Throvgh the Ages Magazine Article List - 1923

(The articles listed below are located in various issues of Throvgh the Ages Magazine published in 1923. Peggy B. Perazzo)

Throvgh the Ages Magazine, Vol. 1, No. 1, May 1923.

“Forward” pp. 3-4.

“The Century Stone of Time.” pp. 4.

“Marble in The Land of The Maharajahs: The Taj Mahal, the Pearl Mosque and the Tomb of Ghiyas Beg contain some of the world’s finest examples of marble openwork, inlay and friezes.” pp. 5-10.

(Photo caption) “The Taj Mahal: Most beautiful memorial of all time - erected by the Emperor Shah Jahan, of India, as a tribute to his favorite wife, Mumtäz Mahal, who died in 1629.” pp. 2.

(Photo caption) “Marble flower relief, interior of Taj Mahal.” pp. 5.

(Poem included under Photo of the Taj Mahal reflected in the pool)

Not Architecture! as all others are.

But the proud passion of am Emperor’s love

Wrought into living stone, which gleams and soars

With body of beauty shrining soul and thought.

— Sir Edwin Arnold.

(Photo caption) “Interior of tomb of Itmad-ud-daulah, showing perforated marble window and wonderful mosaics.” pp. 7.

(Photo caption) “Tomb of Itmad-ud-daulah, or Ghiyas Beg. A very perfect jewel of architecture.” pp. 8.

(Photo caption) “Famous marble gateway to the shrine of Nizam-ud-din, at Delhi.” pp. 8.

(Photo caption) “Another fine example of marble inlaying and caring. A doorway in the Royal Palace, Delhi.”

(Photo caption) “Library windows and smoking-room of the Maharana, Royal Palace, Udaipur. ” pp. 9.

(Photo caption) “Pearl Mosque from the porch of Durbar Hall.” pp. 10.

“Famous Quarries of Long Ago.” pp. 11-15.

(Photo caption) “A big block of marble being hauled on a converted ox-wagon from the quarries near Carrara, Italy. The Carrara quarries were first worked by the Romans about 173 B.C.” pp. 11.

(Photo caption) “Medici Chapel in Florence. Many kinds of marble have been used in this wonderfully decorated interior.” pp. 12.

(Photo caption) “The statue of Apollo Belvedere, tcarved (sic) out of Parian marble. Some authorities claim that it is of Carrara marble, but this view is not generally accepted.” pp. 14.

(Photo caption) “The Arch of Constantine, the body of which is of Carrara marble, while the columns are of Giallo Antico, from Chepton. This latter was used in the Congressional Library at Washington and the National Art Gallery in London.” pp. 15.

“A List of The World’s Marbles.” By J. J. McClymont, pp. 16.

“Quarrying Methods in Ancient Greece.” pp. 17-18.

“The Lincoln Memorial: A Fitting Tribute to a Great Character.” pp. 19-21.

(Photo caption) “‘With not an unnecessary line, not a fault in proportion. Line and mass combine to make...the unity that is perfection.’ The colonnade of great white Doric columns of marble surrounds the walls within which is the colossal statue of Lincoln. Behind flows the Potomac and the hills of Virginia rise just beyond. The site has been converted from a malarial swam.” pp. 19.

(Photo caption) “The most important object is the statue of Lincoln, in which expressed as far as possible the gentleness, power and intelligence of the man” says Daniel Chester French, the sculptor of this majestic Lincoln. It weighs 175 tons and is in twenty pieces of Georgia Marble, upon a pedestal of Pink Tennessee Marble. Compare it with the figures in the mural shown in left background which are over eight feet high.” pp. 20.

“What Is Marble?” pp. 22-23.

(Photo caption) “Dark Bird’s-Eye - A Fossil Marble.” pp. 22.

“The Vases of King Tut-Ankh-Amen.”

(Sketch caption) “Alabaster vases of odd design found in King Tut’s tomb. They contained unguent in perfect condition.” pp. 23.

“Egyptian Columns and Capitals: The Lotus Flower Played An Important Part in The Evolution of The Capital.” pp. 24-26.

(Sketch caption) “The Lotus Bud or Papyrus Capital, representing a cluster of unopened buds of the lotus flower.” pp. 24.

(Sketch caption) “The Palm Capital, used as early as the Fifth Dynasty.” pp. 24.

(Photo caption) “Colonnaded Hall at Karnak with square pillars and columns with lotus-bud capitals.”

(Photo caption) “Hypostyle at Karnak. The huge columns can be compared with the native in the middle foreground. Note the carving on the columns to the right and the bud-style capitals in the background.” pp. 26.

“The Perry Memorial At Put-In-Bay: The Second Highest Monument in the Country.” pp. 27.

(Photo caption - none) Photograph of the Perry Memorial at Put-in-Bay. pp. 27.

(Photo caption) “St. Dunstans Cathedral.” pp. 28.

“St. Dunstan’s Cathedral, Charlottetown, P.E.I., with its twin spires and beautiful marble-decorated Gothic interior, is one of the finest churches in the Lower Provinces. Charlottetown, founded by Morris and Des Champ, in 1768, is the capital of Prince Edward Island, a beauty spot set in the Gulf of St. Lawrence and separated from the mainland by the Northumberland Strait. It is a city of wide streets, fine buildings, and one of the finest harbors in the world. It has a population of approximately 12,000.”

“A Handbook of Marble: Chapter I – Definitions and Elementary Principles.” pp. 29-35.

“Standing The Test of The Centuries.” pp. 36-37. (also known as Baalbeck)

(Photo caption) “Ancient Roman temple at Boalbeck, Syria, containing banquet hall and artistic decorations. The Saracens built a fortification on top, hence the square blocks.” pp. 36.

(Photo caption) “The Parthenon at Athens.” pp. 37.

“St. Sophia At Constantinople: The Interior an Epoch in Domed Surfaces and Lighting.” pp. 39-40.

“New York’s Much-Discussed Statue.”

(Photo caption) “The statue of Civic Virtue in City Hall Park, New York City, that met with a storm of protest from incensed womankind.” pp. 41.

“List of Quarries and Marble Manufacturers Represented in the Membership of the National Association of Marble Dealers.” pp. 42-43.

Advertisements pp. 44-66.

“Index to Advertisers” pp. 66. (The following companies are listed.)

Alabama Marble Company - pp. 56.

Andres Stone & Marble - pp. 61.

F. de Bellegarde, Inc. - pp. 49.

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. - 63.

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.

Lautz Marble Corporation - pp. 54.

Lautz Missouri Marble Company - pp. 46.

McClymont Marble Company - pp. 44.

Middlebury Marble 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.

Throvgh the Ages Magazine, Vol. 1, No. 2, June 1923.

(Photo caption) “ Temple of Herod The Great ” (Frontispiece)

“Remains of the magnificent temple built by Herod the Great, twenty years before the birth of Christ. It was originally built by Solomon at Jerusalem by Phoenician architects and workmen as the house of the Lord, and contained the ark of the Covenant. Destroyed about 586 B.C. by the Assyrians, a second temple, smaller, was erected after the return from the Babylonish captivity. In 20 B.C. Herod the Great replaced this with the one whose ruins are shown above. The lower court, 500 cubits square, was surrounded on three sides by a double, and on the fourth by a triple, row of white marble columns. This, the court of the Gentiles, was separated by a high wall from the court of the Women. From this, steps led to the court of the Temple, enclosed by a colonnade in marble and divided by trellis work into the courts of Jewish men and Priests. In the middle stood a temple of white marble richly gilt, with porches and three galleries like the original which it resembled, except that it was twice as high. It was often mentioned in the New Testament, and was destroyed by the Romans in A.D. 70.”

“The Marketing of Marble: Some of the Problems Peculiar to the Marble Industry.” (“Extracts from an article by John Stephen Sewell, President of the Alabama Marble Company, which appeared in the Engineering and Mining Journal-Press.”) pp. 3-5.

“Where Finest Carrara is Quarried.” pp. 6-11.

(Photo caption) “Marble waste from centuries of quarrying. The hillsides around Carrara are covered with such fragments.” pp. 6.

(Photo caption) “Team of oxen drawing a heavy block of Carrara marble from the quarry to the shop for sawing.” pp. 8.

(Photo caption) “Primitive method of sawing a marble block in the Carrara region.” pp. 9.

(Photo caption) “Marble blocks for the finest sculpture. There are large numbers of studios in and around Carrara and the sculptor picks his material carefully.” pp. 10.

(Photo caption) “Italian workmen at Volterra carving statues out of alabaster for the tourist trade.” pp. 11.

“Arlington, The Nation’s Shrine.” pp. 12-14.

(Photo caption) “‘We hereby highly resolve that these dead shall not have died in vain.’ View of the stage and part of auditorium Arlington Amphitheater, Arlington, Va. ” pp. 12.

(Photo caption) “The Tomb of the Unknown Soldier, directly in front of the main entrance to the Amphitheater. The colonnade spreads out to either side, as shown in the background.” pp. 14.

“Field Museum of Natural History: The University of The People of Chicago.” pp. 15-18.

(Photo caption) “Interior of Stanley Field Hall in the Field Museum, Chicago. The Museum was constructed of white Georgia marble. The floors of the Hall are of gray Tennessee marble. The lighting of this beautiful structure is especially noteworthy.” pp. 16.

(Photo caption) “Field Museum of Natural History, Chicago. This was modeled after the Erechtheum, a temple of the Ionic order in Athens. Note the figures of women supporting the small porticos on either side of the main entrance; these are copied from similar ones in the Porch of the Maidens.” pp. 17.

“The Greek Column and Capital: The Second Article of a Series Devoted to Architectural Features.” pp. 19-27.

(Photo caption) “The Caryatid Porch of the Erchtheum, in Athens. The Erechtheum is unique in Greek architecture, probably due to the variety of shrines under its roof, and may be called the St. Paul ’s of Athens. Built of marble from Mt. Pentellicus about 420 B.C., after plans by Mnesicles, the architect, it stood on the Acropolis, north of the Parthenon. It is of the Ionic order.” pp. 18.

(Sketch caption) “Three styles of column arrangement in Greek temples. 1. Distyle. 2. Prostyle. 3. Amphiprostyle. pp. 20.

(Sketch caption) “Ionic column with its volutes and thin moulded abacus between the capital and architrave. Above the latter is the frieze, here blank.” pp. 20.

(Sketch caption) “Doric column, with upper members, showing sculptured square spaces (metopes), the channeled triglyphs between, and the moulded cornice.” pp. 21.

(Photo caption) “Ruins of the Acropolis at Athens, showing the Doric column, capital, metopes and cornice. Drums of overturned columns are shown in the foreground.” pp. 22.

(Photo caption) “Looking through the columns of the Propylæa. The columns in the background are Doric; those in the foreground are Ionic.” pp. 23.

(Photo caption) “Temple of Olympian Jupiter at Athens, largest of Greek temples: an example of Corinthian.” pp. 24.

(Sketch caption) “Corinthian capital with its graceful scrolls, as used by the Greeks in the Monument of Lysicrates.” pp. 24.

(Photo caption) “The Roman Forum, showing use of Ionic and Corinthian columns.”

“Cleveland’s Handsome Bank: Marble Makes Guardian Savings and Trust Co. Building One of The Finest in The Country.”

(Photo caption) “View of lobby of the Guardian Savings and Trust Co., of Cleveland, showing usual business-day crowd. Dignity and richness are secured by the use of marble floors, walls, columns and even the check-desk.” pp. 28.

(Photo caption) “Handsome stairway of marble, with marble candelabra.” pp. 29.

(Photo caption) “Marble check-desk.” pp. 29.

“A Handbook on Marble.” pp. 30-33.

“McKinley Memorial At Niles, Ohio.” pp. 34-36.

(Photo caption) “Statue of William McKinley in the Memorial at Niles, Ohio. ‘A magistrate whose poise of judgment was tested and vindicated in a succession of national emergencies.’ - From the speech of President Wheeler, of the University of California.” pp. 34.

(Photo caption) “The Doric columns of white Georgia marble are of rare beauty and grace.” pp. 35.

(Photo caption) “Looking across the pool in the Court of Honor towards the entrance of the Memorial.” ppb. 36.

“Cleveland Public Hall: The Best Equipped Exhibit Building in This Country.” pp. 38-41.

(Photo caption) “The Cleveland Public Hall, erected by the city as a place for public gatherings and exhibitions. One of the Group Plan of Public Buildings, this handsome structure is in the Italian Renaissance style.” pp. 38.

(Photo caption) “View of the interior of the main auditorium in Cleveland’s Public Hall, showing the double galleries and large stage. The seating capacity is 11,500, and the stage will seat 1,000.” pp. 39.

(Photo caption) “The entrance lobby, with its lavish display of Alaskan marble relieved by bases of Vermont Verde-Antique.” pp. 40.

“List of Quarries and Marble Manufacturers Represented in the Membership of the National Association of Marble Dealers.” pp. 42-43.

Advertisements pp. 44-67.

“Index to Advertisers” pp. 68. (The following companies are listed.)

Alabama Marble Company - pp. 56.

Andres Stone & Marble - pp. 61.

F. de Bellegarde, Inc. - pp. 49.

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. - 63.

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.

Lautz Marble Corporation - pp. 54.

Lautz Missouri Marble Company - pp. 46.

McClymont Marble Company - pp. 44.

Middlebury Marble 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. 66.

Throvgh the Ages Magazine, Vol. 1, No. 3, July 1923.

“The Corcoran Art Gallery: A Beautiful Marble Building Containing Notable Statues & Paintings.” pp. 2-4.

(Photo caption) “Grand Stairway leading from first to second floor in the Corcoran Gallery of Art, in Washington, D.C.” pp. 2.

(Photo caption) “The Corcoran Gallery of Art, Washington, D.C., is built almost entirely of white Georgia marble.” pp. 4.

(Photo caption) “A view of some of the statues on the second floor. The Winged Victory, The Wrestlers, The Rape of the Sabines and other famous subjects may be recognized in the background.” pp. 4.

“Stairways In Marble.” pp. 5-12.

(Photo caption) “Lobby of Orpheum Theater, Boston. Venoso risers, Alaska balustrade, Gravina base and Brocadillo panels.” pp. 5. (Massachusetts)

(Photo caption) “Stairway in Hotel Traymore, Atlantic City, N.J. Severe in line, but richly massive. A combination of Verde Antique and Special Silvestre. The floors are of Venoso marble.” pp. 6.

(Photo caption) “Head of the stairway in the Cleveland Auditorium. The bases are of Verde Antique.” pp. 7.

(Photo caption) “One of the stately stairways in the Cleveland Auditorium. The marble is from Alaska and is pearly white with black veinings.” pp. 7.

(Photo caption) “Stairway leading to vaults in the Maryland Trust Company’s reconstructed building in Baltimore. The walls are Tavernelle Fleuri and stairs, treads and risers are Tennessee marble.” pp. 8.

(Photo caption) “Imported marbles are used in this stairway in the Hotel Caswell, Baltimore, the headquarters of the City Club of that city. The wall panels and risers of Escaette (Italian), and the treads of Tennessee marble.” pp. 8.

(Photo caption) “University of Utah, Salt Lake City, Utah. Notice the matched panels of Tokeen, Alaska, marble in the wainscoting.” pp. 8.

(Photo caption) “Vermont ‘Danby’ was used to add beauty to the architects’ excellent design in the Custom House, Boston.” (Massachusetts) pp. 9.

(Photo caption) “Stairway of Light Cloud Vermont marble in the Red Cross Building in Washington, D.C. The columns are of Royal Antique. pp. 9.

(Photo caption) “A plain but impressive stairway in the Salt Lake City High School, Utah. The marble is carried around the walls of the rooms. Note the niches for statues on either side of the stairs.” pp. 9.

(Photo caption) “A well-designed stairway in the Orpheum Theater, Omaha, Nebraska. Several kinds of marble are used. The floors also are of marble - Napoleon Gray.” pp. 10.

(Photo caption) “A dignified stairway in a bank in New York City.” pp. 10.

(Photo caption) “The main stairway of the Court Theater in Wheeling, West Virginia, is of Brocadillo marble.” pp. 11.

(Photo caption) “The lobby of the Elben D’Or Apartments in Omaha, Nebraska. A fine example of the effects obtainable in marble.” pp. 11.

(Photo caption) “A handsome stairway in the Phelan Building, San Francisco, California. The risers are of Italian marble.” pp. 12.

“Statue of Marie Jeritza.” pp. 13.

(Photo caption) “Marie Jeritza, prima donna of the Metropolitan Opera Company, of New York, standing beside a marble statue of herself as Tosca. The statue is of white Carrara marble and is the work of Edouard Margo, a Hungarian Sculptor. Madame Jeritza, known also as the Baroness von Popper, sprang into fame overnight. She is tall, blond and commanding, with a face that is common in Vienna, from where she comes, but rare here. She is lively and vivacious, and her high voice is exceedingly powerful. She has been heard in Die Tote Stadt, Die Walkure, as Nedda in Pagliacci, besides La Tosca, her best role. There is some difference of opinion as to the stability of her fame, Carl Van Vechter, among others, holding that she is greatly over-rated at present. However, there can be no question but that she was the real star of the Grand Opera season that has just passed, no matter what her future may develop.” pp. 13.

“The Four Orders of Roman Architecture. The Third Article of a Series Devoted to Architectural Features.” pp. 14-24.

(Photo caption) “The Maison Carée at Nimes, in France, is a well-preserved and typical Roman temple. It shows the characteristic wide and short cella of the Roman style. Note the high base or podium, the deep portico, the Corinthian capitals and the engaged columns running along the sides, ranged with the free columns of the portico.” pp. 14.

(Photo caption) “A comprehensive view of the ruin in the Roman Forum. The three columns to the left are of the Corinthian order. In the middle background may be seen the volutes of the capitals of the Ionic order. The arch in the right background is an example of columns bearing entablatures where there is no actual need of them.” pp. 16.

(Photo caption) “The Colosseum, built of Travertine and Pozzolana, was 610 feet long, 510 feet wide and 180 feet high. Three distinct orders were used in this structure: Tuscan on the first floor, Ionic on the second and Corinthian on the third. The fourth story was an unbroken wall divided by Corinthian pilasters.” pp. 17.

(Photo caption) “The Temple of Saturn in the Roman Forum, a fine example of Roman Ionic. The volutes are all placed at an angle of 45 degrees. Notice the moulding of the entablature, customary in this order.” pp. 18.

(Photo caption) “Temple of Venus at Baalbec, an unusual design and reproduced later in Kew Gardens in London. A small circular temple of the Corinthian order.” pp. 18.

(Photo caption) “The Baths of Caracalla. Originally the wall linings, columns and pavements were one mass of gorgeous marble. Phrygian purples and Numidian yellows, with the reds, yellows and browns of Oriental alabaster formed striking contrasts with the red Porphyries, green Serpentines, Egyptian Granites and the white Carraras.” pp. 19.

(Photo caption) “The Pantheon of Hadrian’s time, about 123 A.D., was one of the noblest of all old Roman buildings. The monolithic door posts were of Carrara marble, the large Corinthian columns were Numidian, and the smaller columns of the little chapels inside were Porphyry from Djeebel-Dokhan in Egypt. Phyrgian marble from Synnada was also used. The dome was 142 feet in diameter, almost exactly the same as St. Peter’s, and 140 feet high. Light came only through an opening 30 feet across at the top. The walls were encrusted with marble, mostly Pentelic, and the floor was of Marble and Porphyry. The upper story was originally ornamented with marble pilasters, with capitals, and paneling of Giallo Antico, Serpentine and Pavonazetto.” pp. 22.

“A Unique Design in Savings Banks: The New Winona Bank in Minnesota in an Unusual Structure.” pp. 25-27.

(Photo caption - none) Photograph of the “Institutional” Bank located at Main and Fourth Streets, Winona, Minnesota.

(Photo caption) “View of Banking Floor.” pp. 26.

(Sketch caption) “Floor Plan of the Institutional Department on second floor.” pp. 26.

(Photo caption) “Commercial Department.” pp. 27.

(Photo caption) “View from Balcony.” pp. 27.

(Photo caption) “Monument To Victor Emmanuel II., in Rome. This vast pile of Italian marbles rivals the huge Palais de Justice in Brussels. It is a product of the period of development that ensued after Italy achieved its liberty and unity in 1861. It was begun in 1884, after plans by Count Guiseppe Sacconi, but was not completed until 1911. It was designed to symbolize the triumph of Italian nationality, and it shows the influence of classic forms, at the same time displaying novel treatment characteristic of the eclectic movement that had begun in Europe in the middle of the nineteenth century.” pp. 28.

“A Handbook on Marble: Chapter II. The Production of Marble.” pp. 29-35.

“Translucence in Marbles: Extract From The Technology of Marble Quarrying.” (Extract from The Technology of Marble Quarrying, by Oliver Bowles, Bulletin 106, Department of the Interior, Bureau of Mines) pp. 35.

“Color in Marbles: An Extract From Bulletin 106, Mineral Technology 13, entitled, The Technology of Marble Quarrying, by Oliver Bowles, issued by the Department of Interior.” pp. 36.

(Photo caption) “Ruins of The Palace of Sayyid Said.” “Among the broken cisterns and ruined columns of what was once the palace of Sayyid Said, once ruler over Zanzibar on the east coast of Africa, the native youngsters play hide-and-seek. This formerly magnificent structure was built about 1834, two years after the Said of Muscat had conquered all the towns formerly owing allegiance to the Imams. Zanzibar was originally conquered by the Portuguese in 1503-8 A.D., and occupied by the Arabs in 1730. An American consulate was established there as early as 1836, the Americans being the first to realize the possibilities of the port. It is a country of extreme heat, the mean annual temperature being about 80 degrees. There is an abundance of cocoa-nuts, lemons, papaws, mangoes, spices - and pythons!” pp. 37.

“The Early Days of Vermont Marble.” pp. 38-41.

(Photo caption) “One of the first mills to operate in Vermont.” pp. 38.

(Photo caption) “Interior of one of the old mills.” pp. 39.

(Photo caption) “One of the modern yards at Proctor, Vermont, covering a space of about eleven acres.” pp. 39.

(Photo caption) “This modern electric railway stretches for 800 feet out into the tunnel and ascends to the ground level along a track 500 feet long at an angle of 45 degrees.” pp. 40.

(Photo caption) “Carving an Ionic capital with a chisel driven by compressed air, a modern tool that has largely - though not entirely - supplanted the wooden mallet. Electricity is also freely employed in the best equipped shops.” pp. 41.

(Photo caption) “Cutting marble with a saw that has diamonds for the cutting teeth. This is one of several modern methods.” pp. 41.

“List of Quarries and Marble Manufacturers Represented in the Membership of the National Association of Marble Dealers,” pp. 42-43.

Advertisements, pp. 45-67.

“Index to Advertisers” pp. 63. (The following companies are included.)

Alabama Marble Company - pp. 56.

Andres Stone & Marble - pp. 61.

F. de Bellegarde, Inc. - pp. 49.

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. - 63.

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.

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.

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. 66.

Throvgh the Ages Magazine, Vol. 1, No. 4, August 1923.

“A Ten-Story Publishing House: Philadelphia Has Modern Structure in Which Marble Plays Very Important Part.” pp. 3-7.

(Photo caption) “Home of the Curtis Publishing Co., Philadelphia. Edgar V. Seeler, Architect.” pp. 2.

(Photo caption) “View of front Entrance, showing bronze standards.” pp. 4.

(Photo caption) “The Marble Colonnade. The columns are monoliths from quarries in Vermont.” pp. 4.

(Photo caption) “Special tackle was used when the monolith marble columns were put in place.” pp. 5.

(Photo caption) “Main entrance detail.” pp. 5.

(Photo caption) “Lobby of Curtis Building, showing the marvelous mosaic by Tiffany after a painting by Maxfield Parrish.” pp. 6.

(Photo caption) “Another view of the entrance lobby. Georgia marble is used in the floor, while marble from Norway, Greece and Italy help to enrich this beautiful room.”

“A List of The World’s Marbles.” pp. 8-10. (Abancado das Lameiras through Alabaster -Italinan)

“The Mechanical Side of Marble Quarrying: A Comparison Between the Old Methods and the New.” pp. 11-14.

(Photo caption) “Channeling machine at work on an inclined floor in a marble quarry. This method of work was made possible through the invention of the modern electric channeler.” pp. 11.

(Photo caption) “The old Sutherland Falls Quarry, in Vermont, where the first Wardwell Channeler was operated. This quarry is not being worked at present time. In days past, it was one of the most productive Vermont quarries.” pp. 12.

(Photo caption) “The Radialax Drill attachment in the quarry. This is a machine which is comparatively new to the marble industry. It is electrically operated, and works in corners and in narrow openings difficult of access with the ordinary drill.” pp. 13.

(Photo caption) “This electric channeling machine moves on a movable track placed on the quarry floor. It sinks a narrow groove to a depth of several feet, making it possible to take out blocks of uniform size and shape. The cutting is done by five drills, clamped together in a row.” pp. 14.

(Photo caption) “The Temple of Vesta at Tivoli, built about 27 B.C. of Lapis Albanus, a volcanic ash peppered with scoriæ of black lava, and called Peperino. A circular peripteral temple of the Corinthian order. Vitruvius classifies circular temples as Tuscan. The cella was 24 feet in diameter, surrounded by a peristyle of eighteen Corinthian columns each 23 feet 6 inches high. resting on a podium. The cella had two windows and a doorway approached by a flight of steps. The columns are nearly ten diameters high, and the capitals, of which the foliage is derived from the acanthus mollis, are one diameter in height.” pp. 15.

“An International Capital: The Pan American Building is The Washington Home of Twenty-One American Nations – A Most Unusual Structure.” pp. 16-21.

(Photo caption) “The Front of the Pan American Building on Seventeenth Street, showing the arched entrances flanked by the statuary groups symbolical of North and South America. beneath each group is a fountain, not discernible in the picture.” pp. 17.

(Photo caption) “Looking across the Patio, showing the fountain, and the tiled pavement with its original design in dull red and black.” pp. 18.

(Photo caption) “The Aztec Garden with its lily-pond and Hall of Tiles. The balustrade is of Georgia marble.” pp. 19.

(Photo caption) “Another view of the Aztec Garden showing the Washington Monument reflected in the surface of the pool.” pp. 20.

(Photo caption) “Hall of the Patriots with the flags of the countries composing the Union and white marble busts of men famous in the Americas. Pedestals, floor bases and door-casings are of reddish Languedoc marble.” pp. 21.

“Early Christian and Byzantine Architecture.” pp. 23-29.

(Photo caption) “Where Paul’s dust lies buried. Interior of St. Paul’s-Outside-the-Walls, Rome. The archivolt has taken the place of the architrave. Notice the variety of the capitals.” pp. 22.

(Sketch caption) “Plan of St. Paul’s-Outside-the-Walls, Rome.” pp. 23.

(Photo caption) “Interior of an early Christian church of the Basilican type. This is St. Apollinare in Classe (538). The triumphal arch and its lavish decoration is plainly shown, as well as the distinctive features of the Byzantine style.” pp. 24.

(Photo caption) “Cloister of St. Paul’s-Outside-the-Walls. These marble columns are of onyx from Egypt.” pp. 25.

(Photo caption) “Interior of Ste. Vitale, at Ravenna, built in the sixth century. The screen is marble, as are the walls, floors, columns and much of the decoration. Notice the dosserets.” pp. 26.

(Photo caption) “Mausoleum of Gallo Placidia, showing barrel-vaults used to form a dome.” pp. 26.

(Photo caption) “Byzantine capital, with its massive pyramidal form, and carved with incised basket-work. The impost block was placed directly upon the capital.” pp. 27.

(Photo caption) “Entrance to the Basilica of St. Mark at Venice. Notice the picturesque but wholly unstructural use of columns, the wooden cupolas over the five domes and the pointed arches. These are deviations from the Byzantine dating from later times.” pp. 27.

(Photo caption) “Interior of the church of St. Apollinare, Nuovo, at Ravenna, showing the side wall of the nave, the clestory windows, the impost blocks above the capitals and the side aisle with its lower roof.” pp. 28.

(Photo caption) “Exterior of St. Apollinare in Classe. The use of external arcading to give some slight adornment to the walls and the round bell-tower of brick is the first step towards the development of the ‘wall-vein’ and the campaniles of later centuries.” pp. 29.

“Buffalo’s Mammoth New Hotel: The Statler, Largest Hostelry Between New York and Chicago, Makes Extensive Use of Marble For Interior.” pp. 30-34.

(Photo caption) “The vast new hostelry recently opened in the city of Buffalo.” pp. 30.

(Photo caption) “Entrance to Ballroom foyer. The walls are of Botticino marble; the steps are of black and gold.” pp. 31.

(Photo caption) “Corner of Ballroom in the Hotel Statler, Buffalo. Marble is effectively used to enrich the gold decoration.” pp. 32.

(Photo caption) “Palm Room, with the entrance to the main Dining-Room at the rear.” pp. 32.

(Photo caption) “Section of the main Dining-Room, with terrace showing through the arches on left. The walls are of Botticino, and the columns of Cipollino marble.” pp. 33.

(Photo caption) “The Chinese room, one of the private dining-rooms. This is finished with highly artistic lacquers.” pp. 34.

(Photo caption) “The Georgian Room, another of the private dining-rooms. Notice the marble fireplace. Marble is freely used throughout the Statler.” pp. 34.

“A Handbook on Marble. Chapter II. The Production of Marble (continued).” pp. 35-41.

(Photo caption) “View of a surface quarry in Alaska. Marble was first produced in Alaska in 1908. Since that time, marble from this section has been used for a large number of building interiors in the far west, while considerable Alaskan marble has been installed also in the middle West; and in more limited amounts in the East.” pp. 41.

“List of Quarries and Marble Manufacturers Represented in the Membership of the National Association of Marble Dealers,” pp. 42-43.

Advertisements (pp. 44-67)

“Index to Advertisements” pp. 68. (The following companies are listed.)

Alabama Marble Company - pp. 56.

Andres Stone & Marble - pp. 61.

F. de Bellegarde, Inc. - pp. 49.

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. - 63.

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.

C. D. Jackson & Co., Inc. - pp. 67.

Lautz Marble Corporation - pp. 54.

Lautz Missouri Marble Company - pp. 46.

McClymont Marble Company - pp. 44.

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. 66.

Throvgh the Ages Magazine, Vol. 1, No. 5, September 1923.

“Quarry Methods in Europe.” pp. 3-7.

(Photo caption) “Wire sawing a large block of Carrara white statuary marble into smaller blocks.” pp. 2.

(Photo caption) “Carrara, the city of marble, in the neighborhood of which are very rich quarries. Carrara lives on the marble industry.” pp. 4.

(Photo caption) “Brave miners prepare the point of approach for the cutting with the helicoidal wire.” pp. 5.

(Photo caption) “The wire in place, the large mass of white statuary marble is being cut.” pp. 5.

(Photo caption) “The helicoidal wire in operation in a Carrara quarry. Here are produced about 300,000 tons of special white marble for statuary and construction each year.” pp. 6.

(Photo caption) “The lizzatura of a large block of marble from the quarries on the mountain summit to the valley below where the finishing operations are conducted.” pp. 7.

“A List of The World’s Marbles.” By J. J. McClymont, pp. 8-14. (Alabaster (Welsh) through Azzurrino - Bluish)

“The Danby Cliff-Workers.” (Reprinted through courtesy The Stone Publishing Co., N.Y.) pp. 15-19. (Danby, Vermont)

(Photo caption) “This cable road in the Danby quarries is about one mile long and rises about 900 feet above the level of the railway in the valley below. A double track system is used, with a carload of ballast to offset the weight of the car of marble.” pp. 15.

(Photo caption) “A fifty-ton marble block which was quarried for the bow of the Scott Memorial Fountain, in Detroit, Michigan. This fountain was designed by Cass Gilbert, and has already been erected in Belle Isle, one of Detroit’s parks. The quarrying of this block called for special equipment, and for a special car to transport it to its destination.” pp. 17.

(Photo caption) “The Danby Cable Road. Before this line was built, the blocks had to be hauled out by team. In winter, marble could not be moved at all.” pp. 18.

(Photo caption) “The Mt. Vernon Place M.E. Church South in Washington, D.C. at Ninth Street and Massachusetts Avenue is built of Georgia marble. Its gleaming whiteness, set amid the green foliage of the surrounding trees, attracts the eye of the passerby to its Doric lines of architectural beauty. pp. 19.

“New York Bank Contains Fine Marbles: Guaranty Trust Company Buildings Use Both Domestic and Imported Stones Effectively.” pp. 20-23.

(Photo caption) “Main banking floor, Guaranty Trust Company’s central office at 140 Broadway, New York. View from officers’ platform, looking toward Broadway entrance.” pp. 20.

(Photo caption) “Another view of the Main Banking Floor of the Guaranty Trust Company’s central office at 140 Broadway, New York City. The interior is built almost entirely of dull finished marble, sand colored. The floors are square blocks of Knoxville, with black and gray marble inlays.” pp. 21.

(Photo caption) “The Broadway entrance to the Main Office of the Guaranty Trust Company on Broadway. This view shows the combined use of marble and bronze. The ceilings and capitals of the huge columns are carved in deep relief.” pp. 21.

(Photo caption) “Officers’ platform at right of the Fith Avenue entrance of the Guaranty Trust Company of New York. The Doric columns and the low balustrades between them are of sand-colored Hauteville marble.” pp. 22.

(Photo caption) “View of Women’s Banking Deparmment from Forty-fourth Street entrance in the Fifth Avenue office. The floors are of pink Tennessee, while the railings, square engaged columns and gallery railing and columns are of Hauteville marble.” pp. 22.

(Photo caption) “View of the entrance lobby of the Madison Avenue office of the Guaranty Trust Company of New York, showing tellers’ cages and check table. Note the black and white Vermont marbles in the floor, cages and railing.” pp. 22.

“Romanesque Architecture in Italy.” pp. 24-37.

(Photo caption) “Details of the central doorway of the Pisa Cathedral. This structure is entirely of marble. The plan is that of a Latin cross with deep transepts, with aisles on both sides of them.” pp. 24.

(Photo caption) “The old Roman ‘Ponte Pietra’ and castle of St. Pietro, Verona, Italy.” pp. 25.

(Photo caption) “The Basilica of St. Pietro at Toscanella. The exterior has been altered since its erection about 739 A.D. The architect was Rodpert. The two side doors are Romanesque, but he central door and the two two-light windows were probably inserted in the thirteenth century. The rose window looks like the work of early Renaissance set in an earlier framework.” pp. 26.

(Photo caption) “The Cathedral at Piacenza, in Lombardy, is an example of late Romanesque or early Gothic. The nave is majestic with columns of enormous height. Although it has lofty arcades, the upper stories are not starved. The triforium stage is well developed. The plan is both parallel and transverse triapsidal.” pp. 27.

(Photo caption) “Front of the Pisa Cathedral. The architect was Boschetto, a Greek of Delichium. Sixty-eight columns of the nave are said to be Greek and Roman antiques, spoils of war. Some of the capitals are Corinthian, others Composite. Inlays of dark green marble are conspicuous.” pp. 28.

(Photo caption) “Another view of the Cathedral at Pisa. This shows the Baptistery in the left background. A third member of the famous Pisan group is the Leaning Tower. The Baptistery was begun in 1153, the architect being Diotisalvi. The main walls are banded with Verde di Prato, like the Duomo.” pp. 29.

(Photo caption) “Interior of the Cathedral at Monreale, in Sicily, showing the central aisle, side aisles, and apse. This building was begun about 1174 A.D. It is 315 feet long and shows a mixture of Greek and Saracenic feeling. The central aisle is divided from the side aisles by monolithic pillars with capitals of great beauty. All the architectural features are evidently subordinate to the mosaic decorations which cover every part of the interior and are the glory and pride of the edifice.” pp. 30.

(Photo caption) “Another view of the interior of the Cathedral at Monreale. The windows, though pointed, are undivided and not meant for painted glass. The plan is that of a Roman basilica.” pp. 30.

(Photo caption) “The Palermo Cathedral in Sicily, although possessing no dignity of outline or grace in form, is more richly ornamented with intersecting arches and mosaic decorations externally than almost any other church of its class. The decoration, moreover, follow its construction. The effect is pretty, however, rather than grand.” pp. 31.

“Denver Boasts of Fine Bank: Its Classic Lines Are Accentuated By Gleaming Marble.” pp. 32-33.

(Photo caption - none) Photograph of the Colorado National Bank. pp. 32.

(Photo caption) “Corner of interior, showing officers’ enclosure and part of main banking floor.” pp. 33.

(Photo caption) “Interior of banking room, showing domed ceiling and marble treatment.” pp. 33.

“It Paid To Build of Marble: New England Bank Discovers That The Beauty of Their New Building Brings Increased Business.” pp. 34. (the Connecticut Savings Bank of New Haven, Connecticut. A photograph of the bank is included with the article.)

“An Old Southern Skyscraper: Birmingham Boasts of The Brown-Marx Building.” pp. 35.

(Photo caption) “The Brown-Marx Building ” pp. 35. (located on First Avenue and Twentieth Street, Birmingham, Alabama)

“A Handbook on Marble: Chapter II – The Production of Marble “(continued). pp. 36-41.

“List of Quarries and Marble Manufacturers Represented in the Membership of the National Association of marble Dealers,” pp. 42-43.

Advertisements pp. 44-68.

“Index To Advertisers” pp. 68. (The following companies are listed.)

Alabama Marble Company - pp. 56.

Andres Stone & Marble - pp. 61.

F. de Bellegarde, Inc. - pp. 49.

Antonio Biggi - pp. 68.

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. - 63.

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.

C. D. Jackson & Co., Inc. - pp. 67.

Lautz Marble Corporation - pp. 54.

Lautz Missouri Marble Company - pp. 46.

McClymont Marble Company - pp. 44.

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. 66.

Throvgh the Ages Magazine, Vol. 1, No. 6, October 1923.

(Photo caption) “Marble Stairway in the Library of Congress, Washington” (Frontispiece)

“America’s Library: The Interior of The Library of Congress in Washington Owes Its Beauty to the Many Marbles Used.” pp. 3-6

(Photo caption) “Magnificent marble columns and tiling on the second floor.” pp. 5.

(Photo caption) “Rotunda or main reading Room.” pp. 6.

“A List of The World’s Marbles,” By J. J. McClymont, pp. 7-10. (Bachiotto through Bianco P or Blanco P)

(Photo caption) ““Rotunda of New York Public Library.” pp. 11. “In the New York Public Library, all the marble is from Vermont. In this view of the rotunda is shown one of the stairways. These present to the architect a most unusual as well as interesting method of construction. There are two staircases, one on either side of the rotunda. They are of flying arch construction, about 17 feet span and 16 feet wide. The strings are each an arch, and between the strings the soffit under the stairs is an arch, and on top of these are set the treads approximately triangular in shape. These treads were cut separately from the soffit to provide for possible replacement. The entire stair is marble and mortar, thrusting against marble and brick buttresses, without any steel or other supports, or even any metal dowels. The large vault is about 40 feet span and 60 feet long. The marble is about 15 inches thick at the crown, and several feet thick at the haunches. It is a true self-supporting vault, without any steel or other support, except that in the concrete filling over it there are buried reinforcing rods to carry the thrust to the piers. The middle piers under the vault are solid marble, the corner piers have a brick core. Carrere and Hastings of New York were the architects.” pp. 11.

“Marble in Guatemala: South America Has Begun To Send A Fine Quality of White Marble To This Country.” pp. 12-15.

(Photo caption) “Fetching blocks at the quarry.” pp. 12.

(Photo caption) “Part of the walls of the temple located about sixty miles inland. It is somewhere over 8,000 years old, possibly 12,000. Marble has been freely used.” pp. 13.

(Photo caption) “This obelisk is one of several found in the ruins near Quiriqua, Guatemala. They are of red or brown stone, and the source of supply is unknown.” pp. 13.

(Photo caption) “The main street of the camp of the marble company. The native thatched huts are occupied by the laborers.” pp. 13.

(Photo caption) “Looking out over the surrounding territory from the edge of the plateau on which the quarries are located.” pp. 14.

(Photo caption) “This is the superintendent’s shack at the quarries. The sitting-room is 30 by 40 feet, and has a 6-foot fireplace in which a fire is kindled every night in the year. At the right can be seen native orchids on the trunk of the tree.” pp. 14.

(Photo caption) “Looking down into the quarry, where some of the blocks may be seen ready for the finisher.” pp. 15.

(Photo caption) “Caterpillar tractor and trailer bringing down a large block of marble from the quarries. This is said to be the largest tractor of its kind ever built. This block of statuary marble is 9 by 7 by 3 feet. Much larger ones are now taken out.” pp. 15.

”Romanesque Architecture in Germany.” pp. 16-20.

(Photo caption) “Cologne’s Cathedral, Town Hall and Bridge of Boats. Northwest across the Rhine, Germany.” pp. 16.

(Sketch caption) “Ground plan of the Cathedral at Worms.” pp. 17.

(Sketch caption) “The Cathedral at Worms.” pp. 18.

(Sketch caption) “View of the Church of Apostles, at Cologne. Notice the queer looking towers on either side of the apse.” pp. 18.

(Sketch caption) “A typical Romanesque Capital in one of the cathedrals in Germany. The shape was not unlike some specimens of Byzantine.” pp. 19.

(Sketch caption) “Exterior of St. Michael, in Hildesheim. Within, the decoration was much more elaborate, with massive pillars in pairs separated by heavy square columns. The capitals were especially beautiful.” pp. 20.

(Sketch caption) “Interior of the Cathedral at Limburg. The system of vaulting was probably derived from the Lombard churches of northern Italy. This great church is especially interesting for its size and dignity of plan and somewhat wide massiveness of construction.” pp. 20.

“Doorways in Marble: The Detail That Strikes The Keynote of Character in Any Structure.” pp. 21-26.

(Photo caption) “An entrance that shows an effective combining of red brick and white marble. McLaughlin and Burr were the architects.” pp. 21.

(Photo caption) “This doorway in the Brooklyn Trust Company Building is of Napoleon Gray marble. The architects were York and Sawyer.” pp. 22.

(Photo caption) “Napoleon Gray and a rich Fossil marble were the materials chosen by Rouse and Goldstone for this doorway.” pp. 22.

(Photo caption) “This is the beautiful entrance to the Maryland Institute, Baltimore. The entire structure is of white domestic marble.” pp. 22.

(Photo caption) “Georgia Marble was used for the dignified classical entranceway in this mausoleum.” pp. 23.

(Photo caption) “Entrance to the National State Bank, at Elizabeth, New Jersey. It is executed in Napoleon Gray marble.” pp. 23.

(Photo caption) “Dunnville Stone is effectively used in this unusual exterior. It is the Mabel Tainter Memorial Building at Menominee, Wisconsin.” pp. 23.

(Photo caption) “St. Lorenzo, at Genoa, Italy. The alternate bands of black and white marble, the unusual but graceful columns, and the elaborate carving form a whole of sumptuous design. This is an early fourteenth century church.” pp. 24.

(Photo caption) “A door in the Hall of the Gigli, in the Veccio Palace, in Florence, a Gothic structure built in 1298 by the architect Arnolfo del Cambio.” pp. 24.

(Photo caption) “Glimpse of a marble doorway in the Pitti Palace Gallery, in Florence, Italy, showing one of Raphael’s famous Madonnas.” pp. 24.

(Photo caption) “The munificence of the Sforzas embellished the semi-Gothic Certosa of Pavia with a new marble façade, begun in 1476, which in its fanciful and exuberant decoration and the small scale of its parts, belongs to the early Renaissance.” pp. 25.

(Photo caption) “When Brunelleschi designed the Pitti Palace in Florence, Italy, he made lavish use of marble. The style is Italian Renaissance.” pp. 25.

(Photo caption) “This is a fine example of the wonderful marble tile and openwork to be found in India. It is the entrance to the tomb of Ghiyas Beg, at Agra.” pp. 25.

(Photo caption) “This handsome doorway in the Albergati Palace in Bologna is of white Carrara marble. The habit of closing up the entrance with a crude wooden boarding with a smaller door set in, is one that persists in Italy.” pp. 26.

“The Lost Lady: A Strange Story About The Wonderful Statue Recently Sold At Auction in Washington.” pp. 27-28.

(Photo caption) “Statue by Phidias now on display in the British Museum, London. This figure is from the Theseus formerly on the eastern pediment of the Parthenon. These are the only existing statues which can be attributed authoritatively, to Phidias’ actual work.” pp. 27.

“Two Libraries in One Building: St. Paul, Minnesota, Has an Unusual Marble Structure.” By Electus D. Litchfield, Architect, New York, pp. 29-32.

(Photo captions - none) Photographs of the James J. Hill Reference Library and the Public Library of the city of St. Paul, Minnesota. pp. 29 and 30.

(Photo caption) “Doorway to the James J. Hill Library.” pp. 31.

(Photo caption) “Rear entrance to the Public Library.” pp. 31.

(Photo caption) “The columns are of the Ionic style.” pp. 32.

(Photo caption) “The ceiling is Italian Renaissance.” pp. 32.

“The Tallest Building West of New York: Cincinnati Office Building Uses American Marble Both For Exterior and Interior.” pp. 33-37.

(Photo caption) “Main entrance on Fourth Avenue, showing clearly the Vermont marble blocks cut with rounded corners, and the very handsome carving of the doorway.” pp. 33.

(Photo caption) “The Union Central Life Insurance Company Building in Cincinnati. The architects were Cass Gilbert and Garber & Woodard.” pp. 34. (Ohio)

(Photo caption) “The main entrance corridor looking from the rear towards the front. The floors are of Tennessee marble, while the walls are of Tavernelle Fleuri and Rosato.” pp. 35.

(Photo caption) “The main stairway from the first corridor to the second floor, where is located the Chamber of Commerce. This is hand-carved marble.” pp. 35.

(Photo caption) “The entrance to the Board of Directors’ Room on the fifteenth floor. The floors and walls are of marble. An unusually well-designed and beautiful doorway.” pp. 36.

(Photo caption) “Interior of the Board of Directors’ Room on the fifteenth floor. The effect of the rich marbles, the pilasters with their dignified capitals and the ribbed vaulting of the ceiling is of a magnificence seldom found in structure of this character.” pp. 37.

“Handbook of Marble,” Chapter II – “The Production of Marble.” (continued). pp. 38-41.

“List of Quarries and Marble Manufacturers Represented in the Membership of the National Association of Marble Dealers,” pp. 42-43.

Advertisements, pp. 44-68.

“Index to Advertisers,” pp. 68. (The following companies are listed.)

Alabama Marble Company - pp. 56.

Andres Stone & Marble - pp. 61.

F. de Bellegarde, Inc. - pp. 49.

Antonio Biggi - pp. 68.

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. - 63.

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.

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.

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.

Throvgh the Ages Magazine, Vol. 1, No. 7, November 1923.

(Photo caption) “Crypt of Canterbury Cathedral ” (Frontispiece)

“Marble Working in Great Britain ” pp. 3-5.

(Photo caption) “Doorway of Chapter House, Salisbury Cathedral ” pp. 5.

“A List of The World’s Marbles” pp. 6-10. (Bianco Statuary through Breche De Kiefer)

“Tunneling For Marble” pp. 11-13.

(Photo caption - none) Photograph of a marble quarry at West Rutland, Vermont. pp. 11.

“Memorial Continental Hall: The National Headquarters of The D.A.R. in Washington.” pp. 14-18.

(Photo caption) “View of Washington Monument from the South Portico of Memorial Continental Hall.” pp. 14.

(Photo caption - none) Photograph of Memorial Continental Hall. pp. 15.

(Photo caption) “The South or Memorial Portico, with its thirteen monolith marble columns, one for each of the original thirteen states of the Union.” pp. 16.

(Photo caption) “The Entrance Hall is of marble from Vermont. Notice the busts in the niches between pilasters.” pp. 17.

(Photo caption) “The Auditorium, capable of seating 2,000 persons. The double galleries contain many fine paintings.” pp. 18.

(Photo caption) “Corridor leading to the Annex. Marble is used here with fine effect. pp. 18.

“Fireplaces and Mantelpieces” pp. 19-24.

(Photo caption) “Library of the State Capitol, Albany, New York. The marble is Second Statuary with American Pavonazzo panels.” pp. 19.

(Photo caption) “Chimney from the Palace of the Duca d’ Atene, now in the National Museum in Florence, Italy. The ducal arms are carved on the hood. Notice the curved hooks for hanging meats and pots.” pp. 20.

(Photo caption) “This graceful chimney in the Chateau de Blois, Aisle de France, is in the ornate style of the Renaissance. The alternating fleur-de-lis and letter H’s form a background for the large paneled H.” pp. 20.

(Photo caption) “This Louis XVI style chimney is found in the Chateau de Bagatelle. The gas logs are a modern touch. The large and quaint andirons were commonly met with in fireplaces of this period.” pp. 20.

(Photo caption) “This marble column forms one side of the fireplace in the Hall of the Guards, Chantilly. Only a small part of the huge opening is shown in the illustration.” pp. 21.

(Photo caption) “Dark Utah Golden Travise marble was used for this mantel in the Governor’s Reception Room in the Utah State Capitol at Salt Lake City.” pp. 21.

(Photo caption) “This dignified room is found in the First National Bank Building at Hazelton, Pennsylvania. American Pavonazzo marble is the material from which it was constructed.” pp. 21.

(Photo caption) “The Northern Hotel, at Billings, Montana, contains this beautiful open fireplace flanked on either side by wainscoting of effective marble slabs. The whole treatment is done in Royal Antique from Vermont. Linke and Haire were the architects.” pp. 22.

(Photo caption) “English Bath Stone was chosen for this fireplace when A. F. Hanson, of New York, designed the home of C. L. Bliss, in Boston, Massachusetts. This is one of several fireplaces in this very unusual residence, and much of its charm depends upon the inclusion of this particular feature.” pp. 22.

(Photo caption) “This very unusual treatment in white marble is found in a residence in Washington, D.C. All the doorways, baseboards and chair rails were of the same material.” pp. 23.

(Photo caption) “Another of the several marble fireplaces built into the residence of C. L. Bliss, in Boston, Massachusetts. This also is made of English Bath Stone.” pp. 23.

(Photo caption) “The fine large living-room in the residence of Mrs. Bell in Washington, D.C. This view shows a small section of the library. The marble mantelpiece is very handsomely carved.” pp. 24.

“Pantheon Serves As Bank Model: Philadelphia Financial Institution Follows Classic Structure When Building Its New Home.” pp. 25-27.

(Photo caption - none) Photograph of the Girard Trust Company building in Philadelphia, Pennsylvania. pp. 25.

(Photo caption) “View of the main banking room, showing the large inclosure in the center and the bookkeepers’ gallery.” pp. 26.

(Photo caption) “At the right is seen the doorway leading towards the safe deposit vaults. Georgia and Pavonazzo are the marbles used.” pp. 26.

(Photo caption) “The iron gate guarding the entrance to the safe deposit vaults. The huge circular door to the big safe is seen in the rear.” pp. 27.

(Photo caption) “A view of the marble booths for the convenience of the depositors in the Safe Deposit Department. The floors and walls are also of marble.” pp. 27.

“French Romanesque Architecture: The First Evidences of The Flying Buttress Are To Be Found in Northern France.” pp. 28-33.

(Photo caption) “The Main portal of Saint Trophime at Arles. The carving is characteristic of Romanesque style, with the elaborate bas-relief and grotesque figures of animals. Notice the capitals over both central column and pilasters.” pp. 28.

(Photo caption) “Cloisters of Saint Trophime at Arles.” pp. 29.

(Photo caption) “Saint Front at Perigueux. A general view from the southeast. The similarity to St. Mark’s is striking. Both were probably inspired by the church of the Holy Apostles at Constantinople.” pp. 30.

(Photo caption) “Details of the gallery at the Cloisters, Saint Trophime, Arles.” pp. 31.

(Photo caption) “A closer view of the statues on the Porch of Saint Trophime at Arles. This shows the left blank of the main doorway.” pp. 31.

(Photo caption) “Interior of Nôtre Dame la Grande, Poitiers. This shows the barrel vault often seen in Aquitaine Romanesque.” pp. 32.

(Sketch caption) “Plan of Cahors, consecrated in 1119. It is an aisleless church of two domes with regular pendentives and slightly pointed arches.” pp. 32.

(Photo caption) “Romanesque capital from Vézelay. This depicts the temptation of Saint Anthony in the desert, with the devils tormenting him.” pp. 33.

(Photo caption) “One of the grotesque capitals at Vézelay. this shows the meeting of Saint Anthony and Saint Paul.” pp. 33.

“A Gothic Office Building: A Commercial Building That is Beautiful As Well As Useful.” pp. 35-36. (the North American Building located in Chicago, Illinois)

(Photo caption) “The elevator lobby contains both foreign and domestic marbles. The lighting fixtures were made by Tiffany, of New York.” pp. 34.

(Photo caption) “A new style of business architect.” pp. 35.

(Photo caption) “The memorial tablet on the stairway leading from elevator lobby to second floors.” pp. 36.

“Handbook of Marble: Chapter II – The Production of Marble (continued).” pp. 37-41.

“List of Quarries and Marble Manufacturers Represented in the Membership of the National Association of Marble Dealers” pp. 42-43.

Advertisements pp. 44-69.

“Index to Advertisers” pp. 69. (The following companies are listed.)

Alabama Marble Company - pp. 56.

Andres Stone & Marble - pp. 61.

F. de Bellegarde, Inc. - pp. 49.

Antonio Biggi - pp. 69.

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. - 66.

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.

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.

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.

Throvgh the Ages Magazine, Vol. 1, No. 8, December 1923.

(Photo caption) “Southwestern Transept, Ely Cathedral.” (Frontispiece)

“Marbles of Great Britain.” pp. 3-4.

(Photo caption) “Lichfield Cathedral from Monster Pool.” pp. 4.

“A List of The World’s Marbles ” By J. J. McClymont, pp. 5-7. (Breche De Smyrne through Byzantine)

“The Search For Marble Quarries” pp. 8-11.

(Photo caption) “For many years this marble quarry was a center of activity. Now it is nearly full of water.” pp. 8.

(Photo caption) “The search has been extended even to the wilds of Alaska, where quarrying operations are beset with difficulties.” pp. 9.

(Photo caption) “A neglected marble cliff. To the uninitiated it might appear to be the outcrop of a matchless deposit.” pp. 10.

(Photo caption) “The coring machine, which drives a hollow drill into the ground and draws forth a sample of the marble.” pp. 11.

“A Western Post Office” (in Denver, Colorado) pp. 12.

(Photo caption - none) Two photographs of the Denver, Colorado, Post Office. pp. 12.

“A Monument To Women: This $800,000 Marble Building A Memorial To The Heroines of The Civil War.” pp. 13.

(Photo caption - none) Photograph of the American Red Cross building in Washington, D.C. pp. 13.

(Photo caption) “East and South Porticos.” pp. 14.

(Photo caption) “The entrance lobby and main stairway.” pp. 15.

(Photo caption) “The columns of the grand stairway are Royal Antique marble, the rest is Light Cloud Vermont.” pp. 16.

“Store Fronts and Interiors of Marble: The Modern Tendency is Towards The More Lavish Use of This Most Beautiful of Materials.” By John Freund, Architect, Baltimore. pp. 17-23.

(Photo caption) “The front portion of this store in Pittsburgh is all Black and Gold with Siena pilasters at either side of the door and Italian Pavonazzo panels on the side walls.” pp. 17.

(Photo caption) “Tokeen marble from Alaska plays a very important part in this front.” pp. 18.

(Photo caption) “One of Baltimore’s ‘smart’ shops - made attractive by combining a Vermont green with a dull white marble. The architect was John Freund, of Baltimore.” pp. 18.

(Photo caption) “This small shop is in New York. Verde Antique marble from Vermont was used entirely. Claude Bragdon was the architect.” pp. 18.

(Photo caption) “Marble from Beaver Dam, Maryland, gives a fine effect to this well-designed store in Baltimore. Theodore Wells Pietsch was the architect.” pp. 19.

(Photo caption) “Vermont marble of a creamy whiteness was the material chosen for this front. Jos. Evans Sperry, of Baltimore, was the architect.” pp. 19.

(Photo caption) “These stores in Oakland, California, present an attractive appearance. Verde Antique from Vermont was used here also.” pp. 19.

(Photo caption) “This is a candy shop at Lincoln Avenue and Lawrence Street, Chicago. Cool, dainty and generally inviting, through the use of marble.” pp. 20.

(Photo caption) “The soda fountain of the same store. Tennessee Pink and two kinds of Vermont marbles were used.” pp. 20.

(Photo caption) “The Horn and Hardhart Lunch Room in the basement of the Astor Trust Building, New York. Pilasters and wainscoting in Napoleon Gray marble.” pp. 21.

(Photo caption) “The sea food department of this Omaha store is wonderfully clean looking - suggesting fresh goods - and all on account of the marbles used.” pp. 21. (Omaha, Nebraska)

(Photo caption) “View of the interior of the New Central Market, in Omaha. The countertops and walls are Marde Veined Alabama, the bases Westfield Green, and the trim Napoleon Gray.” pp. 22.

(Photo caption) “Altar of St. Mary Magdalen Cathedral, one of several fine churches in Salt Lake City, Utah. The top and sides are Dark Golden Travise marble. The die is Utah Cream, with Chocolate Onyx inserts. Risers are alternate Cream and Golden Travise.” pp. 23.

“Utah ’s Fine University: The Cultural Center of The Rocky Mountain District ” pp. 24-25.

(Photo caption - none) Front view of the University of Utah in Salt Lake City, Utah. pp. 24.

(Photo caption) “Matched panels in central stairway.” pp. 25.

“Norman Architecture in England.” pp. 26-32.

(Photo caption) “St. Catherine’s Chapel, Ely Cathedral.” pp. 26.

(Photo caption) “Saxon Church Font at Deerhurst.” pp. 27.

(Photo caption) “The Norman Stair, Canterbury Cathedral.” pp. 27.

(Photo caption) “The Prior’s Doorway, Ely Cathedral.” pp. 28.

(Photo caption) “The Galilee, Durham Cathedral.” pp. 29.

(Photo caption) “West Front of Iffley Church.” pp. 30.

(Photo caption) “West Front of Lincoln Cathedral.” pp. 30.

(Photo caption) “West Tower, Ely Cathedral.” pp. 31.

(Photo caption) “Columns in Nave of Ely Cathedral.” pp. 32.

“The Maryland Institute: A Beautiful Monument, As Well As A Practical School Building.” pp. 33-36.

(Photo caption - none) Photograph of the front of the Maryland Institute in Baltimore, Maryland.

(Photo caption) “In this grand stairway of the Maryland Institute, marbles from Tennessee, Georgia and Greece were used.” pp. 34.

(Photo caption) “The handsome columns in the main lobby are of Numidian marble.” pp. 35.

(Photo caption) “The floor tiling is of Tennessee marble.” pp. 36.

“A Modern High School: The Theodore Roosevelt School at Wyandotte, Michigan, Contains Large Quantities of Marble.” pp. 37-39.

(Photo caption) “Main Entrance Vestibule of Wyandotte High School.” pp. 37.

(Photo caption) “Marble wainscoting and built-in lockers on first floor.” pp. 38.

(Photo caption) “Main stairway leading to second floor. This is all marble.” pp. 39.

“Strength and Durability of Marble Due To Its Structure” (“Reprinted through courtesy of Stone), pp. 40-41.

“List of Quarries and Marble Manufacturers Represented in the Membership of the National Association of Marble Dealers.” pp. 42-43.

Advertisements pp. 44-69.

“Index To Advertisers” pp. 69. (The following companies are listed.)

Alabama Marble Company - pp. 56.

Andres Stone & Marble - pp. 61.

F. de Bellegarde, Inc. - pp. 49.

Antonio Biggi - pp. 69.

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. - 66.

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.

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.

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.