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Home > Quarry Articles, Links and Books > Throvgh the Ages Magazine - List of Articles > Article List - 1924
(The articles listed below are located in various issues of Throvgh the Ages Magazine published in 1924. Peggy B. Perazzo)
(Photo caption) “The Capitol of Wisconsin ” (Frontispiece)
“Creating ‘Atmosphere’ With Marble: How A Famous Hotel in The ‘Nation’s Playground’ Secured Unusual Interior Effects.” pp. 3-4 (the Hotel Traymore, Atlantic, City)
(Photo caption) “Part of Main Lobby of the Hotel Traymore at Atlantic City, N.J. All the standing marbles is Verde Antique.” pp. 4.
(Photo caption) “Another view of the Lobby of Hotel Traymore, Atlantic City.” pp. 5.
“The Mars Hill of Baltimore: Mount Vernon Place, in the Monumental City, is the site of many fine marble structures.” pp. 7-8.
(Photo caption) “An old view of Mount Vernon Place, Baltimore, looking north. The Peabody Institute is shown in the right center, the Mount Vernon Place Methodist Church in the center to the right of Washington Monument.” pp. 6.
(Photo caption) “The North Façade of the Peabody Institute.” pp. 7.
(Photo caption) “A marble-front residence on Mount Vernon Place.” pp. 8.
“Safety Signs in The Marble Quarries” pp. 9-11
(Photo caption) “In the modern mill the marble is moved by electricity, with a consequent gain in safety over the old method.” pp. 9.
(Photo caption) “In one of the quarries huge concrete piers have been built, that the side walls may be properly supported.” pp. 10-11.
“Gothic Architecture in France” pp. 12-18.
(Photo caption) “Interior of the Cathedral at Rouen, built 1202 to 1220 A.D., showing the employment of the fully developed oblong vault.” pp. 12.
(Photo caption) “St. Quen. at Rouen, begun in 1318 but not finished until 1515.” pp. 14.
(Photo caption) “St. Maclou, at Rouen, finished in 1541, a Gothic Cathedral of the Flamboyant style, has portals with unusually elaborate details of tracery and carving. In the towers and spires, emphasis was laid upon the vertical elements.” pp. 15.
(Photo caption) “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.” pp. 17.
(Photo caption) “Rheims façade shows the general superiority of French Gothic carving and sculpture, especially figure sculpture, where it reached true nobility of expression, combined with great truthfulness and delicacy of execution.” pp. 18.
“Marble For Decorative Purposes” pp. 20-25.
(Photo caption) “The vestibule of the Pan-American Building, Washington. The columns are Grande Antique, the floors and stairways of two kinds of Tennessee.” pp. 21.
(Photo caption) “C. Howard Crane, the architect of this New York building, used French Hauteville, Black and Gold, and Pink and Gray Tennessee.” pp. 22.
(Photo caption) “Another view of the same building - The American Bond and Mortgage Company structure at 345 Madison Avenue, New York.” pp. 22.
(Photo caption) “Dark Utah Golden Travise with coarsed Ashlar of Utah Rouge Jasper, used in the Church Administration Building at Salt Lake City.” pp. 22.
(Photo caption) “This corridor is one of Washington’s private clubs. The columns and pilasters, as well as wall paneling, are of Vermont.” pp. 23.
(Photo caption) “The Lincoln Terrace Apartment Building, one of Chicago’s many fine structures, owes much of its beauty to its fine marble.” pp. 23.
(Photo caption) “Italian marbles are used in the Bankers’ Trust Company, 5 Place Vendome, Paris, the new and luxurious ‘American’ Bank.” pp. 23.
(Photo caption) “The Frick Building, in Pittsburgh, Pa., has Second Statuary in walls, floors and balusters, and American Pavonazzo ceiling panels.” pp. 24.
(Photo caption) “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.” pp. 25.
“The Wisconsin Capitol: A Building That Contains Much Marble And Has The Second Largest Dome In The United Sates.” pp. 26-36.
(Photo caption) “Detail of dome and one of the entrance pavilions of the Wisconsin State Capitol. In the competitive drawings the architects indicated four tourelles or miniature domes at the base of the great dome, resting on the odium wall. These were later omitted and in their place the Capitol Commission substituted four groups of statuary overlooking the corner pavilions. These add materially to the pyramidal effect of the architectural composition.” pp. 26.
(Photo caption) “The North Portico.” pp. 28.
(Photo caption) “Looking into East Stair Hall from Gallery.” pp. 29.
(Photo caption) “Lobby of Governor’s Reception Room.” pp. 30.
(Photo caption) “Wall treatment at rear of Rostrum in Supreme Court.” pp. 32.
(Photo caption) “Entrance to Hearing Room.” pp. 33.
(Photo caption) “Night illumination. Wisconsin State Capitol.” pp. 36.
“List of The World’s Marbles” pp. 37-41. (“Caan Stone” through “Castelnau Marble”)
“List of Quarries and Marble Manufacturers Represented in the Membership of the National Association of Marble Dealers.” pp. 42-43.
Advertisements pp. 44-70.
“Index To Advertisers” pp. 71. (The following companies are listed.)
Alabama Marble Company - pp. 56.
Andres Stone & Marble - pp. 61.
F. de Bellegarde, Inc. - pp. 49.
Antonio Biggi - pp. 70.
Bond Marble Company - pp. 57.
The Bradbury Marble Company - pp. 55.
Philip H. Butler & Son Company - pp. 61.
Candoro Marble Company - pp. 58.
Carthage Marble & White Lime Company - pp. 57.
Christa-Batchelder Marble Company - pp. 45.
Jno. J. Craig Company - pp. 51.
John J. Deery Company, Inc. - 55.
The Detroit Marble Company - pp. 57.
Drake Marble and Tile Company - pp. 66.
Flavin Marble Mill - pp. 63.
F. E. Gates Marble & Tile Company - pp. 45.
The Georgia Marble Company - pp. 53.
Gray Knox Marble Company - pp. 62.
Haworth Marble Company - pp. 65.
Henry Marble Company - pp. 51.
Hilgartner Marble Company - pp. 48.
Iron City Marble Company - pp. 70.
C. D. Jackson & Co., Inc. - pp. 67.
Knoxville Marble Co. - pp. 68.
Lautz Marble Corporation - pp. 54.
Lautz Missouri Marble Company - pp. 46.
McClymont Marble Company - pp. 44.
McLaury Marble Corporation - pp. 69.
Northwestern Marble & Tile Company - pp. 55.
Ozark Quarries Company - pp. 52.
Peerling Marble Company - pp. 49.
Peoria Stone & Marble Works - pp. 63.
Peter & Burghard Stone Company - pp. 47.
Phenix Marble Company - pp. 47.
Pisani Brothers, Inc. - pp. 64.
The Puffer Mfg. Company - pp. 45.
Rees-Volckmann & Company - pp. 57.
Salomone-O’Brien Marble Company - pp. 65.
F. W. Steadley & Company, Inc. - pp. 59.
Sunderland Bros. Company - pp. 47.
Taber & Company - pp. 51.
Taylor Marble & Tile Company - pp. 61.
Tompkins-Kiel Marble Company - pp. 50.
Troy Brothers & Company - pp. 65.
Union Marble & Tile Company, Inc. - pp. 49.
Vermont marble Company - pp. 60.
Albert Weiblen Marble & Granite Co. - pp. 63.
(Photo caption) “Cloisters of Lincoln Cathedral.” (Frontispiece)
“A Trojan Public Building: Troy, New York, Gas Company’s Home Has A Pleasing Interior of Marble.” pp. 3-4.
(Photo caption) “Display room of the Troy Gas Co. The columns and walls are of American Pavonazzo.” pp. 4.
“Medical History in Marble” pp. 5-10.
(Sketch caption) “Earliest surgical operation pictured in the Necropolis of Saqqarah at Memphis.” pp. 5.
(Photo caption) “The famous black marble statue of Æsculapius, Capitoline, Rome.” pp. 5.
(Photo caption) “Hygeia and Æsculapius, the Goddess of Health and the God of Healing, Ottoman Museum, Constantinople.” pp. 6.
(Photo caption) “Statue of Hippocrates, British Museum.” pp. 6.
(Photo caption) “Tomb monument of Greek physician Jason, British Museum.” pp. 6.
(Photo caption) “Statue of the physician Artemon in Smyrna, erected by the city.” pp. 7.
(Photo caption) “Tombstone of Ælius Pius Curtianus at Palestrina.” pp. 7.
(Photo caption) “Marble monument to an unknown Roman physician in the Lateran Museum, Rome.” pp. 7.
(Photo caption) “The doctor’s diagnosis. Medallion on the Campanile, Florence. Probably by Giotto.” pp. 8.
(Photo caption) “Monument to Casparo Tagliacozzi, in Bologna.” pp. 9.
(Photo caption) “Pest Column in Vienna.” pp. 9.
(Photo caption) “Statue of Francesco Redi, Naturalist, Physician, Litterateur, on the portico of the Uffizzi, Florence.” pp. 9.
(Photo caption) “Monument to Virchow by Fritz Klimsch.” pp. 10.
(Photo caption) “Monument to Theodor Billroth by Kaspar von Zumbush ini Vienna.” pp. 10.
(Photo caption) “Pasteur Monument in Paris, by Alexander Falguière.” pp. 10.
“The Origin of Tennessee Marble.” By John Stephen Sewell, pp. 11-12.
(Photo caption) “‘Narcissus,’ a statue carved out of Pink Tennessee marble and placed at the head of a small garden pool in Forest Hills, Long Island, N.Y. It expresses with charming gayety all the whimsical mischievousness of youth. The sculptor was Adolph A. Weinman, of New York City.” pp. 12.
“A List of The Worlds Marbles” pp. 13-18. (Castera-Verduzan through Clarendon A)
“Mantels For The Home” pp. 19-21.
(Photo caption to accompany photo of fireplace) “Intended for a moderate sized living-room or large bed chamber. It is built from a dark variety of Second Statuary Italian marble with inlays of Black Belgium. The hearth treatment is rather poorly designed and the effect would be improved if a border of Second Statuary was used on the front and ends only and the field treatment made to correspond with the fireplace.” pp. 20.
(Photo caption to accompany photo of fireplace) “This mantel may be used in a hall, living-room, library or any other large room where it will harmonize with the surroundings. The material used is Vert Antico from Greece. A good hearth treatment would require a raised border of Vert Antico set at least three inches above the floor and at least one inch above the hearth panels, with the top edges slightly rounded.” pp. 10.
(Photo caption to accompany photo of fireplace) “Designed to harmonize with the color scheme of a large living-room. This is of Number 2 White Italian, inlaid with Red Verona. The hearth treatment is intended to harmonize with the mantel and should be carefully worked out.” pp. 20.
(Photo caption to accompany photo of fireplace) “This living-room mantel is of a purely conventional design. It is built of Pavonazzo Italian. The hearth shown is not in keeping with, and probably was not intended to be used with this mantel. It should be worked out in conformity with the mantel and the other features of the room.” pp. 21.
(Photo caption to accompany photo of fireplace) “This is intended for a living-room, and the top or shelf treatment could perhaps be greatly improved. It is made of Pavonazzo Italian marble which, because of its natural richness, requires but little ornamentation. This mantel would be improved were the carving, if used at all, done on inlays of pure, cream white marble.” pp. 21.
(Photo caption to accompany photo of fireplace) “A very much used type of utility mantel, with the addition of conventional ornamentation. This latter does not give its full value, however, because of the interruption of the shadow effect produced by the various veins. If the project or profile of this mantel had been reduced about one-half and the shelf offset to receive the pilaster, the effect would have been much better. The material used was selected, heavily marked Pavonazzo Italian marble.” pp. 21.
“English Gothic Churches” pp. 22-28.
(Photo caption) “South aisle of choir, in Winchester Cathedral. Built in 1076-93, it was remodeled later in early Gothic style.” pp. 22.
(Photo caption) “The Central Tower of Lincoln Cathedral, a church of the thirteenth century.” pp. 24.
(Photo caption) “West Front of Wells Cathedral (thirteenth century).” pp. 25.
(Photo caption) “Fan-vaulting (late Perpendicular), in the nave of King’s College Chapel, at Cambridge.” pp. 25.
(Photo caption) “Notice the decorative elaboration of design in this triforium of Ely Cathedral.” pp. 26.
(Photo caption) “Salisbury Cathedral was built about 1245; the Spire about 1300.” pp. 27.
(Photo caption) “Canterbury Cathedral. ” pp. 28.
“The Minnesota Capitol.” pp. 29-34.
(Photo caption) “The architect has introduced into the beautiful Corinthian capitals of the second floor a rosette representing the moccasin plant, the recognized flower of the State of Minnesota.”
(Photo caption) “View from top of West Staircase.” pp. 31.
(Photo caption) “Exterior of the Minnesota State Capitol, at St. Paul.” pp. 32.
(Photo caption) “View of Senate Chamber, in center of West Wing.” pp. 33.
“Safer Walkways: Definitions and Information.” “Note: The National Engineering Council called for a conference of those interested in making walkways safer against slipping and tripping. The National Association of Marble Dealers offers the following information as it applies to marble - and follows with specifications incorporating what it considers proper standards, these latter to be made the basis of recommendation to municipalities for incorporation in their codes of building laws.” pp. 35-41.
(Photo caption) “The highest work of masonry in the world, Washington Monument in Washington, D.C., is 555 feet and was begun in 1848, from plans of Robert Mills. The first 150 feet of facing is a large-grain marble from Texas, Md. The balance of the exterior walls to the apex is of White Beaver Dam marble from Maryland.” pp. 41.
“List of Quarries and Marble Manufacturers Represented in the Membership of the National Association of Marble Dealers.” pp. 42-43.
Advertisements, pp. 44-70.
“Index To Advertisers” pp. 71.. (The following companies are listed.)
Alabama Marble Company - pp. 58.
Andres Stone & Marble - pp. 55.
F. de Bellegarde, Inc. - pp. 65.
Antonio Biggi - pp. 45.
Bond Marble Company - pp. 57.
The Bradbury Marble Company - pp. 59.
Philip H. Butler & Son Company - pp. 55.
Candoro Marble Company - pp. 54.
Carthage Marble & White Lime Company - pp. 57.
Christa-Batchelder Marble Company - pp. 69.
Jno. J. Craig Company - pp. 63.
John J. Deery Company, Inc. - 51.
The Detroit Marble Company - pp. 57.
Drake Marble and Tile Company - pp. 51.
Flavin Marble Mill - pp. 53.
F. E. Gates Marble & Tile Company - pp. 69.
The Georgia Marble Company - pp. 61.
Gray Knox Marble Company - pp. 50.
Haworth Marble Company - pp. 49.
Henry Marble Company - pp. 63.
Hilgartner Marble Company - pp. 66.
Iron City Marble Company - pp. 45.
C. D. Jackson & Co., Inc. - pp. 47.
Knoxville Marble Co. - pp. 46.
Lautz Marble Corporation - pp. 60.
Lautz Missouri Marble Company - pp. 68.
Geo. W. Maltby & Sons Co. - pp. 45.
McClymont Marble Company - pp. 70.
McLaury Marble Corporation - pp. 44.
Northwestern Marble & Tile Company - pp. 59.
Ozark Quarries Company - pp. 62.
Peerling Marble Company - pp. 65.
Peoria Stone & Marble Works - pp. 53.
Peter & Burghard Stone Company - pp. 67.
Phenix Marble Company - pp. 67.
Pisani Brothers, Inc. - pp. 48.
The Puffer Mfg. Company - pp. 69.
Rees-Volckmann & Company - pp. 57.
Salomone-O’Brien Marble Company - pp. 49.
F. W. Steadley & Company, Inc. - pp. 56.
Sunderland Bros. Company - pp. 67.
Taber & Company - pp. 63.
Taylor Marble & Tile Company - pp. 55.
Tompkins-Kiel Marble Company - pp. 64.
Troy Brothers & Company - pp. 49.
Union Marble & Tile Company, Inc. - pp. 65.
Vermont Marble Company - pp. 52.
Albert Weiblen Marble & Granite Co. - pp. 53.
(Photo caption) “Clytie” (Frontispiece)
“‘Clytie,’ considered the masterpiece of Wm. Henry Rinehart, the famous Maryland sculptor, who died in 1876. This Carrara marble statue is owned by the Peabody Institute of Baltimore.” pp. 2.
“Orpheum Theatre: A Boston Playhouse That Makes Good Use of Marble For Ornamentation and Attractiveness.” pp. 3-4.
(Photo caption) “The Main Entrance Lobby of the Orpheum Theatre, Boston, Massachusetts. The columns are Marine Brocadillo, with bases and pediments of Gravina (Alaska) marble.” pp. 4.
“A New York Church.” pp. 5-8.
(Photo caption - none) Photograph of the second Church of Christ, Scientist, located opposite Central Park, on Central Park West, at Sixty-eighth Street, New York City. pp. 5.
(Sketch captions) “The Main Entrance.” “The Reader’s Desk.” “The Sixty-eighth Street Entrance.” “View of the Auditorium.” “The Second Reader’s Reception Room.”
“Bank Interiors: Why Marble Offers Unusual Advantages in Securing The Necessary Effects.” By William W. Emmart, Architect, Baltimore, Md. pp. 9-14.
(Photo caption) “The Springfield Institution for Savings, Springfield, Massachusetts. The bank screen and pilasters are of Verde Antique.” pp. 9.
(Photo caption) “Cleveland Trust Branch Bank, Cleveland Ohio: Alfred G. Hall, Architect. Madre Veined Alabama and Imported Verde Antique marbles were used here.” pp. 10.
(Photo caption) “The Deseret National Bank at Salt Lake City, Utah, has bases and counters of Dark Utah Golden Travise, with the Light variety used in the dies, rails, columns and balustrade.” pp. 10.
(Photo caption) “Holmes and Winslow, the Architects of the First National Bank of South Amboy, New Jersey, chose Napoleon Gray marble for this effect.” pp. 11.
(Photo caption) “The Market Street Title and Trust Company’s banking room shows an excellent treatment of American Pavonazzo and Verde Antique.” pp. 11.
(Photo caption) “This massive dignity of the Kansas City Federal Bank is augmented by the use of San Saba marble for half-columns, desks and die.” pp. 12.
(Photo caption) “These beautiful panels of American Pavonazzo contrast vividly with the white of the Second Statuary used in the walls and columns of the First National Bank of Pittsburgh.” pp. 12.
(Photo caption) “The National Bank of Tacoma, Washington State, makes excellent use of San Saba Texas marble in this well-designed room.” pp. 13.
(Photo caption) “Another interesting combination of American Pavonazzo and Verde antique marbles is found in this bank at Hazelton, Pennsylvania - the First National.” pp. 13.
(Photo caption) “American Bond and Mortgage Company, New York: G. Howard Crane, Arthictect. French Hauteville, Black and Gold and Tennessee (Pink and Gray) marbles were used in this remarkably handsome interior.” pp. 14.
“A Seattle Court House.” pp. 15-17. (the King County Court House in Seattle, Washington)
(Photo caption) “One of the matched panels set off by a border of darker marble at the east end of the second floor corridor.” pp. 16.
(Photo caption) “Floors, stairway and wainscoting are all made of domestic marbles from Alaska and Vermont.” pp. 16.
(Photo caption) “The striking appearance of the richly veined marble used on the third floor.” pp. 16.
(Photo caption) “One of the marble panels between the elevators, showing the care used in matching.” pp. 17.
“Memoranda About Marble With Special Reference To Southern Marbles.” By John Stephen Sewell, President of the Alabama Marble Co. pp. 18-22.
(Photo caption) “Loading Marble in a Southern Quarry.” pp. 22.
“Marble Floors in Department Stores.” By Fred Z. Salomon, General Manager, May Department Stores Company, pp. 23-26.
(Photo caption) “Famous & Barr Co., of St. Louis, Missouri.” pp. 23.
(Photo caption) “Marble blocks in the main floor.” pp. 24.
(Photo caption) “Here the marble is set in herring-bone style.” pp. 24.
(Photo caption) “One of the display windows in the May Department Store.” pp. 25.
(Photo caption) “The use of marble floors in the show windows insures cleanliness and adds much to the effect.” pp. 26.
“Gothic Architecture in Germany.” pp. 27-34.
(Photo caption) “West Front of Strasburg, built by Erwin, of Steinbach, and his sons. It has been through successive fires, earthquakes and bombardments. There are countless statues and bas-reliefs, blackened by the storm, heat and smoke of centuries.” pp. 27.
(Sketch caption) “Cologne - St. Andrew’s.” pp. 28.
(Photo caption) “Details of the tower and flying buttresses, Cologne Cathedral.” pp. 29.
(Photo caption) “The nave of the five-aisled cathedral of Cologne, impressive though imitative to the highest degree.” pp. 30.
(Photo caption) “The South Door of the Cologne Cathedral is finely proportioned.” pp. 31.
(Photo caption) “The spire finial of Cologne Cathedral. 513 feet high.” pp. 32.
(Photo caption) “West front of Cologne Cathedral. In spite of its great bulk, the multitude of ornaments, small turrets, galleries and decorations rob it of weight and give an impression of magnificence without gloom, of airy serenity.” pp. 33.
(Sketch caption) “Freyburg in Brisisgau” (spelling?) pp. 34.
“A List of The World’s Marbles.” By J. J. McClymont. pp. 35-41 (Clarendon Dark Cloud through Cyzican)
“List of Quarries and Marble Manufacturers Represented in the Membership of The National Association of Marble Dealers.” pp. 42-43.
Advertisements pp. 44-71.
“Index To Advertisers” pp. 71. (The following companies are listed.)
Alabama Marble Company - pp. 52.
Andres Stone & Marble - pp. 57.
F. de Bellegarde, Inc. - pp. 65.
Antonio Biggi - pp. 47.
Bond Marble Company - pp. 59.
The Bradbury Marble Company - pp. 61.
Philip H. Butler & Son Company - pp. 57.
Candoro Marble Company - pp. 54.
Carthage Marble & White Lime Company - pp. 59.
Christa-Batchelder Marble Company - pp. 69.
Jno. J. Craig Company - pp. 45.
John J. Deery Company, Inc. - 53.
The Detroit Marble Company - pp. 71.
Drake Marble and Tile Company - pp. 53.
Flavin Marble Mill - pp. 55.
F. E. Gates Marble & Tile Company - pp. 69.
The Georgia Marble Company - pp. 63.
Gray Knox Marble Company - pp. 58.
Haworth Marble Company - pp. 51.
Henry Marble Company - pp. 45.
Hilgartner Marble Company - pp. 44.
Iron City Marble Company - pp. 47.
C. D. Jackson & Co., Inc. - pp. 49.
Knoxville Marble Co. - pp. 64.
Lautz Marble Corporation - pp. 50.
Lautz Missouri Marble Company - pp. 70.
Geo. W. Maltby & Sons Co. - pp. 47.
McClymont Marble Company - pp. 68.
McLaury Marble Corporation - pp. 66.
Northwestern Marble & Tile Company - pp. 61.
Ozark Quarries Company - pp. 48.
Peerling Marble Company - pp. 65.
Peoria Stone & Marble Works - pp. 55.
Peter & Burghard Stone Company - pp. 67.
Phenix Marble Company - pp. 67.
Pisani Brothers, Inc. - pp. 60.
The Puffer Mfg. Company - pp. 69.
Rees-Volckmann & Company - pp. 59.
Salomone-O’Brien Marble Company - pp. 51.
F. W. Steadley & Company, Inc. - pp. 62.
Sunderland Bros. Company - pp. 67.
Taber & Company - pp. 45.
Taylor Marble & Tile Company - pp. 46.
Tompkins-Kiel Marble Company - pp. 46.
Troy Brothers & Company - pp. 51.
Union Marble & Tile Company, Inc. - pp. 65.
Vermont Marble Company - pp. 56.
Albert Weiblen Marble & Granite Co. - pp. 55.
(Photo caption) “Straus Building.” (Frontispiece)
“Chicago’s New Thirty-Two-Story Structure,” pp. 3-4.
“ Untermyer Gardens, New York,” pp. 5.
(Photo caption) “White Marble used in the Greek Theater in the Gardens of Samuel Untermeyer, Greystone, N.Y., overlooking the Hudson River and the Palisades. Welles Boswrth. Architect.”
“Gothic Architecture in Italy: The Fundamentals Were Completely Disregarded, But the Style Produced Monuments of Great Charm,” pp. 7-13.
(Photo caption) “Milan Cathedral, founded in 1386, and finished in the sixteenth century. The workmanship is German: the Flamboyant detail French, modified by Germans. Fine marble was used throughout.”
(Photo caption) “Interior of St. Francis, at Assissi.” pp. 7.
(Photo caption) “View of St. Francis, at Assisi,” from the south.
(Photo caption) “Interior of Sts. John and Paul, at Venice.” pp. 9.
(Photo caption) “Pisani Palace at Venice, a Gothic structure built in the fourteenth century.” pp. 10.
(Photo caption) “Campanile of Giotto, part of the Cathedral at Florence.” pp. 11.
(Photo caption) “Marble column in the doorway of the Orvieto Cathedral.” pp. 11.
(Photo caption) “View of the Cathedral at Florence from the cupola of St. Lorenzo, showing Brunelleschi’s dome.” pp. 12.
“A Georgian Skyscraper: The Candler Building in Atlanta is an Immense Structure of White Georgia Marble.” pp. 14-18.
(Photo caption) “The Candler Building in Atlanta, Georgia.” pp. 14.
(Photo caption) “Entrance to Bank on North Front.” pp. 16.
(Photo caption) “Grand Staircase in Candler Building.” pp. 17.
“A List of The World’s Marbles,” by J. J. McClymont. pp. 19-25. (D’Alep Breche through Echaillon)
“The Missouri Capitol: The Exterior of The Jefferson City Structure was Built Entirely of Missouri Marble.” pp. 27-32.
(Photo caption) “View of the House of Representatives, Missouri State Capitol. It is 70 by 78 feet and provides for 150 members.” pp. 26.
(Photo caption) “Exterior of Missouri State Capitol, at Jefferson City. It is now surrounded with gardens, driveways and boulevard electric lights.” pp. 28.
(Photo caption) “Columns and capitals of the Main Rotunda. Carthage and Phenix marbles were used extensively for the interior.” pp. 29.
(Photo caption) “Stone carving on grand Stairway.” pp. 31.
(Photo caption) “Grand Stairway, Missouri state Capitol.” pp. 32.
“Temple of Justice, Olympia, Washington.” pp. 33-37.
(Photo caption) “Marbles from Alaska are used in the corridors. The caps, trimmings and mouldings are made from solid material, and not built up of thin slabs.” pp. 34.
(Photo caption) “These walls, floors and stair-treads are all marble.” pp. 35.
(Photo caption) “Another view of the Main Corridor.” pp. 36.
“Rockefeller Tea House, New York.” pp. 37.
(Photo caption) “Marble was chosen to carry out the decorative scheme in the Tea House in the Gardens of John D. Rockefeller, Pocantico Hills, N.Y. Welles Bosworth, Architect.” pp. 37.
“A Handbook on Marble: Chapter II – The Production of Marble.” (concluded). pp. 38-41. (Subheadings: Tilted Beds; Disposal of Debris; Secure, Sufficient Development Area; & Sound Admonitions.)
(Photo caption) “Large marble blocks in a quarry yard.” pp. 41.
“List of Quarries and Marble Manufacturers, Presented in the Membership of the National Association of Marble Dealers.” pp. 42-43.
Advertisements pp. 44-71.
“Index to Advertisers.” pp. 71. (The following companies are listed.)
Alabama Marble Company - pp. 50.
Andres Stone & Marble - pp. 57.
F. de Bellegarde, Inc. - pp. 65.
Antonio Biggi - pp. 47.
Bond Marble Company - pp. 59.
The Bradbury Marble Company - pp. 61.
Philip H. Butler & Son Company - pp. 57.
Candoro Marble Company - pp. 52.
Carthage Marble & White Lime Company - pp. 59.
Christa-Batchelder Marble Company - pp. 69.
Jno. J. Craig Company - pp. 45.
John J. Deery Company, Inc. - 53.
The Detroit Marble Company - pp. 51.
Drake Marble and Tile Company - pp. 53.
Flavin Marble Mill - pp. 55.
F. E. Gates Marble & Tile Company - pp. 69.
The Georgia Marble Company - pp. 63.
Gray Knox Marble Company - pp. 56.
Haworth Marble Company - pp. 51.
Henry Marble Company - pp. 45.
Hilgartner Marble Company - pp. 70.
Iron City Marble Company - pp. 47.
C. D. Jackson & Co., Inc. - pp. 49.
Knoxville Marble Co. - pp. 62.
Lautz Marble Corporation - pp. 48.
Lautz Missouri Marble Company - pp. 68.
Geo. W. Maltby & Sons Co. - pp. 47.
McClymont Marble Company - pp. 66.
McLaury Marble Corporation - pp. 64.
Northwestern Marble & Tile Company - pp. 61.
Ozark Quarries Company - pp. 46.
Peerling Marble Company - pp. 65.
Peoria Stone & Marble Works - pp. 55.
Peter & Burghard Stone Company - pp. 67.
Phenix Marble Company - pp. 67.
Pisani Brothers, Inc. - pp. 58.
The Puffer Mfg. Company - pp. 69.
Rees-Volckmann & Company - pp. 59.
Salomone-O’Brien Marble Company - pp. 51.
F. W. Steadley & Company, Inc. - pp. 60.
Sunderland Bros. Company - pp. 67.
Taber & Company - pp. 45.
Taylor Marble & Tile Company - pp. 57.
Tompkins-Kiel Marble Company - pp. 44.
Troy Brothers & Company - pp. 71.
Union Marble & Tile Company, Inc. - pp. 65.
Vermont Marble Company - pp. 54.
Albert Weiblen Marble & Granite Co. - pp. 55.
(Photo caption) “The loftiest and most beautiful building in all the world dedicated to commerce - seen through the great arch of the Municipal Building in the soft glow of early morning sunlight.” (Frontispiece)
“The Woolworth Building: The Tallest Building In the World Contains Quantities of Fine Marbles. ” (New York City, New York) pp. 3-7.
(Photo caption) “Grand Arcade of the Woolworth Building looking toward the main stairway.” pp. 4.
(Photo caption) “Grand Arcade from Main Stairway looking toward Broadway.” pp. 5.
(Photo caption) “North Balcony of Grand Arcade.” pp. 6.
(Photo caption) “The Empire Room. Executive Office of the President of the Woolworth Co.” pp. 7.
“Gothic Architecture in Spain.” pp. 8-15.
(Photo caption) “Patio of the Arrayanes, Alhambra. A Moorish façade. Illustration courtesy Thos. Machen, Architect, Balto., Md. ” pp. 8.
(Photo caption) “Principal Façade of Burgos Cathedral. Illustration courtesy Thos. Machen, Architect, Balto., Md. ” pp. 9.
(Photo caption) “General View of the Salón de Embajadores, in the Alcázar at Seville. Illustration courtesy Thos. Machen, Architect, Balto., Md. ” pp. 10.
(Photo caption) “Exterior of Toro Cathedral. Illustration courtesy University Prints, Boston, Mass. ” pp. 11.
(Photo caption) “Exterior of Cathedral Leon. Illustration courtesy University Prints, Boston, Mass. ” pp. 12.
(Photo caption) “Exterior of Cathedral, Seville, showing Giralda Tower. Illustration courtesy University Prints, Boston, Mass. ” pp. 13.
(Photo caption) “Interior of Barcelona Cathedral. Illustration courtesy Thos. Machen, Architect, Balto., Md. ” pp. 14.
(Photo caption) “Detail of Central Tower, Burgos Cathedral. Illustration courtesy Thos. Machen, Architect, Balto. Md. ” pp. 15.
“Weathering of Marble: The Reasons for the Variation in Durability of Exposed Marbles.” pp. 16-18.
(Photo caption) “The illustration shown here represents the front entrance moulded marble steps of the Century Office Building at 211 North Calvert Street, Baltimore, Maryland. According to the best information obtainable, this building was erected about 1805. At this early date records of building operations in Baltimore were not kept. The marble is from Cockeysville, as was so much of the marble used for the thousands of steps seen in Baltimore. These particular steps have given 119 years of service a striking evidence of the enduring qualities of marble.” (pp. 18)
“The Oldest Bank in Maryland.” pp. 19-23. (A photograph of the bank is included in the article.)
“Before the War of 1812, and even before ‘Baltimore Towne’ was incorporated, there was granted a charter for a bank which opened its doors at what is now Baltimore and St. Paul Streets in Baltimore, Maryland. This was in 1795.
“The bank is still there. The building is the fourth one on the same site which the oldest bank in Maryland has occupied in the last 129 years....”
“The new building which now so adequately houses the bank’s affairs has a frontage of 81 feet on East Baltimore Street and extends along St. Paul Street a distance of 103 feet. The plot formerly occupied was a portion of this area, comprising the strip at the corner that fronted 36 feet on East Baltimore Street.
“The previous building was not entirely demolished when this new home was built; parts of the old structure were retained...”
“The plans for the new bank and its equipment was prepared by Mr. C. B. French, of the firm of Morgan, French and Company, Inc., architects and bank engineers of New York, and Mr. Theodore Wells Pietsch, architect, of Baltimore. The builder was Fred T. Ley and Company, Inc., of New York....”
(Photo caption) “Main Entrance. National Bank of Baltimore.” pp. 20.
(Photo caption) “South Side of Banking Street, Banking Floor.” pp. 21.
(Photo caption) “Ramp and Twist Stair, Banking Room Floor to Officers’ Quarters.” pp. 22.
(Photo caption) “Marble Stairs from Basement to Entrance Floor Level.” pp. 23.
“Marbles and Marble-Working in Belgium and France.” pp. 24-25.
“The Nation’s Capital.” ( Washington, D.C. ) pp. 26-34. (A photograph of the capital building is included in the article.)
(Photo caption) “View of Senate Chamber.” pp. 27.
(Photo caption) “View of House of Representatives.” pp. 28.
(Photo caption) “The Ceiling of the Rotunda, painted by Brumidi, said to show caricatures of the leaders of the Confederacy, though denied by the painter.” pp. 29.
(Photo caption) “ Supreme Court Room.” pp. 30.
(Photo caption) “This view was taken at 2:30 A.M., April 6, 1917, while Congress was considering war against Germany. A few minutes later, war was declared. E. L. Crandall, Washington, D.C. ” pp. 31.
(Photo caption) “Carving on Portico of East Wing.” pp. 33.
(Photo caption) “Statuary Hall.” pp. 34.
“A Baltimore Church: The First Church of Christ, Scientist, is One of the Show Places of the City.” (Baltimore, Maryland ) pp. 35-36. (A photograph of the church is in with the article.)
(Photo caption) “Balcony and part of Auditorium.” pp. 36.
“A List of the World’s Marbles,” By J. J. McClymont. pp. 37-41. (“Ecton” through “F. A. Pink”)
“West Front of Antwerp Cathedral.” (Frontispiece)
“The New York Central Railroad Station at Utica, N.Y.: The Ancient Egyptian Temple of Apah Served as a Model for the Columnar Treatment.” pp. 3-5. (Utica, New York)
(Photo caption) “The Main Waiting Room, showing the extensive use of marble.” pp. 4.
(Photo caption) “A vista of majestic columns in the Utica Station.” pp. 5.
“Inch By Inch,” By permission of The Edison Monthly, with deletions by the Editor. pp. 6-8.
(Photo caption) “A block of marble cut into slabs and ready to be taken from the sawing compartment. Photograph by the New York Edison Company.” pp. 6.
(Photo caption) “The great arms which connect the gangs of saws with the motor-driven shaft. A motor of 100 horsepower operates the saws at the yard of this New York marble sawing plant in the Bronx.” pp. 7.
(Photo caption) “Great piles of marble, some domestic and some imported represent a value of more than a million dollars. Photograph by The New York Edison Company.” pp. 8.
“The Illinois State Capitol.” pp. 9-13. (A photograph of the Illinois State Capitol building is included in the article.)
(Photo caption) “North Corridor on First Floor, showing both domestic and imported marbles.” pp. 10.
(Photo caption) “The Stairway in the West Corridor, built entirely of marble on a framework of iron. Notice the handsome columns.” pp. 11.
(Photo caption) “East Corridor on the Second Floor.” pp. 12.
(Photo caption) “Grand Stairway on Second Floor, Illinois State Capitol.” pp. 13.
“Gothic Architecture in Belgium and Holland.” pp. 14-18.
(Photo caption) “Town Hall at Bruges.” pp. 14.
(Photo caption) “Interior of Antwerp Cathedral.” pp. 15.
(Photo caption) “Antwerp cathedral looking across the Place Verte, showing the statue to Rubens in the foreground.” pp. 16.
(Photo caption) “The Church of Notre Dame at Bruges, founded by St. Boniface in 1745. A vast irregular pile illustrating all periods of architecture in which Gothic predominates.” pp. 17.
(Photo caption) “Cathedral of Ste. Gudule at Brussels.” pp. 17.
(Photo caption) “Town Hall at Brussels.” pp. 18.
“The Cleveland Museum of Art.” pp. 19-24. (Cleveland, Ohio) (A photograph of the Cleveland Museum of Art is included in the article.)
(Photo caption) “View of South Front of Cleveland Museum of Art, Cleveland, Ohio, looking across East Boulevard.” pp. 21.
(Photo caption) “North Front, showing entrances to ground floor.” pp. 22.
(Photo caption) “In the Rotunda, the columns are of Maryland marble; the floor and bases are of Tennessee.” pp. 23.
(Photo caption) “The marble garden furniture in the Garden Court came from a villa at Boscoreale, a town which was destroyed at the same time as Pompeii, 79 A.D., by an eruption of Vesuvius.” pp. 24.
“The Eastman School of Music and Eastman Theater.” pp. 25-31. (Rochester, New York) (A photograph of the Eastman School of Music and Eastman Theater is included in the article.)
(Photo caption) “Main Corridor, with Tennessee marble floor bordered with Belgian Black. The walls are Botticino, with bases of Black and Gold.” pp. 26.
(Photo caption) “Foot of Grand Staircase. The columns are Gray Siena marble.” pp. 27.
(Photo caption) “Upper Corridor, with Tennessee marble floor, inset with Levanto and Verte Tinos. The dado and pilasters are Botticino and the columns at each end are Gray Siena.” pp. 28.
(Photo caption) “Kilbourn Hall.” pp. 28.
(Photo caption) “Main Entrance of the Eastman Theater at Rochester, N.Y. ” pp. 29.
(Photo caption) “Main Entrance Lobby, showing reproductions of Lafitte’s ‘Cupid and Psyche,’ painted for Napoleon.” pp. 30.
(Photo caption) “Rear of Main Auditorium, seen from the stage, the chandelier is said to be the largest ever made. Marble, principally Botticino and Travertine, were extensively used in this interior.” pp. 31.
“The President’s Bank: A Washington Institution Patronized by the Political Leaders of the Country.” pp. 33-36. (Riggs National Bank, Washington, D.C. )
(Photo caption) “East Lobby in the Main Office. The floor is Pink Tennessee, the walls Botticino, the counters Pavonazzo with Verde Antique bases, and the benches White Italian Statuary marble.” pp. 33.
(Photo caption) “The Safe Deposit Department has Tennessee marble floors, with Botticino walls and Verde Antique bases.” pp. 34.
(Photo caption) “West Lobby in the Main Office.” pp. 34.
(Photo caption) “Main Office, Riggs National Bank, Washington, D.C. ” pp. 35.
(Photo caption) “The Dupont Circle Branch of the Riggs National Bank.” pp. 36.
“A List of the World’s Marbles,” By J. J. McClymont. (“Fareau” through “Framayes”) pp. 37-41.
“List of Quarries and Marble Manufacturers Represented in the Membership of the National Association of Marble Dealers.” pp. 42-43.
“Baltimore’s Oldest Skyscraper: The Marbles In the Equitable Building Withstood the Intense Heat of the Big Baltimore Fire.” pp. 3-7.
(Photo caption) “Entrance to Equitable Building, Baltimore, Maryland. These marbles came unscathed through the fire of 1904, that leveled hundreds of buildings built of brick and other materials.” (Frontispiece)
(Photo caption) “The Main Corridor, looking toward the elevators, in the Equitable Building. The marbles are Tennessee and Carrara White Vein Italian.” pp. 4.
(Photo caption) “One of the two Banking Rooms on the ground floor of the Equitable Building. The floors are Tennessee, the counters and wainscoting Pavonazzo marble.” pp. 5.
(Photo caption) “Lobby of the Calvert Building. These marbles successfully withstood the Baltimore fire.” pp. 6.
(Photo caption) “The West Banking Room on the ground floor of the Calvert Building.” pp. 6.
(Photo caption) “The Banking House of W. W. Lanahan & Co., in the Calvert Building, Baltimore.” pp. 7.
“The House Office Building: The Real Working Quarters of Our Congressional Representatives in Washington.” pp. 8-13.
(Photo caption) “Rotunda of the House Office Building, Washington, D.C.” pp. 9.
(Photo caption) “Exterior of House Office Building, showing front entrance on B Street.” pp. 11.
(Photo caption) “Classic severity distinguishes this fine doorway.” pp. 12.
(Photo caption) “Main stairway of House Office Building, showing bust of Joseph G. Cannon.” pp. 13.
“Black and Gold: American Radiator Company’s Building in New York, Presents an Unique Color Scheme.” pp. 14-16.
(Photo caption) “The New twenty-three-story American Radiator Building at 40 West Fortieth Street, New York City. Raymond M. Hood, architect.” pp. 14.
“Church Architecture: Honest Materials are of Paramount Importance in Present-Day Ecclesiastical Designing. ” pp. 17-23.
(Photo caption) “St. Michael in Hildesheim (From an old woodcut)” pp. 17.
(Photo caption) “Canopy and Altar of American Cream Lens stone in the Church of Ste. Genevieve, Ste. Genevieve, Missouri.” pp. 18.
(Photo caption) “Pulpit of the Second Congregational Church at Holyoke, Massachusetts, executed in English Bath Stone.” pp. 18.
(Photo caption) “View of the interior of the Second Congregational Church at Holyoke, Massachusetts. Allen and Collins, of Boston, were the architects. The marble used was English Bath Stone.” pp. 18.
(Photo caption) “In this church at Zell, Missouri, American Cream-White Lens marble was used.” pp. 19.
(Photo caption) “Pulpit in the St. Albans National Cathedral, donated by the men and women of Canterbury, England.” pp. 19.
(Photo caption) “Interior of St. Albans, in Washington, D.C. The white marble is Carrara, the steps to the altar Pink Tennessee and the dark squares in the floor Royal Red. Frohman, Robb and Little, of Boston, were the architects.” pp. 19.
(Photo caption) “St. Matthew’s Catholic Church, on Rhode Island Avenue, Washington, D.C. recently remodeled after plans by C. G. La Farge, of New York. Imported and domestic marbles were used in profusion.” pp. 20.
(Photo caption) “Interior of a small church at Georgetown, in Washington, showing a marble altar and marble figures. Typical example of over-elaboration.” pp. 20.
(Photo caption) “Nave of the Nelson Memorial Building in George Washington Cemetery, Kansas City, Missouri. The floor is Pink Kasota with Belgian Black. The former is also used in the side walls.” pp. 21.
(Photo caption) “This chapel at St. Louis, Missouri, has its walls lined with Golden Veined Onondago marble, very rich in color and veining.” pp. 21.
(Photo caption) “Altar of the Holy Name Church, Philadelphia. Maginnis and Walsh, the architects, specified American Cream-White Lens marble.” pp. 22.
(Photo caption) “The Reredos of St. Thomas Church, New York City, is 80 feet high. G. B. Goodhue was the architect. It is carved out of Dunville Stone from Wisconsin.” pp. 23.
“Early Renaissance in Italy, Florence, the Birthplace of the Revival of Learning in the Fifteenth Century.” pp. 24-31.
(Photo caption) “A capital of one of the pilasters in the Church of S. Spirito, Florence. The architect was Sansovino. Illustration courtesy Thomas Machen, Architect, Balto., Md.” pp. 24.
(Photo caption) “The Cupola of Brunelleschi, on the Cathedral at Florence, Italy, begun about 1296 by Arnolfo.” pp. 25.
(Photo caption) “Exterior of the Palazzo Riccardi, Florence. The architect was Michelozzi.” pp. 26.
(Photo caption) “Façade of the Palazzo Rucellai, Florence. Alberti was the architect.” pp. 27.
(Photo caption) “Court of the Palazzo Riccardi, Florence, a Renaissance product of the fifteenth century.” pp. 28.
(Photo caption) “The Pazzi Chapel, Florence, a fifteenth century Renaissance church by Brunelleschi.” pp. 20.
(Photo caption) “Nave of Saint Andrea, at Mantua, built in the fifteenth century. The architect was Alberti. Illustration courtesy University Prints, Boston.” pp. 30.
(Photo caption) “Details of the façade of S. Bernardino at Perugia, built by Agostino Florence (1461).” pp. 31.
“Two Southern Structures: Modern Office Buildings Recently Erected in High Point and Greensboro, North Carolina.” pp. 32-38. (The Commercial National Bank Building at High Point, North Carolina, & the Jefferson Standard Building at Greensboro, North Carolina.)
(Photo caption) “Commercial National Bank Building at High Point, North Carolina.” pp. 32.
(Photo caption) “Interior of the Commercial National Bank, High Point, North Carolina.” pp. 33.
(Photo caption) “Main Entrance to the Jefferson Standard Life Building on North Elm Street, Greensboro, North Carolina.” pp. 34.
(Photo caption) “The fine seventeen-story office building owned by the Jefferson Standard Life Insurance Company, of Greensboro, North Carolina.” pp. 35.
(Photo caption) “Main Lobby, Jefferson Standard Building. Black and Gold, Tavernelle, Belgian Black and Alabama Cream A marble were used here.” pp. 36.
(Photo caption) “The Stairway leading from Lobby to Mezzanine Floor. In the slab of Alabama Cream marble forming the bottom of the soffit was found a coiled snake, petrified.” pp. 37.
(Photo caption) “The Atlantic Bank and Trust Company’s quarters in the Jefferson Standard Building.” pp. 17.
(Photo caption) “A typical corridor in the Jefferson Building, showing use of Alabama Cream A marble.” pp. 38.
“A List of The World’s Marbles,” By J. J. McClymont. pp. 39-41. (“Framont” through “Georgia Marbles”)
“List of Quarries and Marble Manufacturers Represented in The Membership of The National Association of Marble Dealers.” pp. 42-43.
“The Detroit Library: An Evidence in Marble of the Growth of Civic Consciousness.” (pp. 4-11) (Detroit, Michigan)
(Photo caption) “Perfect Rhythm Immobilized: The Detroit Public Library, designed by Cass Gilbert, of New York. ‘It is perfect rhythm immobilized, a song in marble, the grace of movement without movement. You cannot get away from the idea of music and poetry as you gaze at this architectural symphony.” (Frontispiece)
(Photo caption) “The style is early Italian Renaissance at its best, the Golden Age of the Revival. Illustration courtesy Art and Archaeology.”
(Photo caption) “Detail of Entrance, showing Loggia above.” pp. 6.
(Photo caption) “The Entrance Hall, showing the columns of pink marble. The ceiling decoration is by W. F. Paris and F. J. Wiley, of New York. The walls and floor of this hall are also of marble, all of it domestic. Illustration courtesy Art and Archaeology.” pp. 7.
(Photo caption) “The Main Stairway, leading from the Entrance Hall to the Delivery Room, is built entirely of marble. The treads, risers, balusters and walls are all of this material. It has a barrel-vaulted ceiling, with noteworthy decorations by W. F. Paris and F. J. Wiley. Illustration courtesy Art and Archaeology.” pp. 9.
“Early Renaissance in Italy: Its Development in Florence and the Milan District of Northern Italy.” pp. 12-19.
(Photo caption) “Interior of Octagonal Sacristy, Church of S. Spirito at Florence. the architects were San Gallo and Cronaca.” pp. 12.
(Photo caption) “Exterior of Strozzi Palace, Florence.” pp. 13.
(Photo caption) “Detail of cornice, Strozzi Palace.” pp. 13.
(Photo caption) “The inner court of the Strozzi Palace. Begun by Benedetto da Majano about 1489 and completed by Cronaca. It is looked upon as the most complete example of Florentine palazzo.” pp. 14.
(Photo caption) “A gorgeous marble screen of Early Renaissance is the façade of the Certosa of Pavia, by Ambrogio da Fossana, known also as Borgognone, 1369-1473.” pp. 15.
(Photo caption) “The Courtyard of the Palace Bevilacqua at Bologna. There is scarcely a finer cortile in all Italy, in spite of a slight tameness of design.” pp. 16.
(Photo caption) “The Palazzo del Consiglio, a work by Fra Giocondo, at Verona. It differs from the Florentine loggia in the free use of the arabesque pilaster.” pp. 18.
(Photo caption) “Frieze by Andrea della Robbia in the Ospedale del Ceppo at Pistoja.” pp. 19.
“ A Marble Street: An Odd Thoroughfare Traversed Daily by Thousands of Baltimoreans.” pp. 20-25.
(Photo caption) “The ‘Maryland Casualty Tower’ Building, now known as the Hearst Tower Building, through whose center runs the marble street. From an old illustration.” pp. 21.
(Photo caption) “The Arcade, looking toward Fayette Street.” pp. 22.
(Photo caption) “Baltimore Street Entrance to the Arcade.” pp. 22.
(Photo caption) “The Main Elevator Lobby, with its marble treatment of Breche Opal and Verde Antique. The bases are Black and Gold.” pp. 23.
(Photo caption) “View of the Arcade, looking south toward the Baltimore Street entrance. The floors, pilasters and part of the walls are marble.” pp. 24.
(Photo caption) “The Sentinel, one of the many figures shown in the wall panels.” pp. 24.
(Photo caption) “Rotunda in the Administration Building, one of the new Maryland Casualty Group.” pp. 25.
(Photo caption) “The new home of the Maryland Casualty Company, Baltimore, Maryland.” pp. 25.
“The Senate Office Building: A Mass of Marble that Cost Nearly Five Million Dollars.” pp. 26-32.
(Photo caption) “Gallery on the second floor of Rotunda, in the Senate Office Building, Washington, D.C. ” pp. 27.
(Photo caption) “Exterior of Senate Office Building, showing Front Entrance on B Street.” pp. 28.
(Photo caption) “View of Main Stairway.” pp. 29.
(Photo caption) “Upper Landing of Grand Stairway.” pp. 30.
(Photo caption) “View of Rotunda and Arcade.” pp. 31.
(Photo caption) “The Conference or Caucus Room in the Senate Building, where the ‘Teapot Dome’ investigations were held recently.” pp. 32.
“The Old and New in Marble Quarrying.” pp. 33-37.
(Photo caption) “General view of a plant at West Rutland, Vermont, as it looks from the hillside back of the quarries.” pp. 33.
(Photo caption) “Looking toward the sky in a quarry in Vermont. This section of the deposit is no longer being worked.” pp. 34.
(Photo caption) “Corner of a marble storage yard in Vermont, where about 12,000 blocks from the quarries are piled.” pp. 35.
(Photo caption) “Section of the inclined cable road over which blocks are raised from one of the underground quarries in Vermont. ” pp. 36.
(Photo caption) “The trail of the channeling machines. The ridges on the walls of the quarry indicate the successive layers of blocks that have been removed.” pp. 37.
“A List of the World’s Marbles,” By J. J. McClymont. pp. 38-41. (“Georgia Mezzotint” through “Grand Antique (Ariege)”)
“List of Quarries and Marble Manufacturers Represented in The Membership of the National Association of Marble Dealers.” pp. 42-43.
(Photo caption) “Statue in Butler Art Gallery. Youngstown, Ohio ” (Frontispiece)
“The St. Louis Public Library: A Building Wherein It Was the Evident Intention of the Architect to ‘Play Softly As On An Oaten Pipe, Rather than to Bray Upon Brass or to Clash the Loud Cymbals’.” pp. 3-11. (St. Louis, Missouri)
(Photo caption) “Olive Street Front of St. Louis Public Library. Cass Gilbert, architect.” pp. 4.
(Photo caption) “Details of Main Entrance on Olive Street.” pp. 5.
(Photo caption) “The Entrance Hall, with its wonderful Tennessee marbles. In the arch over the doorway is this inscription:
“‘Speak low, tread softly through these halls. Here rein in silent majesty, Here genius lives enshired. The monarchs of the mind.”
(Photo caption) “Entrance Hall, showing part of stairway on east side.” pp. 8.
(Photo caption) “Entrance Hall, showing west stairway and window on landing.” pp. 9.
(Photo caption) “The Handsome General Delivery Room, with its walls and floors built entirely of Tennessee marble.” pp. 10.
(Photo caption) “Doorway from Delivery Hall to Open-Shelf Room.” pp. 11.
“Early Renaissance in Italy: Venetian Houses Express Domestic Security, but Lombardic Influences are Everywhere Apparent.” pp. 12-19.
(Photo caption) “Carved marble column in the doorway of the College of St. Mark, Venice, an early Renaissance structure by Martino Lombardo, built about 1485.” pp. 12.
(Photo caption) “Detail of one of the façades in the grand courtyard of the Ducal Palace, in Venice, begun in 1486, by Antonio Bregno (Rizzo).” pp. 13.
(Photo caption) “The wonderfully carved altar of the Church of the Miracoli, in Venice. Both the interior and exterior of this church is lined with marbles. Pietro and Tullio Lombardo were the architects.” pp. 14.
(Photo caption) “Exterior S. M. dei Miracoli, Venice.” pp. 15.
(Photo caption) “Court, Ducal Palace, Venice.” pp. 16.
(Photo caption) “Detail of the façade of the Palazzo Vendramini-Calergi, in Venice, built by Pietro Lombardo in 1481.” pp. 17.
(Photo caption) “Hall of the Senate in the Ducal Palace in Venice.” pp. 18.
(Photo caption) “A capital of S. M. de Miracoli.” pp. 19.
“Remodeling With Marble.” pp. 20-21.
(Photo caption) “The New Brooklyn Office of the New York Title and Mortgage Co. ” pp. 20.
(Photo caption) “Marble stairway leading to second floor.” pp. 21.
(Photo caption) “Main Banking Floor, mostly of Botticino marble.” pp. 21.
“List of the World’s Marbles,” By J. J. McClymont. pp. 22-24. (“Grand Antique (Nord)” through “Granito Rosso Violaceo”)
“The Bowery Savings Bank: A New York Institution that Will Soon Celebrate Its One Hundredth Anniversary. ” pp. 25-26.
(Photo caption) “Interior of the Bowery Savings Bank. Architects, York and Sawyer, N.Y.” pp. 26.
“A Minneapolis Hotel: The Marbles in the Radisson Astonish visitors to the Twin Cities.” pp. 27-32. (Minneapolis, Minnesota)
(Photo caption) “Hotel Radisson, Minneapolis, Minn. ” pp. 28.
(Photo caption) “The Rear of the Lobby, showing the Desk.” pp. 29.
(Photo caption) “Corner of Ladies’ Waiting Space, in Lobby.” pp. 30.
(Photo caption) “Another view of the Lobby, showing the fine marble treatment.” pp. 31.
(Photo caption) “View from Mezzanine Floor.” pp. 32.
“A Handbook on Marble Chapter III. Sawing and Finishing Marble. (pp. 33-41.
“It is the purpose of the National Association of Marble Dealers, to publish as soon as possible a handbook on marble. The material contained in this book will be contributed by those best qualified to speak in an authoritative manner on the various matters treated. This is the ninth installment and contains part of the third chapter, written by John Stephen Sewell, President of the Alabama Marble Company. These extracts will probably undergo some slight changes before appearing later in book form.”
(Photo caption) “An 8-foot gang saw, one of the newest types. This saw takes marble blocks up to 12 feet long, 8 feet high and 8 feet wide. Illustration courtesy Hilgartner Marble Co., Baltimore, Md. ” pp. 35.
(Photo caption) “A wire saw 200 feet long, for cutting any size slabs. Its length prevents overheating. Illustration courtesy Hilgartner Marble Co., Baltimore, Md. ” pp. 39.
(Photo caption) “One of the smaller diamond saws, capable of sawing slabs up to 14 inches in height. There are seventy-two diamond teeth in the edge, with two or three black diamonds in each tooth.” pp. 41.
“List of Quarries and Marble Manufacturers Represented in the Membership of the National Association of Marble Dealers.” pp. 42-43.
(Photo caption) “Marble Columns at Utica, New York.” (Frontispiece)
“Stately marble columns in the New York Central Station at Utica, N.Y.”
“A Detroit Savings Bank: The Wayne County and Home Savings Bank First in America to Establish Branches.” pp. 3-8.
(Photo caption) “The exterior, in the Italian Renaissance style, is of light colored Tennessee marble.” pp. 4.
(Photo caption) “First floor entrance hall and elevator lobby, showing stairway and drinking fountains.” pp. 5.
(Photo caption) “Savings Department on first floor, showing a glimpse of the Commercial Department on the floor above.” pp. 6.
(Photo caption) “View of the Commercial Department. The walls, floor, column and pilasters are Tennessee marble.” pp. 7.
(Photo caption) “Mortgage Department on the fourth floor.” pp. 7.
(Photo caption) “A view of the basement in the Wayne County and Home Savings Bank, Detroit.” pp. 8.
“Early Renaissance In Rome.” pp. 9-14.
(Photo caption) “Court of the Palazzo della Cancelleria, in Rome.” pp. 9.
(Photo caption) “Exterior of the Palazzo della Cancerlleria, Rome. The exterior is Roman Travertine stone, extensively used in Italy.” pp. 10.
(Photo caption) “ Church of S. Maria delle Grazie, at Milan, Italy.” pp. 11.
(Photo caption) “The Palazzo Farnes, at Rome, built by Antonio Sangallo the younger, and completed by Michelangelo, who built the top story and cornice.” pp. 12.
(Photo caption) “The Palazzo Massimi, at Rome, by Peruzzi.” pp. 12.
(Photo caption) “Corner of the courtyard in the Palazzo Massimi.” pp. 13.
(Photo caption) “Portico of court in Palazzo Massimi.” pp. 13.
(Photo caption) “The famous statue of St. Peter, whose foot has been kissed by millions. It is in St. Peter’s, Rome.” pp. 14.
“Marble In The Garden.” pp. 15-19.
(Photo caption) “Garden seat of Lee marble on the grounds of an estate near Baltimore, Maryland.” pp. 15.
(Photo caption) “Swimming Pool, Thompson Estate, Canadaigua, New York. Allen & Collins, architects.” pp. 16.
(Photo caption) “Shelter house on the Thompson Estate. Rutland Special Green marble was used here.” pp. 16.
(Photo caption) “Marble fountain in the gardens of George J. Gould at Lakewood, New Jersey. ” pp. 17.
(Photo caption) “Bridge of brick and marble, Bourne Estate, Oakdale, Long Island. Ernest Flagg, architect.” pp. 17.
(Photo caption) “Fountain in the garden of Mr. August Kiel at Milford, Pennsylvania. Italian marble was used for the statue, and Alabama marble for the pedestal and basin.” pp. 19.
“A Building Founded on Talk.” pp. 20-27. (The American Telephone and Telegraph Company in New York City, New York)
(Photo caption) “A vista through the massive columns brings Dryden’s words to mind: ‘All below is strength, and all above is grace.’”
(Photo caption) “The American Telephone and Telegraph Company Building, New York City. Welles Bossworth, architect. Illustration courtesy Architectural Record.” pp. 22.
(Photo caption) “View of the lobby, with its massive marble columns. Illustration courtesy Architectural Record.” pp. 24.
(Photo caption) “Showing medallion in marble floor of lobby. Illustration courtesy Architectural Record.” pp. 25.
(Photo caption) “View of ground floor, looking east.” pp. 26.
(Photo caption) “Main lobby, American Telephone and Telegraph Building, New York. ” pp. 27.
“Cleveland’s Big Bank: The World’s Largest Banking Room is Built Almost Entirely of Marble.” pp. 28-35. (The Union Trust Company building located on the “site of the old Lennox Building, now almost forgotten, at Euclid and East Ninth Streets.” in Cleveland, Ohio.)
(Photo caption) “Exterior of Union Trust Company, Cleveland, Ohio.” pp. 29.
(Photo caption) “An idea of the beauty and immensity of the two lobbies is shown by this view from their intersection.” pp. 30.
(Photo caption) “This marble stairway adds a refining note of rhythm to an impressive vista, characterized by ‘massive arches broad and round.’” pp. 31.
(Photo caption) “Chester Street lobby and stairway leading to the mezzanine floor.” pp. 32.
(Photo caption) “Another view of the Chester Street Lobby.” pp. 33.
(Photo caption) “This view of the Euclid Avenue lobby reminds one of the prose from Milton: ‘Anon. out of the earth a fabric huge rose, like an exhalation.’” pp. 34.
(Photo caption) “No bank could be truly great without the good will of the children, and so, on a recent Saturday afternoon, the Union Trust Company of Cleveland held a Children’s party. This picture shows just half of the youngsters who poured in. This is a view of the Chester Avenue lobby. the Euclid Avenue lobby was equally crowded.” pp. 35.
“A List of the World’s Marbles,” By J. J. McClymont. (pp. 36-43) (“Granito Tigrato” through “Griotte de Felines”)
“A Marble Dance Floor.” pp. 41. (The Edgewater Beach Hotel on Lake Michigan in Chicago, Illinois.) (A photograph of the marble dance floor is included in the article.)
“List of Quarries and Marble Manufacturers Represented in The Membership of The National Association of Marble Dealers.” pp. 42-43.
“Dr. Robinson’s Important Discoveries at Antioch: Ancient Temple Recently Unearthed in Asia Minor Reveals Remarkable Marble Carving.” pp. 2-9. (“Photographs by G. R. Swain; loaned by Dr. David M. Ronbinson.”)
(Photo caption) “Ancient Marble Mosaic Pavement.” (Frontispiece)
“Marble mosaic pavement in the early Byzantine church at Antioch.”
(Photo caption) “A general view of the site of the excavations, looking from the Byzantine church up the square of Tiberius and the great stairway, towards the Temple of Augustus and the semicircular colonnade, seen in the background.” pp. 4.
(Photo caption) “The marble square of Tiberius, showing the steps on the left leading to the Temple of Augustus. Before excavation, this was buried under an avalanche of huge sculptured blocks and tremendous marble beams.” pp. 5.
(Photo caption) “Marble fragments from the Temple of Augustus, built in the first century A.D. Notice the floral design, anticipating by many years similar patterns of early Renaissance work.” pp. 6.
(Photo caption) “A typical section showing the unusual and artistic Greek workmanship on the marble architrave.” pp. 7.
(Photo caption) “The Bucranium above the architrave on the frieze of the temple.” pp. 7.
(Photo caption) “Sculpture of a Pisidian Captive on the frieze of the Temple.” pp. 8.
(Photo caption) “Native workmen raising the circular block in the floor of the Civic Center.” pp. 9.
(Photo caption) “Lion’s-head water spout on the cornice of the triple-arched gateway.” pp. 9.
“St. Peter’s, At Rome: A Monumental Edifice that has Passed Through Many Strange Vicissitudes.” pp. 10-16. (A photograph of St. Peter’s taken from a distance is included in the article without a photo caption.)
(Photo caption) “A view of St. Peter’s taken from above the entrance to the Vatican grounds, showing the obelisk, fountains, and one of the two semi-circular colonnades designed by Bernini. Underwood & Underwood, N.Y.” pp. 11.
(Photo caption) “The Vatican Palace. Goats are allowed to ramble at leisure around the famous grounds, as shown in the picture. Illustration courtesy Thomas Machen, architect, Balto., Md.” pp. 12.
(Photo caption) “A panoramic view of Rome taken from the dome of St. Peter’s. In the background is the Tiber - the Tiber that Horatius swam, a river celebrated in Latin history. In the foreground is the entrance to the Vatican grounds. Underwood & Underwood, N.Y.” pp. 13.
(Photo caption) “Details of the façade of the portico. Underwood & Underwood, N.Y.” pp. 14.
(Photo caption) “Church of St. Paul’s-Outside-the-Walls where the curve of St. Peter’s dome was set out. Illustration courtesy Thomas Machen, architect, Balto., Md.” pp. 15.
(Photo caption) “Portico and Sacred Door of St. Peter’s. Illustration courtesy Thomas Machen, architect, Balto., Md.” pp. 15.
(Photo caption) “Braccio Nuovo Gallery, Vatican Museum, Rome. Illustration courtesy ‘Pencil Points’.” pp. 16.
“Stairways: A Brief History of Their Development and Uses.” pp. 17-23.
(Photo caption) “Marble porch and steps leading to the garden in the rear of a residence at Canandaigua, New York. Allen & Collens, architects.” pp. 17.
(Photo caption) “Outside stairway and balcony of the Di Vico in Viterbo, built in the fourteenth century.” pp. 18.
(Photo caption) “Outside spiral stairway of brick and marble in an early Venetian building.” pp. 18.
(Photo caption) “The famous marble stairway of honor in the Hôtel de Ville, Nancy, France.” pp. 19.
(Photo caption) “Inside spiral stairway of white marble in the Chateau de Chambord.” pp. 19.
(Photo caption) “This main stairway of the Lonja, in Barcelona, Spain, is of Italian marble.” pp. 20.
(Photo caption) “Stairway of Travertine in the cortile of the Palazzo de Bargello, Florence.” pp. 20.
(Photo caption) “An elaborately decorated marble stairway in France, in the Renaissance style.” pp. 21.
(Photo caption) “The famous ‘Golden Staircase’ leading to the Puerta de la Coroneria in Burgo Cathedral. An early thirteenth-century creation.” pp. 21.
(Photo caption) “Stairway in the Government Printing Office, Washington, D.C. The treads, risers, railings and the columns in the room are of striped Brocadillo marble.” pp. 22.
(Photo caption) “The ornate marble stairway in the Elben D’Or Apartments, Omaha, Nebraska.” pp. 23.
(Photo caption) “Venoso stairway and die in the Masten Park High School, Buffalo, N.Y. Esenwein and Johnson, architects.” pp. 23.
“The Shops of The Book Building, In Detroit.” pp. 24-27. (New York City, New York) (A photograph of the front exterior of the Book Building is included in the article.)
(Photo caption) “Carvers working on columns for the exterior of the Book Building. These were faithful reproductions of those in the Certosa of Pavia, Italy. Many of the marble-working shops in America have master craftsmen whose lives have been spent in transforming shapeless pieces of marble into things of beauty.” pp. 25.
(Photo caption) “Part of the third floor showing detail of marble treatment. the first three floors are devoted to specialty shops.” pp. 26.
(Photo caption) “The Rotunda is of Botticino marble with floors of Travertine stone.” pp. 27.
(Photo caption) “A typical upper-floor corridor. The floor is Tennessee, the wainscoting Vermont marble.” pp. 27.
“The Development and Operation of Marble Quarry,” By J. P. McCluskey, Quarry Superintendent, Gray Knox Marble Co., Knoxville, Tenn. pp. 28-30.
(Photo caption) “Three thousand four hundred feet of 2-inch drill cores. Each piece should be carefully marked to show the piece number and the number of the hole from which it came. The cores from each hole should be kept in proper alignment in properly marked boxes. Cores are records and should not run the risk of being lost.” pp. 28.
(Photo caption) “Arrangement of diamond drill outfit, as set up for prospecting, showing the principal of operation.” pp. 29.
(Photo caption) “Sullivan hand power core drill at work in Honan District, China.” pp. 29.
(Photo caption) “An example of core drilling intelligently done. As a result of this drilling the quarry was turned directly across, or at right angles to the strike, the object being to develop a cross-section of the deposit as rapidly as possible.” pp. 30.
“Boston’s Temple to Dentistry: The Magnificent Forsyth Infirmary in the Fenway is a Beautiful Mass of Marble.” pp. 31-35. (Boston, Massachusetts) (A photograph of the front exterior of the building is included in the article.)
(Photo caption) “Doorway of Forsyth Building, Boston. The exterior is of Imperial marble, quarried at Danby, Vermont. The interior contains a large quantity of Pittsford Italian X, a creamy marble with gray markings. Edward T. P. Graham was the architect.” pp. 33.
(Photo caption) “Rear view of the Forsyth Building, Boston, Mass.” pp. 35.
“A List of The World’s Marbles,” By J. J. McClymont. pp. 36-41. (“Griotte D’Italie Fleuri” through “Indwenha Hills”)
“List of Quarries and Marble Manufacturers Represented in The Membership of The National Association of Marble Dealers.” pp. 42-43.
“Baltimore’s Tallest Skyscraper: The New Home of an Old Institution Depends upon Marble for its Fine Dignity.” pp. 2-9. (Baltimore, Maryland)
(Photo caption) “The new Citizens National Bank Building, Baltimore, Maryland. From an etching by M. Paul Roche.” (Frontispiece)
(Photo caption) “Elevator lobby and Redwood Street entrance. The lighter portions of the floor are Travertine.” pp. 4.
(Photo caption) “Stairway from first floor elevator lobby leading down to the main banking room.” pp. 4.
(Photo caption) “ Light Street entrance to the Main Banking Room. The columns, counters and wainscoting are Rose Tavernelle marble; the floor, Bond Pink Tennessee.” pp. 5.
(Photo caption) “Marble stairway from Safe Deposit Department to Main Banking Floor.” pp. 6.
(Photo caption) “Vault Lobby and Vault in basement. The walls are Tennessee with Black and Gold marble trim.” pp. 6.
(Photo caption) “View of the Banking room, with its eight massive Rose Tavernelle marble columns. Eighteen hundred ivory-tinted lamps, set like jewels in nine bronze chandeliers, shed a luster of soft light.” pp. 7.
(Photo caption) “Open side planer roughing off, facing and fluting sections of columns for the new Citizens National Bank Building.” pp. 8.
(Photo caption) “Showing part of one of the columns ‘set up’ in plant of the marble contractor, before installation.” pp. 8.
(Photo caption) “Toilet Room, sixteenth floor Citizens Bank Building.” pp. 9.
“Enduring.” pp. 10.
The column shown here was erected in the fifth century, B.C., of Pentelic marble. It is one of many still standing in the Parthenon in Athens.
“It has been rightly said that the Greeks ‘built like Titans and finished like jewelers.’ But with all their skill, it is due solely to the enduring qualities of their chosen material - marble - that we moderns are able to gaze upon these wonderful structures.
“Buffeted by the winds and rains of twenty-four centuries, scorched by the suns of thousands of summers, ravaged by enemy hands, they yet have endured to delight the soul of the seeker of beauty and the searcher after knowledge.”
(Photo caption) “The lower drums are 6 feet 6 ½ inches in diameter and 2 feet 10 inches high, cut from single blocks of marble. Ictinus and Callicrates were the architects.” pp. 10.
“Cleveland’s Hotel Statler: Its Construction Presented Several Problems Successfully Solved by the Architects.” pp. 11-14. (Cleveland, Ohio) (A photograph of the exterior of the hotel is included in the article.)
(Photo caption) “Lobby of the Hotel Statler, Cleveland. Geo. B. Post & Sons, of New York, were the architects.” pp. 12.
(Photo caption) “Another view of the Main Lobby. The columns, wainscot and counters are Botticino marble. The floors are Diamond C Pink Tennessee marble.” pp. 13.
(Photo caption) “The Pompeian Room floor is of Belgian Black and White Carrara marble.” pp. 14.
“The culmination of The Renaissance in Rome.” pp. 15-21. (“Illustrations courtesy Thomas Machen, Architect, Baltimore, Maryland.”)
(Photo caption) “Façade of the Palazzo Spada, Rome.” pp. 15.
(Photo caption) “Interior decoration in the Palazzo Spada, Rome.” pp. 16.
(Photo caption) “This view of part of the Villa Giulia, Rome, illustrates the tendency of the period to portray the human figure.” pp. 17.
(Photo caption) “Casino Pius IV in the Vatican Gardens.” pp. 18.
(Photo caption) “Villa Sante, at Bagnaia, near Viterbo. Built about 1560 A.D.” pp. 18.
(Photo caption) “Cupola of the Chigi Chapel, Church of Santa Maria del Popolo, by Raffael.” pp. 19.
(Photo caption) “Piazza of the Campidoglio, Rome. The Palace of the Senators is in the center. To the right is the Palazzo dei Conservatori; the Capitoline Museum is on the left. The architect was Michelangelo.” pp. 20.
(Photo caption) “Cortile of the Palazzo Spado, Rome.” pp. 21.
“The Grand Rapids Saving Bank: An Institution Closely Identified With the Commercial Life of the Bustling City.” pp. 22-28. (Grand Rapids, Michigan)
(Photo caption) “The Main Banking Room, on the first floor.” pp. 22.
(Photo caption) “Osgood and Osgood, of Grand Rapids, designed the building, and Weary and Alford, of Chicago, the banking room and equipment.” pp. 23.
(Photo caption) “One of the check desks, carved entirely out of marble.” pp. 24.
(Photo caption) “Elevator lobby and main stairway on one of the upper floors - all Tennessee marble.” pp. 25.
(Photo caption) “Details of main stairway at second floor level.” pp. 26.
(Photo caption) “A typical upper corridor.” pp. 27.
“A Building of Service: The New Library of the University of Minnesota a Model of Collegiate Tectonics.” pp. 29-32.
(Photo caption) “Main Entrance to the University of Minnesota Library.” pp. 29.
(Photo caption) “The Entrance Vestibule.” pp. 30.
(Photo caption) “The Main Reading-room covers the entire front of the library.” pp. 31.
“The Development and Operation of A Marble Quarry - Part II,” By J. P. McCluskey, Quarry Superintendent, Gray-Knox Marble Company, Knoxville, Tenn. pp. 33-37.
(Photo caption) “A few hundred dollars spent for expert advice would have saved most of this $60,000 effort at development.” pp. 33.
(Photo caption) “This effort at development cost several thousand dollars. A large steel derrick was part of the equipment.” pp. 34.
(Photo caption) “It cost only a few hundred dollars to find out that a quarry was not justified here. A cheap wooden derrick and a hammer drill were used.” pp. 34.
(Photo caption) “A useful derrick for prospecting and at the same time suitable for various purposes around a quarry. It will handle 250 cubic feet.” pp. 35.
(Photo caption) “Type of dump car in general use in Tennessee quarries. It is practical for short hauls only.” pp. 35.
(Photo caption) “Quarrying along the edge of the outcrop, a practice common in other sections besides the Tennessee marble districts.” pp. 36.
(Photo caption) “Finished blocks of Tennessee marble.” pp. 37.
“A List of the World’s Marbles,” By J. J. McClymont. (pp. 38-41) (“Intrecciato” through “Izeste”)
“List of Quarries and Marble Manufacturers Represented in The Membership of The National Association of Marble Dealers.” pp. 42-43.
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