• able penetration of pitch which may, in I cussed for removing the more common many cases, be practically hopeless of re• stains which are found on interior marble moval. However, a means has been found work, such as tobacco stains, iron stains, and which may be of value in many cases of this stains from various kinds of ink. Other kind. kinds of stains which sometimes occur are: Urine stains may occur on marble used in oil stains, fire stains, urine stains, copper or toilet stalls. While such stains may render bronze stains and general service stains. the marble very unsightly, their removal Linseed oil stains are usually found where does not offer any particular difficulty. putty is used around plumbing fixtures. The green stain from bronze statuary or Mineral oils may accidentally come in con• copper work is inevitable where the rain tact with marble in various ways, but prob• falling on such metals washes down over the ably the most common cases of stain from marble. Occasionally brown stains form on this type of oil are around machinery where marble work adjacent to or near bronze the lubricating oil drips on the marble. work. While the green stains are easily ac• Stains from either type of oil are very diffi• counted for by the formation of a carbonate cult to remove, especially where the oils of copper, the brown stains are not so easih' have thoroughly oxidized and yellowed with explained. Methods of removing the green age. stains have been developed which appear to Fire stains caused by pine wood burning in be fairly satisfactory. Due to the rarity of THROVGH THE AGES

ever the cause of service stains or degree of soiling, it is usually possible to bring the marble back to its original appearance.

REMOVING LUBRICATING OIL STAINS Method No. i. Cut a piece of white Can• ton flannel somewhat larger than the stain and saturate it in a mixture of equal parts acetone and amyl acetate. Place this over the stain and cover with a piece of pane glass or even better, a small slab of scrap marble. I f the stain is on a slab of marble in the wall, it will be necessary to improvise a means of supporting the cloth and its cover in place. Usually it will not be a difficult matter to arrange a prop of some kind to answer the purpose. When the cloth be• comes dry. it should be again saturated and covered as at first. Old oil stains are difficult to remove and may require a great deal of patience. The FIGURE I. Lubricating oil stain due to three weeks" exposure to oil-saturated waste. the Other type of stain, no material has been received for experimental purposes in con• nection with this research. The term "service stains" may be used to describe a type of discoloration which occurs on interior marble when it is not properly cleaned. Such discolorations may vary in intensity from a slight yellowing of the sur• face to very prominent or ugly brown stains. The cause of such is not well understood, and it seems quite likely that there is no single cause that will explain all cases. Some are inclined to attribute such discolorations to "burning" with the polisher or gritting machine. It seems quite evident, however, that some cases of "yellowing" are due mainly to the conditions of exposure and lack of an occasional cleaning. It is prac• tically impossible to find a structural ma• terial that will not become badly soiled if it is entirely neglected for a few years. What• FIGURE 2. Oil stain shown in Figure i after treatment with amyl acetate and acetone mixture. [4 THROVGH THE AGESl^:^ solvent may spread the stain somewhat, in which case a larger cloth should be used. In covering the saturated cloth with a piece of glass the stain is driven into the marble, while if a dry slab of marble is used instead of the glass, some of the oil will be drawn out into it. Method No. 2. A method frequently used in marble mills consists in mixing a solvent such as benzol or gasoline with a dry powder to form a paste, which is plastered over the stain. Hydrated lime, marble dust, whiting or similar material may be used for this purpose. While this method is said to be satisfac• tory for such oil stains as occur around the mills, it is rather slow to produce results on old oil stains which have dried and oxidized. In the mills the marble is apt to be full of "quarry sap" or water used in the fabri• cating processes; hence, oil accidentally FIGURE 3. Linseed oil stain caused by put ty on the surface for three weeks.

dropped on the surface does not penetrate to the same degree as in thoroughly seasoned marble in buildings. In treating the latter, the formula recommended above will be found more expedient.

REMOVING LINSEED OIL STAINS Old Stains from linseed oil are probabK- the most difficult to remove of any encount• ered on marble work. The reason for this is believed to be that this oil in oxidizing forms a resinous material which practically seals the pores of the marble and hence, any solvent that is applied cannot penetrate. Method No. 1 recommended for lubricating oil stains will slowly dissolve this resinous matter and reduce the stain, but it is not well adapted for use around fixtures where such stains are usually found. It is some• times satisfactory to bleach the coloring matter in the stain in the following way: FIGURE 4. Linseed oil stains shown in Figure 3 after removal by methods described. Method No. 1. Cut a piece of thick white THROVGH THE AGES cloth or a layer of cotton to fit around the fi.xture. Saturate this in hydrogen peroxide and paste it over the stain. The bleaching action may be accelerated by moistening another cloth in ammonia water and placing this over the first. Repeat the operation as described until the discoloration is removed. Method No. 2. Mix together in the dry state the following: One part trisodium phosphate, one part sodium perborate, and three parts powdered talc. Make a strong soap solution in hot water and add enough of this to the dry mixture to form a thick paste. Cover the stain with the paste and leave until dry. The same material can be used over again by reducing it to a paste by adding some more of the soap solution. In some cases it mav be found desirable to alternate this

FIGURE 5. Fire stains caused by burninR pine wood in contact with marble. Blackened area represents what could not be remm ed by scouring.

treatment with Method No. i for lubricating oil stains.

REMOVING FIRE STAINS Evidently a great variety of stains may occur during a fire and in a conflagration of considerable size the marble would be in• jured beyond repair. However, a sufficient number of inquiries have been received con• cerning the removal of a particular type of stain occurring during fires to indicate the need for a means of treatment. That type of stain referred to is the result of a condition where pine wood burns near to or in contact with the marble and the pitch from the wood penetrates the marble. A good illustration of what may occur will be found in Figure 5. This is a slab of marble that was stained in the laboratory FIGURE 6. The very pronounced fire stains shown in Figure 5 were removed by applications of the solution described for experimental purposes. The blackened on the next page. Several treatments are usually necessary to remove such sttiins as these. portion, which was caused by burning a pile THROVGH THE AGES

the cotton again in the liquid and replace it over the stain, repeating until the stain is removed. This liquid is very corrosive on metals, expecially iron or steel, hence it should not be allowed to drip on radiators, pipes or other such fixtures. It is also a strong bleaching agent and care should be exercised to protect the clothes or other fabrics.

REMOVING URINE STAINS Make a mixture of chlorinated lime and trisodium phosphate solution as described above for use on fire stains. Make a paste by adding some of the liquid to precipitated whiting or powdered talc. Talc is preferable for two reasons: first, because it dries slowly; and second, because it is easier to remove from the marble after it has dried. How• ever, when talc is used, a small amount of sugar should be added (about a teaspoonful to a pound of talc) to give the paste the de- FiGL RE 7. Urine stains on marble. of pine sticks alongside of the slab, repre• sents what could not be removed by scour• ing the marble with a grit cleaner. In places the pitch penetrated entirely through the marble. The treatment which proved effective on this stain as evidenced by Figure 6, was as follows: Dissolve one pound of trisodium phosphate in a gallon of hot water. Mix the contents of a 12-ounce can of chlorinated lime to a paste in a shallow pan by adding water slowly and mashing the lumps. Pour this and the trisodium phosphate solution into a 2-gallon stoneware jar and add water until approximately two gallons of the mix• ture is obtained. Stir well, cover the jar and allow the lime to settle. Saturate a layer of cotton or fold a white Canton flannel cloth to form three or four layers and use instead of the cotton. Paste this over the stain and allow it to remain until nearly dry. Saturate FiGURE 8. Urine stain shown in Figure 7 after its removal by method described.

7] THROVGH THE AGES

FIGURE 9. Copper stains on marble such as form around bronze statuary. The color is green.

[81 THROVGH THE AGES

FIGURE ID. After the removal of copper stains by various methods described in the text. THROVGH THE AGES sired working qualities. Powdered talc is poultice methods, but in some cases a sur• cheap and can be obtained in the larger face washing with diluted Javelle water will cities through talc or soapstone distributors prove satisfactory. Javelle water can be or in small quantities from automobile tire purchased as such at drug stores or com• distributors. pounded according to the following formula: The paste should be made of such con• Dissolve three pounds of washing soda in sistency that it can be applied to the marble one gallon of water. Mix the contents of a with a paint brush. It should be applied in a i2-ounce can of chlorinated lime to a paste layer ys-inch thick or more and left until dry. in a shallow enamel pan by adding water It is then scraped off with a wooden paddle. slowly and mashing the lumps with a spatula In bad cases of such stains a few repetitions or pointing trowel. Add the paste to the of the above procedure may be necessary. soda solution, make up to two gallons by adding water and place in a covered stone• REMOVING COPPER STAINS ware jar to settle. Pour off the clear liquid Method No. i. Mix together in the dry when required for use and dilute with six form one part of ammonium chloride and times its volume of clear water. four parts powdered talc. Add ammonia Use this solution to wash the marble the water and stir until a stiff paste is obtained. same as a soap or other scrubbing solution F^Iace a layer of this over the copper stain is used. In using this, it is advisable first to and leave until dry. Scrape off with a rinse the marble with clear water before wooden paddle and repeat the operation if scrubbing with the Javelle water. This is a necessary. A stain of this kind that has been strong bleaching material: hence it should collecting for several years may require sev• not be allowed to drip on colored fabrics. eral treatments to completely remove. Some• This is not recommended for general clean• times aluminum chloride is used instead of ing purposes, but its occasional use on stained ammonium chloride. marble is believed to be entirely safe. Method No. 2. Dissolve eight ounces of Poulticing with commercial grit scrubbing potassium cyanide in one gallon of water. powders such as those commonly used for Saturate a thick white cloth in the solution cleaning marble floors will prove satisfactory and place it over the copper stain. When for removing most stains of this class. Such the cloth has become dry, soak it again in the cleaning materials are found on the market cyanide solution and repeat the operation under various trade names, many of which until the stain disappears. Sometimes it are familiar to building superintendents. may be advantageous to combine this and They are usually purchased in the form of the method above—that is, remove the a fine gray powder, but some are sold in the greater part of the stain with the poultice form of a paste. and finish with the cyanide solution. In using the cyanide solution, care should be In poulticing with these, the material is taken to avoid getting any of it in the mouth, slowly stirred into a pail of hot water until on food or in other matter that is apt to be a thick paste of mortar consistency is ob• put into one's mouth, since it is extremely tained. This is applied to the marble with a poisonous. trowel in a layer 3<^^-inch or more thick and allowed to remain until dry, when it is GENERAL SERVICE STAINS scraped off with a wooden paddle. Usually Usually such stains have to be treated by one application will be found sufficient. The

10 ^SS^I THROVGH THE AGES

addition of a small amount of whiting to brought to the Bureau'''s attention, such as this type of poultice is beneficial to its work• red or yellow stains due to the use of lead ing and adhering qualities, but such an ad• spacers in the Joints of marble masonry. dition is not generally necessary. Such stains have not, as yet, received specific Considerable attention has been given, attention in this research. Marble setters during the course of the research work at the sometimes place excelsior behind slabs of Bureau of Standards on methods of cleaning marble in the wall. Under damp conditions marble, towards developing a satisfactory the wood rots and may cause a dark-colored form of poultice that can be applied with a stain on the marble. This type of stain brush instead of a trowel. That form of yields readily to the treatnient described for poultice described above for treating urine urine stains. stains appears to meet practically all of the Marble work in bathrooms is, of course, requirements except that powdered talc is exposed to numerous staining materials from not easily obtained in some cities. For that the medicine closet. A general suggestion reason the following list of firms are given for treating such stains is to find the solvent which can supply the material at a small for the particular stain, mix it with powered cost: talc or talcum powder into a thick paste and Georgia Talc Co Asheville. N. C. place it over the stain. Solvents which are Hartford Talc Q) Baltimore. Md. usually safe to try on such stains are as fol• Rock Products Co Easton. Pa. Binney & Smith New York City lows: alcohol, animonia water or a weak so• Harshaw, Fuller & Goodwin . . Cleveland. Ohio. lution of potassium cyanide. In using the Wishnick-Tumpeer Chemical C-o. Chicago, III. cyanide it must be remembered that it is Other rare types of stains have been very poisonous.

'Faith. Hope, Charity"—executed in pink Tennessee marble by A. A. Weinman, sculptor. Henry Bacon, architect. ill II II II CI II

a IIIIII ri CI I

THE KEITH THEATER AND OFFICE BUILDING Cleveland's Highest Building Contains Considerable Marble

LEVELAND has never shown any in• to a considerable height, and most of them clination to compete with Chicago, comparing favorably in design with the best C New York or Detroit in the struggle to of modern skyscrapers. determine which one can claim the honor of The highest and foremost of these large possessing the '"tallest building in.America." office structures is the B. F. Keith Building, .•\lthough it has no Wool worth Building. completed in 1Q22. It is twenty-one stories Tribune Tower or any similar structure that high and stands, together with the beautiful could hope to vie with the proposed Book new B. F. Keith Theater, on a lot with a group in Detroit, that does not imply that frontage of 135 feet along the south or there are no large buildings in Cleveland. As Euclid Avenue, and 300 feet along the east a matter of fact, the sky line of that city is or Seventeenth Street side. The architects broken by many impressive architectural were Charles W. and Cieorge L. Rapp, of creations, some of them mounting upward Chicago and New York. THROVGH THE AGES

The building, of modern fireproof steel The main entrance to the commercial construction, rests upon a concrete pile building, on the Euclid Avenue side, is foundation; it is L-shaped in plan above the through a large outer lobby with a terrazzo theater, giving a maximum of light for all floor and Belgian Black marble border; the offices. The fagades on Euclid Avenue and walls are paneled in .Alabama marble, in- Seventeenth Street are faced to the height eluding the panels above the intermediate of the base course with polished granite, and cornice, to a height of 13 feet; the base, trim above that point for the entire height of the and strips, as well as the cornice, are of building with granite-finished terra cotta Black and Gold marble, harmonizing with the granite in color: the This outer lobby gives direct access to the west and north fagades are of terra cotta and elevator lobby and stairways. This spacious glazed brick. On the exterior elevation of elevator lobby has a floor of gray Tennessee the commercial building Tinos marble span- marble with Belgian Black marble borders drels nearly three feet high have been and panelled marble walls as in the outer worked in very effectively over the ground floor shops" show windows, between the terra cotta pilasters; also, in the heavy sill course or cornice at the third floor, similar marble panels occur continously around the the building on the street fronts, extending over the theater building entrance.

On the upper wall of the Seventeenth Street side of the theater building on a line with the fourth-story windows of the office build• ing, large Tinos marble panelsoccur in arched-head recesses in the terra cotta ashlar, as shown in our illustration on this page. On this same elevation in the upper part of the stage fagade, above a class• ical balcony and triple opening motif, similar mar• ble panels are provided in the side panels, with terra cotta in pattern work in The B. F. Keith Theater, adjoining the Office Building The marble •"^ panels in the upper walls are linos. C.has. W. and the center panel. Geo. L. Rapp, Chicagoand New York, architects.

13 THROVGH THE AGES

The northwest comer of the main foyer of the theater, showing the marble wall treatment. To the left is the Men s Lounge. lobby, with the cornice and peclimented en• than 8,000 people pass daily. Adjoining this closures at the elevator doors extending to portal on the west is a large store, while on the same height as in the entrance lobby, the east a smaller store separates it from the with a highly ornamented cornice at the main entrance to the office building. ceiling. The stair halls and stairs from This theater entrance is through an outer this lobby to the basement and to the top lobby, 20 by 30 feet, having a terrazzo floor floor of the building are of art marble, with with Alabama marble borders and a Tinos terrazzo for floors, treads and landings. marble base. Interestingly detailed Breche The public corridors and elevator lobbies Opal marble walls and marble pila.sters, with on typical floors of the office building have a heavily ornamented plaster cornice, give a Pink Tennessee marble floors and Verde definite character of elegance to this ap• .'\ntique marble bases with an Alabama mar• proach. ble wainscot 5 feet high. Moulded Alabama The outer lobby opens in turn upon the marble trim is provided around the ele\-ator ticket lobby, a spacious area 30 feet wide enclosures on all floors The public toilet and nearly 50 feet long. The floor is of rooms have Alabama marble wainscot and .Alabama marble, with wide panelled marble stall partitions, and the floors are of Tennes• borders and a Breche Opal marble base. see marble. In the basement is a modern The walls of this chamber, as in the outer barber shop and manicurist room. one, are of marble, but with this difference: The entrance to the B. F. Keith Theater Statuary Italian Vein was the wainscot ma• is located in the center of the Euclid Avenue terial, with the marble panels framed with fagade, and through this passageway more heavy marble architraves, the top of which

14 THROVGH THE AGES are arched. Breche Opal marble was used further increase the actual size of this grand for the turned columns. The ticket booth is hall. .An open balustrade surrounds the of marble, too, having a shelf and a dado of promenade between the large scagliola Statuary Vein Italian with a bronze screen columns, affording a grand and inspiring above. view of the entire hall including the foyer The intermediate lobby, with its coved and lobby below. end bays, measures 28 feet by 42 feet; it .\ Tinos marble base adorns the walls of connects through large openings into the the intermediate lobby; polished marble grand hall arts salon or foyer, 40 feet by borders appear under this hall for its entire 104 feet in area by 80 feet in height. This length. In the grand hall, a Breche Opal hall is surrounded on all sides by an open border is used with the wall treatment and promenade on the entresol level above. The this extends all around the hall and up to promenade is extreniely effective, much the promenade floor of marble, including the thought being given to its design and gen• dado mould and the cornice band. Deco• eral arrangement. It is literally a grand rated fabric panels occur on the walls in hall, taking in a total area of 80 feet by 130 those portions between marble panels. feet on the promenade level, with a raised A grand staircase 20 feet wide is located open palm room niche 15 feet by 30 feet ex• at each end of the grand hall leading up to tending beyond this area on the south side. the promenades above. These stairs have Other niches and the vomitory entrances to Alabama marble treads, risers and landings, the theater balcony, as well as an open and heavy curved Alabama marble balus• double stairway to the upper balcony, still trades, with ornamental bronze panels in

.\ candelabra-clock and one of the wall panels in the Grand Hall.

[15 THROVGH THE AGES between the marble dividing stiles. The marble. Six telephone booths are provided strings and facias are of Breche Opal marble. for women and six for men in alcoves with Two check rooms, an emergenc\' room, the marble floors and base. theater offices and a v\omen's retiring room The stairs leading to the balcony cross connect with this grand hall. This latter is aisle from the center of the north promenade an elliptical shaped room about 24 by 28 have Alabama marble treads, risers and land• feet, with Alabama marble base and an ings, and the wide steps leading into each Italian marble mantel. A cosmetic room side vomitory entrance are of the same kind w ith an Alabama marble base, a women's of marble. Breche Opal marble bases are smoking room in .Arabic architecture, in ad• pro\'ided under the columns around the dition to a men's room 18 feet by 30 feet promenade and similar bases occur on all with Black and White marble floor, mar• the walls of the promenade under the scag- ble base, stone walls and mantel, also con• liola wainscot and pilasters. In the vomitory nect with this hall. This men's room is passages, too. the same material is again equipped with bookcases, wall seats and a seen as the wall base. large fireplace, the mantel of which was Within the auditorium, marble has also specially supplied by the owner himself. A been extensi\-ely used. The rear wall of the marble stair leads from this men's room to orchestra floor is embellished with marble the washroom lobby below, which has a piers, and a balustrade of marble forms the similar marble floor and base, with walls of fronts of loges and boxes along each side. A stone. This stairway itself has its treads, similar marble base forms a substantial and risers, landings and strings built of Alabama striking support under the proscenium arch

A stairway of Alabama marble in the Keith's Theater, Cleveland. C. W. and G. L. Rapp, Chicago, architects.

[16] THRQVGH THE AGESlr^^

Interior of Keith's Theater, Cleveland. Statuary Vein Italian and Alabama marble was extensively used, both in orchestra and balcony. at each side of the stage. Pilaster columns dressing or chorus rooms, marble wainj-cot under the entresol proscenium boxes and cap and marble trim is provided around all pier columns at the side aisles are marble; doors and windows. The main exit to the standing rail at the rear of the seating Seventeenth Street has its steps and landing space is also of this material. Statuary Vein of Alabama marble: the walls are of Breche Italian was selected for practically all of Opal with a base of Tinos. this work. A wainscoting of scagliola 4 feet The mechanical equipment of both theater 6 inches high, having a moulded cap, occurs and office building is complete and of a along the outer wall of the side aisles, and modern type. The office occupants are cos• this is carried as a trim around the exit mopolitan in character, no particular em• doors. phasis being given to housing specific in• The balcony floor has its share of marble, dustries or professions. The location is very although the wainscot on the side walls, the desirable, with the Euclid Avenue stores piers at the rear of the balcony and the only a block away, and the various railway wainscot in the tunnels are of scagliola. The stations readily accessible. bases around the vomitory well openings The Keith Building has been popular and the head facia in the tunnels and open• from its completion. It would be, indeed, a ings are of Alabama and Breche Opal marble matter of surprise if a structure so well situ• respectively. On the other hand, all the ated, so well planned and so thoroughly public toilet and washrooms have Alabama modern in its appointments were unable marble wainscots, stalls and floors. E\'en in quickly to fill its rentable spaces with the stage bathrooms connected with all the permanent, substantial tenants.

I '7 ^^LXHROVGH THE AGES

STABILITY

HE suggestion of strength and permanence con• Tveyed by the banking room built of marble is more than a source of satisfaction and pride to the builders— it is a subtle, but powerful, advertisement of actual financial stabilit\—a condition readily reflected in the increased faith of its patrons.

.hul such marble treatments are,aside from their psycho• logical aspect, an actual economy. liecause of its durability, its lo'£ maintenance cost, its ease of cleaning, and its 'cery reasonable initial cost, marble is the most practical of materials, not only for banking rooms, but for corridor floors—'xainscol and lavatory work.

(i8 THRQVGH THE AGES El

A stairway in the Dallas Municipal Building.

MARBLE IN THE BUILDINGS OF DALLAS

By L. W. HiCKEY Past President^ Texas Branch, A. G. C of A.

PART 11

N the extension of a plant—if one may Sharp. Mr. Ralph Bryan comments as use that term in connection with one of follows on the marble work: I the finest hotels in the South--the value "When the original unit of the Adolphus of the endurance of marble is again dis• Hotel was conceived and planned by Thomas played in the ease with which the new work P. Barnett, he chose as his flooring material was joined to the old. The Adolphus Hotel for the main lobby a field of Vermont has built two large additions in a lo-year Corona marble with border and base of period: it has just completed an elaborate Vermont Verde Antique. The richness of arcade entrance, designed by Bryan and the floor was in thorough keeping with the

19I THROVGH THE AGES

of the main building, so that in both the exterior cincl interior design the materials used were sim• ilar to those in the orig• inal. The floor of the arcade is of Vermont Corona in lo-inch by 2o-inch tile laved her• ringbone, while the border and base are of Verde .-\ntique. The cir• cular stairway leading to the main lobby level has treads and risers of Cor• ona, and the arcade floor pattern is continued through the '"Peacock .Alley" connection to the Junior lobb\'. Though the arcade building is a separate wing, the use of these flooring materi• als, together with the walnut paneled wall treatment, has success- fulh resulted in identi• fying it as an integral part of the hotel plant. "

A pleasing use of mar• ble has been made by Check desks and marble railing surrounding the basement stairway in the Republic National Bank. C. D. Hill & Co. John Eberson. architect, (now Cohurn, Smith Evans), architects. of Chicago, in the spirit of his French Renaissance design and recently completed Majestic Theater, where the service given by these materials under a floor of gray Georgia tiles and small black the severe demands of hotel usage has Vermont tiles was combined v\ ith a graceful proved their practical value. staircase of Texas marble. 'The most recent addition to the .Adol- just a few weeks ago the .Mcl'arlin .Audi• phus is the arcade entrance from .Main torium, the work of R. H. Hunt & Com• Street. Just now completed. This serves the pany, was completed at Southern .Methodist hotel as an additional entrance from a third Universitv. The three Grecian doorways thoroughfare, giving access to the main and lead directly into the foyer or "Memorial the Junior lobbies. It was the problem of the Hall" of the building. At one end is located architects to recall in this structure the spirit a niche in which is placed a most beautiful

20 THROVGH THE AGES marble pedestal and bronze memorial tablet. which J. Allen Boyle was architect. Mr. The pedestal is fashioned from Imperial Boyle spent several months in Europe, par• Vermont white marble. The floor of this ticularly in Spain, studying exclusively for hall and the stair platforms leading out of it the design of this home, and he has produced are laid with Tennessee Gray marble tile; some remarkable effects. His main stair• the base of the hall and the stairs halls lead• case, as shown by the accompanying illustra• ing from it are laid with MciMillan Gray tion, is extremely interesting. marble. Set off by Van Dyke brown and Though Dewitt ^ Lemmon. architects for apple green decorations touched with gold the recently awarded East Dallas High leaf, and by handsome bronze light fixtures, School, used marble very extensiv ely in that the Tennessee floor treatment is most pleas• structure, which is probably the finest and ing. largest of its kind in Texas, their use of it in One of the most remarkable residential another case is perhaps more significant, in installations of marble known in the South• that it demonstrates another phase of the west is that of the S. W. King home, for commercial merit of marble as distinguished

• 1^

Main banking rcxjm, Republic National Bank. The floor is Travertine; the walls, counters and columns arc Tavemellc, with Black and Gold base and trim.

[21] r^^rfHRQVGH THE AGES

Detail ol fixture and wainscot treatment on the bank room fiocjr, Republic National BanU.

Public lobby of Safe Deposit Department, Republic National Bank. The stairs are Tennessee, the walls Tav- crnellc. the floor Travertine.

22 THROVGH THE AGES

Memorial Hall, McFarlin Auditorium. R. H. Hunt Stl Co., architects.

from its aesthetic merit and its enduring available floor materials were examined; it quality. Mr. Dewitt says that: was finally the opinion of both the archi• "When the wholesale jewelry firm of Shut• tects and the owners that a black and white tles Brothers & Lewis moved their offices marble tile floor would meet every require• from the first to the second floor of their ment. The work was thus carried out and office building, they were anxious to decorate the result has been all that was desired. the space both in a manner befitting the Customers continue to express their ap• dignity of the concern and also in a way proval and satisfaction to the owners, and which would preclude the suggestion that the public is much intrigued by fleeting the move was an economic one, for the latter glimpses of the fine Italian doorway and the was not the case. The space on this particu• polished marble tiles. Sales have steadily lar floor being devoted primarily to the mounted—and this, after all, is the proof of bookkeeping and diamond departments, it the pudding." was felt that improved ventilation and rela• The 2i-story Republic National Bank tive freedom from noise would make the Building, finished last spring by the same move advantageous. How then to handle architectural organization that designed the the matter so that the customer would ap• Municipal Building, is very interesting. plaud rather than question the move? The exterior is of Renaissance design and "Naturally a great deal of importance was the same style was naturally adopted for the attached to the elevator lobby and entrance, banking spaces. The huge main bank room for here the first and doubtless the most last• has a floor of imported Travertine laid in ing impression was to be made. The entrance, diagonal squares each ib by ib inches; an too, had some advertising value as it was di• inner border of eight different colored kinds rectly opposite the elevator grilles. There• of imported marbles laid in a diagonal pat• fore, it was decided to install a very rich tern parallels an outer border of Black and doorway and to lay the best possible floor. Gold. The entire floor is fully sanded and Cost not being an all important item, all smooth.

23 THRQVGH THE AGES

Black and Gold marble wall base and floor and vari-colored borders. The base and trim forms an effective and colorful contrast trim around the elevators and the doorway, to the Tavernelle marble used in the walls, as well as the entire head trim over the Tav• columns and caps. .-Ml of this Tavernelle is ernelle wainscot, is of very select Black and highly polished, except that the bracket caps Gold marble. The wall Tavernelle is laid in under the mezzanine floor are ornamentally as large slabs as it was practical 1\' possible to carved with a tooled surface left plain and a procure: it is of selected stock and highly flat surface of carving polished, giving a polished. variation of color tone. it is fair to state that no important figure A Gray Tennessee marble stairway de• in the construction industry of North Texas scends from the middle of the main room to evinces any inclination to be reactionary; the Safe Deposit Department lobby, which most of them are somewhat conservative. has a floor of Travertine squares 12 by 12 Consequently, it is logical to assume that inches, and a border treatment similar to the the present very high standards which have banking room. The walls are Tavernelle been set and are followed in larger work, and laid up in ashlar form with variation in color• in the smaller work of domestic ornament ing, insuring both light and a pleasing and garden embellishment, will not only be irregularity. well supported, but be raised higher and The office entrance lobby of the building higher, as taste grows more discriminating has a treatment that corresponds somewhat and the sense of economic values and pro• with the banking quarters, with Travertine portions keener.

Main .stairway in home of S. W. King, Dallas. J. Allen tioylc, architect.

^4] Louis XIV fireplace in the Salon dc Diane, in the Palace of Versailles. THE RENAISSANCE IN FRANCE

The Style of Louis XIV

P.-\R r 11

UILDING operations at the Tuileries, tions were changed, to avoid the unsatisfac• which had ceased after the death of tory effect of two long ranges of buildings B Henry IV, began again in 1659 under running down step by step to a central the supervision of Le Vau. His chief prob• tower: instead, the intermediate buildings lem was to bring the existing portions into between the tower and the end pavilions uniformity, and his first step towards achiev• were given the same height. The central ing this ambition was the construction of building was made of greater importance, as the Pavilion de \4arson, and the Galerie des it deserved, by having it take in five bays Machines, on the north, to match the Pavil• instead of three, and by giving it a third ion de Flore and the Galerie de Diane re• order, a square dome and a stairway at the spectively. Later (in 1664-1670) the eleva• side, the latter replacing de I'Orme's central

Illustrations courtesy Mr. Thomas Machen, architect. Baltimore.

251 h^^irrHROVGH THE AGES

• ;

mm

A corner of the main block of the Palace of Versailles, as seen from the southwest, 'rhis is the garden front Note the effect of the arched windows, as designed by J. H. Mansart about 1680. square. In this remodeling, the enriched hitherto unparalleled in size or intricacy. attics and delicate ornaments disappeared, The palace itself underwent so man\ but the Tuileries became a palace that de• changes during the reign of Louis XIV that served to rank with the other structures it is difficult to follow them intelligently, but erected to the glory of Louis le Grand. it is generally the habit to consider them in In the meantime, the king himself took two stages: the first as planned by Le Vau, but scant interest in the Louvre or Tuileries. from about 1668 until after his death in 1670 and his enforced absences from Paris focused and as carried on by d'Orbay until 1680; and his attention upon various country seats. the second, as accomplished by the decorator Chief among these were the old Castle of Le Brun, and the architect. J. H. Mansart. Vincennes and the former hunting-box of Le Vau enclosed the old brick chateau on his father, Versailles. The former was en• three sides in a larger stone one, and ex• larged by Le Vau and the latter became the tended the brick buildings on the fourth government seat and the site of the most side. "The moat and screen disappeared, characteristic splendors of court life. It was the forecourt was remodelled, the eastern also the scene of the most elaborate type of angle pavilions were connected up by arched garden design ever known, built on a scale vestibules with the service wings, which

26 THROVGH THE AGES

were prolonged and made to end in pavilions The windows occur singly or in threes, and, with lanterns and columned porticoes. The where single, are flanked by pairs of coupled main block, as altered, presented a rectangu• columns in front of the pilasters, the entab• lar mass to the gardens with thirteen win• lature breaking forward over them and sup• dows to the north and south, and twenty- porting statues. At intervals, too, where three to the west. The central portion of the broader wall spaces occur, niches and statues new west front, with nine windows, i.e., that are introduced." (W. H. Ward.) corresponding to the space between the pro• The gardens consisted of a wide terrace jecting pavilions of the old chateau, was re• carried around the sides of the palace, with cessed so as to form a covered loggia below a parterre d'eau under the windows on the and open terrace above. Between the old west side. From the foot of the terrace and new wings on the north and south were broad strips of wood garden stretched to the internal courts. The scheme of the external grand canal, and between these strips were stone elevations consisted in a rusticated wide open gardens. The canal formed a lower story with arched openings, a lofty up• cross, with the Trianon at the end of one per story with an Ionic order, and tall square- arm and the Menagerie at the end of the headed windows surmounted by sculp• other. Standing on the terrace, and looking tured panels, an attic with square windows southward one could see over the Orangery and an attic order, and finally a balustrade to the Piece d'Eau des Suisses; to the north with vases and trophies. The system is en• were visible the Allee d'Eau and Bassin de livened by a rhythmical grouping of features. Neptune. Sculptured marble was in abund-

Marblc vase in the Bassin dc Neptune to the north of the Palace of Versailles.

27I 11^ THROVGH THE AGES ^jjj

© Underw(xid& Undcrw

[28] THRQVGH THE AGES Igg

Marble fountain at Versa

ance and every portion of the gardens had Orangery and the monuments in the garden its marble benches, its balustrades and known as the ""Domes'" and the "Colon• walks. nade." This latter consists of a circular The alterations by Mansart more than arcade with arches that spring from Ionic doubled the extent of the chateau. The columns, alternately of red and gray marble, king's apartments were transferred to the each buttressed by a square pilaster. Under first floor in the center of the main entrance each arch is a fountain with a raised marble front: the window heads were arched as basin. "If,"" says Ward, ""the creations ex• were those of the garden fronts. He built hibit Mansart in a mood of playful fancy, the Galerie des Glaces over the western and the Orangery in one of almost rugged loggia and a long wing to the south. Le severity, the housing of the various services Brun decorated this enormous hall — it of the palace, the stables, the kitchens, and measures about 240 feet by 34 feet with so forth, afforded him an opportunity of a height of 43 feet to the crown of the show ing how such utilitarian buildings could vault—with walls of white marble panelled be invested with dignity by a monumental in soft colors, and an order of slender Co• grouping of masses with the judicious ad• rinthian pilasters of green marble. Seven• dition of good sculpture at some crucial teen arched openings appear on each side point." forming windows on one side and being The magnificence of the royal palace be• filled with mirrors on the other. came at times oppressive to the king, and Mansart also built the two stable blocks, he spent some of his leisure at smaller houses the Grand Commun, the present chapel, the in the vicinity, specially built for him.

2Q THROVGH THE AGES

Among these may be mentioned the Tria• pompous monuments erected by Louis XIV. non, a one-story flat-roofed building of two The Porte St. Martin, built in i b74 at Mont- separate blocks connected by a peristyle, pellier, was designed by Pierre Bullet. It is with elevations treated with pink marble about 60 feet wide and as many high, and shafts of the Ionic order and a balustrade while not as barocco in spirit as its neighbor• with urns and sculpture. The Marly, de• ing Porte St. Denis, is much more logical in stroyed in the Revolution, was another its proportions and conforms closer to the royal retreat and its conception—a central Roman prototypes. In the same locality is pavilion surrounded by twelve isolated small the Arc du Peyrou, built in 1691 to 1710, de• pavilions for the courtiers and three blocks signed by d'Orbay and carried out b\- for servants—was unique, even to the ar• d'Aviler. Both of these monuments are rangement of the gardens. heavily rusticated and are good examples of Throughout France there were many gate treatments of the period.

The Arc du Peyrou, at Montpcllier, designed by F. d'Orbay (i(X)i-i7io).

30] THROVGH THE AGES

THE ILLINOIS WAR MEMORIAL

A White Marble Temple of Peace in the Vicksburg National Military Park

ERHAPS no single event in the great This park covers an area of 1,283 acres, em• struggle of the Civil War was fraught bracing the entire line of the Confederate Pwith greater importance than the cam• works, about eight miles in all, as well as paign and siege of Vicksburg. This has been most of the Union line beginning at the regarded by tacticians as General Grant's northeast entrance of the National Ceme• greatest achievement; it marked his adop• tery. Various state monuments and markers tion of entirely new methods in strategy and are scattered throughout the park; among the discarding of old maxims of war, and it them is the Illinois State Monument and destroyed a Confederate Army of 40,000 Memorial Temple, one of the most striking men, and crippled the resources of the South structures in the South. by the immense loss of war munitions. The This building, designed by Jenney, Mundie series of events in and about this section of and Jensen, of Chicago, was begun in De• Mississippi placed the name of Vicksburg in cember. 1904, and was completed about the foremost rank for the future student of April I, 1906, at a total cost of about war problems. $260,000. It occupies the highest point of In 1865, the Government of the United land from Cairo to New Orleans—a site that States located a National Cemetery near the was the center of the position of the 17th city. The remains of Union soldiers who Army Corps and of Logan's Division, and were killed or died of disease in the vicinity not far from the historic Shirley House, a were reinterred in the plot selected, and the famous landmark for both armies and called cemetery was connected with Vicksburg by at the time the "White House." a beautiful drive along the Mississippi River The Illinois Memorial is circular in form front. on the exterior and dodeconal on the in• From the main entrance terraced roads terior. It is of the Roman Doric order of ascend to the summit and magnificent shrubs architecture, the entire exterior above the and trees of luxuriant foliage make the spot base being of white Georgia marble. The one of the most beautiful of the National approach steps are 24 feet wide and 47 in burying grounds. It contains about forty number, leading to a projecting portico 32 acres of land, and upon the highest eminence feet wide. Six monolith columns 2 feet 6 was placed, on July 4, 1864, a marble shaft inches in diameter and 20 feet in height sup• to mark the spot occupied by Generals port the pediment and entablature of this Grant and Pemberton during the negotia• portico. tions for the surrender. Later, this column Not the least interesting of the exterior was moved to prevent its injury by vandals treatment is the carving upon the pediment and relic hunters. of the portico, a group of three female fig• In 1899, Congress established the Na• ures fashioned out of snow-white marble. tional Military Park, "to commemorate the The central one of these figures represents campaign, siege and defense of Vicksburg." History; she is shown recording the deeds of

3> RiJ^I THROVGH THE AGES j

The Illinois War Memorial, in the Vicksburg National Military Park. It was designed by Jenney. Mundie and Jensen, of C^hicago, and was built a score ol" years ago, out of white Georgia marble.

32 THROVGH THE AGES

the reclining figures to each side, which sym• marbles of several colors, the central portion bolize respectively the North and South re• forming the great seal of the State of Illinois, united in peace. Above the group, upon the 6 feet in diameter. The interior walls, to apex, with widespread wings, is a bronze where the curx'c of the dome begins, are of eagle, typifying the protection of the Great Gray Tennessee marble, with white Georgia Nation. marble panels, while the interior of the dome High up around the exterior of the Temple is entirely of white Georgia marble. .Ground runs a frieze band bearing the inscriptions, ten of the twelve sides of the wall are set in in large sunken letters: WITH CHARITY FOR handsome bronze frames, with laurel designs .ALL .\ND WITH MALICE TOWARD NONE, and upon them, sixty bronze tablets, bearing the LET US HAVE PEACE. Thcsc wcrc taken names of the Illinois soldiers who served on from the utterances of Lincoln and Grant the staff or who composed the reginients, respectively. detachments, etc., that participated in the The entrance to this Memorial Temple is siege from March 29 to July 4, 1863. Cut in 1 I feet high, with a width of 7 feet, and the marble above these tablets are the above the doorway are large marble panels, names of generals and colonels engaged in each 4 feet high and 7 feet long, containing the action. bas-reliefs of Lincoln. Grant and Yates. The white canopied dome of the Illinois The interior is about 50 feet in diameter, Vlemorial, fashioned not unlike the Pantheon and the height from the floor to the eye of at Rome, was tendered by the State as a the dome is somewhat greater than this. An Temple of F'ame and Peace. It stands opening about 11 feet in diameter in the eye sparkling in the sunlight in all dignity and of the dome allows the light unrestricted grandeur, silhouetted against the warm blue entrance, and affords a unique illumination. southern sky, one of the most striking war The floor is a mosaic, composed of imported memorials in the world.

At work on the VicUsburg Memorial in 1905.

[33I THROVGH THE AGES

AUSTRALIA HOUSE

The Offices in Great Britain of the Government of the Commonwealth of Australia

N iQi 3, His Majesty the King of England House in .August, IQI8, marked therefore laid the foundation stone of the building not only the end of the long and interesting I in London known as Australia House period of its design and development as a and in the course of his speech he said: "I building, but a pride in the deeds and sacri• am well assured that, as in the past, in any fices of the sons of the Commonwealth of national emergency Australia will play her .Australia. part for the common cause, and that the When, in igoi. the Federation of Aus• loyalty of her sons will never be appealed to tralia united the component states in a com• in vain." mon nationhood, the need for a worthy The ""national emergency"" was then un• memorial in the metropolis of the Empire dreamed of, but it was near at hand and the was obvious. In icpg the London County prophecy was tested and fulfilled to the ut• Council offered as a location the present most during the four \ears of strife that site, then empt\' land in the heart of the shortly ensued. The opening of the Australia cit\', left vacant by that improvement scheme

34 THRQVGH THE AGES ifeM^ of some years before whereby main streets a structure that would be a ""monumental were swept away and room made for the witness to the desire of .Australia to be great thoroughfare of Kings way. The free• shown forth in terms of dignity and beauty, hold of the whole of the area was bought in to be displayed not meanly but finely, to be so 1911; it was a triangular tract bounded on commandingly established in London, that the south and east by the Strand, on the whenever the sight of .Australia House shall northeast by Aldwych and on the west by call up remembrance of Australia it will be Melbourne Place. The cost of the purchase, thought of as a land worthy of eminent me• including an arrangement as to the freehold morial even in the wealthiest of lands and of the site of the already existent Victoria the greatest of cities." Building, amounted to £379,756. The con• l-"ollowing the laying of the cornerstone in tracts for the building itself, including the 1913, the construction proceeded rapidly at estimated cost of materials and furniture first and the proportions of the building were brought from Australia, were estimated in soon effective within the perspectives of the 1917 to involve an expenditure of upwards Strand. But within a year war had dis• of £450,000. ordered the world and within two years Messrs. A. Marshall MacKenzie and A.G. progress was affected by the universal dislo• R. MacKenzie were selected in 1912 as the cation of the normal work of the country. architects of the scheme and they entered The closure imposed by His Majesty's wholeheartedly upon their task of creating Government upon all building operations

Sculptural group, "Awakening,by Harold Parker, at cast of doorwav (Courtesy High Commissioner, Cxjmmonwcalth of Australia.)

35 THROVGH THE AGES other than those directly concerned with the liglu and shade of the composition—these war was waived in this case, however, but are its more obvious successful features. The transport difficulties hindered the supply of eastern entrance is surmounted by a stat• certain materials from .Australia which were uary group by Bertram Mackennal, M.V.O., to have important places in the design, representing Phoebus driving the horses of while unavoidable labor troubles also made the sun. At the entrance, flanking the door• for delay. It was late in 1916, therefore, be• way, are sculpture groups by Harold Parker, fore any portion could be made ready for oc• denoting the Awakening and the Prosperity cupancy, and nearly two years later before of Australia. The illustration shown is that the undertaking was definitely completed. of the Awakening, on the right of the door• The limitations imposed upon the archi• way; it depicts a half-draped female figure tects, other than the inclusion of an exhibi• and, below, an explorer and his comrade. tion hall and certain rooms suitable for fixed The interior is aptly described by an ex• purposes, were merely these: that the London tract from The Builder, an English publica• building regulations should be met and that tion: ""We believe the verdict as to the in• the design should harmonize, in respect of terior will be as favorable as that of the balance and weight, with the Aldwych Im• exterior, if not more so, for the skillful dis• provement Scheme, of which the Gaiety position of the entrance hall and staircases Theater was the western and .Australia has provided opportunities for admirable House would be the eastern horn. The effects of dignity and spaciousness, with a beautiful Wren and Gibbs churches, too— display of rich detail which in many cases car• St. Mary-le-Strand and St. Clement Danes ries a quite unusual distinction. The way in —which are a distinctive feature of its archi• which the eastern entrance leads through tectural surroundings, gave a note to the the inner vestibule to the great hall is a design; but with these exceptions and apart noticeable architectural achievement, and from the necessity for some slight modifica• there is an agreeable harmony of materials tions of the Victoria Building, the treat- such as we too seldom find. W e can call to nient to be observed was entirely one for the mind few modern buildings of importance architects' creative talent, taste and skill. which have occupied their sites with such The result was an exterior not only of noble good results, both in themselves and to their mass and solidity, but of grace and charm. surroundings." The design is frankly modern, though it is On the exterior fagades Australian trachyte described by the architects themselves as proves its value as a suitable base for the having a foundation in the Roman architec• masses of Portland stone that compose the tural style modified by such of the qualities main structure. At the entrance, in the hall of the French work of the eighteenth cen• and vestibule, this trachyte has an impor• tury as were regarded as suitable. The effect tant place in the foundation of a design that in the mass as the building is approached; the marbles of the .Australian quarries at the magnificent colonnade on the Aldwych Buchan, and Caleula and Augustan expand and Strand sides; the curving sweep of the and adorn. Marble, bronze and stone are northeastern fagade, in which the configura• the chief and almost the only elements of tion of the site on its Aldwych side has been the richly decorative threshold of the in• admirably used; the unstinted solidity al• terior, in which the patterned marble of the lowed to the walls, and the matter of the Moor lifts into walls of marble, while the

36 J THROVGH THE AGES mM^I

The vestibule of .Australia House, in Buchan (Victoria) marble, is one of the most impressive portions of this magnificent interior. A. M. & A. G. R. MacKenrie, architects.

I37] R:^rTHROVGH THE AGES | burnished bronze of the ornamental device The marble was shipped in eight or ten-ton upon the open balcony of the floor above, blocks and sawn and worked in England. the alabaster of the electric light fittings and The Buchan marble, which comes from Vic• the sweep of the balustrade of the lower toria, is a brownish-purple color; the Caleula staircase, combine toward an effect inher• marble conies from New South Wales, and ently beautiful and designed to be enhanced is very similar to the Italian Fleur de Peche; in beauty by mural paintings that are es• the .Augustan marble used in the staircases sential additions to the decoration. and corridors is from South .Australia and is pure white and very hard. .A small quantity The library or conference room on the of Greenstone from New Zealand has also main floor is graceful in its proportions. It been used. is a large chamber 60 by 30 feet, with a ceiling height of 20 feet. The sides are in a The skill of the architects has contributed series of arched French casements and Ca- to the building of a London headquarters leula marble pilasters. Pillars of the same for the Commonwealth Government of which material are placed at the entrance way, as .Australians ha\-e reason to be proud; through• shown in our illustration. The exhibition out, the use of Australian material has a hall, on the other hand, is in Buchan marble continuous effect of beauty, and the dignity, and bronze, whereas .Augustan marble is grace and charm of the structure bring it to used for the floors on the first floor in the the attention of millions of British people, long hall that extends from the vestibule, and remind them constantly of this portion past the staircases, to the exhibition hall. of their Empire Dominions.

Caleula marble pillars and pilasters at entrance to library in Australia House. London. England.

[38] THROVGH THE AGESl:(^^

A LIST OF THE WORLD'S MARBLES By J. J. MCCLYMONT

Note—in a past issue. Mr. McC'lymont proposed, for tlie s;il<.e of convenience, to divide the different marbles into four groups. These arbitrary groupings were as follows:

GROLIP A — Any marble or GROUP B — Any marble or GROUP C — Any marble or ( iR' u r I ) -.Ml marhle si( mc stone sold to the trade in fair- stone sold to the trade in slab^ stone that cannot be s«)ld 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 ol natural de• their peculiar formation are and guaranteed by the --ellcr 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• Breccia^ and nearly all highly defects, that can be finished the finishing of which, be• pletely healed surface \oids. colored marbles and serpen• at a minimum cost, and sold cause of texture, the sire of etc.. to be treated by the tines, and that are sold to the to the consumer as sound slabs, the shape and si:e 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 necessjary by liners on guarantee as to their sound- back or metal inlays and sold in iiiMied b\ I lie in.inu to the consumer as semi- lacturer in the most approved sound marble. manner, reinforced w here nec• essary by liners on back or metal inlays and sold to the consumer as unsound marble

Shen Si Province Light gray, white and gray with white See Shan Si Province. \eined marbles are quarried on a rather extensive scale. Shepton Mallet Marbles Large quantities of the white variety are The marbles quarried at Shepton .Mallet, used in Calcutta, where it is known as Somersetshire, England, are mostly dark (Chinese White. gray, dark brown, almost black and gra\ - ish-brown light and dark; some have faint Siberian Granite gray spots and marks. (Blagrove.) See Granito Graftco.

Sherburn Sicilian Jasper See Huddleston. Quarried in Sicily. Red with zigzag bands of white, red, and Sherwoods Glen Black sometimes green. (Blagrove.) See Glen Falls Black. Sicilian Marble Shetland Isles Serpentine For some unknown reason (excepting the See Fetlar and Unst. possible explanation "that originally Ital• ian for export was consigned to some sea• Shrewsbury Green port in Sicily and reshipped to destina• See Fuchsite Schist. tion") all White Italian marbles with the possible exceptions of Statuary were at Siamese Marbles one time known as Sicilian marbles. The See Gray Siam. white marbles, not including Statuary, are Quarried near Bangkok, Siam. according still known in various parts of the world to Watson. as Sicilian marble. In America and some

[39 other countries any White Italian marble Siena New Montarenti -Same as Siena not Statuary, Blanco P, or Veined Italian, Old Convent Yellow, but has no veins. is known as White kalian, of which there Group D. are four standard grades. Siena Old Convent Gray or Silver Blanco Rosado, Chercos Beteado, Cobdar Gray. Group D. Blanco, and other similar Spanish mar• Light gray mottled and marked with bles because of their resemblance to the faint bluish-purple veins. abox'c marbles are sometimes known as Siena Old Convent Gray Mixed. Group Spanish Sicilian marble. D. Light gray mottled running to yellow mottling all marked with faint purj^le Sidi Brahim and Sidi Hamza are both non- veins. producing .Algerian quarries. At Sidi Siena Old Con\ent Montarenti, or Brahim. ten kilometers south and four Siena Old Montarenti, are indefinite degrees west of Nemours, an Onyx of names for either Old Convent Gray, yellow gray and \ermilion tint is pro• Gray Mixed, Siena Old Convent, Broc• duced. atello or Siena Old Convent Yellow. Group D. Sidi Yaga Siena Old Convent Yellow. CJroup D. Sidi Yaga quarries near Bougie in Algiers. Rich \ ellow and brownish-yellow mott- Black with white veins. lings with a few purple and almost dark Takes good polish. (Blagrove.) black veins. ALL OF THE AB()\"E lAKE A GOOD Siena Dark Montarenti POLISH. Same as Siena Old Convent Yellov\-. Siena Pavonazzo Yellow Quarried at Colle d"Elsa, ltal\'. Siena Plain yellow with Pavonazzo markings. Quarried near Siena, Tuscany, Italy. (Taber.) Siena marbles not produced from the Takes high polish. Montarenti quarries are generally known as Siena Galena, while those from the Montarenti quarries are known as Siena Plain Yellow Siena Old Convent, Old Montarenti, Quarried at Colle d'Elsa, Italy. New Montarenti, or Brocatello. Light and dark yellow. (Taber.) Siena Alabaster—See Albastre de Siena Takes high polish. (Onyx). Siena Brocatello—Deep yellow to brownish yellow with an abundance of Sierra de las Filabres purple veins and markings. Group D. See Chercos Beteado Siena Galena Gray—Gray to light Chercos Blanco yellow. Group C. Cobdar Blanco Siena Cialena Yellow—Light brownish Macael Blanco yellow variegated. Group C. Macael Gres

40 THROVGH THE AGES

Sierra Tufa Stone Silver Cray C jroup A. Quarried at Bishop, Inyo County, Cali• Victoria quarries near Knoxville, Ten• fornia. nessee. Sierra Tufa Stone A—Brownish red, Dove colored gray, slightly mottled; con• slightly pitted and speckled with small tains a few veins or crow feet. grains of light yellow, dark red, and quartz-like crystals. Silver Gray Takes no polish. QuarriednearPlymouth, Devonshire, Eng• Sierra Tufa Stone B—Is salmon color, land. otherwise same as "A." Delicate Gray. Sierra Tufa Stone C—Is dark drab in color, otherwise same as ".A." Silver Gray Siena Signa Breche See Siena Old Convent Gray. Signa quarries. Upper Pyrenees, FVance. Mingled shades of brown and green with Silver Gray Siena Mixed red spots. (Blagrove.) See Old Convent Gray Mi.xed.

Signalstaff Hill Silverleigh One of the quarries producing Cornish Quarried near Buckfastleigh, Devonshire, Serpentine. England. Very dark gray, nearly black, intersected Silesia Marbles with numerous white veins. (Watson.) See Gray Kunzendorfer marbles. Lindewiese. Simittu Colonia Silesian Serpentine Ancient name for the modern Chemtou, See Hrubschitz in the Medjerda Valley, Tunis, North .Africa. Moravian Giallo Antico or N'umidian \'ellow is Reichenstein quarried at this place. Silicate A salt or ester of any of the silicic acids. Sireuil Quarried at Charie, France. Silverdale—Group A. Soft grayish stone strewn with small spots Quarried at Silverdale, State of Kansas, of rose. United States. .Another limestone with the same name, Buff colored limestone. probably from the same quarry, is very Takes low polish. soft, is whitish gray, and has fine grain. Still another stone is light yellow. Silver Gray—^Group .A. Quarried at Tate, Pickens County, Skjerstadt Fjord Georgia. " White Salten Marble"" is quarried near Uniform gray of a silvery cast. Fauski, a small town on the north bank of Takes good polish. Skjerstadt Fjord. l4i I J^i:^rTHRQVGH THE AGESH^^

Skyros 14 A—Variegated cream and Skye Marbles faint blue gray with rich orange mark• Quarried in Strath Parish, Isle of Skye, ings. Inverness-shire.. Scotland. Skyros 14 C—Brecciated with deep The following list and descriptions are reddish-brown filler and cream colored f rom Watson: to light yellow fragments. Skye Dove or Blue—No. 3 Investiga• Skyros 14 D—Brilliantly colored vein• tion quarry. Blue gray, traversed by ings of orange and rich deep brown with numerous slender back markings. small specks of blood red. Skye Gray —No. 4 quarry. Light gray Skyros E—Highly variegated marble with faint suggestion of violet. Snow- in which the crystals are tinted various white veins traverse the mass. There shades from red to brown. are occasional deep purple markings. Skye Pink—No. i Investigation quarry. Faint suggestion of delicate pink per• Slatoust vades the nearly white ground mass; See Gray Ural a few white and pale green veins and White Ural occasional thread-like black markings. Another variety from the same quarry Sligo Serpcnline is the same except that the pink shad• See Rock Wood Glen. ing occasionally assumes a violet tint. Skye Veined—No. 3 quarry. Dull white with sinuous veins and patches of Smaragdus Cyprius pale green. See Plasmi de Smeraldo. No. 4 quarry. Although this marble comes from the same quarry as the gray it does not resemble it in general Snowy River appearance. It has a white ground with Same asOrbost. light gray clouded veinings and oc• casional black markings. SoafDstone, Steatite, Talc and French Chalk See Steatite. Skyros General name for marbles quarried on the Island of Skyros in the .Egean Sea west of Soapstone (.American) Greece. .Also known as Alberine Stone. Skyros A or Alpha—White and opaque Quarried at Lynch Station, Virginia. with a network of irregular deep red Bluish gray. orange colored veins. Skyros 12—Variegated cream with a Sabre double network of fine veins of pale Pacagne quarries, at Sobre-St.-Gery, near yellow and violet. Beaumont, Hainaut, Belgium. Skyros 14—The veins are much like Ashy gray tinged with blue, containing those in Skyros 12. There are also spots and veins of white and rich yellow. black irregular markings and parallel yellow bands. (Blagrove.) l4l] THROVGH THE AGES

PENINSULAR STATE BANK BRANCH Warren and Harding Avenues, Detroit. Mich.

This installation by us illus• trates the use of Veined Carthage Marble for wall wainscoting and counter screen.

GEORGE V. POTTLE, Architect.

CHRISTA-BATCHELDER MARBLE COMPANY DETROIT MICHIGAN

From this quarry we have supplied blocks of Black and Gold to make monolithic columns of i6'x 2'8" for the Amer• ican Marble &l Mosaic Co. of San Francisco. We believe that this type, A29B, of Black and Gold, is the sound• est and most practical of all types.

VIEW OF ANTONIO BICOI'S BLACK AND GOLD PRODUCTION A29B

ANTONIO BIGGI Foreign Marble & Stone YARD AND OFFICE SANFORD ST. AND VERNON AVE. LONG ISLAND CITY NEW YORK CITY

[43] —^WTtHROVGH THE AGES

ADDITION TO THE COLORADO NATIONAL BANK, DENVER. COL.

A noble interior of rare distinction rendered doubly effec• tive by the use of Hauteville marble for standing columns, bank screen, seats and officers' island, and Gray Tennessee for the floor. All of this marble was fabricated by us and installed by Salomone-O'Brien Marble Co.

Architects of Original Building: W. E. FISHER and A. A. FISHKR. Denver. Col. Architects of Addition: M. H. HOYT and B. HOYT. Denver. Col. Contractors: ALEXANDER SIMPSON. JR..Co..Denvcr.Col.

GRAY KNOX MARBLE COMPANY

KNOXVILLE :: :: TENNESSEE

Offices in New York and Chicago

44