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JANUARY. 1924
In ancient days the builder knew To stay the hand of ruthless time- He monumental structures built Of ageless marble, rock sublime. J. s. H. m EJZl ET£1 EJa CM Bra Eia D Era GlE] EJEl BJZl Eia [31
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CONTENTS
PAGE
THE CAPITOL OF WISCONSIN Frontispiece
CREATING "ATMOSPHERE " WITH MARBLE 3
THE MARS HILL OF BALTIMORE 7
SAFETY SIGNS IN THE MARBLE QUARRIES q
GOTHIC ARCHITECTURE IN FRANCE 13
MARBLE FOR DECORATIVE PURPOSES 20
THE WISCONSIN CAPITOL 27
LIST OF THE WORLD'S MARBLES 37
MEMBERSHIP DIRECTORY 4^
Published Monthly by thi 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. 1924. NATIONAL ASSOCIATION; OF MARBLE Df;ALERS I C^JH: • SIS I
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View of the Capitol at Madison. Wisconsin, one of the most magnificent public buildings in the world. The city itself is in the midst of such unusual scenic beauty that Longfellow was inspired to write of the surrounding lakes: "Four limpid lakes, four naiades. Or sylvan deities arc these. In flowing robes of azure dressed. t Four lovely handmaids that uphold Their shining mirrors, rimmed in gold To the fair city of the West." A Monthly Magazine devoted to the uses of Marble - its universal adaptability, beauty, permanency and economy
VOL. 1 JANUARY, 1924 NO. Q
CREATING "ATMOSPHERE" WITH MARBLE
How a Famous Hotel in the "Nation's Playground" Secured Unusual Interior Effects.
OME time after the sinking of the material. Stone is the primeval material S Lusilania. the Roycroft Press brought that formed the world. Old Job calls it the out a little booklet by Elbert Hubbard, foundation of the earth."' the leader of the Roycrofters, whose life had This view of Hubbard's is far from being been sacrificed in that great disaster. It the vision of an idealist. It is being sub• bore the title of "Art and Architecture of stantiated daily by the men of business, the World's Love of Stone. " From cover to those builders who look first to commercial cover it is a plea for the best in building con• success, and never allow their good judg• struction. One of its apt comparisons is ment to be undermined by artistic theories. set forth in the following paragraph: Thirty or more years ago. a certain Ameri• 'There is fashion in building as well as can architect prophesied that the next fashion in raiment. Some have a sentiment twenty-five years would be an "age of mar• in favor of imitation stone or concrete. And ble." As it looks now he might safely have in some instances such material serves the said the "next fifty years." Certainly the purpose. Barns, poultry-houses, sewers, popularity of marble for the purposes of culverts, roadways, factories and tenements decorative architecture was never greater have been made of artificial stone. As a cheap than it is today. And there is every pros• substitute and a convenient building mater• pect that the future will add materially to ial artificial stone has its distinct use. But the prestige already acquired. he who has in mind the memories of the This appealing power of marble is made glory that was Greece and the grandeur up of many factors, but among them all that was Rome can never be satisfied with there is none more irresistible than the in• imitations. Just as in the world of morals imitable naturalness of its color effects. there are a few things for which there are no The value of this quality has been recog• substitutes, so in the realm of materials no nized by no less an authority than John substitute has ever been found, or can be Ruskin. found, for stone. It is God's own building "It is notable," he says, "that the best m THROVGH THE AGES
Part of Main Lobby of the Hotel Traymore at Atlantic City. N.J. .All the standing marble is Verde Antique. tints are always those of natural stones. made to adapt the colors to the building, These can hardly be wrong; I think I never that it may have the needful environment yet saw an offensive introduction of the nat• for the work it has to do. This is well illus• ural colors of marble and precious stones, trated by the marble that has been installed unless in small mosaics, and in one or two in some of our more recent hotels. glaring instances of the resolute determina• The hotel has become an important fac• tion to produce something ugly at any cost." tor in modem life. It serves as the tran• The color harmony of marble is at its sient or permanent home for vast numbers best in the field of interior decoration. And of our people, thus giving an opportunity it is in that field that the departure from the for the creation of wonderful effects in level of monotony has been most pro• architecture and craftsmanship. That the nounced. This is the altogether logical out• desired ends are being attained, is due in come of the development of many varied large measure to the quality and product• types of American marble. iveness of the marble quarries. For it is un• Nor has this study of the subject been deniably true that both architects and limited merely to the \\ork.ing out of color• 0"WTiers of hotels are turning more and more ful combinations. .A -v^orthv effort has been to marble for the pleasing and satisfying
4l THROVGH THE AGES
effect, for the desired note of aristocracy. tique is arranged in plain massive fashion, Take as an example the Hotel Traymore, lightened to the required degree by panels erected a few years ago at Atlantic City. of Special Sylvestre. By this means, and by The architects. Price &i McLanahan. of the judicious use of plants and shrubbery, Philadelphia, realized that this structure is the interior endowed with the deeply rich was to stand in what has rightly been and cool feeling which is a part of the at• termed the Nation's Playground, the great• mosphere of this famous hotel. est hotel resort in the world. They knew In that word "atmosphere" lies the ke\- that in order to take the place it was ex• to the success of the Traymore as a building pected to fill, this hotel must have individ• project. The plan and purpose back of the uality and distinctiveness, and so it came interior is not simply the idea of a hotel; it about that marble was used extensively in is the conception of a hotel for a certain the construction of this great hostelry. place and with a special mission. Nothing All the marble was provided at the Ver• was allowed to obscure the picture. This mont quarries. In the floors the field is of holds true especially in the case of the mar• Venoso, a sharply veined marble, and the ble. It was chosen to meet the requirements tiles are laid with the veining at right an• of a specialized type of hotel, and only those gles, producing a warm tone which at the who have seen the place can know how well same time is full of life. The effect is quite it has adjusted itself to the inner life of the unique. For the walls. Vermont Verde An• structure.
Another view of the Lobby of Hotel Traymore. .Atlantic City,
[5 R:^rTHROVGH THE AGES
II
An old view of Mount Vernon Place. Baltimore, looking north. The Peabody In.stitute is shown in the right center: the Mount Vernon Place Methodist Church in the center to the right of Washington Monument. THROVGH THE AGES
THE MARS HILL OF BALTIMORE Mount Vernon Place, in the Monumental City, is the site of many fine marble structures
N February of 17Q5 there was bom at of a hill that slopes sharply up from Center I Danvers. Massachusetts, a boy who was Street, its position at the southeast comer destined to become the foremost philos• of Charles and Monument Streets makes it opher of his time—one of whom it was after• the dominant structure of the beautiful wards said that ""in the greatness of his be• buildings that surround the marble shaft nevolence, George Peabody stands alone." erected in the center of what is known as At an early age he settled in Baltimore, Mount Vernon Place. The immediate neigh• where he engaged in business. Later, mov• borhood is the finest residential section of ing to England, he prospered exceedingly, the city—an oasis of fashionable homes be• and became one of the richest men in the longing to the elite of Baltimore and set world. In 1857 he bestowed a gift of money do>vTi in the very heart of the downtown that in the end aggregated $1,400,000 for area, between the shopping section and the the founding of the Peabody Institute in automobile district farther north. Baltimore. During his life he gave away The Peabody was opened in October, from eight to nine millions of dollars. /\mong i8b6. The architect, Edward G. Lind, of his gifts, besides that of the Peabody Insti• Baltimore, followed the Roman style, but tute, were the Institute at Danvers in Mass• with many modifications. The exterior was achusetts, now the town of Peabody; the Islington poor-benefac• tion project, in Lon• don, in which some sev• en or eight blocks of tenements were built for rental on moderate terms to those in strait• ened circumstances; $3,500,000 for the pro• motion of educational interests in the South- em States; and the mu• seums at Yale and Har- vard that bear his name. The location of the Peabody Institute of Baltimore is perhaps the most beautiful spot in the city. At the crest The north fagade of the Peabody Institute.
[7] THROVGH THE AGES
treated in the Renaissance st\ le. .A.n unusual feature of the build• ing is its hot-water heating plant, the first ever installed in Baltimore. It is still in active service. The library contains 211.73Q books and nearl\- 50.000 pamphlets and maps. The monument in the center of Mount Vernon Place is the first ever erected to George 1 I 1 Washington. It was at first pro• posed to place the majestic col• umn nearer to the Court House, but the residents feared that the tall shaft would attract light• =T Ifl ning to their dwellings. At that 1\ time, early in the nineteenth century, the section where the monument now stands was a park belonging to Colonel John Eager Howard. This site was of• fered by the o^vner to the city at a nominal rental of thirty-five dollars a year, and, because of its seclusion, was quickh' ac• cepted. The comer-stone was A marhlc-front residence on Mount \ ernon Place. laid on July 4. 1815. with im• built entirely of white marble from the near• posing Masonic ceremonies. The cost was by quarries at Cockeysville. Maryland. Two over $175,000 and the designer was Robert stories in height, with a basement, it extends Mills, of Charleston, S.C. In iSzq the plac• for 175 feet on Mount Vernon Place and 152 ing of a sixteen-foot statue of Washington, feet on Washington Place, as Monument executed by the Italian sculptor Henrico and Charles Streets are respectively called Caucici from a thirty-six ton block of mar• at these points. The north front is divided ble from Cockeysville. completed the me• into two wings set twenty-four feet apart. morial. "The elevated place of its erection, The west wing contains the large Peabod\' carved out like so many of the city's choic• Hall, music conser\atory rooms and a pic• est sites by the meanderings of Jones Falls, ture gallery. In the east wing are the library, became the architectural Mars Hill of Balti• reading rooms, two art galleries and two more, a site pre-eminent in beauty as the small lecture halls. The entrance lobby has monument was first in time to the honor of a marble floor of white and black squares, the man called by Lee 'first in war. first in with a handsome white marble stairway peace, and first in the hearts of his country• leading to the second story. The interior is men"."
8 ^1 THROVGH THE AGES \&
In the modern mill the marble is moved by electricity, with a consequent gain in safety over the old method.
SAFETY SIGNS IN THE MARBLE QUARRIES
"^HE time was mid-aftemoon, A.D. Mountain State: the first real quarrying. 1838. The place was a rocky, side-hill Even then the good people of Vermont I pasture in the little Verm.ont lov^n of could look back over fifty years of marble West Rutland. A hoarse voice was bawling working. Operations has been carried on at out a waming for all to get under cover. other points as early as 1785. But at West Every last barefooted urchin was being Rutland was inaugurated a period of con• chased down out of the danger zone. After tinued activity which led to the develop• that a moment of quiet. Then a booming ment of one of the most remarkable marble like some old Fourth-of-July cannon and a quarries. clatter of falling stones. That was marble Unlike their brothers over the seas, the quarrying in the early days of the Green V ermont quarry owners soon became dis- THROVGH THE AGES satisfied with the blasting game. It was too wasteful. They be• gan to experiment with other ways of dislodging the marble from its unyielding bed. Men were set at work with drills and wedges in an effort to convert the upper layers into market• able slabs. For a time this clumsy method seemed to an• swer the demands of the pro• ducers. As the excavations grew larg• er, more men were delegated to this muscle-building labor. To quote from an old report of sixty-five years ago: "It was an interesting scene to behold two hundred quarry- men ranged in rows, each with his long sharp drill, steadily cutting deeper and deeper those grooves that are des• tined to sunder the fetters that bind those valuable blocks to their parent bed. The musical ring of the quarryman's drill, that reverberates to the ear from the depths of the quarry, is pleasing to the spectator as In one of the quarries huge concrete piers have been built, that the he stands and looks down into side walls may be properly supported. it; and to the proprietor it is a welcome har• the neighboring quarries, and as a result the binger of the good times coming." marble industry began to have less of waste Those good times which the optimistic and more of prosperity. observer had in prospect must have been Today there is little to remind one of enlivened by a vision of the steam channeler, the antiquated steam channeler except the an innovation of the year 1863. It was in• smoke-blackened walls of the older openings. vented by George J. Wardell, of Rutland, The trail of the soft coal buckets is now and to him belongs the honor of building marked by an extended system of electric the first machine. Although this pioneer wires. Yet the idea is unchanged. It is the channeler became the property of the Suth• same ceaseless hammering which Wardell erland Falls Quarrying Company, and spent started that has enabled the quarrymen of its entire life in a Proctor quarry, others of Vermont to follow the vein of marble, similar pattern soon found their way into whether it goes straight into the earth or
10 THROVGH THE AGES
swings off at some unaccountable angle, the lives of the employees. At the Pittsford Of the improvements and labor-saving Valley Quarry, where there has been less of devices which have come with these later tunneling and more of driving directly years, little need be said. The story of elec- downward, it has become necessary, in order tricity as it has been applied to marble to support the outer walls, to construct a quarrying is already a matter of common series of concrete piers. These jut out be- knowledge among stone men. There is the tween the east and west machine-made mar- conviction, too. that, because of this linking ble cliffs like the girders of a huge bridge, of brains and electricity, the numerous holes There are no less than six of these mammoth in the ground are deeper than they other- eight-sided piers, and, since the cavity in- wise would have been. The point that is less creases in length and breadth as it grows often emphasized is the problem of safety deeper, each successive pier is correspond- which is the natural handicap of greater ingly longer than the one above it. efficiency in removing the marble. The last of these concrete safeguards was How to make the quarry safe and how to 60 feet long and 10 feet in diameter. It is keep it so. In wrestling with that question 150 feet below the surface and not quite the producers spend not a little of their half way to the bottom, the entire depth time and money. being more than 300 feet. Underneath it. The West Rutland opening in the begin- is an unused section of the quarry partly ning was not unlike other marble quarries, filled with water. The feat, therefore, of The vein to a depth of about 200 feet was molding those octagonal beams and pour- almost vertical; then for no apparent reason ing the concrete in mid air is not one to be it turned nearly at right angles and re- lightly dismissed. trenched itself under the hill. Thereupon, One of the Brandon quarries also has been the excavation ceased to be a quarry and fitted with concrete piers, but there they became a mine, a system of underground are vertical, designed to hold up a section of tunnels which are still being extended and overhanging roof. In the Danby quarries, multiplied. On the roof of these tunnels as in the tunnels at West Rutland, the rests the weight of the entire hill, and so, vaulted underground dome rests on stand- every now and then, the quarrymen leave ards of solid marble. In still other places, behind them a marble pillar to hold up the there have been subtle peculiarities in na- load. Unlike most pillars, the work of build- ture's plan which have called for individual ing resolved itself into the labor of cutting treatment, but these few examples are all out and removing the marble around them, that need be named. By means of these supports and the careful All this leads to the conclusion that, in pointing of the intervening roof spaces, the cutting marble out of the ground, it is not West Rutland quarries are being kept well enough to get it out quickly and in blocks out of the accident class. which meet the demands of the mills and In that part of the Vermont deposit which shops. Of no less importance is the elimina- comes within the town of Pittsford. other tion of scaling and undermining. Even difficulties were encountered. At the Flor- though human life were not endangered, entine opening, a cement wall, 120 feet long any collapse of the quarry structure is al• and between 3 and 4 feet high, has been most sure to cause extended delay, and de- built for the sole purpose of safeguarding lays are always enemies of business.
[II] ( Phoco courcesy E. H. Glidden. Architect. Balto., Md. Interior of the Cathedral at Rouen, built 1202 to 1220 A.D.. showing the employment of the fully dcN'eloped oblong \'ault. THROVGH THE AGES GOTHIC ARCHITECTURE IN FRANCE REAT progress in the art of building areas. The wall needed only be strengthened G had been made by the Romanesque at the points bearing the vault. architects on the Continent by the This was accomplished by the introduc• middle of the twelfth century, especially in tion of buttresses, and the wall between the the north and west. The styles which followed buttresses became only of secondary impor• during the period that extended from 1150 tance, as it was relieved from the pressure of to 1500 were only the outgrowth of the same the roof. In time, it became practically sup• fundamental principles. They were concerned pressed, and immense windows filled with with the same problems, and the chief of stained glass took its place. these was the problem of the roof. As long as the churches were designed The wooden roof was unsatisfactory and without aisles, the problem of dealing with many a substantial building was destroyed the thrusts was a simple one. The buttresses by fire on account of such inadequate cover• were built directly against the outer wall. ing. The barrel-vaulting of the old Romans >\ hich in turn took the vault thrusts. When, was too ponderous, for. even though there howe\ er. the design presented aisles at the was no lateral pressure exerted by those side of the nave, a new difficulty was pre• solid concrete roofs with which they covered sented. It was impractical to carry the but• their vast buildings, it required massive tresses straight do>vn, for they would block walls to support their enormous weight. up the aisles. This was overcome by building W hen masonry replaced concrete, the vault the buttresses on the outer wall of the aisle was even more difficult to support, for there and bridging over the intervening space by at once developed the side thrust against the means of a flying buttress. This led natur• v, a\\. The wall had to be made heavier and ally to an increase in the height of the nave, stronger to resist the strain, and the vault• since the nave piers and walls over them ing span had to be lessened in width. The were no longer burdened with the more ser• solution of these difficulties evolved a new ious part of the weight of the roof, the lat• principle, one that brought about a revolu• eral strains. This increase in height was ac• tion in the art of building. companied by a more graceful and slender This principle—that of ribbed vaulting— proportion of the parts, a distinguishing formed the structural basis of the style of feature of the Gothic style. architecture known as Gothic. It involved While the necessity of the flying buttress the recognition of two principles that had hampered the exterior design in some re• been partially understood by the Romans spects, the possibilities of its use as part of and Byzantines but never actually practised the decoration of the building was quickly by them. These were the concentration of recognized. In fact, in some French Cathe• strains and balanced thrusts. drals it had the appearance of being purely In ribbed vaulting there was carried a an ornamental feature, placed in its position skeleton of ribs transversely and diagonally purely to give grace to the design. The outer across the nave, forming a strong open buttresses, at first commonly topped with framework. The weight of the roof was made small gables, were adorned later with pin• lighter and the width larger, to span larger nacles like small steeples. Some authorities 13 THROVGH THE AGES Photo courtesy E. H. GliJden, Architect, Balto., Md. St. Ouen. at Rouen, begun in 1318 but not finished until 1515. have stated that these were added to give otherwise fit the wall spaces under the wall- greater stability to the buttresses by adding ribs of the nave and aisle vaulting. It would to their weight, but their small size seems be an error to suppose the pointed arch the rather to point to their use as purely decora• most characteristic feature of the Gothic tive. In one instance only, that in the style, as so commonly regarded. Rather was Rheims Cathedral, is the size sufficient to it merely an incidental constructional ex• give weight to the first theory. pedient. "Far more important," says Fer- "The pointed arch was adopted to remedy gusson, "than the introduction of the pointed the difficulties encountered in the construc• arch was the invention of painted glass, tion of oblong vaults"—(Hamlin. History which is really the important formative of Architecture). At first introduced as the principle of Gothic architecture; so much so, most convenient form for the ribs of the that there would be more meaning in the vault, to make them intersect in regular ver• name if it were called the 'painted glass tical plane curves, it was soon applied to st\-le' instead of the pointed-arch style. . . . other parts of the structure, especially the We must bear in mind that all windows in windows and pier-arches, which would not all churches erected after the middle of the 14] THROVGH THE AGES Md St. Maclou. at Rouen, finished in 1541. a Gothic Cathedral of the Flambovant stvle. has portals with unusually elaborate details of tracery and carving. In the towers and spires, emphasis was laid upon the vertical elements. twelfth century were filled or were intended developed another feature—window tracery. to be filled, with painted glass, and that the It appeared first in the clerestory windows. principle and guiding motive in all the When the wall arch became pointed, the changes subsequently introduced into the broad round-headed Romanesque window architecture of the age was to obtain the was given a pointed arch; and at Notre greatest possible space and the best locali• Dame, when the uselessness of the wall be• ties for its display." came apparent a little later, the window was With the growth in the size of the windows enlarged to give a wider field for the display and the more extensive use of glass, there of stained glass. Since it was too big to 15 ^:M^rTHROVGH THE AGES glaze in one light, a central colonnette was of the cathedral of Rouen and in some of the inserted carrying two small pointed arches, chapels of Amiens Cathedral. Because of upon which rested a huge circle of stone the attention given to it by its designers, it nearly filling the space of the old window. is possible to trace the \-arious periods in the An elaborate system of iron bars was used to history of Gothic Architecture more readily give the required strength. This was in 1225. by the style of window tracery than by any At Chartres there was used a hard stone other feature. easily split into thin slabs, and this circle It is customary to divide Gothic Archi• was partly filled with these slabs pierced tecture in France into three periods: the with quatrefoils and forming around the Early Period began about i iqo and ex• center a circle of cusps holding the iron ring tended to the middle of the thirteenth cen• which carried the glass. The wall arch was tury, the Middle Period lasted from then made semicircular, exactly to fit the rose. until the latter part of the fourteenth cen• Beneath were two pointed lights, side by tury: the Flamboyant or Florid Period be• side, the whole design forming a bar-tracery gan about 1370 and continued until about of great beauty. At Rheims. the cusps were 1550. inserted into a groove in the large circle and The church builders of France surpassed had blunt ends into which was screwed the all their contemporaries in the development iron ring that supported the glass. At of the Gothic principles during the Early Amiens, the circle cuspings were trefoiled Period. The close relations between the and the lower lights had cusps taken from church and the state and the popular esti• the solid. mation in which the bishops were held, led When it became necessary to fill such to the rapid recovery by the episcopacy of enormous spaces as those in the clerestory its old power and influence. The rebuilding at Amiens, there was carried out the prin• of many of the Romanesque cathedrals w^as ciple already adopted at Paris and Rheims, an urgent necessity and new churches were of two small pointed arches resting on a needed on every side. Viollet-le-Duc says colonnette and carrying a circle above, of this period: "Nothing today, unless it be simply repeating the design between the the commercial movement which has cov• central mullion and the walls, and using in ered Europe with railway lines, can give an all the circles the Chartres system of cusp- idea of the zeal with which the urban popu• ing. In the transepts, the side lights were lation set about building cathedrals." As better proportioned to the main circle, and many as seventeen cathedrals were being had trefoils instead of circles in the heads. built or entirely reconstructed at the end of These windows and those of Sainte-Chapelle the twelfth century, among them such struc• of Paris, and St. Germain, are perfect ex• tures as Bourges. Bayonne. Cambra\-. Char• amples of the Gothic window at the time of tres. Laon, Tours, Poitiers. Lisieux. Troyes, its fullest development in the thirteenth Senlis. Soissons and Notre Dame at Paris. century. For a century following, French During the next twenty-five years were be• tracery stood still, until suddenly the cir• gun the cathedrals of Amiens, .Auxerre, cular and geometrical patterns employed Rouen. Rheims. Seez and many others. were abandoned for more flowing and ca• Notre Dame at Paris (1163-1214) showed a pricious designs. Flamboyant tracery in perfectly symmetrical plan with a semi-cir• France was first used in 1370, in the fagade cular east end. richly sculptured triple west- 16 THROVGH THE AGES I^M^ aurtesy E. H. Gliddcn. Architect. Balto., Md. The system of vaulting on oblong bays by the adoption of groin ribs and pointed arches was probably first used in Chartres, begun in 1194. em portals, and rose-windows in the main Amiens (1220-1288) showed Gothic at its gables. As usual with buildings of this date, best. Ruskin says of this cathedral: "In dig• there was a simplicity of treatment in the nity inferior to Chartres, in sublimity to groined six-part vaulting, and arrangement Beauvais, in decorative splendor to Rheims, of parts. Circular shafts were used between and in loveliness of figure-sculpture to Bour- the central and side aisles. The side aisles ges. It has nothing like the artful pointing were doubled and those next the center had and moulding of the arcades of Salisbury— two stories. The interior division into bays nothing of the might of Durham. And yet, was marked on the exterior by a uniform in all, and more than these, ways, outshone series of pinnacled flying buttresses. Char• or overpowered, the cathedral of Amiens tres (1194-1230) showed a simple southern deserves the name given to it by M. Viollet- spire, and such magnificent windows that le-Duc—'the Parthenon of Gothic Archi• the poet says of them that they were the— tecture!' " "Pride of France, The east end usually showed a semi-circu• Each the bright gift of some mechanic guild. lar arrangement; but at Laon and Poitiers Who loved their city, and thought gold well the square end was used. The transepts were spent not fully developed and the west front usu• To make her beautiful with piety." ally had a triple portal surmounted by a [171 THROVGH THE AGES Photo courtesy E. H. Glicldcn, Architect. Balto.. Md. Rheims l"a?adc shows the general superiority of French Gothic carv ing and sculpture, especially figure sculpture, where it reached true nobility of expression, combined with great truthlulness and delicacy ot execution. i8l THROVGH THE AGES series of niches filled with royal statues. lapsed in a few years, and the whole had to Splendid porches, finely sculptured arch• be reconstructed. As it stands today, the vault ways elaborately enriched with figures of is 160 feet high from the pavement, as com• saints and kings, are specially characteristic pared to the lengthy Einglish Ely's 75 feet! of French design. The cathedrals are gener• Other Gothic buildings of this period are: ally larger than those of England, and on a St. Ouen at Rouen, built about 1320-1350. much more vast and imposing scale. In but with additions of a later date: Limoges, length there was no considerable difference. begun in 1272 and still unfinished; Toulouse Amiens being about 520 feet, only a little and Narbonne, both begun on the same date shorter than Winchester and Ely; but in on a large scale and never completed; Meaux. width and area, and especially in boldness Rodez and Alby, finished in the sixteenth and loftiness of the vaulting, they surpassed century; and Clermont, 1248, completed the English structures. As a general thing, under Napoleon III. the height was from three to three and a The Flamboyant style prevailed until the half times the clear width of the nave or advent of the Renaissance. The logical de• choir, tending to dwarf the great width of velopment of forms ceased and was replaced the central aisle. by the tendency toward excessive richness The changes previously mentioned, by of detail. The gables over the porches of St. which the wall was practically suppressed, Maclou at Rouen, and the older cathedral windows enlarged and every part made at the same place, were an open network of loftier and slenderer, resulted in a system of stone, suggestive of windows without glass. interior design well represented by the na\ e The cathedral of Alengon had portals with of Amiens. The gallery over the side aisle unusually elaborate detail of tracery and disappeared, but the aisle was very high. carving, while the unfinished fagade of Rou• The triforium became, not a gallery, but a en Cathedral (i5oq) surpassed all others in passage in the wall, richly arcaded, and gen• the lace-like quality of its open-work and erally treated like a lower clerestory stage. ornamentation. Troyes and Rheims were The whole space above in each bay was al• notable examples, as were the churches of most filled by the clerestory window with St. Jacques at Dieppe. St. Pierre at Louviers, effective tracery over narrow mullions. The St. Wulfrand at Abbeville and the facades side aisles were lighted by windows which of Tours and Troyes. occupied practically all the wall space be• Gothic architecture in France was not neath the vaulting. The piers and shafts confined to churches, but found expression were clustered and exceedingly slender. in every branch of secular and domestic Amiens, though it covered eighty thousand construction. Many fine specimens remain square feet, appeared light and graceful. of the later Gothic buildings. The hospital The Middle Period, beginning about 1250. of St. Jean at Angers and the Palais de Jus• was often called by the name of" 'Rayonant. tice at Rouen are illustrations of the adap• from the design of the window tracery. Few tations of the Gothic spirit to varied pur• cathedrals were completed, for enthusiasm poses. The Ducal Palace at Nancy (1476) had waned. The unfinished church of Beau- and the Hotels de Clun\- at Paris and Jacques vais is the most noteworthy, as the Gothic Couef at Bourges, as well as the east wing principles were carried to the most daring of Blois, are extremely picturesque with extremes. In fact, the tenuous supports col• their slender turrets and elaborate dormers. IQ THROVGH THE AGES Marble is used in the flooring and for the furniture in the Pompeiian Bath aboard the Cunarder Berengaria. MARBLE FOR DECORATIVE PURPOSES HEN we consider marbles for decor• Today, the most common uses of marble ation, we approach a subject that for interior decoration are for lining wall- Whas commanded the attention of surfaces, for flooring, for stairways and col• builders for over two thousand years. The umns. For wall-lining, the question of old Roman baths were plentifully supplied soundness and durability of the stone is not with marble flooring, wall-veneering, and of paramount importance. The architect even furniture of marble, often having col• has the assurance that, if properly placed, umns, mouldings and doorways of the same the wall-panels will stand as long as the material. The tourist in Italy, after seeing walls, and at the same time preserve all the splendid structures that remind him so their original colors and textures. This im• forcibly of the glory that was Rome's; or the mediately opens up to him his choice from magnificent buildings of Ravenna. Florence, among large numbers of variegated-colored Pisa and Venice, comes away with a con• marbles, and it is a most exacting taste that fused memory of wonderful marbles lavishly cannot be suited by the offerings of the employed, "a multitude of pillars and white American quarries, supplemented by the im• domes .. . and marbles, that half refuse and ported French. Belgium. Italian and other half yield to the sunshine, Cleopatra-like, varieties. The marble is sawn into slabs 'their bluest veins to kiss'." seven-eighths inch, one-quarter inch and two 20 THROVGH THE AGES ll fill The vestibule of the Pan-American Building. Washington. The columns arc- Grande Antique, the floors and stairways of two kinds of Tennessee. inches thick, the other dimensions averaging ruball floor-tile, treads and door-saddles. The about five by ten feet, and occasionally degree of polish varies from a slight gloss to running longer. a high finish, the general rule being that the Marble for flooring and stairs should be more highly colored and brecciated the mar• selected with regard to its hardness and bles, the higher the polish, since the markings soundness. There are a great many of our are accentuated in this manner. American stones that are exactly suited to The method of putting the marble in this purpose and these are shown in the place is told by Mr. David B. Emerson, in a "List of the World's Marbles" running seri• recent article in Architecture. He says: ally in THROUGH THE AGES. It is usual in "The greatest care should be exercised in work of this kind to polish all vertical sur• the setting of interior marble work, as, no faces, except carved, and hone-finish or sand- matter how beautiful the marble may be, it r^^l THROVGH THE AGESjfe^^ .-\nt)thcr view of the same building—The ,^merican Bond and Mortgage Com• pany structure at 345 Madison .•\\ enuc. New York. II C. Howard Crane, the architect of this New York buiIding. used French Haute- ville.BlackandCold.andPink and Gray Tennessee. Dark Utah Golden Travise with coarsed .•\shlar of Utah Rouge Jasper, used in the Church .Administra• tion Building at Salt Lake Citv. 22] THROVGH THE AGES This corridor is in one ol" Washington's pri• vate clubs. The columns and pilasters, as well as wall panelling, are of Vermont. i The Lincoln Terrace .Apartment Building, one ol Chicago's many fine structures, owes much of its beauty to its fine 1 marble. Italian marbles are used in the Bankers" Trust Company. 5 Place Vendome, Paris, the new and luxurious ".American " Bank. I Underwood &' Underwood, \'.Y 23] TH ROVGH THE AGES 'mE^ !!It!It I I MM I The Frick Building, in Pittsburgh, Pa . has Second Statuary in walls, flcwrs and balusters, and American Pavonarzo ceiling panels. will never show to the best advantage if be started at the floor level, and the base, or poorly set. It can be said with safety that first course, should be set before the finished *a well-set job of cheap marble looks better floor is laid. Slab work should be set out than a poorly set job of expensive marble.' from the walls at least three-quarters of an Interior marble work should always be set in inch, so that any dampness which may be in plaster of Paris, using casting plaster. All the walls will not penetrate the marble, and slabs, mouldings, etc., should be anchored the cement in the walls cannot stain it. The back to the walls by means of copper or brass edges of all slabs at the top, bottom, and wire anchors. Anchors should be made of sides should be rubbed straight and true, No. 8 Brown & Sharpe's gauge copper, or with sharp arrises, so that the joints shall be brass wire, for seven-eighths-inch stock, and neat and close. Marble floors should be laid heavier for thicker stock. Anchoring should on setting beds two inches thick, of one to always be done on the edges of the slab when three cement mortar laid on top of the con• possible, and anchors should be well wedged crete floor-slabs, or on concrete foundations, in the wall and into the slab, and set in if the building is of wood-joist construction. plaster of Paris. Door and window trim, The setting bed should be carefully spread where the edges are exposed and polished, and levelled off to a true plane to receive the should have V-shaped anchors drilled into floor-tile. The borders should first be laid the back of the marble. All columns should and properly levelled up, then the main be secured with copper dowels from one- body of the floor should be laid, levelling quarter inch to one-half inch in diameter, with the borders, and, if the surface is large, according to the size of the column. spotting tile at intervals, carefully levelling The work of setting marble should always them up, and then working to them. The 24 THROVGH THE AGES joints in floors should be as close and tight be reinforced with a galvanized wire mesh to as is possible, and after laying should be prevent the cracking of the mosaic, due to grouted with non-staining cement mortar. settlements in the floors. Borders and de• Marble mosaic makes a very excellent and signs which are to be laid in the body of the not very expensive floor for public and semi- floor, are laid face dounward and glued to public buildings. Mosaic pavements have drawings madeon heavy paper, then reversed been in use so long that no one knows their and laid in the setting bed. Floors should be origin, nor when or where they were first well grouted with cement mortar and ground used. There have been many types of mo• down to a level surface by means of electric• saic in the past, and the early mosaic-work• ally driven carborundum wheels. The best ers were true artists, as well as clever crafts• white tessare are imported from the Carrara men, but the modem mosaic-worker is, at district in Italy, although the /American sac- the best, merely an artisan, and his work is. charoidal marbles may be used quite as well. therefore, merely mechanical. Modem mo• For borders, designs, inserts, etc.. any of saic floors are made up of small cuboids of the sound colored marbles, such as Belgian marble, called tessare. These are set in a or American black, serpentines, Belgian setting bed of cement mortar, which should rouge, etc., may be used, but the softer mar• be tempered with a small quantity of lime bles, such as Numidian, Siena, Breche Vio- putty or hydrated lime. This setting bed lette, etc., should be avoided, as they wear should be at least one inch thick, and should easily and are liable to disintegrate." This is one of many fine rooms in the Bliss residence in Boston. The architect. A. Franklin Hanson, of New York, chose English Bath Stone as his medium. ^5] THROVGH THE AGES Detail of dome and one of the entrance pavilions of the Wisconsin State Capitol. In the com• petitive drawings the architects indicated four tourellcs or miniature domes at the base of the great dome, resting on the podium wall. These were later omitted and in their place the Capitol Commission substituted four groups of statuary overlooking the comer pavilions. These add materially to the pyramidal effect of the architectural composition. 26 THROVGH THE AGES THE WISCONSIN CAPITOL A Building that Contains Much Marble and has the Second Largest Dome in the United States F all the State Capitols, none has a was finally removed to make room for the O more interesting history than that at extension of the succeeding capitol. Vladison. Wisconsin: nor is there a The third building, made necessary by single one that can surpass it in the variety the increasing activities of the new State of and quantity of the marbles used. There are Wisconsin, was begun by the erection of the twenty-one foreign and twelve American east wing in 1857-59. The old structure was marbles, coming from four countries of wrecked in 1863 to make room for the north Europe, one country of Africa, and five and south wings. The total cost was about states of the Union, and together forming $Qoo.ooo. On February 27. 1Q04. a disas• a display that is unique in this country. trous fire destroyed a large part of the inte• Even the Pennsylvania State Capitol at rior. This damage was partly repaired, but Harrisburg. long noted for its generous plans were immediately prepared for an showing of marble, does not contain such entirely new building and in IQO6 the work beautiful stones as may be seen at Madison. was started. The building was so nearly The present building is the third capitol completed in 1Q17 that all portions could be upon the same site and the fourth capitol occupied, although even yet there is some used by the State. The first was a tempo• work to be done before it is fully finished. rary two-story frame structure, known The architects were George B. Post and originally as "Noah's Ark." because it had Sons, of New York. housed so many families. Madison lies in the charming Four Lakes The place was Old Belmont, now Leslie, country, in the south central part of the in Lafayette County. A long struggle took state. The country roundabout is rolling place over the location of the permanent and the city itself is built on an isthmus seat of government, but finally Madison, whose sides are bathed by the waters of then merely a town on paper, was chosen. Lakes Mendota and Monona. Westward, This was in 1836. The stone for the first on the first of these, is the University of state house came from Maple Bluff and was Wisconsin; eastward is Monona Lake As• ferried across Lake Mendota. Work was be• sembly, modelled along Chautauquan lines. gun in 1837. but the stone structure was not In the heart of the city, within a park of fully completed until about 1848. The ter• fourteen acres at the summit of a hill eighty- ritorial legislature met there in 1837. under five feet high, stands the Capitol. It is ap• conditions of discomfort almost unbeliev• proached by eight wide avenues shaded with able. The halls were cold, the ink froze in oak. elm and maple, running through beds the stands, and the members were compelled of shrubbery and flowering plants. Cruci• to adjourn for twenty days. After the floors form in plan, the building is "Sumptuous had been carpeted, the session continued. after the Roman Renaissance manner, yet This capitol was used until 1863. when it of an economy of means toward opulent NOTE: Illustrations for this article were furnished by Mr, .Mbcrt H. Cook. Capitol Guide, of Madison. Wisconsin. [27] ^^.\~THROVGH THE AGES principal entrances, the porticoes at the extremity of each wing be• ing for pedestrians only. Above the pavilion domes is a podium wall that forms a base for the barrel of the great central dome, treated as a Corinthian cir• cular arcade. The windows are arched and afford an entrance for the floods of mellow light that enter the rotunda. The podium, ninety feet high, has a balustrade that provides the first resting place for visitors ascending the dome, as well as a splendid view of the city spread out below. Sixty- five feet higher is a balustraded balcony that rests on the colonnade of the barrel. At an elevation of 235 feet is another balustraded balcony encircling the lantern. The statue of a woman on the lan- tem, 300 feet in the air. represents the spirit of Wisconsin. The structural problem is an in• The North Portico. teresting one. A unit, independent of the wings, is formed by the effects that meets every requirement of good dome and its supporting tower. From the taste." It is placed on a formal terrace podium, the ascent to the dome is by means surrounded by a balustrade on which are of spiral stairways built within the walls of pedestals for lights and statuary groups. the barrel, fenestrated both exteriorly and The four equal wings are each 125 feet interiorly, and disclosing more and more wide. 187 feet long and 85 feet high, and interesting glimpses of the surrounding they face the four diagonal streets leading countr\-, as well as intermediate views of from the cardinal points of the compass. At the rotunda. From the second level, two the extremity of each wing is a portico of inclined stairways lead up between the Corinthian columns supporting pediments. outer and inner shells to the highest inte• The intersections of these wings form four rior observation point, just below the crown angles, each the site of a flat-domed pavil• of the dome. Here it is possible to look ion that provides a spacious vestibule that through the eye of the coffer dome, thirty gives directly upon the rotunda. Leading to feet in diameter, into the great rotunda be• these pavilions are driveways terminating low. Leading to the lantern, with its ex• in porte cocheres under grand staircases that terior balcony, is a single spiral staircase. ascend to the first storv. These are the four The view from here is wonderful, but even [28] THROVGH THE AGES Looking into East Stair Hall from Gallerv. this is surpassed by the panorama unfolded visitors have to mount 252 steps above the from the platform within the lantern, fif- last landing of the elevators of the attic teen feet higher and enclosed on all sides by story of the wings. The view, however, cer- windows. In order to attain this great tainly justifies the expenditure of such mus- height, 255 feet above the ground floor level, cular energy. [2q] THROVGH THE AGES Lobby of Governor's Reception Rot)m. The building is enriched with sculpture, the pavilion stairways and on the terrace in the tympanums of each of the pediments balustrades. of the wings, and on the podium wall o\ er The dome is only exceeded in size in this the flat domes of the pavilion entrances. For country by that of the Capitol in Washing• future additions, room has been reserved on ton, and yet it appears much lighter look- 301 THROVGH THE AGES ing than its rival and certainly more beauti• particularly in the first floor in the pavilions ful. Indeed it is wholly admirable in its re• and in the corridors by the entrance to the lation of height to width, of colonnade to Department of Insurance, the Supreme \ault, vault to lantern: while its soaring Court, and the Treasury and Secretary of curve is both vigorous and subtle, a most State Departments, have the architects perfect sweep of line. arranged some very interesting combinations Upon entering the building, the rotunda of color and form. and staircase halls give the main effect. In the east wing is the Supreme Court Standing in the center, you have an unob• room: the west wing contains the .AssembK- structed vista down each of the wing corri• Chamber: the south houses the Senate: the dors. The distance from the end of one wing north is the location of the Hearing Room. across the rotunda to the end of the opposite There is a lobby to each, besides parlors. wing is 434 feet, and the novelty of such pri\'ate offices and consultation rooms. long unbroken views is decidedly attractive. The Govemor's suite, with its Reception The four great arches opening into the \'ault- Room and its lobby, occupies the first floor ed stair halls of the wings are supported in. of the east wing. The general color scheme the rotunda on Corinthian entablatures was inspired by the Doge s Palace in Venice, with friezes of dark rose Numidian marble the ceiling and mural paintings being the from Algiers, Africa. These rest on columns work of Hugo Ball in, who had already and pilasters of green Tinos. imported from earned a wide reputation as a Venetian Greece. The decorations of the rotunda colorist. The Reception Room is twenty-two blend or pleasingly contrast with the colors feet wide and forty-two feet long, and has a of the marbles, as well as the full wann tones large fireplace with mantel of light and dark of the yellow Kasota stone from the quarries Botticino marble, with a fireback of Champ- of Minnesota, close to the Wisconsin border. ville F-rench marble. The floor is of teak This Kasota stone is really a dolomite made wood from India, with a handsome border up of almost half calcium carbonate and a inlaid. Three very beautiful Persian rugs third magnesium carbonate, the remainder, match in color the decorations of the room. about 16 per cent, being insoluble silica On the second floor of this east wing is the chiefly. It is the only marble quarried in Supreme Court room, square in plan, about Minnesota, and has been used freely in the forty-two feet each way and thirty feet western states. high, and lighted by a large central ceiling The transition from the octagonal form light of leaded glass work set in a flat cof• of the rotunda to the circular form of the fered ceiling to prevent reverberation. The dome is well provided for by the pendentive walls are finished in dark and light Botti• brackets over the piers and between the cino marble from Italy, with selected and four arches. The floors of the corridors are matched panels of golden-veined Formosa laid with marbles, chiefly from the United marble from the quarries in Wetzlau near States, though a goodly share came from the River Lahn in Germany. The marble abroad. Vemiont. Missouri, Tennessee and register faces are of Roseal Tennessee. The the Lake Champlain region furnished most large pilasters are of Breche Corraline from of these as well as the marbles in the sup• Vigaun Quarry in .Austria, a very beautiful porting pillars of the ground floor halls. grayish material with purplish veining There are some \-er\- handsome designs: matching most excellently the Formosa 31 THROVGH THE AGES Wall treatment at rear of Rostaim in Supreme Court. panels. Behind the judges" bench in front of remarkable. On entering the room, one is the wainscot is an interesting treatment impressed by its dignified character with that recalls the old choir stalls of the Ital• its solid mahogany furniture and woodwork. ian Renaissance, the columns being of Benou It is a masterpiece of architectural art— marble from France, with caps and bases of chaste in style and indescribably beautiful beautiful Hagerstown statuary white mar• in its pure simplicity. It is perhaps the most ble from Maryland, whose resemblance to beautiful room in the building, and one of the celebrated Carrara statuary marble is the most beautiful court rooms in .America. 32 The marble panelling in the walls is a floor border are of Porte d'Or Italian mar• marvel in nature-coloring. No brush could ble, of black and gold. The coved ceiling produce such delicate tints nor such variety shows decorations by C. Y. Turner. in shades and designs as are here displayed. The Assembly Chamber, on the second The panels of Formosa marble give the ob• floor of the west wing, is seventy-three by server a new insight into the beauties that sixty-eight feet, by forty-one feet high. On the Creator has hidden in the depths of the the four sides are very flat elliptical arches earth ready to be revealed by the industry' with pendentive bracketing between. Above and skill of man. The four murals by Albert the speaker's desk on the north side is a Hertel are handled in a masterful manner. large canvas over thirty-six feet long by Surrounding the Supreme Court room are E. H. Blashfield, who also did the mural in the judges" suites, finished in oak, while the the crown of the coffer dome of the rotunda. lobby is finished in light Botticino marble The visitors' gallery occupies the space with decorative panels of yellow Siena. under the three arches, which are supported In the north wing on the second floor is a on Breche Violette Italian marble columns, room used by the State Railroad Commis• which separate the main auditorium from sion, and for other gatherings that might be the entrance lobby and corridors, which in held otherwise in the Senate or Assembly turn give direct access to the loggia on the Chambers—the Hearing Room. The color west front and the assembly parlor on the scheme here is brilliant, yet refined. The south side of the wing. The walls of the walls are of yellow Verona marble from chamber are finished with South Dover mar• Italy with selected Monte Rente Siena pan• ble, a soft creamy-white New York marble, els between pilasters. The wall base and the finish of the oak and furniture being a Entrance to Hearing Room. 33 !^^rTHROVGH THE AGES soft natural one. The decoration of this interesting to quote from a letter written by room as well as that of the Assembly parlor the architects to the State Geologist of Wis• and its dependencies was by E. T. Gamsey. consin concerning the stones used: The walls of the lobby are lined with Bot- "The Kasota stone which comes from ticino Italian marble, with matched panels Minnesota not far from the Wisconsin bor• of light gray Siena. The whole length of the der is the most extensively used material in lobby is brought into correct proportion by the building. It is beautiful in color and tex• the introduction of columns of Royal Ten• ture and of great decorative value, and has nessee marble. the additional merit of being the cheapest The Assembly parlor is finished in Cir• stone procurable at Madison, which is suit• cassian walnut panelling, with mantels of able for this purpose. The Mankato stone Siena marble at the ends and a floor of White which also comes from adjacent quarries in Rutland from Vermont, with wall bases of Minnesota was used in the entrance corri• green Verde Antique from the same place. dor of the west wing only, and although In the south wing is the Senate Chamber, somewhat cheaper than the Kasota stone is a room circular in plan, about thirty-one not so pleasing in color or texture, and was feet across and more than that in height, not used in any other part of the building. with galleries for visitors ranged around The walls of the principal corridors, grand most of the room. It appeals to the visitor stair halls, and great rotunda are therefore as a model in proportion and in the hand• finished in Kasota stone. As this material is some marbles of its massive pillars and its too soft for carving and is easily soiled if it beautiful walls. The walls are of Italian comes in contact with water, we have used Tavernelle Fleuri marble, a soft tone, cream for the door trims and wall bases the French yellow, with a great deal of texture, but Hauteville marble which closely resembles very little veining. The columns and pil• Kasota stone in color, although more dur• asters are of Escalette marble from France, able and suitable for carving of mouldings very rich and beautiful, in which many and ornaments, etc. In the entrance corri• colors are harmoniously blended. Behind dors of the wings the wall base is made of the president's platform there are three pan• Napoleon marble from Missouri, which ma• els, between the free standing columns, in terial is also used in the columns between which are mural paintings by Kenyon Cox. the entrance lobby of each wing and the each being eleven feet six inches by seven main corridors; the columns separating the feet two inches. main corridors from the stair halls are of The Senate Parlor contains a fine ma• Roseal Tennessee marble, beyond which the hogany treatment, both furniture and walls. Hauteville base occurs, which is also used in Especially noteworthy are its decorations all the principal corridors of the first and and its mantels and plinth of Greek marble. second floors in connection with the Ka• This is akin to the Greek marble in the sota stone. dome, but is more distinctive and of a finer "In the grand stair halls on the ground grade. It is hard to conceive anything in the floor the piers supporting the connecting way of marble more strikingly beautiful gallery are of Wisconsin green granite from than this. the Marathon Quarries, which granite is al• The marble treatment throughout the so used for pilasters in the corridor encircling Capitol is of such infinite variety that it is the rotunda. Above the Wisconsin green 34 THROVGH THE AGES granite on the first floor are piers of Wau• floor tile is similar with the exception that paca red granite, with piers of Athelstane the secondary border is of Sylvan green gray granite in the connecting corridor marble. about the rotunda. On the second floor "The floor tile of the second floor is also flanking the stairs are pilasters of Pike Riv• similar with a small border of Verde Antique er red granite. At the entrance to the lob• marble. In the floors of the secondary cor• bies of the various legislative chambers are ridors glass floor tiles are inlaid to light the columns of Wausau red granite, and in the floor below. cornice above is a frieze of pink Numidian "The floor tile of the minor office corri• Algerian marble, and over the entrance dors is of limestone with pink Tennessee doorways, placques of Italian gray Siena borders on the ground, first and second, and marble bearing the inscriptions. The bal• gray Tennessee on the third and attic floors. ustrades in the grand stair halls and also in "The toilet rooms are finished with a high the rotunda itself are made of Hauteville marble wainscot of Tennessee marble; also with balusters of rich brown Tennessee mar• the laboratory of the Dairy and Food Com• ble from Hawkins County. Balusters in mission in the west wing. circular balustrade in the rotunda, first floor, are of Levanto Italian marble. The "On the ground floor of the Rotunda the treads and risers of the staircases are of sixteen piers supporting the circular gallery Meadow gray Tennessee marble. of the first floor are of Berlin Rhyolite* be• "The secondary- corridors which give ac• hind which are pilasters of Montello granite cess to the elevators and secondary stairs against the Kasota stone. are similar in treatment to the main corri• "In the center of the ground floor of the dors, but on the first floor there are wall pan• rotunda is a decorative design executed in els of matched light Siena marble from Italy. various shades of Siena marble with borders The walls of the secondary stairs are finished of dark Italian Monterente Siena marble in plaster with a wall base of gray Tennes• imported from Italy. Surrounding the star see marble with stair treads and risers of the of Siena marble is a border which has a field same material. of Ross Silver Gray Tennessee marble, with 'The minor or office corridors of the panels of various shades of Formosa mar• wings are finished in plaster, with a wall ble from Germany. The rest of the floor tile base of Napoleon stone on the ground, first is similar in treatment to that of the wings, and second floors and gray Tennessee mar• with panels of various selections of foreign ble on the third and attic floors. The floor marbles of harmonious colors. tile used in the entrance lobbies, the main "The large columns and pilasters in the and secondary corridors on the ground floor rotunda supporting the main comice, in have borders of Joliet limestone (or Athens which the frieze is of rose Numidian African stone) from Ohio, with secondary borders of marble from Algiers, are of Greek green mar• red Lyonaise Vermont marble surrounding ble known as Tinos No. 3, which is selected the field of white Rutland Vermont marble, on account of its color and texture to har• with altemate panels of various foreign and monize with the beautiful Wisconsin granites domestic marbles selected to give the de• which fonTi so important a part in the dec- sired color effect. *NoTE— In the fall of 1916 on account of surface failure of the "On the first floor the treatment of the Berlin Rhyolite. it was replaced by Labradorite from Norway. [35I THROVGH THE AGES orative scheme of the great rotunda and reckoned that to reproduce the structure grand stair hall." today would involve a total of close to The cost of the Capitol, including power twenty million dollars. The Capitol Com• plant, furnishings, tunnel, etc., was about mission as well as the architects deserve seven and a half millions of dollars. It is great commendation for the creation of said to be the low est unit cost building of its what is both architecturally and artistically character in this country. The cubical con• one of the finest public buildings in the tents are almost nine million feet, and it is United States, if not in the whole world. Night illumination. Wisconsin State Capitol. 36 THROVGH THE AGES A LIST OF THE WORLD'S MARBLES fiy J- J- MCCLYMONT Note—In a past issue. Mr. McClymont proposed, for the sake of convenience, to divide the different marbles into four groups, nese arbitrary groupings were as follows: GROUP A — Any marble or GROUP B — Any marble or GROUP C — Any marble or GROUP ED—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- essarv by liners on back or metal inlays and sold to the consumer as unsound marble. Caam Stone—Same as Caen Stone. Caia di Mugnione (Breccia)—Group D. Quarried near Mugnione, Tuscany. Italy. Cadon Stone—Same as Caen Stone. Olive yello>\' with small specks of bright Caen Stone—Group A. yellow. Quarried near Caen, Colvados, France. Cajarc A general term used for an oolitic lime• In the Commune de Cajarc, Lot, France, stone. several gray brecciated marbles are quar• See Allemacne Stone, Aubicny Stone and ried. La Maladrerie Stone. Similar stones are quarried in the same Calabresian Marble district at Orival, Fontaine-Henrv, and General name ot marbles produced in the Quilly. , Province of Calabria, Italy. See Agrillei, Calderano and Torrevarata. All of the above pass as Caen Stone. Bath stones of England are sometimes Calacata—Group A. sold as English Caen Stone. Quarried near Seravezza, Tuscany, Italy. Creamy white with broad parallel veins Cahem Stone—Same as Caen Stone. of slaty gray color. Takes good polish. Cahors—Group C. Quarried at Cahors, Lot, France. Calacata Breccia or Breccia Calacata— Red with white and bluish gray veins. Group D. (Comes from the same quarry- Another variety from this vicinity is as Calacata). black. Quarried near Seravezza, Tuscany, Italy. Slaty gray filler with large white frag• Cahiis ments of Calcite. Cahors Quarry in Lot, France. White, green and black. Calcaire—Limestone. [37 THROVGH THE AGES Calcareous—Containing lime. California Marbles Calcareous Spar—Same as Calcite. Of the marbles of California the Tenth Census, 1880, page 279, says: Calcite or Calcareous Spar or Calc Spar. "It has been stated that owing to the vio• As it occurs in marble it is a crystalline lent geological agencies that have been in carbonate of lime. operation since the formation of the mar• The translucency of certain marbles is ble deposits in this state the stones are generally due to the presence of this ma• found to be so broken and shattered in terial. nearly every case that it is impossible to Calcite when pure is white in color and obtain blocks of large size free from cracks soft enough to be cut with a knife. and flaws." Calcium or Lime. Notwithstanding the above statement, A soft silver-white metal. marble was produced in 1Q21 from at least four localities. .A,t Keeler, Ingo Calcium Fluoride—See Fluor Spar. County; at Columbia. Tuolunine County; Calc Sinter—Same as Travertine. near Sonora, Tuolumne County; and at Calc Spar—Same as Calcite. Warners Springs, San Diego County. No Calcutta—The so-called Calcutta .Marbles serpentine for interior work was quarried are quarried in Siam. in IQ2I. Caldana California Marbles of which we have a Marmiere Quarry, Tuscany, Italy. record are: Barstow Breccia, Dark Blue Dark violet with white fossils. Columbia, Dark Columbia, Licht Blue Columbia, Licht Columbia, Portola. Vic• Calderano {Brecciated) or Calabresian — tor Serpentine, White Columbia. Group D. Quarried near Pallizzi, Calabria, Italy. California Onyx Greenish buff filler or paste \\-ith frag• Quarried near Musick. San Luis, Obispo ments of fossilized limestone. County, California. Onyx or Onyx Marble has been quarried Calera—Group C. on a small scale at above point, but no Quarried near the village of Calera, Ar• description is available. gentina, about fifteen miles from Cordoba. Pedrara Onyx is sometimes called Cali• Dullish white. fornia Onyx. Caleula {Dark)—Group C. Quarried near Orange, N.S.W., Austra• California Serpentine lia. California has large deposits of serpentine EXill white ground mass with slender red located in various parts of the state. The veins and markings. deposit on Santa Catalina Island has been worked in a small way for nearly fifty Caleula {Light)—Group C. years and according to Mining in Cali• Quarried near Orange, N.S.W., .Austra• fornia by the State Mining Bureau of lia. September, 1Q22, is now the only quarry Pale, nearly white background with slen• producing serpentine. der veins and markings of red. For serpentine marble formerly quarried Calico Marble—See Potomac. in San Bernardino County see Victor. 38 THROVGH THE AGES Calvados Stone—Same as Caen Stone. Campan Valley Cambovin—Same as Chartreux. Marbles quarried in this valley in Hautes- Pyrenees, France, are: Cambria Green—See Cardiff Green. Campan Isabelle, Campan Melange, Cam- pan Rose, Campan Rouge. Campan Vert. Cambrian—Marble or limestone belonging to the Cambrian .^ge or period. Campan Vert or Vert Campan—Group C. Espiadet Quarries, Hautes-Pyrenees, Cambro Silurian—Geological name for a France. certain formation. Light green with small gray and white Camonica veins. Quarried in Camonica Valley. Brescia, .^.nother variety from same quarry is dark Ital\-. green marked with numerous pink and Gray mottled with black and white. light green spots and thin veins. Takes high polish. Campan Griotte—See Griotte Campan. Canadian Labradorite—See Labradorite. Campan Isabella—Group C. Espiadet Quarries in the Campan Valley, Canadian Marbles Hautes-Pyrenees. France. Argent Vert, Emerald, Labradorite, Prov• Delicate rose which in some places merges ince Clair, Regina. Sea Green. Vert Gris, into a dark red with a few white spots and Vert Nuage. Vert Rose. pale green veins. Canadian Rose Breche—SameasBreche Rose Takes high polish. (Canadian). Campan Melange—Group C. Canadian Serpentine Espiadet Quarries, Hautes-Pyrenees, The Geological Survey of Canada men• France. tions deposits of a pale green serpentine Light green with broad chocolate bands; occurring in various parts of Canada. also green with bands of pink, brown, The only record we have is of Cipollino white or darker green. Canadian. Takes high polish. Canarino—Same as Numidian Yellow. Campan Rose or Rose Campan—Group C. Espiadet Quarries, Hautes-Pyrenees, Candoglio France. Quarries at Candoglio, Novara Province, Pink and white with slender green and Piedmont, Italy. white veins. Light salmon colored. Takes high polish. This marble is not available to the trade and is included because it was used as early Campan Rouge or Rouge Campan—GroupC. as the beginning of the fifteenth century Espiadet Quarries, Hautes-Pyrenees, in the Cathedral of Milan. France. Green filler or background with spots and Canelle oval fragments of red, violet and white. Taveau Quarry, Nievre, France. Takes high polish. Dark reddish brown. 39 THROVGH THE AGES Cape Girardeau Stone Carn Spernie or Cam Spemic. Undeveloped beds of purple, yellow, red. One of the Cornish Serpentine quarries is pink, gray and greenish are mentioned by located near this place. Merrill. Caroline Breche—Same as Breche Caroline. Capelle—See La Capelle. Carrara Marbles Carbonate A general name given not alone to the A salt or ester of carbonic acid- or a rock marbles quarried in the vicinity of Car• impregnated with carbonic acid. rara, but to all white and veined Italian Marbles. Originally, however, the name Carboniferous—A geological period or era. was restricted to Statuary Italian Mar• English geologists place this period to bles, which was probably due to the fact correspond with what the U.S. Geologi• that earliest Italian quarries were worked cal survey classes as subcarboniferous. for Statuary only. Carcassonne Marble—See Griotte D'Italic Carrara Statuary—See Statuary Italian. Cardiff Green (Serpentine) or Cambria Green or Maryland Green—Group D. Carrick Marble—See Irish Drab. Quarr\- at Cambria, near Cardiff, Mary• Carthage Colonial Gray Veined or Colonial land. Gray Veined—Group A. Dark grass green, w ith mottles and \'eins. Steadley Quarry, near Carthage. Jasper Carew Newton—See Pembroke. County, Missouri. Cargoloin—Group C. Dark Gray with markings of darker shade Cargoloin Quarry near Nuits. in Cote and slightly wavy veins at irregular in• d'Or, France. tervals. Sawed across the bed. Yellow, with purple veins. Takes high polish. Carinthia—See Crastaler. Carthage Colonial Gray Veinless or Colon• ial Cray Veinless—Group A. Carleon Cove Quarry Steadley Quarry, near Carthage, Jasper One of the quarries producing Cornish County, Missouri. Serpentine. Light Gray with occasional clouds of Carlisle Stone (Sand Stone). darker shade. Sawed with the bed. Quarried in various parts of Scotland and Takes high polish. used as a decorative stone. Carthage Imperial Gray or Imperial Gray— Car low County Marble—See Irish Black. Group A. Carthage ^Marble and White Lime Com• Carnarvonshire Marble—See Jasper Stone. pany Quarry, near Carthage. Jasper Carniolo—Group C. County, Missouri. Quarried in the Province of Camiolo, Light shade of gray slightly clouded with Austria. darker shades. Flesh red, veined and shaded with white. Takes high polish. Carn Kennack Quarry Carthage Marbles—Group A. One of the quarries producing Cornish Colonial Gray, Jasper Gray, Ozark Gray, Serpentine. Roosevelt Gray, Seneca Gray. 40 THROVGH THE AGES Carthage Ozark Gray Veined—Ozark Gray Light Gray with occasional clouds of Veined—Group A. darker shade. Sawed with bed. Ozark Quarry, near Carthage. Jasper County, Missouri. Cartrare Dark Gray slightly mottled and marked Cartrare Quarry, in Cotes-du-Nord, with slightly waving veins. Sawed across France. the bed. Blackish Gray veined with grayish white. Takes high polish. Carystium — Roman name for Cipollino Carthage Ozark Gray Veinless—Ozark Gray Greek. Veinless—Group A. Carystus or Karystos. Ozark Quarry, near Carthage. Jasper Near this city on the Island of Euboea County, Missouri. are located the quarries that produced the Light Gray slightly mottled monotone. marble known to the ancients as Marmor Sawed with the bed. Carystus. The quarry "was abandoned and Takes high polish. completely lost for many centuries, redis• Carthage Quaker Gray Veined—Quaker Gray covered and put in operation about I8QO Veined—Group A. and the marble now produced is knoun as Spring River Quarry, near Carthage. Jas• Cipollino Greek. per County. Missouri. Carystus Marble—Same as Cipollino Greek. Light Gray with markings of darker shade Casabet and slightly waving veins at irregular in• tervals. Sawed across the bed. Quarried at Casabet. Ariege. France. Takes high polish. Watson's description: "It slightly re• sembles the Escalette variety in color, but Carthage Quaker Gray Veinless—Quaker darker generally and of a redder shade Gray—Group A. throughout." Spring River Quarry, near Carthage. Jas• per County. Missouri. Casambala or Casambala Verde Antico—See Dark Gray with occasional clouds of Verde Antico (Greece). darker shade. Sawed with bed. Caserta Takes high polish. Quarried at Caserta, Italy. Carthage Seneca Gray Veined—Seneca Gray Pale fawn, with crimson patches and in• Veined—Group A. terlacing white veins. Consolidated Quarry, near Carthage, Jas• Cassis—See Marbre De Cassis. per County, Missouri. Castel-Franco or Verde di Castel-Franco. Dark Gray with markings of darker shade Quarried near Castel-Franco. Tuscany, and slightly waving parellel veins at ir• Italy. regular intervals. Sawed across the bed. Olive green with bands of black. Takes high polish. Castellina Alabaster—See Florentine Ala• Carthage Seneca Gray Veinless—Seneca Gray basters. —Group A. Consolidated Quarry, near Carthage, Jas• Castelnau Marble—See Grand Antique and per County, Missouri. Rose De Pvrenees. 41] THROVGH THE AGES LIST OF QUARRIES AND MARBLE MANUFACTURERS REPRESENTED IN THE MEMBERSHIP OF THE NATIONAL ASSOaATION OF MARBLE DEALERS Representative City and State Company Jas. T. Flower Akron, Ohio Flower Marble and Tile Company .Alex. Reeves Atlanta, Ga. Reeves Marble Company Hilgartner Marble Company A. H. Hilgartner Baltimore, Md. Chas. Scheldt Baltimore. Md. Jos. B. Dunn & Sons, Inc. P. B. and W. Marble and Tile Co., Inc. Richard T. Salter Baltimore, Md. John S. Sewell Birmingham, Ala. Alabama Marble Company Troy Bros. 6^ Company M. W. O'Brien Boston, Mass. Wm. T. Fleming Brandon, Vt. Middlebury Marble Company Geo. W. Maltby & Son Company Wm. C. Maltby Buffalo. N.Y. R. K. Glass Buffalo, N.Y. Lautz Marble Corporation A. Arnosti Carthage, Mo. .•Xrnosti Marble Co. Geo. S. Beimdiek Carthage, Mo. Carthage Marble and White Lime Co. Millard Bryan Carthage, Mo. Consolidated Marble and Stone Co. T. R. Givens Carthage, Mo. Ozark Quarries Co. K. D. Steadley Carthage, Mo. F. W. Steadley &l Company, Inc. F. J. Lautz Carthage, Mo. Lautz Missouri Marble Company John E. O'Keefe Carthage, Mo. Spring River Stone Company T. J. Murphy Chicago, II' American Marble Mill Company J. J. Bauer Chicago, 11 Black & Gold Marble Company C. N. Marthens Chicago, 11 C. N. Marthens Marble Company Wm. P. Corley Chicago, 111 Corley-Meservey Marble Company Humbert Davia Chicago, 111 Davia Bros., Marble Company Thos. A. Knudson Chicago, 111 Enterprise Marble Company F. A. Flavin Chicago, III Flavin Marble Mill Frank P. Bauer Chicago, III Frank P. Bauer Marble Company H. K. Townsend Chicago, 111 Henry Marble Company Jos. Little, Jr. Chicago, 111 Jas. B. Clow & Sons Company Thos. F. Keating Chicago, 111 M. Keating & Sons Company Thos. Naughton Chicago, 111 Naughton Marble Company Frank J. Peerling Chicago, 111 Peerling Marble Company C. R. Borchardt Chicago, 111 Standard Mosaic Tile Company Geo. W. Bower Chicago, III Taylor Marble Company George Wilde Cicero, 111. National Mosaic Tile Company H. L. Pike Cincinnati. Ohio Cincinnati Marble Company R. M. Allen Cleveland, Ohio Allen Marble Company Frank C. Smith Cleveland, Ohio Empire Marble Company W. J. Haworth Cleveland, Ohio Haworth Marble Company E. M. Fritz Cleveland, Ohio Interior Marble and Stone Co. S. J. Weingarten Cleveland, Ohio Prospect Mantel and Tile Company L. G. Yeau Cleveland, Ohio Roy-Cliff Marble Company Wege Marble and Tile Company Columbus, Ohio C. F. Wege J. C. Bruggen Dallas, Texas J. Desco Dallas, Texas J. Desco &i Son William Jessop Dallas, Texas Southwest Marble Company Denver, Col. McElhinney Tile and Marble Co. D. C. McElhinney Denver, Col. Denver Mantel and Tile Company W. D. Watson Des Moines, Iowa Des Moines Marble and Mantel Co. J. R. Golden Des Moines, Iowa Hoi brook Marble and Tile Company H. F. McAdow Detroit, Mich. Christa-Batchelder Marble Co. E. L. Leavenworth Detroit, Mich. Detroit Marble Company B. L. Cummins 42 THROVGH THE AGES City and State Company Representative East Cambridge, Mass. Johnson .Marble Company T. J. Johnson Fort Wortii, 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 Mastin Simpson Kansas City, Mo Sutermeister Stone Company C. O. Sutermeister Kasota, Minn. Babcock & Willcox Tyrell S. Willcox Kasota, Minn. Breen Stone and Marble Co. Tyrell S. Willcox Knoxvilie, Tenn. Candoro Marble Company T. O. Couch Knoxville, Tenn. Gray Eagle Marble Company E. F. Klein Knoxvilie, Tenn. Gray Knox Marble Company J. B. Jones Knoxville, Tenn. John J. Craig Company John J. Craig Knoxvilie, Tenn. Knoxville Marble Co. John M. Ross Knoxville, Tenn. Ross &i Republic Marble Co. W. E. Moses Knoxville, Tenn. Salomone-O'Brien Marble Company Walter O'Brien Knoxville, Tenn. Tennessee Producers Marble Co. B. L. Pease Little Rock, Ark. Southwestern Tile Company R. E. Overman Long Island City, N.Y. Clarendon Marble Company Alexander Thomson Louisville, Ky. Peter & Burghard Stone Co. Jos. E. Burghard Memphis, Tenn. Central Mosaic and Tile Co. Louis B. Marus Milwaukee, Wis. .A.ndres Stone and Marble Company Edgar Andres Milwaukee, Wis. Breidster Marble Company Fred. W. Breidster Milwaukee, Wis. McClymont Marble Company J. J. McClymont Minneapolis, Minn. Twin City Tile and Marble Co. F. O. Streed Minneapolis, Minn. Northwestern Marble and Tile Co. Chas. N. Gramling New Orleans, La. Albert Weiblen Marble and Granite Co. Albert Weiblen Oklahoma City, Okla. Taylor Marble and Tile Company G. W. Taylor Omaha, Neb. Sunderland Bros., Company J. P. Williams Peoria, III. Peoria Stone and Marble Works H. A. Farley Philadelphia, Pa. John Hegarty Marble Company John Hegarty Pittsburgh, Pa. American Marble Company Max Weiner Pittsburgh, Pa. Iron City Marble Company George L. Sibel Pittsburgh, Pa. Pennsyh'ania Marble and Mosaic Co. John A. Fiore Somerville, Mass. Phil. H. Butler &l Son Company P. H. Butler St. Louis, Mo. Bradbupy- Marble Company I. P. Morton St. Louis, Mo. Pickel Marble and Granite Co. H. A. Feldman St. Louis, Mo. St. Louis Marble and Tile Co. R. C. McDonald St. Louis, Mo. Shaw Marble and Tile Company A. Coerver St. Louis, Mo. Union Marble and Tile Company W. C. Fox St. Louis, Mo. Weis & Jennett Marble Company Joseph Weis St. Paul, Minn. Drake Marble and Tile Company W. E. Andrews Tate, Ga. Georgia Marble Company Sam Tate Wichita, Kan. Hawkins Interior Marble Company M. K. Hawkins Wilmington, Del. Geo. W, McCaulley & Sons, Inc. C. W. McCaulley Winchester, Mass. Puffer Mfg. Company A. W. Puffer CO-OPERAT/NG— Vermont Marble Company, Proctor, Vermont. [43] :m.\ THROVGH THE AGES npnis illuminated mantel aquarium installed ..ma Milwaukee residence, is a combination of manteL flower vases and fountain. Electric lights concealed in the fountain-stem furnish a soft light sufficient for ordinary use. It was made of Pedrara Onyx by the McClymont Marble Company. Milwaukee. Wisconsin. McCLYMONT MARBLE CO. TWENTY-SEVENTH AXD CANAL STS. MILWAUKEE - WISCONSIN 44 THROVGH THE AGES liP Boulevard Branch. Wayrxe County and Home Savings Bank Detroit. Michigan. Albert Kahn. Architect A CLEANLY and dignified combination of Botticino. Main Entrance, Masonic Tennessee and Verde .'Antique Temple, Indianapolis, Ind. creates its own atmosphere. Rubush and Hunter, Archi• tects. Italian,Verde Antique and Tennessee Marbles. CHRISTA-BATCHELDER MARBLE COMPANY F. E. GATES MARBLE 6- TILE CO. INDIANAPOLIS. INDIANA DETROIT MICHIGAN \ /fARBLES manu- • factured and furnished for interiors and exteriors of Banks, Office Buildings, I>xellings. Also Soda Fountains. THE PUFFER MFG. CO. WINCHESTER, MASS. [45 THROVGH THE AGES FIRST NATIONAL BANK. TULSA. OKLAHOMA. WEARY G ALFORD CO. \rchatcii A magnificent specimen of an all Taver- nelle treatment. One of many conspicuous contracts. LAUTZ MISSOURI MARBLE CO. Manufacturers and Contractors CARTHAGE :: :: MISSOURI 46] THROVGH THE AGES AMERICAN BANK Cf TRUST COMPANY Ni;w ALBANY. INDIANA Architects, JOSEPH <&• JOSEPH. Louisville. Ky. TH E marbles used in this treatment were Grecian Skyros. Belgian Black and Verde Antique. Napoleon Gray Marble walls and columns in Missouri State Capitol PETER 6- BURGHARD TRACY AI SWARTOUT. Architects STONE COMPANY LOUISVILLE KENTUCKY Napol TTjTERE are three predominant qualities _ . . that make Napoleon Gray the popular marble that it is: 1. I ts non-sl ip surf ace and wearing qual• ities makes it ideal for floors. 2. Its character and tone add beauty and dignity for wall surfaces. 3. Its cheapness of price seems out of proportion to a marble of this kind. We would be glad to send you information or Cut Flower Department of the BRANDEIS STORES. Omaha. Neb, samples at any time that \ ou request. Aquarium o] Cravir\a Marble. Designed. Fabricated and /nslalled by SUNDERLAND BROS. CO. Operators of Up-to-date Marble Mills at PHENIX MARBLE COMPANY Omaha. Nebraska, and Sioux City, Iowa KANSAS CrrV :: :: MISSOURI Main Offices. SUNDERLAND BLDT... OMAHA. NEBRASKA [47] 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 48]