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Home > Quarry Articles, Links and Books > Throvgh the Ages Magazine - List of Articles > Article List - 1925
(The articles listed below are located in various issues of Throvgh the Ages Magazine in 1925. Peggy B. Perazzo)
(Photo caption) “‘Sir Galahad,’ a lectern of Pentelic marble, in the George Marshall Clark Memorial Chapel, Pomfret School, Pomfret, Conn. A. A. Weinman, of New York, was the sculptor.” (Frontispiece) (Pomfret, Connecticut)
“A Cincinnati Hotel: The Gibson, Founded Nearly Eight Decades Ago, Has Justified the Founder’s Faith in His City.” pp. 3-7. (Cincinnati, Ohio)
(Photo caption) “The Main Lobby of the Hotel Gibson, Cincinnati. The architect was Gustav W. Drach.” pp. 4.
(Photo caption) “The Ladies’ Lounge, adjoining the main lobby on the west.” pp. 5.
(Photo caption) “Mezzanine Dining-Room, Hotel Gibson.” pp. 7.
“Beauty” pp. 8.
“Goethe said that ‘beauty is at once the ultimate and highest aim of art.’
“Of all the materials available to the builder, not one has the beauty of texture and coloring peculiar to marble. It alone, in living warmth of surface and glowing depth of tone, stands next to the previous stones.
‘The sight of a smooth front of marble impels one to exclaim, with Shakespeare:
‘‘There’s nothing ill can dwell in such a temple:
If the ill spirit have so fair a house,
Good things will strive to dwell with’t.’”
(Photo caption) “There is nothing that makes its way more directly to the soul than beauty. - Addison.
“The Central Period of The Renaissance in Northern Italy.” pp. 9-13.
(Photo caption) “A sculptured frieze by Sansovino in S. Maria dei Popolo, Rome.” pp. 9.
(Photo caption) “Palazzo Bevilacqua or Pesaro, on the Grand Canal, Venice. Illustration courtesy University Prints.” pp. 10.
(Photo caption) “Library and Logetta, Venice, by Sansovino. Illustration courtesy University Prints.” pp. 11.
(Photo caption) “Palazzo Bembo, in Venice, by Sansovino.” pp. 12.
(Photo caption) “Palazzo Cornaro della Cá Grande, Venice.” pp. 12.
(Photo caption) “Celillini’s Statue of Mercury at the base of the carved marble figure of Perseus, in the Loggia dei Lanzi, at Florence. ” pp. 13.
(Photo caption) “Details of the Vestibule in the Casina of Pius IV.” pp. 15.
“The New Scottish Rite Cathedral in St. Louis.” pp. 16-20. (St. Louis, Missouri)
(Photo caption) “The Main Corridor has a Tennessee marble floor, with a base of Verde Antique marble.” pp. 16.
(Photo caption) “Stairways at each end of the corridor extend from the basement to the top floor.” pp. 17.
(Photo caption) “Panel of Light Siena, in the Mortuary Chamber.” pp. 18.
(Photo caption) “Stairway in lobby of the St. Louis Scottish Rite Cathedral.” pp. 20.
“The Development and Operation of Marble Quarry - Part III,” By J. P. McCluskey, Quarry Superintendent, Gray Knox Marble Co., Knoxville, Tenn., pp. 21-26.
(Photo caption) “Channeling with drills in a Tennessee quarry.” pp. 21.
(Photo caption) “These modern hammer drills often drill over 300 feet of drill holes in ten hours. One drill in one-minute tests will cut over 24 inches per minute.” pp. 22.
(Photo caption) “Squaring blocks with hammer drill mounted on tripods.” pp. 23.
(Photo caption) “Derrick chain with grab hook for lifting blocks.” pp. 23.
(Photo caption) “Electric air channeler in Tennessee quarry. The latest word in channelers.” pp. 24.
(Photo caption) “Double head Wardwell channeler, operated with a motor, at work in a Vermont quarry.” pp. 25.
(Photo caption) “Pneumatic drill cutting marble, in Italy, after it is broken out of a quarry. (From Fox Education film, “A Sculptor’s Paradise.” made in Carrara.) pp. 26.
“A Vermont Post Office.” pp. 27. (A photograph of the front exterior of the U. S. Post Office at Bennington, Vermont, is included in the article.)
“A Travertine Treatment: The Kent State Bank, of Grand Rapids, Acquires Distinction by the Use of Unusual Material.” pp. 28-33. (Grand Rapids, Michigan)
(Photo caption) “Detail of one of the doorways in the Kent State Bank, Grand Rapids, Michigan.” pp. 28.
(Photo caption) “A corner of the Banking Room, looking toward the main entrance.” pp. 29.
(Photo caption) “Looking toward the northeast corner of the big Banking Room.” pp. 30.
(Photo caption) “General view of the Banking Room, Kent State Bank. The walls and piers are Travertine, the bases of Belgian Black, the floor Batesville, the counter Belgian Black and Black and Gold. The architects were Holabird and Roche, Chicago.” pp. 31.
(Photo caption) “The Black and Gold marble used in the counters and balustrades lends the necessary color to the more subdued Travertine and Batesville.” pp. 32.
(Photo caption) “Detail of carving at north end of Banking Room, Kent State Bank, Grand Rapids.” pp. 33.
“A Handbook of Marble - Chapter III. Sawing Marble.” pp. 34-37.
“It is the purpose of the National Association of Marble dealers, to publish as soon as possible a handbook on marble. The material contained in this book will be contributed by those best qualified to speak in an authoritative manner on the various matters treated. This is the tenth installment and contains part of the third chapter, written by John Stephen Sewell, President of the Alabama Marble Company. These extracts will probably undergo some slight changes before appearing later in book form.”
(Photo caption) “A battery of gang saws in a New York mill.” pp. 35.
(Photo caption) “Interior of a Vermont marble mill showing one method of loading and unloading gang saws.” pp. 37.
“A List of the World’s Marbles,” by J. J. McClymont. pp. 38-41. (“Jabalpur Steatite (Soap Stone)” through “Juzon”)
“List of Quarries and Marble Manufacturers Represented in The Membership of The National Association of Marble Dealers.” pp. 42-43.
“The National Academy of Sciences: A Classic Treatment that Harmonizes Perfectly with the ‘ Washington Theme.’” pp. 3-8. (“Note - Illustrations courtesy Architecture.”)
(Photo caption) “Main entrance door of the National Academy of Sciences and National Research Council, Washington, D.C. The architect was the late Bertram Grosvenor Goodhue, and this was his last completed work.” (Frontispiece)
(Photo caption) “South or B Street Façade, showing formal gardens.” pp. 4.
(Photo caption) “Lamp either side of approach steps.” pp. 5.
(Photo caption) “Study for National Academy of Sciences by Bertram Grosvenor Goodhue.” pp. 5.
(Photo caption) “Central Hall, looking toward Entrance Hall.” pp. 6.
(Photo with no caption) Marble Fireplace. pp. 7.
(Photo caption) “The Academy, looking toward the Lincoln Memorial.” pp. 8.
“Strength” pp. 9.
“‘I would have you call to mind,’ wrote Rabelais, ‘the strength of the ancient giants that undertook to lay the high mountain Pelion on the top of Ossa, and set among these the shady Olympus.’
“‘Such strength as this is not only inherent in marble, but is suggested by its very use. No one can escape the impression of beauty, combined with strength, conveyed by mighty columns, stately steps and broad expanses of marble.’”
“The Use of Marble As Random Ashlar: The Office Building of a New England Marble Company, Built of the By-Products from Their Plant.” The Office of R. Clipston Sturgis, Architect, described by S. Winthrop St. Clair, A.I.A. pp. 10-13. (The “...new office building at Proctor, Vermont, for the Vermont Marble Company....”)
(Photo caption) “The building as it looked when completed. In the foreground may be seen the retaining wall, also built of by-products.” pp. 10.
(Photo caption) “Section of an old marble wall marked as an approved sample of jointing.” pp. 11.
(Photo caption) “The Entrance Porch.” pp. 12.
(Photo caption) “The pile of random blocks that was used for the marble ashlar.” pp. 13.
(Photo caption) “The South Front shows the marble ashlar, the cost of which is only a little more than good brickwork.” pp. 13.
“Palladio’s Art: The Decline of the Renaissance in Italy.” pp. 14-22.
(Photo caption) “Loggia del Caitanio and Basilica, Vicenza, by Palladio.” pp. 14.
(Photo caption) “Façade of the Porto Palace, or Casa del Diavolo, designed by Palladio. Notice how the roof is superimposed without intermediary on the mouldings of the Composite cornice.” pp. 16.
(Photo caption) “Tiene Palace, by Palladio. An over-rustification mars an otherwise fine façade.” pp. 17.
(Photo caption) “Palazzo Porto, Vicenza, by Palladio.” pp. 18.
(Photo caption) “The Teatro Olimpico, by Palladio, showing an amusing immovable, scenic background of three streets executed in perspective.” pp. 19.
(Photo caption) “The Palazzo Valmarano, Vicenza, by Palladio. The order here is crowned by an attic and the entablature breaks out over each pilaster.” pp. 20.
(Photo caption) “Interior of the Church of S. Giorgio Maggiore, at Venice. Built in 1560 from plans by Palladio.” pp. 22.
“Marble As An Interior Finish. John Stephen Sewell, Birmingham, Alabama. pp. 23-31.
(Photo caption) “Part of the Bath Department of Sacred Heart Sanitarium, Milwaukee, Wisconsin.” pp. 23.
(Photo caption) “Marble bath partitions in Sacred Heart Sanitarium, Milwaukee, Wisconsin.” pp. 25.
(Photo caption) “Marble walls and floor help to produce sanitary conditions in the Barber Shop of the Book Building, Detroit, Michigan.” pp. 26.
(Photo caption) “The New Central Market at Omaha, Nebraska, is a model of cleanliness with its counters, walls, base, and trim of marble. The counters and walls are of Madre Veined Alabama; the base of Westfield Green; the trim of Napoleon Gray.” pp. 28.
(Photo caption) “The shower baths, as well as the edge of the pool, are of marble in the Y.M.C.A. at Binghampton, N.Y.” pp. 29.
(Photo caption) “Alaska marbles insure sanitary conditions in the toilets of the King County Court House, Seattle. ” pp. 31.
“A List of The World’s Marbles,” By J. J. McClymont. pp. 32-35. (“Kachin Hills of Burma” through “Kurnool”)
“A Handbook of Marble - Chapter III. Sawing Marble.” pp. 36-41.
“It is the purpose of the National Association of Marble Dealers, to publish as soon as possible, a handbook on marble. The material contained in this book will be contributed by those best qualified to speak in an authoritative manner on the various matters treated. This is the eleventh installment and contains part of the third chapter, written by John Stephen Sewell, President of the Alabama Marble Company. These extracts will probably undergo some slight changes before appearing later in book form.”
(Photo caption) “Block of marble being cut into slabs of varying thickness by gang saws.” pp. 37.
(Photo caption) “Block of marble after sawing has been completed.” pp. 38.
(Photo caption) “Diamond saw of type where saw is fed against the work.” pp. 40.
(Photo caption) “Small gang saw cutting blocks into large slabs.” pp. 41.
“List of Quarries and Marble Manufacturers Represented in the Membership of The National Association of Marble Dealers.” pp. 42-43.
“The Word in Stone: A Description of the Marbles in the Cathedral of St. John the Divine, in New York City.” pp. 3-11.
(Photo caption) “The Cathedral of St. John The Divine” (Frontispiece)
“‘A cathedral,’ said Dean Robbins, ‘is a symbol of continuity of life through the ages.’ This illustration of St. John the Divine is from a drawing by M. Van Droskery, through the courtesy of the Edison Monthly.”
(Photo caption) “The Cathedral of St. John the Divine as it will look when completed. North elevation, from the architect’s drawing.” pp. 4.
(Photo caption) “Aerial photograph showing site of cathedral. The old building with the pillars standing beside the crossing will eventually be torn down. Airview by Airmap Corp. of America, N.Y.” pp. 5.
(Photo caption) “The choir looking toward the high altar. At the sides are the entrances to the ambulatory. At the lower right is the pulpit.” pp. 6.
(Photo caption) “The marble parapet at the entrance to the choir, south half. In the background is the high white marble altar.” pp. 7.
(Photo caption) “Detail of choir parapet, south half. Shakespeare on right, Washington on left, seventeenth and eighteenth respectively in the series.” pp. 9.
(Photo caption) “The marble pulpit and one of the Barberini tapestries in the Cathedral of St. John the Divine.” pp. 11.
“Richness” pp. 12.
“Not only because of its age-long associations, but because of its inherent beauty, no material possesses so largely the power to suggest opulence and luxury as does marble.
“An interior of marble conveys at once an impression of richness far beyond its actual cost.”
(Photo caption) “Lobby of the Cooper-Carlton Hotel, Chicago.” pp. 12. (Chicago, Illinois)
“A List of the World’s Marbles,” By J. J. McClymont. pp. 13-15. (“Laasee” through “Lapis Lazuli”)
“A New Use For Marble: A New Hampshire Bank Covers Its Brick Building with a Thin Marble Veneer.” pp. 16-17. (A photograph of the front exterior of the Manchester National Bank of Manchester, New Hampshire, is included in the article.)
“The Library at New York University: One of the Finest Examples of the Architectural Genius of Stanford White.” pp. 18-20. (A photograph of the front of the library is included in the article.)
(Photo caption) “Stairway leading from the main entrance to the reading room.” pp. 19.
(Photo caption) “Six of the sixteen Connemara Marble Columns in the Gould Library.” pp. 20.
“The Decadence of the Renaissance in Italy: A Period that Produced Many Works of Originality and Life. pp. 21-27. (“Illustrations courtesy Thomas Machen, architect, Baltimore, Maryland.”)
(Photo caption) “Ducal hall, in the Vatican Apartments, Rome. This ornate decorative treatment was the work of Lorenzo Bernini, the Neopolitan, famous for his St. Peter’s colonnade.” pp. 21.
(Photo caption) “Façade of St. Maria Maggiore, Rome, by Fuga. The church is isolated in a huge piazza and contains a striking display of marbles.” pp. 22.
(Photo caption) “Fountain of Trevi (1735-62) at Rome, the work of Ferdinando Fuga, but so bold in character that many critics assign it to Bernini.” pp. 22.
(Photo caption) “The Palazzo Rezzonico, on the Grand Canal, Venice, the scene of Browning’s death. The architect was Baldassare Longhena. It was built in 1650.” pp. 23.
(Photo caption) “The Palazzo Pesaro (1679-1710), by Longhena, cost 500,000 ducts. It was built in Venice, for the Procurator of S. Mark’s. It is now a gallery of modern art.” pp. 24.
(Photo caption) “The Church of S. Maria della Salute, Venice, a combination of brilliant and daring originality on a monumental scale. It has a decidedly Oriental flavor.” p. 25.
(Photo caption) “The Palazzo Brignole, in Genoa, also called the ‘Rosso,’ from being painted red. The architect was Alessi.” pp. 26.
(Photo caption) “Interior of SS. Annunziata, Genoa, by Alessi. It is a mass of marble of every color.” pp. 27.
“A House Unsullied: The United States Chamber of Commerce Occupies a Site Rich with Historical Memories.” pp. 28-33. (A photograph of the entrance to the building is included in the article.)
(Photo caption) “Looking north across Lafayette Square. the White house is opposite. The statue shown is that of Lafayette.” pp. 29.
(Photo caption) “Board Room on the first floor. The border and base is of Levanto Marble. The ceiling is similar to that in the Council Chamber.” pp. 30
(Photo caption) “Stairway of the ramp and twist style, built entirely of Pouillenay Rose Marble. A difficult construction problem.” pp. 31.
(Photo caption) “The National Council Chamber, a magnificent and unusual room. It seats over a thousand people.” pp. 32.
(Photo caption) “Interior Court, U.S. Chamber of Commerce.” pp. 33.
“Marbles in Colorado,” By R. D. George, State Geologist of Colorado. pp. 34-37. (A overview photograph is included in the article.)
(Photo caption) “Beginning of a marble opening in Colorado that is now hundreds of feet deep into the mountains.” pp. 35.
(Photo caption) “Channeling marble in one of the Colorado quarries.” pp. 36.
(Photo caption) “Interior of a Colorado Marble Mill.” pp. 37.
“A Women’s Club House: Marble Plays an Important Part in the New Structure for the Colony Club, in New York. ” pp. 38-40.
(Photo caption) “The Park Avenue Doorway, of Danby Marble.” pp. 38.
(Photo caption) “Considered the finest Club House, exclusively for women, in America. White Vermont Marble was used in combination with red brick. Delano & Aldrich were the architects.” pp. 40.
“List of Quarries and Marble Manufacturers Represented in the Membership of the National Association of Marble dealers.” pp. 42-43.
“An Ideal Office Building: The Straus Building, in Chicago, Has a Handsome Banking Room of Marble. ” pp. 3-8. (Chicago, Illinois)
(Photo caption) “The Straus Building, Chicago.” (Frontispiece)
(Photo caption) “Stairway leading to the Banking Room on the second floor. The marbles used were Hauteville, Belgian Black and Tennessee.” pp. 4.
(Photo caption) “General view of the interior of Banking Room, showing salesmen’s island, and cashier’s cage in rear. The columns are of Hauteville marble, the walls of Travertine.” pp. 5.
(Photo caption) “Looking toward executives’ desks and salesmen’s island in Banking Room. The platform floor is of Belgian Black marble.” pp. 6.
(Photo caption) “Executives’ and Officers’ aisle on the south side of the Banking Room. Tennessee marble is used in the floor.” pp. 7.
(Photo caption) “Memorial Window in the banking room, Straus Building.” pp. 8.
“Roman Renaissance Gardens: A Brief Description of Some of the Better Known Landscape treatments in or About the External City.” pp. 9-16. (“Illustrations courtesy Mr. Thomas Machen, architect, Baltimore, Md.”)
(Photo caption) “View from the Terrace of the Villa d’Este, Tivoli.” pp. 9.
(Photo caption) “The Vatican Gardens as they appear today. The original gardens were laid out by Bramante about 1490, and are now occupied by the Library and the Braccio Nuovo.” pp. 10.
(Photo caption) “View of the gardens of the Villa Medici, from the terrace. This is now the Academy of France.” pp. 11.
(Photo caption) “The Plazza di Siena or old race course of the Villa Borghese, Rome. Very little remains of the Villa beyond the main forms of the original plan.” pp. 12.
(Photo caption) “The Villa d’Este at Tivoli, near Rome. The building itself is plain but interesting; the gardens have an incomparable charm.” pp. 13.
(Photo caption) “Villa Lante at Bagnaia, showing a view of the gardens from the terrace above.” pp. 14.
(Photo caption) “The cascade at the Villa Lante which feeds the basin in the flower garden.” pp. 15.
(Photo caption) “A fountain in the garden of the Villa Lante.” pp. 15.
“Impressive” pp. 17.
“As Benvenuto Cellini’s name on a silver bowl influences us in our judgment of its worth, so does the architecture of a building and the material of which it is fashioned influence our opinion of its relative importance.
“No other building material so increases our respect for a structure and its occupants - or the interests which it houses - as does Marble.”
“The Church and The Quarry. pp. 18-25.
(Photo caption) “Mead Memorial Chapel, Middlebury, Vermont. Built of Florence marble. Designed by Allen and Collins, of Boston.” pp. 18.
(Photo caption) “Details of porch of the Mead Memorial Chapel, of Middlebury College, Middlebury, Vermont.” pp. 19.
(Photo caption) “Exterior of St. Joseph’s Cathedral, Buffalo, New York, constructed of Eureka marble.” pp. 20.
(Photo caption) “Interior of St. Joseph’s Cathedral, Buffalo, New York, designed by Aristides Leonori and Sons, Rome. Light vein Vermont marble was used.” pp. 20.
(Photo caption) “Second Congregational Church, Holyoke, Massachusetts. Allen and Collins, architects. English Bath Stone was employed.” pp. 21.
(Photo caption) “Tracery Window of Trinity Church, Boston, Massachusetts, also executed in English Bath Stone.” pp. 21.
(Photo caption) “The panels in the altar of St. Matthew’s Lutheran Church, at Hanover, Pa., are of Vermont Mariposa marble; the other marbles shown are White Vermont, except the floors, which are of Corona.” pp. 22.
(Photo caption) “The altar in the Maternity Hospital at Albany was designed by M. L. and H. G. Emery and was constructed of white Vermont marble.” pp. 23.
(Photo caption) “The panel under altar table in the Holy Infancy Church, South Bethlehem, Pa., is a reproduction in white Vermont marble of Leonardo’s famous painting, ‘The Last Supper.’” pp. 24.
(Photo caption) “Altar of white Vermont marble in the church of St. Anthony de Padua, Philadelphia. Watson & Huckel were the architects.” pp. 25.
“The California Palace of the Legion of Honor.” pp. 26-28. (San Francisco, California)
(Photo caption) “The central gallery with its wonderful tapestries.” pp. 26.
(Photo caption) “The Rotunda was executed in Napoleon Gray marble.” pp. 27.
(Photo caption) “Rotunda, California Legion of Honor Building.” pp. 28.
“Seattle’s Largest Building: The Pacific Coast Boasts a Skyscraper Comparable to Any in the East.” pp. 29-32. (Seattle, Washington)
(Photo caption) “Court House Square, Seattle, Washington. The L. C. Smith Building is shown in the center background.” pp. 29.
(Photo caption) “A turn in the corridor on the sixteenth floor.” pp. 30.
(Photo caption) “Detail of wainscoting on the twentieth floor.” pp. 31.
(Photo caption) “Tenth floor corridor in L. C. Smith Building, Seattle, Washington.” pp. 32.
“Methods of Quarrying Marble,” By J. P. McCluskey, Quarry Superintendent Tennessee-Colorado Marble Co., Knoxville, Tenn. ” pp. 33-36.
(Photo caption) “Marking the marble before splitting, at Carrara, Italy. Illustration from Fox Film Corp.” pp. 33.
(Photo caption) “Drilling by hand in the United States twenty-five years ago. Notice the background channel cut, made by drill a row of holes close together and breaking out, or ‘broaching’, the material between the holes. This was the same method used hundreds of years before, at Carrara and elsewhere.” pp. 34.
(Photo caption) “Piston drills mounted on columns making head room for tunnel quarrying. This was in Alabama about thirteen years ago.” pp. 35.
(Photo caption) “Hammer drills mounted on 3-inch quarry bar-drilling horizontal holes 10 feet deep in Tennessee marble. These machines have drilled 288 lineal feet of hole each in 6 hours.” pp. 36.
“A List of The World’s Marbles,” By J. J. McClymont. pp. 37-41. (“Launceston” through “Limerick Black or Limerick County marbles”)
“List of Quarries and Marble Manufacturers Represented in The Membership of the National Association of Marble Dealers.” pp. 42-43.
“Index to Advertisers” pp. 70.
Alabama Marble Co. - pp. 50.
Andres Stone & Marble Company - pp. 59.
Arnosti Marble Company - pp. 67.
F. De Bellegarde, Inc. - pp. 51
Antonio Biggi - pp. 55.
Bond Marble Company - pp. 70.
The Bradbury Marble Company - pp. 45.
Bruner Marble & Tile Co. - pp. 59.
Cadoro Marble Company - pp. 56.
Carthage Marble & White Lime Company - pp. 61.
Christa-Batchelder Marble Company - pp. 53.
Jno. J. Craig Company - pp. 51.
John J. Deery Company, Inc. - pp. 63.
Drake Marble and Tile Company - pp. 64.
Flavin Marble Mill - pp. 69.
F. E. Gates Marble & Tile Company - pp. 53.
The Georgia Marble Company - pp. 60.
Haworth Marble Company - pp. 47.
Henry Marble Company - pp. 47.
Hilgartner Marble Company - pp. 46.
Iron City Marble Company - pp. 67.
C. D. Jackson & Co., Inc. - pp. 66.
Jerome A. Jackson - pp. 55.
Knoxville Marble Co. - pp. 65.
Lautz Marble Corporation - pp. 48.
Geo. W. Maltby & Sons Co. - pp. 65.
McClymont Marble Company - pp. 44.
Northwestern Marble & Tile Company - pp. 45.
Peerling Marble Company - pp. 61.
Peter & Burghard Stone Company - pp. 49.
Phenix Marble Company - pp. 62.
Pisani Brothers Inc. - pp. 69.
Rees-Volckmann & Company - pp. 49.
Salomone-O’Brien Marble Company - pp. 68.
F. W. Steadley & Company, Inc. - pp. 57.
Sunderland Bros. Company - pp. 49.
Taber & Company - pp. 63.
Taylor Marble & Tile Company - pp. 47.
Tennessee-Colorado Marble Company - pp. 58.
Tompkins-Kiel Marble Company - pp. 52.
Troy Brothers & Company - pp. 67.
Union Marble & Tile Company, Inc. - pp. 61.
Vermont Marble Company - pp. 54.
Albert Weiblen Marble & Granite Co. - pp. 69.
(Photo caption) “Lobby of General Motors Building, Detroit.” (Frontispiece) (Detroit, Michigan)
“A corner of the lobby of the General Motors Building, Detroit. The main entrance doorways are of Tennessee marble elaborately carved, after an old Roman design.”
“The First National Bank of Detroit: A Twenty-five Story Office Building that is the Tallest in Michigan.” pp. 3-8. (Detroit, Michigan)
(Photo caption) “The First National Bank Building is in the heart of business Detroit.” pp. 4.
(Photo caption) “View up the main staircase, leading to the banking auditorium. Tennessee and Botticino marbles formed an effective combination.” pp. 5.
(Photo caption) “The entrance from the elevators to the lobby of the main banking room.” pp. 6.
(Photo caption) “Officers’ island in the banking auditorium as seen from the mezzanine floor. The walls, floor and balusters are marble.” pp. 7.
(Photo caption) “Detail showing tellers’ cages in the First National Bank of Detroit. The floor is Tennessee ; the paneling and wainscoting are of Botticino marble.” pp. 8.
“Italian Renaissance Fountains.” pp. 9-16. (“Illustrations courtesy of Thomas Machen, Architect, Baltimore, Maryland.”)
(Photo caption) “Fountain at the Villa d’Este, at Tivoli.” pp. 9.
(Photo caption) “Fountain delle Terme, Rome, A Naiad.” pp. 10.
(Photo caption) “Fountain dei fiumi in the Piazza Navona, Rome.” pp. 10.
(Photo caption) “Fountain delle Tartarughe, Rome, by Landini.” pp. 11.
(Photo caption) “Fountain della Rocca, by Vignola, at Viterbo.” pp. 11.
(Photo caption) “Fountain in the Villa Torlonia, at Frascati.” pp. 13.
(Photo caption) “Cascade in the Villa Lante, at Bagnaia; usually attributed to Vignola.” pp. 13.
(Photo caption) “Cascade in the Royal Gardens at Caserta. The figures are all of white marble from the quarries of Carrara.” pp. 14.
(Photo caption) “Another view of the Cascade at Caserta, about twenty miles from Naples. Luigi Vanvitelli (1700-73) was the architect.” pp. 15.
(Photo caption) “Fountain in the cortile of the Palazzo Vechio.” pp. 16.
“Character” pp. 17.
“The greatness of a statue or a building does not depend on what it has in common with other statues or buildings, but on what it has peculiar to itself. ‘We move too much in platoons; we march by sections,’ said Chapin, criticizing the lack of individuality prevalent in his day.
“The architect who plans a structure of character and distinction almost invariably chooses marble as the medium for his expression.”
“The Portland Elks’ Temple.” pp. 18-22. (Portland, Oregon) (A photograph of the exterior of the Portland Elks’ Temple is included in the article.)
(Photo caption) “Detail of Main Entrance Doorway.” pp. 19.
(Photo caption) “The Elevator Lobby on the main floor, with its floor of Champville marble bordered with Blue Belgian. The inserts are Black and Gold marble.” pp. 20.
(Photo caption) “The Buffet on the second floor has counters and shelves of Blue Belge marble.” pp. 20.
(Photo caption) “The beautiful Dining-room, a symphony in brown and gold. Yellow Siena and Black and Gold marbles are used here.” pp. 21.
(Photo caption) “Ballroom entrance, Elks’ Temple, Portland, Oregon.” pp. 22.
“The General Motors Building: Its Thirty Acres of Floor Area Contain Over Four and a Half Miles of Marble Corridors.” pp. 23-29. (Detroit, Michigan) (A photograph of the building is included in the article.)
(Photo caption) “The entrance lobby has a marble floor in two tones of gray Tennessee; the walls up to the ceiling are of Tavernelle.” pp. 24.
(Photo caption) “East-and-west corridor, ground floor, looking east.” pp. 25.
(Photo caption) “Typical upper floor and east-and-west corridor. This is a view looking west from elevator lobby, thirteenth floor.” pp. 26.
(Photo caption) “Façade of the Laboratories Building.” pp. 27.
“A Handbook of Marble - Chapter IV. Finishing Marble.” pp. 30-37.
“It is the purpose of the National Association of Marble dealers, to publish as soon as possible, a handbook on marble. The material contained in this book will be contributed by those best qualified to speak in an authoritative manner on the various matters treated. This is the twelfth installment and contains part of the fourth chapter, written by John Stephen Sewell, President of the Alabama Marble Company. These extracts will probably undergo some slight changes before appearing later in book form.”
(Photo caption) “A carborundum coping machine used for cutting slabs to exact size. This machine is also known as a gang-coper, because extra wheels can be inserted and many strips cut at once.” pp. 31.
(Photo caption) “A combination coper, having a cross-cut head.” pp. 32.
(Photo caption) “A rubbing bed, fitted with one principal head-block (seen just behind the vertical shaft) and one subordinate head-block, seen in foreground. On the right is a slab of waste marble, braced against the head-block, to equalize wear on the plate. On the left, just to the right of the slab being edged, is a piece of casting, used for the same purpose.” pp. 34.
(Photo caption) “A large gritting machine, used for buffing only.” pp. 35.
(Photo caption) “A battery of buffing and polishing machines.” pp. 36.
“A List of the World’s Marbles,” By J. J. McClymont. pp. 38-42. (“Limestone” through “Lunense Macchiato”)
“The War Memorial: A New Monumental Structure Recently Opened in Baltimore.” pp. 3-8. (Baltimore, Maryland)
(Photo caption) “The Stage Doors, Baltimore War Memorial.” (Frontispiece)
(Photo caption) “The doors at the back of the stage in the War Memorial, Baltimore.”
(Photo caption) “The new War Memorial Building in Baltimore stands on the east side of the new municipal square, opposite the City Hall.” pp. 4.
(Photo caption) “View of main hall looking west toward the entrance. Travertine, Belgian Black, Tavernelle and Red Ark Fossil marbles were used.” pp. 5.
(Photo caption) “The west end of the Main Auditorium, showing the four flights of steps leading to the main floor level.” pp. 6.
(Photo caption) “The balcony at the rear of the hall with its columns suggestive of Egypt. Note the divisional medallions on the walls.” pp. 7.
(Photo caption) “The Trophy Room in the War Memorial Building, Baltimore, has a floor of Napoleon Gray, with wainscoting of Red Ark Fossil marble.” pp. 8.
“Marbles of Maryland: Quarry Development Has Been Slow, Chiefly Through Lack of Capital and Disappointed Expectations.” pp. 9-13.
(Photo caption) “Monolithic columns of Maryland marble in the wings of the National Capitol at Washington.” pp. 9.
(Photo caption) “The First National Bank, New Windsor, Maryland. A. C. Leach, architect. Both exterior and interior are of Mar Villa marble.” pp. 10.
(Photo caption) “The Towson National Bank, Towson, Maryland, is a bank of a pink-tinted marble.” pp. 10.
(Photo caption) “The first monument to Washington was erected in Baltimore of Maryland marble. The statue at the top is 16 feet, wrought in three separate pieces, from one block of 36 tons, by Henrico Cancici, an Italian sculptor of merit. It was elevated by means of a pair of shears attached to the cap of the column by pulleys and capstan, planned and directed by Capt. James Woodside, of Washington.” pp. 11.
(Photo caption) “The Second National Bank of Towson, Maryland. This marble also came from the Cockeysville district.” pp. 12.
(Photo caption) “The Maryland Club, Baltimore’s most exclusive social organization for men, was built of Maryland marble.” pp. 12.
(Photo caption) “The Court House in Baltimore is a fine old structure in the Renaissance style. The exterior is of Cockysville marble.” pp. 13.
“The Leslie Lindsey Memorial: The New Chapel of Emmanuel Church, Boston.” pp. 14-17. (Boston, Massachusetts) (A photograph of the exterior of the memorial is included in the article.)
(Photo caption) “The nave, looking toward the reredos.” pp. 15.
(Photo caption) “Details of the reredos, showing the thirty-six small alabaster statues in the niches.” pp. 16.
(Photo caption) “The Pulpit, with the choir stalls and hood to the right. The floor is Travertine; the pulpit base, Caen Stone; the Chancel floor and steps, Botticino. The walls of the nave are Bath Stone.” pp. 17.
“Charm.” pp. 19.
“Longfellow, speaking of Evangeline, wrote: ‘When she passed it seemed like the ceasing of exquisite music.’
“The charm of a beautiful structure never palls, when it is expressed through the medium of marble, it is everlasting.”
“The Study of Practical Problems of The Marble Industry.” pp. 20-22.
(Photo caption) “The permeability apparatus devised by the Bureau of Standards.” pp. 21.
(Photo caption) “Apparatus for making long period scrubbing tests on marble.” pp. 22.
“A Melody in Stone: The People of Providence Profit by Musician’s Will.” pp. 24-26. (The Monument to Music erected in Roger Williams Part at Providence, Rhode Island) (A photograph of some of the columns that are a part of the monument is included in the article.)
(Photo caption) “The architect adopted the motives of Attica, with modern variations.” pp. 25.
(Photo caption) “The Monument to Music, Providence, R.I. Bellows & Aldrich, Architects.” pp. 26.
“Sculpture in Italy During The Early Renaissance.” pp. 27-34.
(Photo caption) “Statue of St. John the Baptist at Florence by Donatello.” pp. 27.
(Photo caption) “Base-relief by Donatello in the Museum of S. Maria del Fiore at Florence.” pp. 28.
(Photo caption) “Detail of the Monument to Baldassare Coscia in the Baptistery at Florence. Executed by Donatello.” pp. 29.
(Photo caption) “A terra cotta by Andrea della Robbia (1508) over the main door of S. Maria della Quercia at Viterbo.” pp. 30.
(Photo caption) “Relief of Aurelio Cæsar Augustus by Mino de Fiosole, now in the National Museum at Florence.” pp. 31.
(Photo caption) “Tomb of Francesco Tornabuoni in the Minerva at Rome, by Mino da Fiesole (1480) in collaboration with Dalmata. This is Minor’s most manifest imitation of Desiderio.” pp. 32.
(Photo caption) “Monument of Ludovico Moro and Beatrice d’Este, in the Certosa Pavia; by Cristoforo Solari the Milanese (1497).” pp. 33.
(Photo caption) “Equestrian statue of Colleoni in Venice by Verocchio.” pp. 34.
“A Chamber of Commerce Building: The Structure on Brandford Place, in Newark, New Jersey, is Embellished With a Variety of Marble.” pp. 35-37. (A photograph of the exterior of the Chamber of Commerce Building is included in the article.)
(Photo caption) “The entrance is carved of Pink Tennessee marble.” pp. 36.
(Photo caption) “Botticino, Levanto, York Fossil, Tennessee and Westfield Green marbles in the lobby of the Newark, New Jersey, Chamber of Commerce Building.” pp. 37.
“A List of the World’s Marbles,” By J. J. McClymont. pp. 38-42. (“Lunense Marble” through “Marbre de Turbie”)
(Photo caption) “Grand Stairway, Pennsylvania State Capitol.” (Frontispiece)
“The Endurance of Marble: A few instances of the Qualities Possessed by the ‘Stone of Time’ Under Unusually Severe Conditions.” pp. 3-9.
(Photo caption) “This old brick chimney, with fireplace cased in native marble, was erected at Dorset, Vermont, back in the Revolutionary days. This picture was taken about five years ago after the deserted wreck of a house had been cleared away.” pp. 4.
(Photo caption) “The marble front of the Macullar, Williams and Parker Building, Boston, as it looked after the fire of 1872. Notice how the marble has withstood the intense heat.” pp. 5.
(Photo caption) “The men’s store of William Filene Co., Boston, which marks the site of the old Macullar, Parker Building. One section of this marble front went through the fire.” pp. 6.
(Photo caption) “The Second National Bank of Paterson, New Jersey, which was tested by the fire of 1902 - came through unscarred.” pp. 6.
(Photo caption) “The Security Savings Bank, San Francisco, from a photograph taken shortly after the great fire. The marble was subjected to the hardest kind of heat test.” pp. 7.
(Photo caption) “International Trust Company Building, now The Baltimore Trust Company. This marble front building was the only structure left standing in a block of ruins.” pp. 8.
(Photo caption) “View looking east from Baltimore and Liberty Streets after the Baltimore fire in 1904..” pp. 9.
“The Pennsylvania Capitol: the Magnificent Building at Harrisburg Contains a Huge Dome Nearly Three Hundred Feet High.” pp. 10-18. (A photograph of the capitol building is included in the article.)
(Photo caption) “The Senate Chamber.” pp. 11.
(Photo caption) “Decoration in the tympanum of the wing.” pp. 12.
(Photo caption) “‘The Emigrant Wagon.’ One of the picture panels in the tiled pavement.” pp. 12.
(Photo caption) “Sculptured ornament over Entresol Door on east side of the rotunda.” pp. 13.
(Photo caption) “South Corridor on the first floor.” pp. 13.
(Photo caption) “Entrance to Lieutenant-Governor’s Suite.” pp. 14.
(Photo caption) “Balcony on the second floor, in the rotunda, showing the extensive use of marble in the Pennsylvania State Capitol.” pp. 15.
(Photo caption) “The House of Representatives in the south wing. The marble used here is from the French Pyrenees.” pp. 16.
(Photo caption) “The striking Siena marble mantel in the Reception Room of the Governor on the second floor.” pp. 17.
(Photo caption) “One of the groups of marble statuary in the corridors and rotunda of the Pennsylvania State Capitol at Harrisburg.” pp. 18.
“Sculpture of The Developed Renaissance in Italy.” pp. 19-27. (“Illustrations courtesy of Mr. Thomas Machen, architect, Baltimore, Md.”)
(Photo caption) “Marble tomb of the Doge Andrea Vendramin in Venice by Allessandro Leopardi.” pp. 19.
(Photo caption) “Marble effigy of Guidarello Guidarelli in the Institute of Belles Arts at Ravenna; probably by Tullio Lombardo.” pp. 20.
(Photo caption) “Monument to Giovani Antonio Gattamelata in the Church del Santo at Padua.” pp. 21.
(Photo caption) “Statue of Mercury, by Sansovino, on the Loggietta, in Venice.” pp. 22.
(Photo caption) “Sansovino’s Mars, on the Loggietta, near the Campanile of S. Marco, Venice.” pp. 23.
(Photo caption) “Mausoleum of Giovanni Galeazzo in the Certosa di Pavia, probably designed by Gian Christoforo Romano about 1492.” pp. 25.
(Photo caption) “Sansovino’s Minerva, on the Loggietta.” pp. 26.
(Photo caption) “Tomb of Cardinal Sforza by A. Sansovino.” pp. 27.
“A List of The World’s Marbles,” By J. J. McClymont. pp. 28-31. (“Marbre de Villars” through “Marmor Verde Augustus”)
“Imperishable Beauty” pp. 32.
(Photo caption)
“I heard the trailing garments of the Night
“Sweep through her marble halls. - Longfellow”
“Mme. de Krudener once said: ‘Beauty is only truly irresistible when it shows us something less transitory than itself.’
“Naturally the architect who builds for permanence gives first consideration to marble when choosing his medium.”
“A Handbook of Marble - Chapter IV. Finishing Marble (Continued). pp. 33-38.
“It is the purpose of the National Association of Marble Dealers, to publish as soon as possible, a handbook on marble. The material contained in this book will be contributed by those best qualified to speak in an authoritative manner on the various matters treated. This is the thirteenth installment and contains part of the fourth chapter, written by John Stephen Sewell, President of the Alabama Marble Company. These extracts will probably undergo some slight changes before appearing later in book form.”
(Photo caption) “The machine in the foreground is cutting a rebate in a long piece of marble, at the sane (sic) time returning the rebate across the ends of a number of pieces. The vertical shaft carrying the wheel that is cutting the returns may be seen, as well as the head where the wheel revolves on a horizontal shaft.” pp. 34.
(Photo caption) “A carborundum machine being used to rip a lot of Travertine slabs. A big machine of this type can rip a full-size slab into strips all at one time.” pp. 37.
“The Freer Gallery of Art: A Washington, D.C., Museum Built With a Center Court After the Style of the Florentine Renaissance.” pp. 39-41.
(Photo caption) “The main entrance is on the north side.” pp. 39.
(Photo caption) “The plan is developed around a center court with an arched corridor intervening. All the marbles shown, including that in the walls and columns, is Tennessee.” pp. 40.
(Photo caption) “The inner court, surrounded by walls of Tennessee marble, in the Freer Gallery of Art. ‘The visitor must be aware of the court the moment he enters, and its friendliness remains near him.’” pp. 41.
“The Montreal Art Gallery: A Well-Planned Canadian Structure Built of Marble From the United States.” pp. 3-6.
(Photo caption) “Details of the portico, Montreal Art Gallery.” (Frontispiece)
(Photo caption) “The Montreal Art Gallery is built entirely of white marble from the State of Vermont. It is of classic beauty.” pp. 4.
(Photo caption) “Main entrance hall, showing the Botticino marble walls and the alabaster lighting standards. The floor, too, is marble.” pp. 5.
(Photo caption) “At the head of the Staircase of Honor.” pp. 6.
“Adaptability” pp. 7.
“No matter how beautiful a thing may be, unless it is of practical utility it can never be of real significance. ‘The useful and the beautiful,’ said Periander, ‘are never separated.’
“No structural material equals marble in beauty. Moreover, none surpasses it in its wide range of practical application. Its position in this respect is unique.”
“The Mayflower: Washington’s Largest and Latest Hostelry,” By Robert F. Beresford. pp. 8-18. (A photograph of the exterior of the hotel is included in the article.)
(Photo caption) “Lobby of the Hotel Mayflower. Underwood & Underwood, Inc.” pp. 9.
(Photo caption) “The beautiful palm court is a large room with walls of Caen stone and a wainscot of Ste. Genevieve Golden Vein marble. The floor is of Biesanz American Travertine. Underwood & Underwood, Inc.” pp. 11.
(Photo caption) “The charming marble fountain in the palm court is of Jaune Nile Fleuri marble, of rich yellowish brown. Underwood & Underwood, Inc.” pp. 13.
(Photo caption) “The ballroom wainscot is St. Genevieve Golden Vein with a Black and Gold Base. Underwood & Underwood, Inc.” pp. 14.
(Photo caption) “The garden, though below the street level, has an out-of-door aspect. Underwood & Underwood, Inc.” pp. 15.
(Photo caption) “One of the marble statues in the promenade of the Mayflower Hotel, Washington, D.C. ” pp. 18.
“The Sears Academy of Fine Arts at Elgin, Illinois.” pp. 19-21
(Photo caption) “The north front, showing the main entrance and portico.” pp. 20.
(Photo caption) “Details of the portico of the Laura Davidson Sears Academy of Fine Arts, at Elgin, Illinois.” pp. 21.
“A Los Angeles Store front: A Black and Gold Marble Treatment that Suggests Many Artistic Possibilities.” pp. 22-23. (Feagans and Company jewelry store located on the corner of Seventh and Olive Streets, Los Angeles, California ) (A photograph of the front exterior of the store is included in the article.)
(Photo caption) “Detail of one of Feagans and Company’s display windows, showing the marble.” pp. 23.
“Michelangelo and Cellini: The Foremost Sculptor and the Most Gifted Goldsmith of the Renaissance in Italy - Part I.” pp. 24-30.
(Photo caption) “David, by Michelangelo. Finished in 1503, it stood in the Piazza at Florence for 369 years, the marble undamaged by exposure to the air.” pp. 24.
(Photo caption) “The bust of Brutus, begun by Michelangelo for Cardinal Ridolfi in 1534 and finished by Calcagni. It is now in the National Museum, Florence.” pp. 25.
(Photo caption) “One of the ‘Bound Captives’ presented by Angelo to Roberto degli Strozzi. They were intended for the tomb of Julius. They are now in the Louvre Museum.” pp. 26.
(Photo caption) “Marble blocks at Marina, taken from Italian quarries, awaiting shipment.” pp. 27.
(Photo caption) “Modern quarries at Carrara. Michelangelo spent many months in these mountains selecting blocks for the sculptural monument proposed by Julius. Condivi afterward aptly called the episode ‘The Tragedy of the Bomb.’” pp. 29.
(Photo caption) “The status of the ‘Risen Christ,’ executed by Michelangelo in 1520 and forwarded in the rough to Rome, where it was finished by Pietro Urbino and Federigo Frizzi. It is now in the Church of the Minerva.” pp. 30.
“A Handbook of Marble - Chapter IV. Finishing Marble (Continued) pp. 31-36.
“It is the purpose of the National Association of Marble Dealers, to publish as soon as possible, a handbook on marble. The material contained in this book will be contributed by those best qualified to speak in an authoritative manner on the various matters treated. This is the fourteenth installment and contains part of the fourth chapter, written by John Stephen Sewell, President of the Alabama Marble Company. These extracts will probably undergo some slight changes before appearing later in book form.”
(Photo caption) “A carborundum machine equipped with auxiliary attachments for turning a column base. The base here is made up of four pieces.” pp. 32.
(Photo caption) “Finishing a segment of a column drum in a carborundum machine. Special devices are employed to produce the entasis.” pp. 35.
“A List of The World’s Marbles,” By J. J. McClymont. pp. 37-42 (“Marpessa” through “ Mons Porphyrites”)
“The Franklin National Bank: Travertine and Botticino Marble are Freely Used in this Philadelphia Building.” pp. 3-6. (Philadelphia, Pennsylvania)
(Photo caption) “Façade of The Franklin National Bank.” (Frontispiece)
“The marble front of the Franklin National Bank of Philadelphia.”
(Photo caption) “View of the main banking room from the Chestnut Street front. Travertine was used for a greater part of the walls; Botticino for the counters, and Vermont marbles for the floors.” pp. 4.
(Photo caption) “View of main banking room, looking from the Chestnut Street front, showing gallery above the entrance-way.” pp. 6.
“Sanitary.” pp. 7.
“Sometimes one thinks of marble largely in terms of beauty and luxurious richness. Marble, however, possesses many other qualities that are far more practical.
“Germ-proof and practically stainless, it is the ideal and economical material for walls, floors, and counters - especially in lunch rooms, soda fountains, and stores - and for bathrooms and kitchens.”
“The Hamilton County Court House Cincinnati Shows Progressiveness by Replacing Its Antiquated and Outgrown Hall of Justice.” pp. 8-12. (Cincinnati, Ohio) (A photograph of the front exterior of the new Hamilton County Court House building is included in the article.)
(Photo caption) “The old Hamilton County Court House, razed to make room for the fine new classic structure.” pp. 9.
(Photo caption) “The main entrance hall with its walls and vaulting of Pink Tennessee marble.” pp. 10.
(Photo caption) “A typical corridor on the upper floor.” pp. 10.
(Photo caption) “A typical stair and elevator hall of the upper floors. The wainscot and pilasters are of Light Cloud Vermont, the columns of Royal Antique, the plinths and base of Pink Lepanto, and the floor of Light Pink Tennessee marble.” pp. 11.
(Photo caption) “Law Library, Hamilton County Court House. The wall facings, wainscot and pilasters are of San Saba marble.” pp. 12.
“The Minneapolis Institute of Arts: A Building Made Possible by the Generosity of the Citizens of the Minnesota Municipality.” pp. 13-18. (Minneapolis, Minnesota)
(Photo caption) “Main floor rotunda, with its marble walls and floors.” pp. 13.
(Photo caption) “View of the west corridor, main floor. On the right are the period rooms; on the left is the main stairway.” pp. 14.
(Photo caption) “The main façade, showing the towering pillars of the entrance portico.” pp. 15.
(Photo caption) “Detail of floor, base and column treatment in main floor corridor.” pp. 16.
(Photo caption) “The stairway leading from the west corridor to the second floor is of Tennessee marble.” pp. 17.
(Photo caption) “Corner of one of the four laboratories on the ground floor. These are all finished in English Vein marble.” pp. 18.
“Michelangelo and Cellini: The Foremost Sculptor and the Most Gifted Goldsmith of the Renaissance in Italy - Part II.” pp. 19-28.
(Photo caption) “Moses, one of the large figures for the Tomb of Julius II.” pp. 19.
(Photo caption) “Tomb of Giuliano de Medici, Duke of Nemours, in the Sacristy of San Lorenzo.” pp. 20.
(Photo caption) “Tomb of Lorenzo de Medici at Florence. ‘Twilight’ is on the left; ‘Dawn’ on the right.” pp. 21.
(Photo caption) “‘Day’ one of the two figures on the Sarcophagus of Giuliano, in San Lorenzo.” pp. 22.
(Photo caption) “Details of the ‘Thinker’ - the Tomb of Lorenzo, begun by Angelo in 1527.” pp. 23.
(Photo caption) “‘La Pieta,’ in St. Peter’s, Rome; the crowning work of Michelangelo’s first Roman Period.” pp. 24.
(Photo caption) “View of the ‘Perseus’ from the front. This is the most remarkable example of the skill of Benvenut Cellini.” pp. 26.
(Photo caption) “Profile of ‘Perseus,’ in the Loggie dei Lanzi.” pp. 27.
(Photo caption) “Statue of Ganimede by Beneuto Cellini, now in the National Museum at Florence.” pp. 28.
“The Idaho State Capitol: The Recently Completed Boise Building Bears a Resemblance to the National Capitol in Washington.” pp. 29-32. Boise, Idaho)
(Photo caption) “The basement floor directly under the Rotunda, showing the elaborate pattern of variegated marbles, mostly domestic.” pp. 29.
(Photo caption) “The Rotunda and main floor, Idaho State Capitol, at Boise.” pp. 31.
(Photo caption) “A corner of the stairway, built completely of American marbles.” pp. 32.
“The Federal Reserve Bank of Minneapolis.” pp. 33-38. (Minneapolis, Minnesota)
(Photo caption) “Main entrance to the big banking room.” pp. 33.
(Photo caption) “The expression ‘The Strength of Gibraltar’ might be applied without exaggeration to the Minneapolis Federal Reserve Bank Building.” pp. 34.
(Photo caption) “Travertine is used for the floors Tavernelle marble for the walls, counters, columns and tellers’ cages, and as a floor border.” pp. 35.
(Photo caption) “Stairway leading from ground floor to main banking room, Federal Reserve Bank of Minneapolis. The walls are Tavernelle; the treads are Travertine, of extra heavy material.” pp. 37.
(Photo caption) “An uninterrupted vista of majestic marble.” pp. 38.
“A List of the World’s Marbles,” By J. J. McClymont. pp. 39-42. (“Montagne Grise” through “Myitkyina District Marbles”)
“Planning Bank Interiors: The Reaction of the Public to Beauty Must Be Considered by Both Banker and Architect.” pp. 3-10.
(Photo caption) “The Guardian Savings and Trust Co., Cleveland Ohio.” (Frontispiece)
“‘Like some tall palm, the noiseless fabric sprung’ - Bishop Heber
“The main banking room of the Guardian Savings and Trust Company of Cleveland, Ohio. Walker and Weeks were the architects. Marble from Georgia was freely used in this stately interior.”
(Photo caption) “First National Bank, Tulsa, Oklahoma. Weary and Alford Co., architects. A splendid example of an all-Tavernelle treatment.” pp. 4.
(Photo caption) “National City Bank, New York City. McKim, Meade & White, architects. The marbles used were Botticino, Travertine and Tennessee.” pp. 5.
(Photo caption) “The interior of the Broadway Trust and Savings Bank, in Chicago. The Breche Violette and Black and Gold marbles in the counters and piers are toned down by the Tennessee floor. The marble around the doors is an effective touch.” pp. 6. (Chicago, Illinois)
(Photo caption) “In the Cleveland Trust Branch Bank, Cleveland, this combination of Madre-Veined Alabama and Verde Antique proved very attractive. A. G. Hall was the architect.” pp. 6. ( Cleveland, Ohio )
(Photo caption) “The use of Verde Antique marble in such quantities as this for screen and pilasters is most unusual. Hoggson Brothers, the architects of the Institution of Savings, Springfield, Massachusetts, have achieved a notable success in this interior.” pp. 7.
(Photo caption) “Holmes and Winslow, the architects of the Homestead Bank, Brooklyn, New York, used Napoleon Gray marble exclusively for this quiet treatment.” pp. 7.
(Photo caption) “The National Bank of Commerce, Providence, R.I. Stone, Carpenter & Sheldon, architects. Vermont marbles - Verdosa, Brocadillo, Marine Brocadillo and White Rutland inlays - were specified here.” pp. 8. (Providence, Rhode Island)
(Photo caption) “The Federal Reserve Bank of Atlanta, Ga. A. Ten Eyck Brown, architect. Alabama marble was used for columns, screen, balustrades, wall and floor.” pp. 8. (Atlanta, Georgia)
(Photo caption) “Not all banks need be as ornate as the American Bond and Mortgage Co. of New York. Hauteville, Black and Gold, and Pink and Gray Tennessee were used. C. Howard Crane, architect.” pp. 9.
(Photo caption) “A marble mosaic floor in the National City Bank, Salt Lake City, Utah; W. Moore, architect. Tokeen Alaska marble was used for the screen, with a Verde Antique base.” pp. 10.
“‘Carrying Coals to Newcastle ’” pp. 11.
“That American marbles are the equal of any in the world is strikingly evidenced by the fact that ‘The Boy of the Piave,’ the monument pictured above - which is to be erected in Rome on the Pincian Hill - will be built entirely of marble from the United States.” pp. 11.
“The Washington Park National Bank: A Chicago South Side Institution That Offers a Unique Marble Treatment.” pp. 12-16.
(Photo caption) “The entrance lobby gives a foretaste of the richness within.” pp. 13.
(Photo caption) “General view of the banking room looking toward the main entrance. Most of the marble is Old Convent Siena.” pp. 14.
(Photo caption) “A corner of the banking room looking toward the rear, showing in the foreground the marble inclosure where new accounts are opened.” pp. 15.
(Photo caption) “Entrance to the vaults in the basement. Black marble benches contrast with the lighter tone of the Siena marbles.” pp. 16.
“The Marble Business: A Southern Industry,” By Colonel John Stephen Sewell (Courtesy The Southern Banker) pp. 17-24.
(Photo caption) “A typical Southern marble quarry.” pp. 18.
(Photo caption) “A Western store built of Southern marbles: Alabama for counters and walls; Napoleon Gray for the trim.” pp. 21.
(Photo caption) “Blocks of Tennessee marble ready for shipment.” pp. 24.
“The Early Renaissance in France: The Transition Period is Characterized by a Picturesque Mixture of Classic Details With Gothic Conceptions.” pp. 25-33.
(Photo caption) “Tomb of René II at Nancy, by Mansuy-Gauvain.” pp. 25.
(Photo caption) “Chapel of Château d’Amboise, built by Charles VIII after his return from Italy.” pp. 26.
(Photo caption) “The Château d’Amboise. The round tower has a sloping driveway for horse traffic from the town clustered at its base.” pp. 27.
(Photo caption) “The wing of Louis XII, Château de Blois. The Tower of the Grand Stairway is shown on the left.” pp. 29.
(Photo caption) “The effigy of Louis XII above the doorway of the wing to the Château de Blois, built by him.” pp. 31.
(Photo caption) “The Town Council House at Compiegne.” pp. 32.
“The Wrigley Building: One of the Dominant Structures of Down-town Chicago’s Skyline.” pp. 34-38. (Chicago, Illinois)
(Photo caption) “All the standing marble in the lobby is Verdello. This includes wainscoting, pilasters and columns, as well as the caps.” pp. 35.
(Photo caption) “Practically all the material shown in this view, with the exception of the ceiling, is marble - floor, stairway, walls and bases.” pp. 36.
(Photo caption) “Details of stair shown on opposite page.” pp. 37. (preceding photograph above)
(Photo caption) “A typical upper corridor in the Wrigley Building. The wainscoting is F. M. English Vein Italian; the floor is Tennessee.” pp. 38.
“A List of The World’s Marbles,” By J. J. McClymont. pp. 39-42. (“Mysore” through “Noir Veine”)
(Photo caption) “Philosophy.” (Frontispiece)
“One of six heroic marble statues on the main façade of the New York Public Library, New York. Paul W. Bartlett was the sculptor.”
“Marble Mosaic Pavements: An Art that was Practiced in Greece as Early as the Fourth Century, B.C. ” pp. 3-10.
(Photo caption) “The pavement (Opus Sectile) of the sixth century basilica of S. Vitale, at Ravenna, gives the impression of rising up in relief - a disagreeable shadow effect that should always be avoided.” pp. 4.
(Photo caption) “Another example of Opus Sectile is shown in the floor of the nave of the Cathedral of Siena.” pp. 5.
(Photo caption) “Opus Alexandrinum was used in the floor of the choir of the Cathedral at Monreale, built in the twelfth century.” pp. 6.
(Photo caption) “The marble mosaic pavement in S. Maria Maggiore, Rome.” pp. 7.
(Photo caption) “Opus Sectile in the Palatine Chapel of the Royal Palace at Palermo, built in the style of the Norman Gothic.” pp. 8.
(Photo caption) “The Mosque of the Barber, at Kaironan, has some marvelous marble mosaic in the walls and floors. Ewing Galloway, N.Y. ” pp. 10.
“First Impressions.” pp. 11.
“The lobby of a theatre or a moving picture house is, in the public mind, an index to the character of that structure.
“It is obviously more important - nay, more, it is imperative - that this space be luxuriantly decorated, rich in color, and almost Sybaritic in its appointments.
“No other material can so quickly - nor so surely - achieve this as does marble.”
“The Montana State Capitol: Many Kinds of Marble Were Used for the Interior.” pp. 12-16. (A photograph of the front exterior of the capitol building is included in the article.) (Helena, Montana)
(Photo caption) “The Rotunda, looking toward the grand staircase.” pp. 13.
(Photo caption) “The Main Hall and part of the Rotunda, showing a glimpse of the grand stairway on the right.” pp. 14.
(Photo caption) “Former Senate Chamber, now the Supreme Court.” pp. 15.
(Photo caption) “Second floor corridor at the head of rotunda stairs, Montana State Capitol, Helena.” pp. 16.
“The Style of Francis I: Classic Elements Began to Dominate the General Composition of French Architecture - Part 1. Blois and Chambord.” pp. 17-25.
(Photo caption) “Wing of Francis I, Blois Chateau. Courtesy The University Prints, Boston.” pp. 17.
(Photo caption) “View of courtyard and the famous stairway of the Chateau of Blois, in the Loire Valley.” pp. 18.
(Photo caption) “Exterior detail of stairway, Blois Chateau.” pp. 19.
(Photo caption) “Crown of the Grand Stairway in the wing of Francis I, in the Chateau of Blois. Note the salamander, the royal emblem.” pp. 20.
(Photo caption) “Early Renaissance details of one of the chimneys in the wing of Francis I in the Chateau of Blois.” pp. 21.
(Photo caption) “The carving on the façade of the Blois Chateau stops abruptly in places.” pp. 22.
(Photo caption) “The arch-enclosed shells in the cornice of the Blois court is typical of the early Renaissance in France.” pp. 22.
(Photo caption) “Façade of the north front, Chateau of Chambord.” pp. 23.
(Photo caption) “The motley, though picturesque, conglomeration of chimneys, dormers and lanterns on the roof at Chambord.” pp. 24.
(Photo caption) “Detail of the lantern of the Grand Stairway, Chateau de Chambord.” pp. 25.
“The Federal Reserve Bank of Richmond: The Mausoleum at Halicarnassus Probably Served as Its Model.” pp. 26-33. (Richmond, Virginia)
(Photo caption) “The Federal Reserve Bank of Richmond, Virginia. Sill, Buckler & Fenhagen, architects.” pp. 27.
(Photo caption) “A glimpse from the lobby, past one of the marble columns, into the central banking space.” pp. 28.
(Photo caption) “General view of the main banking room, looking toward the rear. The floors, columns and counters are of Tennessee Pink marble, carefully selected.” pp. 29.
(Photo caption) “One corner of the rear of main banking room, showing a portion of the marble counters.” pp. 30.
(Photo caption) “The officers’ quarters on the first floor, to the left of the main banking room.” pp. 31.
(Photo caption) “Looking through the majestic marble columns from the mezzanine to the main floor below.” pp. 32.
(Photo caption) “The marble fireplace in the Governor’s room in the Federal Reserve Bank of Richmond.” pp. 33.
“The Municipal Building at Waterbury, Connecticut.” pp. 34-37. (A photograph of the front exterior of the building is included in the article.)
(Photo caption) “One of the entrances. The walks, fountain, urns, steps and balusters, as well as the lower walls and pilasters are of marble.” pp. 35.
(Photo caption) “The grand staircase - ‘a spacious marble ascent.’” pp. 36.
(Photo caption) “Entrance detail, Waterbury (Conn.) Municipal Building.” pp. 37.
“A List of the World’s Marbles,” By J. J. McClymont. pp. 38-42. (“Noir Veini” through “Onyx”)
(Photo caption) “The Banking Room of The Pennsylvania Company.” (Frontispiece)
“Main Banking Room of the Pennsylvania Company in the Packard Building, Philadelphia. Ritter and Shay, Architects.”
“Columns: Their Use a Factor in Architecture From the Earliest Times.” pp. 3-10.
(Photo caption) “Marble columns in the old Roman bath at the Queen of all the Spas - Bath England.” pp. 4.
(Photo caption) “Arabian style columns of marble in the cloisters of the Church of the Benedettini, at Monreale.” pp. 5.
(Photo caption) “The two monoliths of Vermont marble in the entrance to the Bridgeport Savings Bank, Bridgeport, Connecticut. Cass Gilbert, Architect.” pp. 6.
(Photo caption) “Rough marble blocks quarried for the columns of the Bridgeport Savings Bank, Bridgeport Connecticut. Cass Gilbert, Architect.” pp. 7.
(Photo caption) “Columns of Georgia marble in the façade of the New York Stock Exchange. George B. Post & Sons, Architects.” pp. 8.
(Photo caption) “Huge columns of Botticino marble in the Telegraph Building, New York. Welles Bosworth, Architect.” pp. 9.
(Photo caption) “New York Central Station, Utica, New York. Stern and Felheimer, Architects.” pp. 10.
“- - - and in corridors of Office Buildings” pp. 11.
“Clean looking? Naturally, because marble is stainless and remarkably easy to keep free from dust and dirt. Besides these economical advantages, a marble corridor appeals to the tenants’ sense of beauty and dignity - and that means a higher rental return for the owner.”
“The Packard Building: A Quaker City Structure that Contains a Banking Room Modeled After a Roman Basilica.” pp. 12-20. (A photograph of the exterior of the building is included in the article.) (Philadelphia, Pennsylvania)
(Photo caption) “Main Stair from entrance vestibule to the main banking floor above and to the Safe Deposit department in the basement.” pp. 13.
(Photo caption) “Entrance from vestibule to elevator lobby. Notice the elaborate carving of the impost at the side of the bronze gate, and the eagle above.” pp. 14.
(Photo caption) “Details of carved newel at vestibule level of main stair. All of this stairway is of Botticino marble, except the treads and risers, which are of Napoleon Gray.” pp. 15.
(Photo caption) “Marble doorway to the President’s Room.” pp. 15.
(Photo caption) “General view of Main Banking Room, looking toward the grand stairway from the Chestnut Street entrance.” pp. 16.
(Photo caption) “Another view of the Main Banking Room. The columns, counters and walls are Botticino marble. The floors are of Napoleon Gray marble.” pp. 17.
(Photo caption) “Grand stairway of marble leading from the main floor to the mezzanine floor and the Sansom Street end of the building.” pp. 18.
(Photo caption) “Public space of the Trust Department, on the second floor. The marble is Botticino for walls, counters and pillars and Napoleon Gray for the floors.” pp. 19.
(Photo caption) “Details of the Grand Stairway.” pp. 20.
(Photo caption) “Italian scroll on the front stairway.” pp. 20.
“The Union Station in Toronto: The New Building is Owned Jointly by the Canadian Pacific Railway and the Dominion of Canada,” By John M. Lye, Associate Architect.” pp. 21-25. (A photograph of the front exterior of the building is included in the article.)
(Photo caption) “The Main Ticket Lobby.” pp. 22.
(Photo caption) “View from passageway to train concourse.” pp. 23.
(Photo caption) “In the lunch counter, gray Mississquoi marble was used for walls, counters and floors, with borders and bases of black Mississquoi.” pp. 24.
(Photo caption) “The Barber Shop of the Toronto Union Station. Its marble walls and floor make it a model of cleanliness.” pp. 25.
“The Style of Francis I: Classic Elements Began to Dominate the General Composition of French Architecture - Part II. Azay Le Rideau, Chenonceaux and Châteaudun.” pp. 26-32.
(Photo caption) “East Façade, of Azay le Rideau.” pp. 26.
(Photo caption) “A bit of early Renaissance detail at Azay le Rideau.” pp. 27.
(Photo caption) “One of the round towers of Azay le Rideau, built in 1516.” pp. 27.
(Photo caption) “Principal façade of the Château Azay le Rideau. The influence of the new style is seen in the window treatment.” pp. 28.
(Photo caption) “The southwest façade of Azay le Rideau.” pp. 29.
(Photo caption) “The eastern façade of the Château de Chenonceaux, on the Cher River. Built by Thomas Bohier in 1515.” pp. 30.
(Photo caption) “A picturesque view of the north end of Chenonceaux.” pp. 31.
(Photo caption) “Early Renaissance detail on the wall of the vestibule of Chenonceaux. The carving is in an excellent state of repair.” pp. 31.
(Photo caption) “The west façade of Châteaudun, as seen from the Loir.” pp. 32.
“A Department Store of Finance: Three of Chicago’s Time-Honored Banking Institutions Unite to Form Organization.” pp. 33-37. (The Illinois Merchants Trust Company, Chicago, Illinois) (A sketch of the exterior of the building is included in the article.)
(Photo caption) “The Commercial Banking room on the main floor.” pp. 34.
(Photo caption) “The broad stairway of marble that descends from the main banking room to the La Salle Street Lobby. A marble balustrade surrounds the opening at the head of the flight.” pp. 36.
(Photo caption) “Entrance to the Safety Deposit Department from La Salle Street lobby, Illinois Merchants Trust Company, Chicago.” pp. 37.
“A List of The World’s Marbles,” By J. J. McClymont. pp. 38-42. (“Onyx - continued” through “Para”)
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