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Through the Ages Magazine Article List - 1926

(The articles listed below are located in various issues of Through the Ages Magazine in 1926. Peggy B. Perazzo)

Through the Ages Magazine, Vol. 3, No. 9, January, 1926.

(Photo caption) “Main Banking Room Union Trust Company of Pittsburgh.” (Frontispiece to the article, “The Union Trust Company of Pittsburgh: Andrew W. Mellon, Secretary of the United States Treasury, Was the First President of the Institution.” pp. 34-38.)

View of one portion of the main banking room, Union Trust Company of Pittsburgh.”

Testing Marble: The Bureau of Standards in Washington Has Partly Completed Its Series of Investigations.” pp. 3-7.

(Photo caption) “Chemical table and experiments on the means of removing various kinds of stains.” pp. 4.

(Photo caption) “Tests on various marbles for comparing the permeability properties and determining the actions of various salt solutions.” pp. 5.

(Photo caption) “Tests to determine the effects of damp wall conditions and various backing materials on many different kinds of interior marbles.” pp. 6.

(Photo caption) “Apparatus to determine the strength and elasticity of small marble slabs.” pp. 7.

Marble Storefronts.” pp. 8-14.

(Photo caption) “East Entrance to the Taft & Pennoyer Building, Oakland, California, showing shop windows and vestibule trimmed in Verde Antique from Vermont. Parkinson & Bergstrom, Architects.” pp. 8.

(Photo caption) “Chickering Company of Boston. A rich combination of red brick and white Vermont marble. Richardson, Baroth & Richardson, Architects.” pp. 9.

(Photo caption) “A treatment of Black and Gold marble for one of Baltimore ’s most fashionable shoe shops.” pp. 10. (N. Hess Sons in Baltimore, Maryland)

(Photo caption) “Vermont Verde Antique is used as a base for this shoe-store front.” pp. 10. (Walk-Over Shoe Store)

(Photo caption) “Store front at Rochester, New York, designed by Charles Bragdon, Architect. Another example of the use of Verde Antique marble.” (Tice & Gates, Fine China and Glass Ware) pp. 11.

(Photo caption) “Light Gravina marble lends character and color to this grill room exterior in the Smout Building, San Jose, California.” pp. 11.

(Photo caption) “The Sax-Kay Store, in Detroit, has a rich treatment designed by Lancelot Sukert. Bois Jourdan is used for the door architrave and the bases under the windows. The trim is dark Tennessee.” pp. 12.

(Photo caption) “The ‘Linen Mart’ in Baltimore has an all-over marble front. The upper portion is Georgia; the lower, Verde Antique. E. G. Blanke, Architect.” pp. 13.

(Photo caption) “Jewelry and drug stores in Oakland, California. A practical use of Verde Antique. Walter J. Mathews, Architect.” pp. 14. (E. Willis Sharpe, Jeweler, & Collins Bros., Chemists/Drugs)

For Everyday Use In The Home” pp. 15.

“The use of marble for the bathroom is not a luxury. In fact, taking into consideration only its first cost and its lasting qualities, it is the least expensive material to be had.

“Moreover, complete satisfaction in bathroom appointments can only be obtained by marble floors and wainscoting. Such a room is clean and inviting, and worthy of being introduced to any guest.”

The Library at Charlottesville, Va., by Walter Dabney Blair. pp. 16-18. (Charlottesville, Virginia)

(Photo caption) “The combination of brick and marble in the Charlottesville (Va.) Public Library is most effective. The architect was Walter Dabney Blair, of New York.”

The Bank of Nova Scotia at Ottawa, Canada,” By John M. Lyle. pp. 19-24. (A photograph of the front exterior of the bank building is included in the article.)

(Photo caption) “View of the Main Banking Room. Architects, Ross & Macdonald, Associated architect, John M. Lyle.” pp. 20.

(Photo caption) “Stairway to Safety Deposit Vaults.” pp. 21.

(Photo caption) “Detail of marble counters and Bronze Grilles in one corner of the Main Banking Room.” pp. 22.

(Photo caption) “Main Entrance Door to Banking Room.” pp. 23.

(Photo caption) “Carved Kasota Marble Panel over one of the doors in the Bank of Nova Scotia, Ottowa.” pp. 24.

The Style of Francis I: Classic Elements Began to Dominate the General Composition of French Architecture - Part III. Chaumont and St. Germain-en-Laye; with a retrospective sketch of Pierrefonds.” pp. 25-31. (“Illustrations courtesy Thomas Machen, architect, Baltimore.”)

(Photo caption) “Fireplace and mantel of marble in the room of Ruggieri, Catherine’s astrologer, in Chateau of Chaumont in the Loire.” pp. 25.

(Photo caption) “Entrance to Chateau of Chaumont, showing the towers and portcullis. Renaissance details are in evidence.” pp. 26.

(Photo caption) “Interior of the court, balcony and stairway, Chaumont-on-the-Loire.” pp. 27.

(Photo caption) “Sub-basement of the Grand Stairway in Chaumont, showing the fine Renaissance details.” pp. 28.

(Photo caption) “ Pierrefonds, the mediaeval.” pp. 29.

(Photo caption) “The Stairway of Honor, the donjon and the chapel in the Chateau of Pierrefonds.” pp. 31.

A New England Library, Rockville, Connecticut, Has a Fine Type of Small-Town Building In Its Maxwell Memorial Library.” pp. 32-33. (A photograph of the library is included in the article.)

The Union Trust Company of Pittsburgh: Andrew W. Mellon, Secretary of the United StatesTreasury, Was the First President of the Institution.” pp. 34-38. (A sketch of the building is included in the article.)

(Photo caption) “Gate at entrance of the bank from Union Trust Building.” pp. 35.

(Photo caption) “Safe Deposit Department.” pp. 36.

(Photo caption) “Marble stairway leading to the Bond Department on the main floor. The floors are Tennessee, the remainder Tavernelle.” pp. 37.

(Photo caption) “Lobby of Trust Department on mezzanine floor, Union Trust Company of Pittsburgh.”

A List of The World’s Marbles,” By J. J. McClymont. pp. 39-42. (“Paragone” through “Payalvo”)

Through the Ages Magazine, Vol. 3, No. 10, February, 1926.

(Photo caption) “Loggia of The G.A.R. Building at Topeka.” (Frontispiece)

“Loggia of the G.A.R. Building at Topeka, Kansas, a brilliant creation in Vermont marble.”

A Study of the Resistance of Marble to The Action of Salt Solutions With Tests Designed Especially to Parallel the Conditions of Actual Usage,” By D. W. Kessler. "(By permission of the Director of the U.S. Bureau of Standards)” pp. 3-9.

(Photo caption) “Figure 1 shows the test to determine the effect of salt solutions on various imported and domestic marbles.” pp. 4.

(Photo caption) “Figure 2 shows tests with sodium carbonate and sodium bicarbonate.” pp. 5.

(Photo caption) “Figure 3 - Test with sodium chloride.” pp. 6.

(Photo caption) “Figure 4 - Tests with magnesium sulphate, sodium sulphate and ammonium carbonate. pp. 7.

(Photo caption) “Figure 5 - Salt leached from bricks.” pp. 8

(Photo caption) “Figure 6 - Salt leached from common brick.” pp. 9.

Marbles of Canada: Many Varieties Occur in Various Parts of the Dominon.” pp. 16-17.

(Photo caption) “A quarry of Breccia marble in Canada.” pp. 16.

(Photo caption) “Hauling marble under difficulties in Canada.” pp. 17.

Kansas Memorial to The G.A.R. Built With Money Collected From the Federal Government on Civil War Claims.” pp. 18-20. (A photograph of photograph of the building is included in the article.)

(Photo caption) “The main entrance, G.A.R. Building, Topeka, Kansas. Mr. Charles Chandler was the architect.” pp. 20.

Another Use For Marble In The Home” pp. 21

“Unsanitary conditions in the kitchen are more dangerous - and therefore more inexcusable - than anywhere else in the house.

“Marble insures cleanliness; it is germ proof, practically stainless and easy to clean. Besides, it adds luxury, dignity and beauty to the room - at a very moderate cost.”

French Church Architecture at The Time of Francis I.” pp. 22-29.

(Photo caption) “St. Etienne du Mont, at Paris, in which classic and Gothic features appear in nearly equal proportions.” pp. 22.

(Photo caption) “St. Eutache, in Paris, illustrates the changing aspect of church design in France during the sixteenth century.” pp. 23.

(Photo caption) “Doorway in the chapel of the Château of Amboise, showing the effect of the new movement in the decorations and shape of the arches.” pp. 24.

(Photo caption) “West front of the church of St. Pierre at Caen.” pp. 26.

(Photo caption) “South side and east end of St. Pierre at Caen. The chevet chapels are luxuriant in Francis I work.” pp. 26.

(Photo caption) “Detail of the doorway to the Church of Saint Wulfran at Abbesville, showing early Renaissance influences.” pp. 27.

(Photo caption) “Renaissance fleche on the roof of the chapel to the Château Chenonçeaux.” pp. 28.

(Photo caption) “The Cathedral at Evreaux. The interior is rich in Renaissance.” pp. 29.

Three New York Office Buildings: Higher Rents Made Possible by the Use of Marble.” pp. 30-34. (The following buildings are discussed: the Arsenal Building, the Scientific American Building, and the building at 550 Seventh Avenue, New York City.)

(Photo caption) “550 Seventh Avenue. The interior contains much fine marble.” pp. 30.

(Photo caption) “The entrance hall of the Arsenal Building, New York. The floors are Pink Tennessee, with Levanto borders. The walls are Botticino.” pp. 31.

(Photo caption) “Levanta marble in the building at 550 Seventh Avenue.” pp. 32.

(Photo caption) “Botticino walls and Levanto base in the building at 550 Seventh Avenue.” pp. 32.

(Photo caption) “Scientific American Building. The marbles are Rosatta, Botticino, Levanto and Tennessee.” pp. 33.

(Photo caption) “550 Seventh Avenue. Botticino walls; Levanto around elevator openings; Tennessee floors.” pp. 33.

(Photo caption) “Another view of the elevator lobby, Arsenal Building, New York.” pp. 34.

Memphis Building Activities: The Criminal Courts and Jail is One of its Notable New Structures.” pp. 35-38. (A photograph of the exterior of the building is included in the article.)

(Photo caption) “The first floor of the Criminal Courts and Jail Building, showing the marble columns and wainscoting.” pp. 36.

(Photo caption) “View of the main stairway, constructed entirely of Tennessee marble.” pp. 37.

(Photo caption) “Details of stairway in Memphis Criminal Courts and Jail Building. The marble is Pink Tennessee with Dark Cedar Tennessee base.” pp. 38.

A List of The World’s Marbles,” By J. J. McClymont. pp. 39-42 (“Paygio” through “Petit Antique”)

Through the Ages Magazine, Vol. 3, No. 11, March, 1926.

(Photo caption) “The West Philadelphia High School.” (Frontispiece) (Philadelphia, Pennsylvania)

A view of a stairway and one of the corridors in the High School Building, West Philadelphia, Pennsylvania. The treads, wainscot and trim are of Vermont marble. J. Horace Cook, Architect.”

Cleaning Material for Marble: A Study of the Results Obtained With Preparations of the Scouring Type - Part I,” By D. W. Kessler. (Published by permission of the Director of the U.S. Bureau of Standards) pp. 3-11.

(Photo caption) “Fig 1. Separations of various cleaner grits. Numbers 1 to 6 are volcanic ash; Numbers 7 and 8 are crushed quartz.” pp. 4.

(Photo caption) “Fig. 2. Cleaner grit of the crushed quartz type enlarged 150 times. This grit corresponds to Number 8 in Fig. 1.”

(Photo caption) “Fig. 3. Cleaner grit of the volcanic ash type enlarged 150 times. This is the grit from the material described in the text under ‘A’ and corresponds to Number 1 in Fig 1.” pp. 7.

(Photo caption) “Fig. 4. Cleaner grit of the volcanic ash type enlarged 150 times. This is the grit from material ‘B’ and corresponds to Number 2 in Fig. 1.” pp. 8.

(Photo caption) “Fig 4. (sic) Cleaner grit of the volcanic ash type enlarged 150 times. This is the grit from material ‘C’ and corresponds to Number 3 in Fig. 1.” pp. 9.

(Photo caption) “Fig 6. Abrading action of various grits on marble. Numbers 1 and 2 were scrubbed with volcanic ash cleaners, and 3, 4, and 5 with powdered marble, powdered soapstone and powdered gypsum respectively.” pp. 10.

The Style of Henry II: Advanced Roman Renaissance Begins to Make Its Way Into France.” pp. 12-16. (A photograph of the exterior entrance of a building is included in the article.)

(Photo caption) “Façade, Hôtel Carnavalet, Paris, by Lescot and Goujon.” pp. 13.

(Photo caption) “The connecting wing at Fontainebleau. The Oval Court and Baptistry are shown. The wing contains the so-called gallery of Francis I, probably by Il Rosso.” pp. 14.

(Photo caption) “The gallery of Francis I on the first floor of the wing at Fontainebleau. It was not quite completed when the architect and decorator, Rosso, committed suicide upon discovering he had wrongfully accused a friend of embezzlement.” pp. 15.

(Photo caption) “Hôtel de la Chancellerie, Loches, begun in 1520. Built by Francis I and Henry II.” pp. 16.

Time Proofing The Sun Parlor.” pp. 17.

“No matter how the rain and snow beat in, or the sun glares, the sun parlor floor of marble remains impervious to stains or warpings. It regains its original appearance despite the wear and tear of the elements and the poundings of many feet.”

The Girard College Group: ‘Redeeming what was lovely in the ancient pile from the decay of the centuries’” pp. 18-24. (A photograph of the exterior of some of the buildings is included with the article.)

(Photo caption) “The Main Building of Girard College has set the architectural standard for the entire group. The exterior is entirely of marble.” pp. 19.

(Photo caption) “Another view of the Main Building, with its stately columns.” pp. 20.

(Photo caption) “Looking through the big marble columns of the Main Building portico, with the High School in the background.” pp. 22.

(Photo caption) “The High School building, begun in 1913, has an exterior of two kinds of white marble. John T. Windrim, Philadelphia, architect.” pp. 23.

(Photo caption) “Marble monument presented to Girard College by the ‘Early 80’s.’” pp. 24.

A Century-House of Marble: A Vermont Dwelling Rich in Historic Interest That Has Withstood the Stress of the New England Climate.” pp. 25-28. (A photograph of the front exterior of the building is included with the article.) (Brandon, Vermont)

(Photo caption) “Front entrance of the 100-year-old white marble residence in Brandon, Vermont. pp. 27.

(Photo caption) “Old marble fireplace in Brandon, Vermont, residence.” pp. 28.

The Aquila Court Building at Omaha, Nebraska: The Architects, Holabird & Roche, Were Inspired by York Terrace and Belgrave Square, London.” pp. 29-33. (A photograph of the front exterior of the building is included in the article.)

(Photo caption) “View of court from Seventeenth Street entrance.” pp. 30.

(Photo caption) “Section of a typical upper corridor in the Aquila Court Building. The floors are Gray Tennessee marble; the wall bases are Belgium Black.” pp. 32.

(Photo caption) “Elevator entrance, Aquila Court Building, Omaha, Nebraska. Holabird and Roche, architects. The floors are Gray Tennessee marble; the walls are of Travertine with a base of Belgian Black marble.” pp. 33.

Marble in The Home: Its Use in the Kitchen, Bathroom and Sun Parlor is Rapidly Increasing.” pp. 34-38.

(Photo caption) “An illuminated mantel aquarium installed in a Milwaukee residence. It was made of Pedrara Onyx, and is a combination of mantel, flower vases and fountain. Electric lights concealed in the fountain stem furnish a soft light sufficient for ordinary use.” pp. 34.

(Photo caption) “This finely carved marble mantel is the dominating feature of an otherwise ordinary living room.” pp. 35.

(Photo caption) “This bathroom of Italian marble was built for a Baltimore residence 20 years ago. It is in flawless condition today.” pp. 36.

(Photo caption) “What could be more inviting than this shower bath of marble?” pp. 37.

(Photo caption) “The acme of cleanliness and durability - a kitchen sink of marble.” pp. 37.

(Photo caption) “A graceful garden seat of Tennessee marble, with carvings of tulips on the ends.” pp. 38.

A List of The World’s Marbles,” By J. J. McClymont. pp. 39-42. (“Petit Antique or Petiti-Antique d’Hechettes” through “Pink Sudanese”)

Through the Ages Magazine, Vol. 3, No. 12, April, 1926.

(Photo caption) “United States Bureau of Standards at Washington.” (Frontispiece)

“Airplane view of the United States Bureau of Standards, in Washington, D.C. The research work on marble is being done in the Industrial Building, shown on the extreme left of the picture.”

Cleaning Materials For Marble: A Study of the Results Obtained With Preparations of the Scouring Type - Part II,” By D. W. Kessler. (Published by permission of the Director of the U. S. Bureau of Standards) pp. 3-8.

“Figure 1. Method of cutting and numbering specimens. Original slab was 12 by 24 inches, of stock thickness, which generally varies from 0.7 to 0.9 inch.” pp. 4.

“Figure 2. Method of testing slabs for strength, elasticity and yield point.” pp. 4.

(Table) “Transverse strength, elasticity and yield point of various marbles in the original condition and after 120 scrubbings with a trade cleaner. Each value is the average of from two to three tests below Table entitled: “Table Showing Transverse Strength, Elasticity and Yield Point of various Marbles in The Original Condition and also After 120 Scrubbings with a Trade Cleaner.” pp. 5.

“Figure 3. Complete set of comparative tests on marble M9 in original condition and after scrubbing.” pp. 6

“Figure 4. Complete set of comparative tests on marble M8 in original condition and after scrubbing.” pp. 7.

(Photo caption) “Marble Urn in Hotel Washington, Washington, D.C.” pp. 8.

“The Evolution of The Marble Carver” from Through The Ages Magazine (Used with permission of the Marble Institute of America, the descendant company of the National Association of Marble Dealers, the original publisher of the magazine) (The article and photographs are available at the link on the title above.)

(Photo caption) “Mural tablet in Baker residence at Glen Cove, Long Island; Walker & Gillette, architects. Carved out of Rutland Statuary marble.” pp. 9.

(Photo caption) “Carving the cap for the Soldiers’ Memorial, Stamford, Connecticut, in the shops at Proctor, Vermont. George A. Freeman, architect. pp. 10.

(Photo caption) “Figure for Stewart Memorial Fountain at Madison, Wisconsin. Sculptured from Vermont Statuary marble from models by Federick C. Clasgens.” pp. 11.

(Photo caption) “Cutting the large sculptured capitals, from blocks of Vermont marble, for the Arlington Memorial columns. Carrere & Hastings, architects. pp. 12.

(Photo caption) “Pierced grille, cut from Napoleon Gray marble in the Bowery Savings Bank, New York City.” pp. 12.

(Photo caption) “Carver at work on marble panel for the altar in the Vincentian Convent, Albany, New York.” pp. 12.

(Photo caption) “Bust of Hippocrates, placed in the Kolynos Building, New Haven, Connecticut. The marble is Vermont Statuary. McClintock & Craig, architects.” pp. 13.

(Photo caption) “Carved panel in the wall of the Missouri State Capitol. The architects, Tracy & Swartwout, selected Napoleon Gray marble for this work.” pp. 13.

(Photo caption) “The carved panels in the Brooks Memorial at Memphis, Tennessee are of Georgia marble. The architect was James Gamble Rogers.” pp. 14.

(Photo caption) “White Georgia marble was used in the Dupont Memorial Fountain at Washington, D.C. Henry Bacon was the architect and Daniel Chester French the sculptor.” pp. 15.

(Photo caption) “One of the tablets in the Cleveland Public Library.” pp. 16.

The Style of Henry II: The Period was Distinguished by a More Marked Neo-Classic Regularity and a Further Elimination of Mediaeval Traditions - Part II.” pp. 17-21. (“Illustrations courtesy Thomas Machen, architect, Baltimore.”)

(Photo caption) “Hotel de Ville at Loches, begun by Francis II. The twelfth century Picoys gate is at the right.” pp. 17.

(Photo caption) “Carving on the Hôtel Bourgtheroulde, Rouen.” pp. 18.

(Photo caption) “Façade of the Hôtel Bourgtheroulde, Rouen.” pp. 18.

(Photo caption) “The court of the Louvre, in Paris, showing a portion of the west site. Note the elaborate carving and statuary.” pp. 19.

(Photo caption) “Detail of a doorway in the Chapel, Château d’anet, built in 1552.” pp. 20.

(Photo caption) “Building in Caen known as the Hôtel d’Etienne Duval, in the style of Henry II.” pp. 21.

The Post Office and Court House at Denver, Colorado: A Local Marble Was Used For The Exterior.” pp. 22-27. (“Illustrations courtesy The Architectural Record.)

(Photo caption) “Looking through the Colonnade.” pp. 22.

(Photo caption) “Detail of the Order on one side.” pp. 23.

(Photo caption) “Judges’ Entrance and Runway to Mail Delivery Platform.” pp. 24.

(Photo caption) “Side Entrance.” pp. 25.

(Photo caption) “The Post Office Lobby.” pp. 26.

(Photo caption) “District Court Room in the United States Post Office and Court House at Denver, Colorado.” pp. 27.

The History of Marble: Its Varieties and Value,” By Col. John Stephen Sewell (Courtesy The Southern Banker”) pp. 28-35. (Following are the subheadings in the article: “Endless Varieties of Marble,” “Marble in Days of Rome,” “Eighteen Producing States,” “Vermont Marble,” “Marble in Tennessee,” “Georgia Marble,” “Fine-Grained Alabama Marble,” “Gray Marble in Missouri,” “Marble Industry Important One,” and “Cleaning Marble Floors.”)

(Photo caption) “A quarry in the Carrara district, in Italy.” pp. 29.

(Photo caption) “Two typical marble quarry shafts in Vermont. Note the modern motor-operated derricks.” pp. 30.

(Photo caption) “Partial view of a Tennessee quarry.” pp. 31.

(Photo caption) “Drama, shown above, is one of the figures on the main façade of the New York Public Library. Others on the façade represent Philosophy, Romance, Religion, Poetry and History. The six figures were carved by Paul W. Bartlett out of white Georgia marble and placed on the building in 1916. Each one is approximately 13 feet high.” pp. 32.

(Photo caption) “A view showing one of the newer openings in Alabama. This is located at Gantt’s Quarry.” pp. 34.

(Photo caption) “A general view of a quarry at Phenix, Missouri, that produces a gray marble.” pp. 35.

Marble In the Small Church.” pp. 36.

“From time immemorial, man has recognized the close association of religion and beauty. ‘In days of yore,’ wrote Schiller, ‘nothing was holy but the beautiful.’ Bancroft expressed the same thought when he said: ‘Beauty itself is but the sensible image of the infinite.’

“Even the humblest church of today can afford to enrich its interior with that most beautiful of all building materials - Marble!”

A List of the World’s Marbles,” By J. J. McClymont. pp. 37-42. (“Pink Tennessee” through “Porta Santa Bruna et Rossastra”)

Index to Advertisers.” pp. 67.

Alabama Marble Company - pp. 58.

Andres Stone & Marble Company - pp. 59.

F. De Bellegarde, Inc. - pp. 53.

Antonio Biggi - pp. 55.

The Bradbury Marble Company - pp. 45.

Candoro Marble Company - pp. 62.

Carthage Marble & White Lime Company - pp. 57.

Christa-Batchelder Marble Company - pp. 51.

Jno. J. Craig Company - pp. 53.

F. E. Gates Marble & Tile Company - pp. 51.

The Georgia Marble Company - pp. 43.

Robert K. Glass & Company, Inc. - pp. 56.

Gray Knox Marble Company - pp. 65.

Haworth Marble Company - pp. 47.

Henry Marble Company - pp. 59.

Hilgartner Marble Company - pp. 54.

C. D. Jackson & Co. Inc. - pp. 48.

Jerome A. Jackson - pp. 55.

Geo. W. Maltby & Sons Co. - pp. 66.

McClymont Marble Company - pp. 52.

Northwestern Marble & Tile Company - 45.

Peering Marble Company - pp. 57.

Peter & Burghard Stone Company - pp. 49.

Phenix Marble Company - pp. 44.

Rees-Volckmann Company - pp. 49.

Salomone-O’Brien Marble Company - pp. 50.

F. W. Steadley & Company, Inc. - pp. 64.

Sunderland Bros. Company - pp. 49.

Taber & Company - pp. 61.

Taylor Marble & Tile Company - pp. 47.

Tompkins-Kiel Marble Company - pp. 63.

Troy Brothers & Company - pp. 66.

Union Marble & Tile Company, Inc. - pp. 57.

Vermont Marble Company - pp. 60.

List of Quarries and Marble Manufacturers Represented in The Membership of The National Association of Marble Dealers.” pp. 70-71.

Through the Ages Magazine, Vol. 4, No. 1, May, 1926.

(Photo caption) “A Famous Architectural Freak.” (Frontispiece)

Architecture’s most famous freak - the Leaning Tower at Pisa - was begun in 1174 A.D. To the right is the Cathedral of Pisa, the finest monument of the Tuscan Romanesque style, erected during the years from 1063 to 1118 A.D. It betrays the influence of Byzantine traditions, especially in the use of white and colored marbles in alternating bands. The darker shades on the exterior are Verde di Prato; in the nave are sixty-eight columns taken from old Roman and Greek structures despoiled in war.”

The Care and Cleaning of Marble: Some Valuable hints on the Removal of Soils and Stains.” pp. 3-9.

(Photo caption) “Such stains as these, on the marble floor around the bank’s check desk, are usually readily removed.” pp. 4.

(Photo caption) “The Strand Theater Building, New York, showing the appearance of the marble before and after cleaning.” pp. 5.

(Photo caption) “Another ‘before and after’ treatment of marble in the Ames Building in Boston, Mass.” pp. 6.

(Photo caption) “Showing method of applying a detergent poultice. The poultice is allowed to remain on the marble for from twenty-four to forty-eight hours.” pp. 8.

(Photo caption) “White Italian marble in the Lord’s Court Building, New York.” pp. 9.

A Famous New York Church: Marble From State Quarries Now Abandoned Was Used in its Construction.” pp. 10-12. (The Collegiate Church of New York)

(Photo caption) Sketch of the church located on Fifth Avenue in New York City. “Print from an old woodcut by O’Brien.”

(Photo caption) “‘Silence and Memory,’ a marble panel by A. A. Weinman in the Leeds Mausoleum, Woodlawn Cemetery, New York.” pp. 12.

A Worthy Addition to The Buildings of New York.” pp. 13-19. (A photograph of the Pennsylvania Building is included in the article.)

(Photo caption) “The Lobby of the Pennsylvania Building. The floor and walls are of marble, and a frieze of variegated marbles affords an impressive effect that is enhanced by the Byzantine motif in the vaulted ceiling.” pp. 14.

(Photo caption) “Typical marble treatment of upper corridors in the Pennsylvania Building, New York. Schwartz and Gross, architects.” pp. 16.

(Photo caption) “View of Lavatory on the twentieth floor of the Pennsylvania Building, typical of the treatment throughout the structure. The floor is marble mosaic; the stalls are Napoleon Gray marble.” pp. 18.

(Photo caption) “Law,” one of the marble figures by the sculptor, J. Massey Rhind, on the exterior of the New Haven Court House, New Haven, Connecticut. Allen and Williams, architects. pp. 19.

A Distinctive Touch In The Home.” pp. 20.

“‘It is often the little things,’ wrote Stine, ‘that differentiate the elegant from the ordinary; and nowhere is this more palpable than in the homes of our friends.’

“Such distinctive touches as this marble radiator top and delicately carved marble statuette evidence a fine discernment. The fact that they are procurable without undue expense evidences, also, the sound judgment of the home owner.”

The Riverhead Savings Bank At Riverhead, Long Island, N.Y.” pp. 21. (A photograph of the Riverhead Savings Bank building front exterior is included in the article.)

The Style of Henry II: The Works of de l’Orme and Bullant Featuring the Middle of the Sixteenth Century - Part III.” pp. 22-29.

(Photo caption) “Renaissance Marble Chimney-piece in the Château of Chenoceaux.” pp. 22

(Photo caption) “The open horseshoe stair, by de l’Orme, leading from the White Horse Court to the first floor of the Palace of Fontainebleau. pp. 23.

(Photo caption) “The Gallery of Henry II, in the Château of Fontainebleau, decorated by de l’Orme and Primaticcio. pp. 23.

(Photo caption) “Façade of the Château du Pailly, showing stairway-entrance.” pp. 24.

(Photo caption) “Chimney-piece of marble in the Grand Salon, Château Langeais.” pp. 25.

(Photo caption) “Details of the chimney-piece in the Gallery of Henry II, at Fontainebleau.” pp. 26.

(Photo caption) “Grand consoles of the façade, Château du Pailly.” pp. 27.

(Photo caption) “Part of main façade, Château d’Anet. pp. 28.

(Photo caption) “The Fountain of Neptune, at Arras.” pp. 29.

A Marble Mantelpiece in The Metropolitan Museum.” pp. 30-31. (A photograph of the mantelpiece is included in the article.)

“The Metropolitan Museum of Art, in New York City, has lately acquired by gift from Mrs. Cornelius Vanderbilt, Sr., an interesting marble mantelpiece that formerly was contained in the house of the late Cornelius Vanderbilt at the corner of Fifth Avenue and Fifty-seventh Street....”

“The mantel was executed in 1881-82 by Augustus Saint-Gaudens, and the sculptor in his Reminiscences speaks of the commission for the mantelpiece as follows: ‘Soon after taking the thirty-sixth Street studio, Mr. George B. Post gave me an order to make all the models for the great entrance hall in the residence of Mr. Cornelius Vanderbilt, which the architect was just about to erect on the corner of Fifty-seventh Street and Fifth Avenue....”

Brooks Memorial Art Gallery: Called by Lorado Taft, ‘A Beautiful Shrine of Art.” pp. 32-35. (Memphis, Tennessee)

(Photo caption) “A corner of the Decorative Arts Room showing marble stairway leading to the loggia.” pp. 32.

(Photo caption) “Front and side view of the Brooks Memorial Art Gallery at Memphis, Tennessee. James Gamble Rogers, New York, architect.” pp. 33.

(Photo caption) “The main entrance showing the carved panels on each side of the opening and above the arch. The entire exterior of the Brooks Memorial Art Gallery is of Georgia marble.” pp. 34.

(Photo caption) “Statuary Hall, Brooks Memorial Art Gallery, Memphis, Tennessee. James Gamble Rogers, architect.” pp. 35.

The Maine Monument.” pp. 36. (A photograph of the Maine Monument that stands in Columbus Circle in New York City is included in the article. The architect was H. Van Buren Magonigle, and the sculptor was Attilio Piccirilli.)

A List of The World’s Marbles,” By J. J. McClymont. pp. 37-42. (“Porta Santa Carnagione” through “Quebec Province Marbles”)

Through the Ages Magazine, Vol. 4, No. 2, June, 1926.

(Photo caption) “Testing the Crushing Strength of a Stone Column, Bureau of Standards.” (Frontispiece)

“Test of column on the 10,000,000-pound capacity testing machine at Bureau of Standards, showing the beginning of the test to determine its crushing strength. The result of the test is shown on page 8.”

Cleaning Materials For Marble: A Study to Determine the Possible Chemical Discoloration Effects on Marble Due to the Use of Various Types of Trade Cleaners - Part III.” (“Published by the permission of the Director of the U.S. Bureau of Standards”) pp. 3-8.

“Figure 1. Results of tests to determine the chemical effect of caustic solutions on polished marbles.” pp. 6.

(Photo caption) “The result of a test of a stone column on the 10,000,000-pound capacity testing machine, Bureau of Standards, Washington, showing the column, 10 feet 3 inches high and 14 ½ inches in diameter, broken by a load of 525 tons.” pp. 8.

The Marble Building of The Public Library of The District of Columbia,” By Emma Hance, Director of Reference Work, Public Library, Washington, D.C. pp. 10-13.

(Photo caption) “From an early photograph, made a year or two after the building was completed.” pp. 10.

(Photo caption) “A more recent picture of the Italian Renaissance structure for the Washington, D.C., Public Library.” pp. 11.

(Photo caption) “Stairway in the Washington Public Library.” pp. 13.

Another Practical Use for Marble.” pp. 16.

“The Westmoreland Country Club at Evanston, Illinois, has its shower baths built of marble.

“This is not, by any means, an unusual treatment. It is, on the contrary, merely another instance of the many practical uses of this material - uses justified not alone by surface beauty, but by economy, sanitation and ease of cleaning.”

Church Architecture in France at the Time of Henry II.” (“Illustrations courtesy Thomas Machen, architect, Baltimore.") pp. 17-23.

(Photo caption) “Tower of St Thégonnec and churchyard gateway. Erected in 1588.” pp. 17.

(Photo caption) “”The north transept and west front of Evreux Cathedral. Notice how the orders are coupled and attached, and made a part of the design by rusticated bands. In the upper portions, pilasters are used instead of columns.” pp. 18.

(Photo caption) “The main portal of the church at Guimiliau. The influence of the newer Renaissance upon the older Gothic is here very apparent.” pp. 19.

(Photo caption) “The porch and churchyard of the church at Guimiliau. The porch projects from the south side of the nave and contains a wealth of Renaissance ornamentation and sculptural work.” pp. 20.

(Photo caption) “Another view of the churchyard at Guimiliau, showing the calvary at the right, with its load of curious figures.” pp. 21.

(Photo caption) “Detail of the calvary at Guimiliau. This was built about 1585 and is typical of the architectural compositions found at this time not only in Brittany but elsewhere in France.” pp. 22.

(Photo caption) “The lantern of St. Pierre at Coutances illustrates the transition to the Henry II style.” pp. 23.

New York’s Northward Migration: The Equitable Life Assurance Society Abandons Its Old Home on Lower Broadway.” pp. 25-31. (A photograph of the building is included in the article.)

(Photo caption) “Main corridor of the Equitable Building, looking from the Cashier’s Department. Starrett and Van Vleck, New York, Architects. Underwood & Underwood.” pp. 26.

(Photo caption) “Looking toward one entrance of the Equitable Life Building from the top of the marble stairway. Starrett and Van Vleck, New York, Architects. Underwood & Underwood.”

(Photo caption) “The upper floor corridor wainscoting is Botticino marble, 7 feet 6 inches high.” pp. 28.

(Photo caption) “The upper corridors have floors of Travertine stone.” pp. 29.

(Photo caption) “Cashier’s Office and Public Service Section, Equitable Building, New York. Underwood & Underwood.” pp. 31.

The New Hotel Peabody: Memphis Has a Five-Million-Dollar Building That Offers the Traveler Exceptional Service.” pp. 32-35. (Memphis, Tennessee)

(Photo caption) “The marble fountain in the lobby of the Hotel Peabody, Memphis, Tennessee. Walter S. Ahlschlager, Chicago, architect.” pp. 33.

(Photo caption) “Another view of the lobby, Hotel Peabody, Memphis. Walter S. Ahlschlager, architect.” pp. 35.

The Davis Library: A Striking Combination of Brick and Marble.” pp. 36-37. (A photograph of the front exterior of the building is included in the article.)

A List of The World’s Marbles,” By J. J. McClymont. pp. 38-42. (“Queensland Marbles” through “Ringborg Green (N.Y.)”)

Through the Ages Magazine, Vol. 4, No. 3, July, 1926.

(Photo caption) “The Elevator Lobby of The Dodge Building, New York City.” (Frontispiece)

The elevator lobby of the Dodge Building, New York City, is an apt illustration of the increasing tendency towards the use of marbles in buildings of a purely industrial type. The walls are Napoleon Gray; the floor is Batesville, with a base of Bleu Belge.”

A South American Bank Building: The New Home of the Buenos Aires Branch of the First National Bank of Boston.” pp. 3-8.

(Photo caption) “The main entrance, Buenos Aires Branch of the First National Bank of Boston. Architects: Chambers and Thomas, Buenos Aires; York and Sawyer, New York, Consultants.” pp. 4.

(Photo caption) “The vestibule of the main entrance at the Avenue Florida front of the building. Marbles from Uruguay were used to beautify this portion.” pp. 5.

(Photo caption) “The entrance from the vestibule to the main banking room, showing the mezzanine floor ad the end of one of the counters.” pp. 6.

(Photo caption) “A view of one of the banking aisles with a glimpse of the ‘Manager’s Space’ at the right. Green and yellow Cipollino marble from Uruguay was used in the counter and columns.” pp. 7.

(Photo caption) “The main banking room of the Buenos Aires Branch of the First National Bank of Boston, looking from the entrance toward the ‘Managers’ Space.’ Floor, counters, columns and balustrade are all of South American marble.” pp. 8.

The Book-Cadillac Hotel Located in Detroit, on Washington Boulevard, the ‘Tightest-owned Street in the World.” pp. 9-15. (A photograph of the front exterior of the building is included in the article.)

(Photo caption) “The Michigan Avenue entrance. The floor, steps and base are Pink and Gray Tennessee marble. The piers are St. Genevieve; the wall panels, Breche Violette.” pp. 10.

(Photo caption) “A view of the stairs leading from the Washington Boulevard entrance to the main lobby floor. Floors, stairs and walls are all marble. Louis Kamper, Detroit, architect.” pp. 11.

(Photo caption) “Head of the stairs leading to the main lobby from the Washington Boulevard entrance. The lobby is to the right, the promenade to the left of the stair head.” pp. 12.

(Photo caption) “The main lobby of the Book-Cadillac Hotel, with its wealth of marbles and unique arrangement of period furniture and ferneries.” pp. 13.

(Photo caption) “The Italian Garden. The floor is white Alabama and Black Belgian marbles.” pp. 14.

(Photo caption) “View of elevator lobby from the main lobby. Note the selection of Breche Violette marble to secure two distinct tones.” pp. 15.

(Photo caption) (none) Photograph of a marble sundial. pp. 16.

“The beauty of a sweeping lawn or an open nook is wonderfully enhanced by the gleaming simplicity of a marble sundial - or the incomparable charm of a marble bird bath - or the distinctive smartness of a simple marble bench.

“They lend an atmosphere of individuality to lawn or garden - and they are practically indestructible.”

Church Architecture in France at The Time of Henry II - Part II.” pp. 17-20.

(Photo caption) “Tomb of Louis de Briese at Rouen.” pp. 17.

(Photo caption) “Elevation of side portal, church of St. Clotilde, at Andelys.” pp. 18.

(Photo caption) “Tomb of St. Remi in the church St. Remi at Rheims.” pp. 20.

A Marble Floor Trod By Thousands Daily.” pp. 21. (The Fort Street Union Depot in Detroit, Michigan)

(Photo caption) (none)

“The illustration above shows the marble floor in the waiting-room of the Fort Street Union Depot, at Fort and Third Streets, in Detroit. The depot is used by the Pere Marquette, the Wabash and the Pennsylvania Railroads....”

Garden Furniture From Earliest Times, Marble Has Been the Favorite Material for Beautifying Formal Gardens.” pp. 22-29.

(Photo caption) “The illustration on this and the opposite page shows a Lily Pool and its treatment in the garden of the Jewett Residence, Pasadena, California. Georgia marble was used for the border, statuary, steps, and elsewhere.” pp. 22 & 23.

(Photo caption) “Lily Pool in the garden of Mr. J. B. Jones, at Knoxville, Tennessee. The urns and flagstones in the walks and borders are of Tennessee marble.” pp. 24.

(Photo caption) “View of the Lily Pool in the Jewett residence at Pasadena, as seen from the porch of the house.” pp. 24.

(Photo caption) “A pool in the Thomas R. Proctor Park at Utica, New York. The garden furniture here is of Vermont marble.” pp. 25.

(Photo caption) “The circular arbor behind the pool on the Jewett residence at Pasadena, California.” pp. 25.

(Photo caption) “Detail of the handsome carved bowl on the lawn of the Jewett residence, at Pasadena, California. the marble is from Georgia.” pp. 26.

(Photo caption) “Two of the unusual marble columns that support the superstructure of the circular arbor shown at the bottom of page 25.” pp. 27.

(Photo caption) “A fountain of Alabama marble at ‘Kiel Kill Kare,’ Milford, Pennsylvania.” pp. 28.

(Photo caption) “Sunken Garden on an estate at Fairfield, Connecticut. Mountain White Danby marble, from Vermont, was used.” pp. 29.

A Well-Planned Southern Bank.” pp. 30-31. (A photograph of the front exterior of the bank building is included in the article.) (The Central Savings Bank and Trust Company in Monroe, Louisiana)

(Photo caption) “Banking room of the Central Savings Bank and Trust Company at Monroe, Louisiana.” pp. 31.

Detroit’s Unique Art Fountain: Belle Isla Park Possesses a Marble Memorial to a Famous Gambler.” pp. 32-37. (A photograph of the fountain is included in the article.) (Detroit, Michigan)

(Photo caption) “The block for the upper basin weighed sixty-three tons. It is here shown just before being lifted from the bed of the quarry.” pp. 33.

(Photo caption) “The block for the topmost basin of the Scott Fountain as it was being raised through the quarry opening.” pp. 34.

(Photo caption) “The marble block as it appeared just after reaching the top of the quarry.” pp. 34.

(Photo caption) “Finishing the 10-ton marble bowl for the Scott Fountain.” pp. 35.

(Photo caption) “The water jets become a part of the architect’s design.” pp. 36.

A List of The World’s Marbles,” By J. J. McClymont. pp. 38-42. (“Rinscent Quarries” through “Ross Republic Pink”)

Through the Ages Magazine, Vol. 4, No. 4, August, 1926.

(Photo caption) “Greely Arcade Corridor.” (Frontispiece)

The first floor corridors, Greely Arcade Building, New York, showing the use of Napoleon Gray marble for the walls. Geo. & Edw. Blum, New York, architects.”

Cleaning Materials For Marble: A Resume of the Important Points Developed by Studying the Effect of Cleaning Preparations on Marble - Part IV,” By D. W. Kessler “(Published by permission of the Director of the National Bureau of Standards)” pp. 3-7.

(Photo caption) “Testing a full-size steel bridge column on the Emery Testing Machine at the United States Bureau of Standards in Washington, D.C.” pp. 6.

Marble in Rochester Buildings,” By Vera B. Wilson, Publicity Director Convention & Publicity Bureau, Rochester Chamber of Commerce.” pp. 8-16. (Rochester, New York)

(Photo caption) “Monroe County Savings Bank, Rochester, New York. The exterior is of Georgia marble. Mowbray & Uffinger, New York, architects.” pp. 8.

(Photo caption) “Elevator corridor, Rochester Gas & Electric Corporation. Travertine, Levanto and St. Genevieve marbles are seen.” pp. 9.

(Photo caption) “The showroom of the Rochester Gas & Electric Corporation. Gordon & Kaelber, Architects; McKim, Mead & White, associates.” pp. 9.

(Photo caption) “Officers’ quarters and tellers cages, the Gennessee Valley Trust Company, Rochester. Travertine, Black and Gold, Verde Antique and Siena marbles are used.” pp. 10.

(Photo caption) “The Ladies’ Department, Gennessee Valley Trust Company, showing Travertine and Black and Gold.” pp. 10.

(Photo caption) “Main banking room, Monroe County Savings Bank, Rochester. Tennessee floors and Travertine walls are used with Fleuri counters.” pp. 11.

(Photo caption) “Grand stairway, Eastman School of Music. The treads and risers are Gray Tennessee. The columns are Siena, the floors are Tennessee.” pp. 12.

(Photo caption) “Main entrance lobby, Eastman Theater, showing the Travertine floor and marble border, pilasters, columns, table and benches.” pp. 13.

(Photo caption) “Office of ‘Democrat and Chronicle and Rochester Herald.’ The floor is Travertine, the counters and columns are of Botticino marble with bases of Black and Gold.” pp. 14.

(Photo caption) “Lyons Memorial of White Rutland Marble in Riverside Cemetery, Rochester, New York.” pp. 16.

Out - of - the - Ordinary” pp. 17.

“Even the most unusual effects in pattern, in color, in repetition of intricate design - such effects, indeed, as could be expected only with Nature herself as the Consulting Architect - are easily possible of achievement by the use of Marble.

“That such a surface is permanent, sanitary, fire-proof and readily cleaned, makes it economically practical.”

Emory University, Atlanta, Ga. Reprinted courtesy Southern Architect and Building News.” pp. 18-23.

(Photo caption) “The Law Building at Emory University, Georgia.” pp. 18.

(Photo caption) “Dobbs Hall, another of the Emory University group, is actually a pair of buildings connected by a gallery.” pp. 19.

(Photo caption) “Entrance detail, Law Building, Emory University, Atlanta, Georgia. Henry Hornbostel, Architect.” pp. 20.

(Photo caption) “Detail of interior stairway of Georgia marble in the Law Building of Emory University at Atlanta, Georgia.” pp. 21.

(Photo caption) “Theology Building, Emory University, Atlanta, Georgia.” pp. 22.

(Photo caption) “New Library Building, Emory University, Atlanta, Georgia. Edward L. Tilton architect; Ivey and Crook, associates.” pp. 23.

The Elks National Memorial Headquarters Building in Chicago: A Year and a Half was Required to select and Prepare the Colored Marbles Used in the Interior.” pp. 24-32. (Chicago, Illinois) (A photograph of the front exterior of the building is included in the article.)

(Photo caption) “The Memorial Hall, in the new Elks Memorial, Chicago, contains over a score of different kinds of marble. Egerton Swartwout, of New York, was the architect. E. L. Fowler.”

(Photo caption) “The floor of the Rotunda is of Pink Tennessee, with Carthage borders and strips, and insets of vari-colored marbles. E. L. Fowler.” pp. 26.

(Photo caption) “There are forty-eight columns similar in size to those shown in this illustration. E. L. Fowler.” pp. 27.

(Photo caption) “There are four niches, one in each quadrant of the Memorial Hall, and each flanked by a pair of Ionic columns of imported marble. E. L. Fowler” pp. 28.

(Photo caption) “This handsome urn of metal and Black and Gold marble graces a marble alcove in one of the entrance corridors. E. L. Fowler.” pp. 29.

(Photo caption) “The corridor ceilings curve in two ways, making more difficult the preparation of the marble. E. L. Fowler.” pp. 31.

(Photo caption) “The marble carving in the Chicago Elks Memorial is exceptionally delicate. E. L. Fowler.” pp. 32.

The Small Town Bank: The Use of Marble Veneering Opens the Way for a Marble Exterior at Low Cost.” pp. 33-37.

(Photo caption) “Interior of the Commercial Bank, Thomasville, Georgia.” pp. 33.

(Photo caption) “The old building of the Commercial Bank of Thomasville, Georgia, before the remodeling work was done.” pp. 34.

(Photo caption) “Complete remodeling of the Commercial Bank Building showing the appearance of the Georgia marble veneer.” pp. 35.

(Photo caption) “The Hardwick Bank and Trust Company Building at Dalton, Georgia. The exterior is Light Cherokee Georgia marble veneer from 7/8 inch to 1 ¼ inches thick, anchored onto solid brick walls.” pp. 35.

(Photo caption) “The banking room of the Hardwick Bank and Trust Company, at Dalton, Georgia. The floors and banking screen are of marble quarried in the same state.” pp. 37.

The Greely Arcade Building: A New York Building That Contains a Marble Street.” pp. 38-39.

(Photo caption) “Illustration of the Greely Arcade Building - “Illustration courtesy Edison Monthly.” pp. 38.

 (Photo caption) “The elevator lobby on the first floor, Greely Arcade Building, New York.” pp. 39.

A List of The World’s Marbles,” By J. J. McClymont. pp. 40-42. (“Rosso Fortezzino Alabastro” through “Royal Red or Pompeian Red”)

Through the Ages Magazine, Vol. 4, No. 5, September, 1926.

(Photo caption) “Doorway in the Southern Building, Washington, D.C.” (Frontispiece)

“‘Whatever is beautiful,’ wrote Willmott, ‘is also profitable.’ This entrance way, in the Southern Building, Washington, D.C., fully justified the statement. It is of Mountain White Danby marble, and was designed by A. B. Heaton.”

Removal of Stains From Marble: Suggestions for Treating Stains Caused by Iron, Tobacco and Ink,” By D. W. Kessler. “(Published by Permission of the Director of the National Bureau of Standards of the U.S. Department of Commerce.)” pp. 3-9.

(Photo caption) “Iron rust stain on marble made by iron filings laid on the surface and kept wet for two weeks.” pp. 4.

(Photo caption) “This shows the same marble after treatment with iron rust formula Number 2. Three applications were required to remove the stain completely.” pp. 4.

(Photo caption) “Tobacco stain on marble made by a layer of cotton kept soaked in strong tobacco juice and laid on the surface for two weeks.” pp. 5.

(Photo caption) “The same marble as shown above after treatment with the poultice formula for tobacco stains mentioned in the text. Three applications were required.” pp. 5.

(Photo caption) “Ink stains on marble: No. 11, red non-copying ink; No. 12, purple duplicating ink; No. 13, red waterproof ink; No. 14, blue-black writing ink. Nos. 12 and 14 were as intense as No. 11, but as these colors do not affect the photographic plate to the same extent as red, they appear weak in the illustration.” pp. 6.

(Photo caption) “The same marbles as shown on opposite page, after treatments as follows: No. 11 required two applications of the perborate poultice; No. 12 one application of the perborate poultice and one of chlorinated lime poultice; No. 13, same treatment as No. 12; No. 14, one application of perborate poultice and one of formula No. 2 for iron rust.” pp. 7.

(Photo caption) “This machine, which measures the transverse strength and elasticity of marble slabs, is one of several pieces of apparatus devised by the United States Bureau of Standards in Washington and used in the Bureau’s study of problems relating to the marble industry. Mr. D. W. Kessler, the author of the foregoing article, who is in charge of this research work, is shown operating the handle of the machine.” pp. 9.

Marble in Spokane Buildings: This Far Northwestern City Draws Largely Upon Alaskan Quarries.” pp. 10-16.

(Photo caption) “The $2,500,000 Davenport Hotel at Spokane. Marble has been used in various forms throughout this structure. Kirtland K. Cutter, Spokane, architect.” pp. 10.

(Photo caption) “The Marble Bank Building at Spokane, Washington This structure is made entirely of Vermont marble and has been the home of the Fidelity National Bank for many years. L. L. Rand, of Spokane, was the architect.” pp. 11.

(Photo caption) “Elevator corridor of the Old National Bank and Union Trust Company, Spokane. The walls are of English Veined Italian marble.” pp. 12.

(Photo caption) “View of vault in the basement of the Old National Bank and Union Trust Company, Spokane, Wash.” pp. 13.

(Photo caption) “Main lobby of the Old National Bank and Union Trust Company. The floor is of Gray Tennessee, the counters and base of Verde Antique, and the apron of Grecian Tinos No. 3. The stairway balustrade shown in the central foreground is Alaskan White.” pp. 13.

(Photo caption) “Lewis and Clark High School, Spokane, Washington. Marble, mostly Alaskan and Vermont, is used for the interior column and stairways. L. L. Rand, Spokane, architect.” pp. 14.

(Photo caption) “The altars and rails in Our Lady of Lourdes Catholic Church, Spokane, are of Italian marble.” pp. 15.

(Photo caption) “Marble addition to the mortuary of Smith and Company of Spokane. Julius Zittel, Spokane, architect.” pp. 16.

(Photo caption) “The Library, Radcliffe College, Cambridge, Mass., has a marble trim. Bigelow and Wadsworth, Boston, architects.” pp. 17.

“There is still room for the cozy, homely building which can have a propriety and even a very distinct formality of its own. the spirit of geniality has a legitimate place in architecture; certainly no material other than marble can, if intelligently used, add so much of animated individuality to the dull somberness of brick. It has, besides, the advantages of stability and low cost of upkeep.”

Atlanta’s Relation to Georgia’s Marbles: this Thriving Southern City is Making a Practical Use of its State’s Products,” By O. F. Reeves. pp. 18-24.

(Photo caption) “Ivy Street entrance to the Hurt Building, Atlanta.” pp. 18.

(Photo caption) “Grand staircase of the Candler Building. Each floor of this building has its marble wainscoting and even the swimming pool in the basement is of white marble. Geo. E. Murphy, architect.” pp. 19.

(Photo caption) “Telephone Company quarters on the first floor of the new addition to the Hurt Building.” pp. 20.

(Photo caption) “Banking room of the Continental Trust Company, Hurt Building. The floors are Gray Tennessee; the screens and columns are Tavernelle.” pp. 20.

(Photo caption) “View of the entrance rotunda in the Hurt Building. White Alabama and Breche Violette marbles were used.” pp. 21.

(Photo caption) “View of the entrance of the Hurt Building, in Atlanta Georgia, looking down from the stair head. This is a part of the original building erected in 1914, from designs by James E. R. Carpenter of New York. In this portion the dignity of the white Alabama marble floors and lower walls is rendered doubly effective by the colorful purples and rich reddish browns of the upper wall panels, the Corinthian pilasters, and the gracefully curving arms of the double stairway. The entrance to the offices of the Continental Trust Company is at the head of the stairs.” pp. 23.

(Photo caption) “Solarium in a residence in Atlanta, Georgia. The walls and half of the floor tiles are Gray Tennessee; the dark marble is Alps Green.” pp. 24.

The New West Street Building of The New York Telephone Company.” pp. 25-30. (A photograph of the exterior of the building is included in the article.)

(Photo caption) “One of the elevator banks in the Barclay-Vasey Building. The floor and walls are Travertine; the columns and bases are Levanto marble. Note the exquisite carving.” pp. 26.

(Photo caption) “A section of the executive suite on the twenty-ninth floor, Barclay-Vasey Building. The floors are of Travertine; the walls are of Kato stone with bases of Levanto.” pp. 27.

(Photo caption) “A portion of the lobby of the new Telephone Building, in New York, showing a corner of hand-cut Levanto marble with walls and floor of Travertine stone.” pp. 29.

(Photo caption) “One of the elevator banks in the Barclay-Vasey Building. The floor and walls are Travertine; the trim is Levanto marble.” pp. 30.

Banks - And Marble,” By Alfred C. Bossom. pp. 31-37.

(Photo caption) “The National State Bank of Elizabeth, New Jersey. Dennison and Hirons, New York, architects. Notice the exquisite carving in the Napoleon Gray marble on the door.” pp. 31.

(Photo caption) “The Old Peoples Trust Company Bank, of Chicago. The yellow Siena marble of the counters are rich in color.” pp. 32.

(Photo caption) “The trading room of the New York Stock Exchange, New York City, has walls of Napoleon Gray, Trowbridge and Livingston, of New York, were the architects.” pp. 33.

(Photo caption) “The Washington Branch, in Washington, D.C. The floors are Tennessee; the counters and columns are Tavernelle Clair, with Black and Gold bases.” pp. 34.

(Photo caption) “Royal Jersey Green marble in the Easton Trust Co., at Easton, Pennsylvania. Hoggson Bros., architects.” pp. 34.

(Photo caption) “The benches, check desks and columns, besides the floor and counters, are all marble in the Broadway Trust and Savings Bank, in Chicago, Illinois.” pp. 35.

(Photo caption) “The Liberty Bank of Buffalo, New York. Alfred C. Bossom, of New York City, was the architect.” pp. 35.

(Photo caption) “A memorial tablet of white marble against a background of Black and Gold marble in the First National Bank of Jersey City.” pp. 36.

(Photo caption) “In the Bank of California, at Seattle, the floor is Napoleon Gray marble with Black Belgian border. the screens, check desks, settees and counters are of Escalette marble with Belgian Black base. John Graham, Seattle, architect.” pp. 37.

Rotary Park, Oklahoma City: The Rotarians of this Western City Provide an Extensive Playground For the Children of the Poor.” pp. 38-39.

(Photo caption) “Detail of the entrance to Rotary Park, Oklahoma City, Oklahoma. Imperial Gray marble was used. Bailey and Alden, of Oklahoma City, were the architects.” pp. 39.

A List of The World’s Marbles,” By J. J. McClymont. pp. 40-42. (“Royal Rouge” through “St. Beaume”)

Through the Ages Magazine, Vol. 4, No. 6, October, 1926.

The Young-Quinlan Building: This Minneapolis Store for Women Was the First One of Its Kind in the Northwest.” pp. 3-4. (Minneapolis, Minnesota)

(Sketch caption) “The grand staircase to the entresole, Young-Quinlan Company, Minneapolis, Minnesota. Travertine was extensively used in this ‘smart’ shop for women.” (Frontispiece)

(Photo caption) “The new building of the Young-Quinlan Company, Minneapolis. The architects were Frederick L. Ackerman, New York, and Magney & Tusler, Minneapolis.” pp. 4.

Marble in Omaha Buildings: The Rapid Increase in the Use of Marble Typifies the General Progressiveness of the City.” pp. 5-9.

(Photo caption) “The main entrance hallway of the $3,000,000 Omaha Technical High School. The floor is Travertine; the walls are Alaska marble.” pp. 6.

(Photo caption) “Pillars, wainscoting and office divisions of Botticino marble, and a floor of Tennessee, distinguish the Federal Reserve Bank Building at Omaha.” pp. 7.

(Photo caption) “Skyros marble was selected for pillars, walls and stairways in the Douglas County Court House, Omaha.” pp. 8.

(Photo caption) “Part of the lobby of the Rialto Theater, Omaha. The walls and stairway are finished in Alaska marble; the floor is Napoleon Gray.” pp. 9.

The New York City Hall: ‘The Divine Little Structure,’ as Henry James Called it, is Over a Century Old.” pp. 10-17.

(Photo caption) “The New York City Hall as it appeared with the new cupola after its restoration by Grosvenor Atterbury, architect, and Stowe Phelps and John Tompkins, associates.” pp. 10.

(Photo caption) “The City Hall as it appeared before the restoration.” pp. 11.

(Photo caption) “The rotunda of the New York City Hall as it appears today.” pp. 12.

(Photo caption) “Another view of the rotunda after its restoration.” pp. 14.

(Photo caption) “At the head of the grand stairway.” pp. 15.

Greece Seeks Elgin Marbles: A Greek Archaeologist Wants These Antique Pieces Re-erected on the Erectheion at Athens.” pp. 18. (Greek archaeologist Alexander Philadelpheus)

Impressing the Shopper.” pp. 19.

“The modern American storekeeper has an advantage over his predecessors of the days of the Civil War. He has at his command, for beautifying the interior of his shop, the practical use of a material that in the old days was considered a semi-precious stone - Marble! Modern methods of quarrying, finishing and transportation have resulted in making it possible to procure this most beautiful of all building stones at a cost that, taken into conjunction with its durability, its ease of cleaning and its distinctive decorative qualities, makes marble the most economical material for floors, walls and counter bases in store interiors.”

A Connecticut Replica of The Saragossa ‘Longa’: The Phoenix Mutual Life Insurance Company Building at Hartford was Modelled (sic) After the Spanish Exchange,” By E. B. Redfield. pp. 20-24. (A photograph of the front exterior of the building is included in the article.) (Hartford, Connecticut)

(Photo caption) “Main entrance hall, Phoenix Mutual Life Insurance Company Building, at Hartford, Connecticut. Benjamin Wister Morris, New York, architect. The floor is of alternate squares of Black and Gold and English veined Italian marbles.” pp. 21.

(Photo caption) “Rear of the first floor corridor, Phoenix Mutual Life Insurance Company Building, Hartford, Connecticut. The wainscotings, doorways and trims throughout the corridors are of Light Botticino marble.” pp. 2.

(Photo caption) “Corridor on third floor, outside of executive offices, Phoenix Mutual Life Insurance company, Hartford, Connecticut. The floor is Knoxville Gray with a trim of Black and Gold. All the toilets are finished in Napoleon Gray.” pp. 24.

Ornamental Construction: The Advantages of Using Marble With Brick.” pp. 25-32.

(Photo caption) “Collateral Loan Building, Boston; C. H. Blackall, architect. The marble trim is Vermont Mountain White.” pp. 25.

(Photo caption) “The residence of C. S. Carnes, of Fairview Road, Atlanta, Georgia. Arthur Neal Robinson, Atlanta, architect.” pp. 26.

(Photo caption) “The side entrance of the Carnes residence, in Atlanta, Georgia.” pp. 27.

(Photo caption) “Detail of the main entrance to the C. S. Carnes residence, Atlanta, Georgia.” pp. 28.

(Photo caption) “Marble fireplace in the C. S. Carnes residence, Atlanta, Georgia. A. S. Robinson, architect.” pp. 28.

(Photo caption) “The Hollins N. Randolph residence, Atlanta, Georgia. Marye, Alger and Alger, Atlanta, architects.” pp. 29.

(Photo caption) “Grade school at Peabody, Massachusetts. McLaughlin and Burr, Boston, architects.” pp. 29.

(Photo caption) “The Nurses Home, at Lynn, Massachusetts. The trim is Eureka marble.” pp. 30.

(Photo caption) “St. Joseph’s Hospital, Kansas City, Mo. The base entrance portico and trim is Napoleon Gray marble. Wight and Wight, Kansas City, architects.” pp. 30. (Kansas City, Missouri)

(Photo caption) “The decorative effect of the Vermont marble trim was needed to relieve the severity of design in the Williams College Dormitories at Williamstown, Massachusetts.” pp. 31.

(Photo caption) “The lower stories of the Interstate Building, Washington, D.C. Milburn Heister and Co., architects.” pp. 32.

An Innovation in Banking Counters: The Elimination of Cages, Wickets and Grills is Effected by the Federal-American National Bank in Washington.” pp. 33-35. (Washington, D.C.) (A photograph of the front exterior of the bank building is included in the article.)

(Photo caption) “The main banking room of the Federal-American National Bank, Washington, D.C. A unique feature of this room is the elimination of the usual tellers’ cages and high iron or bronze grill. The floor is Travertine with a Levanto marble border.” pp. 34.

(Photo caption) “The main entrance stairway of the Federal-American National Bank in Washington, D.C. The treads and risers are of Travertine, the dark border shown in the foreground is Levanto marble.” pp. 35.

French Renaissance Architecture - The Styles of Henry IV and Louis XIII.” pp. 36-39.

 (Photo caption) “Entrance to the Hotel de Vogüe, at Dijon.” pp. 36.

(Photo caption) “The King’s bedroom in Chateau de Cheverny.” pp. 37.

(Photo caption) “Fireplace in the Hotel de Vogüe, at Dijon.” pp. 38.

A List of the World’s Marbles,” By J. J. McClymont. pp. 40-42. (“St. Beaume” through “St. Point Lake”)

Through the Ages Magazine, Vol. 4, No. 7, November, 1926.

(Photo caption) “Doorway, West Branch National Bank, Williamsport, Pennsylvania.” (Frontispiece).

The magnificent marble entrance to the West Branch National Bank, at Williamsport, Pennsylvania. The structure is built, except for the base, entirely of White Vermont marble. It is in the French Renaissance style and was designed some years ago by Mowbray and Uffinger, of New York. Courtesy Grit Publishing Co., Williamsport. Pa.”

The Newburgh Savings Bank at Newburgh, New York: A Structure that Represents a High Development in Bank Architecture and Interior Arrangement,” By B. M. Gray. pp. 3-6.

(Photo caption) “Newburgh Savings Bank: the main banking room looking toward the entrance, showing the marble base-reliefs. Weary and Alford, Chicago, architects.” pp. 4.

(Photo caption) “Vista through the entrance into the main banking room, Newburgh Savings Bank, Newburgh, New York.” pp. 5.

(Photo caption) “A typical office corridor in the Newburgh Savings Bank, Newburgh, N.Y. Weary and Alford, Chicago, architects.” pp. 6.

A Philadelphia Hotel: The Benjamin Franklin is Rich With Tapestries and Marbles.” pp. 7-11. (Philadelphia, Pennsylvania)

(Photo caption) “The Ninth Street entrance to the Benjamin Franklin Hotel, showing the marble panel set between the doors, with the insignia of Benjamin Franklin on the sides.” pp. 7.

(Photo caption) “Lobby of the Benjamin Franklin Hotel, showing the huge fluted columns of Benou marble, the registration counters of the same material, with walls of Roman Travertine. The floor is Belgian Black and Verona marbles.” pp. 8.

(Photo caption) “Marble stairs lead from the lobby to the basement, with its marble floor and wall base. The doorways, too, are framed in marble.” pp. 10.

(Photo caption) “The Barber Shop in the Benjamin Franklin Hotel, Philadelphia, has its walls and columns lined with marble to within a third of the ceiling height. The architect was H. Trumbauer, of Philadelphia.” pp. 11.

Marble in Denver Buildings: Many Prominent Buildings Contain Quantities of the Native Product.” pp. 12-17. (Denver, Colorado)

(Photo caption) “Weicker’s Depository, Denver, Colorado. W. E. and A. A. fisher, Denver, architects.” pp. 12.

(Photo caption) “Elevator lobby, Midland Savings Building, Denver. W. E. and A. A. Fisher, Denver, architects.” pp. 13.

(Photo caption) “Denver’s $2,500,000 Post Office, built of Colorado marble, is an imposing structure.” pp. 14.

(Photo caption) “The Chessman Memorial, a marble colonnade of classic beauty, in a residential section of Denver.” pp. 14.

(Photo caption) “The entrance to Denver’s Union Station, built in 1914, is constructed of Colorado Marble.” pp. 15.

(Photo caption) “The Colorado State Museum of native marble is opposite the State Capitol in Denver.” pp. 15.

(Photo caption) “Offices in the Midland Savings Building at Denver, showing use of Colorado Travertine. The work was finished during the summer of 1926.” pp. 16.

(Photo caption) “The Capitol Life Insurance Company Building, built at Denver in 1924, of Colorado marble.” pp. 16.

(Photo caption) “Travertine fireplace in the University Club, at Denver. T. H. Buell & Co., architects, Denver.” pp. 17.

The Largest Newspaper Printing Plant in The World: The Philadelphia Evening Bulletin is Nearly Eighty Years Old.” pp. 18-20. (Philadelphia, Pennsylvania)

(Photo caption) “Publication offices of the Philadelphia Evening Bulletin. Imported marbles were extensively used in the building.” pp. 19.

(Photo caption) “Main corridor in the Evening Bulletin Building, Philadelphia, Pennsylvania The architect was Edgar V. Seeler, of Philadelphia.” pp. 20.

Inexpensive.” pp. 21.

“In Roman ruins, the interior marble is often in a better state of preservation than the masonry behind it. There is no question but that the useful life of marble is coextensive with that of the most permanent building.

“The fact that it is the easiest of all materials to keep clean and to maintain, makes it the most profitable investment for interior finishes. Its first cost is not always the greatest; if it were, marble would still be inexpensive.”

The West Branch National Bank of Williamsport, Pennsylvania: The French Renaissance Style Was Closely Followed in the Design for this White Marble Edifice.” (“Illustrations courtesy Grit Publishing Co., Williamsport, Pa.”) pp. 22-24. (A photograph of the front exterior of the building is included in the article.)

(Photo caption) “The main banking room, looking toward the vaults, West Branch National Bank, Williamsport, Pennsylvania.” pp. 24.

French Renaissance Architecture: The Styles of Henry IV and Louis VIII - Part II.” pp. 25-32.

(Photo caption) “The pavilion of the Arquebusiers at Soissons, built in 1623 by the military company of that name.” pp. 25.

(Photo caption) “Doorway of a house in the street Moulin du Roi, at Abbeville, built of white marble and brick, and characteristic of the early part of the reign of Louis XIII.” pp. 26.

(Photo caption) “A later Louis XIII style house in the street of the ‘Grand Merciers,’ at La Rochelle.” pp. 27.

(Photo caption) “The Sorbonne, designed by Mercier, and constructed in Paris in 1629, was one of several buildings of the soberer Henry IV type built during the first part of the seventeenth century.” pp. 28.

(Photo caption) “The gate to the tower in the oval court in the Palace of Fontainebleau.” pp. 29.

(Photo caption) “The exterior of the central pavilion, flanked by smaller pavilions, in the court of Henry IV at Fontainebleau.” pp. 30.

(Photo caption) “The interior of the Court of Henry IV at Fontainebleau, probably designed by Remy Collin.” pp. 31.

 (Photo caption) “Portal in the oval court at Fontainebleau.” pp. 32.

A remolded Banking Room: Jaune Nile Marble Was Used for the New Main Offices of the American Trust Company, in New York.” pp. 33-36.

(Photo caption) “Officers’ space of the American Trust Company, New York. Horace S. Luckman, New York, Architect.” pp. 33.

(Photo caption) “The main concourse from Broadway, in the American Trust Company’s new banking quarters. The walls and railings are of Jaune Nile marble, the bases of Black and Gold. Horace S. Luckman, New York, architect.” pp. 34.

(Sketch caption) “Plan of the old banking room of the American Trust Company.” pp. 35.

(Sketch caption) “Plan of the main banking quarters of the American Trust Company after the remodeling.” pp. 35.

(Photo caption) “Conference room and collection department in the northeast corner of the new quarters of the American Trust Company, New York. Horace S. Luckman, New York, architect.” pp. 36.

A Southern Bank,” By C. M. Foster. pp. 37-38. (A photograph of the front of the National Exchange Bank Building at Augusta, Georgia, is included in the article.)

(Photo caption) “Detail of upper façade, National Exchange Bank, Augusta, Ga.” pp. 38.

A List of the World’s Marbles,” By J. J. McClymont. pp. 39-42. (“St. Pons” through “Scarlet Quarries”)

Through the Ages Magazine, Vol. 4, No. 8, December, 1926.

(Photo caption) “Entrance To The Security Benefit Association Building, Topeka, Kansas.” (Frontispiece)

“Entrance to the Security Benefit Association Building, Topeka, Kansas. Walter Earl Glover, Topeka, architect.”

Quantity Production Principles in Banking: Their Practical Application is Illustrated by the interior of a Washington, D.C. Bank,” By Alfred C. Bossom. pp. 3-5.

(Photo caption) “General view of Federal American National Bank, showing omission of all screens. Alfred C. Bossom, New York, architect. pp. 4.

(Photo caption) “Detail of back counters, Federal American National Bank, Washington, D.C. Alfred C. Bossom, New York, architect.” pp. 5.

The New Home of The First Trust and Savings Bank, Hammond, Indiana: Travertine Predominates in the Banking Room; Napoleon Gray Marble is Used in the Office Portions.” pp. 6-9.

(Photo caption) “This nine-story structure is the latest addition to Hammond’s business sector.” pp. 6.

(Photo caption) “Main banking room, First Trust and Savings Bank, Hammond, Indiana. Weary and Alford Company, Chicago, architects.” pp. 7.

(Photo caption) “Entrance lobby of the First Trust Building, Hammond, Indiana. The floors and walls are of Roman Travertine; the bases are Black and Gold marble. Weary and Alford Company, Chicago, architects.” pp. 8.

(Photo caption) “Safe deposit lobby in the First Trust and Savings Bank, Hammond, Indiana. Weary and Alford, Chicago, architects.” pp. 9.

French Renaissance Architecture: The Style of Louis XIV - Part I.” pp. 10-15.

(Photo caption) “Pavilion of Richelieu, Palace of the Louvre, Paris.” pp. 10.

(Photo caption) “Doorway in the style of early Louis XIV.” pp. 11.

(Photo caption) “Château of Maisons showing the façade toward the gardens. It was designed by François Mansart for de Longueil, on of Richelieu’s ministers and was erected during the years 1642-51.” pp. 12.

(Photo caption) “The colonnade of the Louvre, in Paris, showing the arrangement of the wall set back over the podium. This is the north end.” pp. 13.

(Photo caption) “Door in the Gallery of Apollo at the Louvre.” pp. 14.

(Photo caption) “Pulpit in St. Etienne-du-Mont, at Paris.” pp. 15.

The Chicago Masonic Temple: The Oriental Theater, in the Same Building, Contains Much Ornate Decoration and Novel Ornamentation.” pp. 16-22. (Chicago, Illinois) (A photograph of the front exterior of the building is included in the article.)

(Photo caption) “The ticket lobby to the Oriental Theater in the Masonic Temple, Chicago. C. W. and G. L. Rapp, Chicago, architects. The floor is Levanto marble with a Belgian Black base, the walls to the ceiling are Black and Gold marble.” pp. 17.

(Photo caption) “Side wall of the main lobby of the Oriental Theater, Masonic Temple, Chicago.” pp. 18.

(Photo caption) “One end of the grand lobby in the Oriental Theater. The floor is Pink Tennessee; the walls have a 4-foot base of Black and Gold marble.” pp. 19.

(Photo caption) “The main foyer in the Oriental Theater, Chicago. Note the extensive use of Black and Gold marble, in wall bases, pilasters and doorways.” pp. 19.

(Photo caption) “Partial view of auditorium, Oriental Theater. C. W. and G. L. Rapp, Chicago, architects.” pp. 20.

(Photo caption) “Organ screen box and base of proscenium arch, Oriental Theater. The elaborate sculpture view with the Black and Gold marble to give an effect of exotic magnificence.” pp. 21.

(Photo caption) “Detail of side wall of auditorium, Oriental Theater, Chicago. The wall base, 4 feet high, is Black and Gold Marble.” pp. 22.

Where Light Is At a Premium.” pp. 23.

“Because of its extraordinary ability to diffuse all available light, marble offers to the architect a valuable aid in solving his problems of illumination.

“This quality of translucence should receive particular consideration in those instances - such as office building corridors, safe deposit departments, etc. - where light is at a premium.”

Marble in The Buildings of Dallas - Part I,” By L. W. Hickey, Past President, Texas Branch, A.G.C. of A. pp. 24-30. (Dallas, Texas)

(Photo caption) “The Harwood Street vestibule of the Municipal Building, Dallas, Texas. C. D. Hill & Company, architects.” pp. 24.

(Photo caption) “The main corridor of the Dallas Municipal Building, extends about 180 feet in length, with walls and floors entirely of marble.” pp. 25.

(Photo caption) “Main lobby and grand stairway on the first floor of the Dallas Municipal Building.” pp. 26.

(Photo caption) “Landing on main stairway leading to second floor, giving a glimpse of the second floor lobby, Dallas Municipal Building. The newels and hand rails are of Gray Tennessee, as are the treads and risers, all highly polished. The turned balusters are of Pink Listavena, similar to the wainscot of the walls. Pink Lepanto was used for the skirting and base of stairway strings. The body of the flooring is Pink Tennessee.” pp. 27.

(Photo caption) “A view of the main lobby of the Dallas Municipal Building looking toward the elevator entrance. The columns and pilasters are of Gray Tennessee marble; the wainscot is Pink Listavena, with a base of Pink Lepanto.” pp. 28.

(Photo caption) “The Criminal Courts Building, Dallas; H. A. Overbeck, architect. Regal Blue, Carrara and Georgia marbles were extensively used.” pp. 29.

(Photo caption) “In the Magnolia Petroleum Building, Dallas, the marble for a 6-foot wainscot in twenty-eight stories and fifty-two toilet rooms was fabricated and installed in four months. A. C. Bossom, architect.” pp. 30.

The Home of The State-Planters Bank and Trust Co., in Richmond: The Largest Financial Institution in the City Was the Result of a Recent Merger.” pp. 31-34. (Richmond, Virginia) (A photograph of the interior of the building is included in the article in addition to the articles listed below.)

(Photo caption) “Lobby of the old Planters National Bank, Richmond, Va. This banking house has been closed since the merger.” pp. 32.

(Photo caption) “The main banking room of the State-Planters Bank & Trust Co., Richmond, Va. The floor is Tennessee; the counters and wainscot, Tavernelle Claire.” pp. 32.

(Photo caption) “Part of the skyline of Richmond, Virginia.” pp. 33.

(Photo caption) “Typical upper elevator hall in the State-Planters Building, Richmond, Virginia. The 4-foot wainscot is Napoleon Gray marble. Clinton and Russell, New York, architects.” pp. 34.

A Small Town Community Mausoleum.” pp. 35. (Great Bend, Kansas) A photograph of the interior of the mausoleum is included in the article.”

The community mausoleum was erected in the winter of 1925 by the owners of the structure, the Community Mausoleum Company of Kansas City, Missouri. The mausoleum was designed by the H. W. Underhill Construction Company of Wichita.

“The mausoleum is designed to accommodate 350 crypts, and the marble used for the crypt fronts and the wainscoting was Brocadillo, a material quarried in Vermont and having a light green vein on a white background. This marble extends to within 18 inches of the ceiling, in polished ashlar. The floor is of Pink Tennessee marble, laid in 8 by 16-inch tiles.”

The Security Benefit Association Building of Topeka, Kansas.” pp. 36-37. (A photograph of the front exterior of the building is included in the article.)

(Photo caption) “Stairway in the lobby of the Security Benefit Association Building of Topeka, Kansas. Walter Earl Glover, Topeka, architect.” pp. 37.

A List of The World’s Marbles,” By J. J. McClymont. pp. 38-42. (“Schists” through “Shell Marbles”)

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