LOCKWOOD'S MANUALS 
 
 f 
 
 MARBLE DECORATIO 
 
 GEORGE H. BLAG ROVE 
 
Digitized by the Internet Archive 
 in 2013 
 
 http://archive.org/details/marbledecorationOOblag 
 
MARBLE DECORATIOI 
 
 AND 
 
 THE TERMINOLOGY OF BRITISH AND 
 FOREIGN MARBLES 
 
 a Ibanoboofc for Stuoents 
 
 BY 
 
 GEORGE H. BLAGEOVE, 
 
 AUTHOR OF " SHORING AND ITS APPLICATION," ETC. 
 
 CTUtf) &tocntg*ngrjt Sllttstrattcn* 
 
 LONDON 
 
 CROSBY LOCKWOOD AND SON 
 
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 LONDON: CROSBY LOCKWOOD & SON 
 
 THE GETTY CENTER 
 LIBRARY 
 
PEEFACE. 
 
 The present work is the outcome of some practical expe- 
 rience in the architectural uses of marble, supplemented 
 by researches undertaken with the express object of em- 
 bodying in a compact form information likely to be of 
 service to students and workmen. 
 
 In introducing it to the notice of the reader, I take the 
 opportunity of acknowledging some of the principal 
 sources of information upon which I have relied in its 
 compilation. 
 
 In my observations upon the nature and properties of 
 marble and other practical matters, as well as in drawing 
 up the terminology which forms the Appendix to the 
 work, I have been greatly assisted by several useful hints 
 kindly given by such well-known firms as Messrs. Farmer 
 and Brindley, of Westminster Bridge Road ; Messrs. W. 
 H. Burke and Co., of Newman Street ; and Mr. J. 
 Houghton, of Great Portland Street ; who have allowed 
 me to examine their collections of marbles. I am also 
 indebted for valuable information to M. Theodore Geruzet, 
 of the Societe Anonyme, Grande Marbrerie de Bagneres de 
 Bigorre, Hautes Pyrenees, France. In addition, I have 
 availed myself of the collection at the Museum of Practical 
 Geology, and have consulted works by such eminent 
 authorities as C. P. Brard, T. Chateau, and Sir E. Hull, 
 as well as the articles by Mr. Arthur Lee, which have 
 appeared in the Building News ; and articles in several 
 English and foreign encyclopaedias. 
 
 For information on the subject of marble mosaic, I am 
 indebted to Dr. Salviati and Co., of Regent Street, and 
 
IV 
 
 PREFACE. 
 
 to Mr. J. Ebner, of Clerkenwell Road, as well as to the 
 firms previously mentioned. I have also consulted works 
 by Sir M. D. Wyatt, Mr. J. B. Waring, and others, of 
 which I have made use in preparing several of the illus- 
 trations. 
 
 In endeavouring to convey some idea of the principles 
 which appear to have guided architects in their applica- 
 tion of marble to the choicest works of the past, I have 
 almost necessarily followed what has been previously 
 written by those who have treated of architecture upon 
 historical and critical methods. The writings of Fergus- 
 son, Owen Jones, Ruskin, and Street, have been consulted 
 for this purpose ; and illustrations have been reproduced, 
 in some instances, from their pages. Some reference has 
 been made to Hindoo works in marble ; and here the pho- 
 tographs and descriptions published by T. C. Hope and 
 Meadows Taylor have, in addition to the writings of Fer- 
 gusson, been of assistance. Lectures delivered on various 
 occasions by Messrs. T. Graham Jackson, G. Aitchison, 
 W. Brindley, and others, have supplied pabulum for some 
 of my own observations. In so far as my own opinions 
 have found expression in the following pages, it will, I 
 trust, be understood that they are offered in no dictatorial 
 spirit. 
 
 G. H. B. 
 
CONTENTS. 
 
 CHAPTER I. 
 
 THE NATURE AND PROPERTIES OF MARBLE. 
 
 Materials classed as Marble — Classification of Marbles — How de- 
 livered from the Quarries — Polishing — Liability to Decay — 
 Crushing Strength — Lutes or Stoppings — Modes of Cleaning — 
 Preservation — Flexibility 
 
 CHAPTER II. 
 
 CEMENTS AND 3TASTICS. 
 
 Bituminous Cements — Cements to resist Water — Objection to Port- 
 land Cement — Plaster Backings — Keene's Cement — Cements of 
 neat Appearance — 4 4 Fat Mastic" — Cements for jointing Mo- 
 saic Work .......... 
 
 CHAPTER III. 
 
 THE ARRANGEMENT OF COLOURS. 
 
 Principles of Colour Decoration applicable in the use of Marble — 
 Depth of Colour proportioned to its mass — Colours to be re- 
 peated — Strength of Colours according to their situation — 
 Sparing use of Primary Colours — Chevreul's Classification of 
 Harmonies — Harmonies of Analogy — Of Contrast — Too many 
 Varieties of Colour to be avoided — Remarks on Selection of 
 Marbles 
 
 CHAPTER IV. 
 
 MARBLE MOSAIC WORK. 
 
 Roman Mosaics — Opus Tesselatum — Opus Figlinum — Opus Vermi- 
 culatum — Opus Sectile — Opus G-recanicum in Romanesque Art 
 — -Florentine Mosaic — Opus Alexandrinum — Various Examples 
 — Inlaid Figure Subjects — Modern Uses — Floors — Method of 
 Laying — Terrazzo — Size and Arrangement of Patterns — Prin- 
 ciples of Design— Mosaics for Wall Decoration — Principles of 
 Design — Sir M. D. Wyatt on Mosaics— Mosaic Work in Coves 
 — Patterns — In Flat Ceilings — Arrangement of Patterns and 
 Colours ... ....... 
 
vi 
 
 CONTENTS. 
 
 1>AGB 
 
 CHAPTER V. 
 
 MARBLE LININGS AND BOXINGS. 
 
 Two Modes of facing Walls— G. E. Street on Italian Works— Fac- 
 ing with Solid Blocks — Venetian Method of Veneering— 
 Methods of Fixing — Precautions to be observed — Hollow Piers 
 — G-. E. Street's Objections to Veneering— The Right Treat- 
 ment of Veneer— Veneering at St. Mark's, Venice— Panelling 
 — Construction of Ceilings — Marble in place of Class— Veneer- 
 ing Arches— Beams— Flights of Steps — Boxings— Circular 
 Work . . . 34 
 
 CHAPTER VI. 
 
 MARBLE MOULDINGS. 
 
 Influence of Materials on Mouldings — Greek Mouldings — Modern 
 Errors — Roman Mouldings — Importance of Quirks — French 
 Renaissance Works — Economy at Venice — Value of Splays — 
 Enrichments — Large Nail-heads objectionable — Carved En- 
 richments best in White Marble — Mouldings should be Uni- 
 coloured — Columns and Pilasters — Greek — Roman — Gothic — 
 Byzantine — Renaissance — Fluting — Panelling — Chamfering — 
 Inlaying — Bands to Columns and Pilasters .... 44 
 
 CHAPTER VII 
 
 CARVED ORNAMENT.— CONCLUSION 
 
 Selection of Marble for Carving — Influence of Materials upon 
 Carving — Two kinds of Carving — Carving sunk below the 
 Surface — Decoration with Sunk Channels — Splayed Work in 
 St. Mark's, Venice — Byzantine Carving in St. Sophia, Con- 
 stantinople — Undercut Work in the Kakrieh Mosque — Pierced 
 Work — Hindoo Examples — At Beejapoor — At Alimedabad — 
 Carving raised above the Surface — Greek, Roman, and Renais- 
 sance Frets — Celtic Crosses — Greek " Honeysuckle " and other 
 Ornaments — Fundamental Difference between Classic and By- 
 zantine Designs — Roman and Renaissance Carvings — Works 
 of the Brothers Adam — Modern French Work — Detached Work 
 — Carving at Kirwuttee — Modern Carving — Reasons against 
 Naturalism — Conclusion — Use of Foreign Measures . . .53 
 
 APPENDIX. 
 
 TERMINOLOGY OF BRITISH AND FOREIGN MARBLES. . 61 
 
MARBLE DECORATION. 
 
 CHAPTER I. 
 
 THE NATURE AND PROPERTIES OF MARBLE. 
 
 (1.) The art of marble decoration consists in applying 
 real marble to purposes partly constructive, but chiefly 
 decorative. In doing this we avail ourselves of the natural 
 colours and patterns of the materials at our disposal, 
 which are sometimes used in solid masses and sometimes 
 in a system of veneering with thin slabs. Before proceed- 
 ing to describe the methods of design and construction 
 which have been practised with satisfactory results, it will 
 be convenient to give some explanation of the nature and 
 properties of marble. 
 
 (2.) Marble is, correctly speaking, a combination con- 
 sisting chiefly of carbonate of lime, carbonic acid, and 
 water. It burns into quicklime, and is for the most part 
 soluble in acids with effervescence. In the language of 
 the architect and marble mason, however, all stones are 
 called marble which are harder than alabaster or gypsum, 
 and which are capable of receiving a good polish. The 
 materials available in marble decoration include, besides 
 various kinds of marble, granite, porphyry, serpentine, 
 several varieties of spar, and alabaster. For descriptions 
 of these materials, and the names of the localities from 
 whence they are obtained, the reader is referred to the 
 terminology of British and foreign marbles given in the 
 Appendix. It must be understood, however, with reference 
 to these descriptions, that specimens of any marble will 
 
 B 
 
2 
 
 MARBLE DECORATION. 
 
 often differ widely in appearance, both as regards colour 
 and pattern, according to the particular part of the quarry 
 from whence they are obtained. 
 
 (3.) For purposes of commerce, marbles are divided 
 into two classes, the antique and the modern. Antique 
 marbles are those which were employed by the ancients, 
 but of which the quarries have either been exhausted or 
 their situations become unknown. Some of the ancient 
 quarries have from time to time been rediscovered and 
 worked ; but in the majority of cases, the antique marbles 
 are only obtainable in fragments taken from the ruins of 
 ancient edifices. Modern marbles are those which are 
 quarried now, and it often happens that some of them 
 bear such close resemblances to antique specimens that 
 they are sold under the same names. 
 
 (4.) Marbles have been classified under eight groups, 
 viz. : the uni-coloured, which includes only black and 
 white ; the variegated, having irregular spots and veins ; 
 the madreporic, which contain fossil remains of madrepores 
 or similar organisms, generally apparent as white or grey 
 spots, with regularly disposed stars and dots in the centre ; 
 the shell marbles, containing only a few shells ; the luma- 
 chella, consisting of shells closely united by means of a 
 paste ; the cipollino, having veins of green talc ; the 
 breccia, containing angular fragments united by a paste ; 
 and the puddingstone, containing rounded fragments 
 similarly united. Most of these terms are explained, with 
 reference to the particular marbles to which they are 
 applied, in the terminology already mentioned. 
 
 (5.) Most marbles are delivered from the quarries in a 
 rough condition, and rarely sawn into blocks. Sicilian or 
 Ravaccione is in scappled blocks. The veined and dove 
 marbles of Italy are sawn into scantlings varying between 
 one and two feet in thickness. The selection of blocks at 
 the quarry requires some judgment and experience. The 
 following practical hints by Mr. Arthur Lee, which ap- 
 peared in the Building News for July 8, 1887, are com- 
 mended to the attention of the reader: " Never select 
 blocks in bright sunshine. The best time is on a cloudy 
 day after a shower of rain, and early in the morning. If 
 
SELECTING MARBLE. 
 
 3 
 
 a block can be c looked into ' at all it will be then. In 
 selecting blocks of statuary a sharp look-out should be 
 kept for yellow spots or veins ; they are less likely to be 
 noticed than black ones, which are more easily discovered. 
 Much of the statuary imported from Italy is unfit for 
 sculpture at all. It is very white, with a bright sparkling 
 crystal and a taking appearance ; but it crumbles under 
 the chisel, is of a soft, sugary substance, and very quickly 
 decays. The best blocks are hard and close-grained, and 
 if of uniform tint, are none the worse for a slightly yel- 
 lowish cast ; they work evenly under the chisel, and are 
 not too transparent. " 
 
 (6.) When marble has been sawn or shaped as required 
 for fixing, it is rubbed with sand of varying degrees of 
 fineness, with grit- stone, and with several kinds of hone 
 slates, amongst which " snake " is much in favour. After 
 this it is finished with glass-paper, or subjected to certain 
 processes of polishing, by hand or by machinery, in which 
 pumice and fine emery powders are used; then tripoli, 
 which is an earthy mineral powder ; and the final polish 
 is given with tin-putty or putty-powder, which is an 
 oxide of tin. Some of these powders are rubbed in by 
 means of a plate of iron, and in Italy lead is used for this 
 purpose. In all these successive operations a constant 
 supply of trickling water is necessitated. 
 
 (7.) It would be foreign to the present purpose to 
 describe more fully the various processes of polishing 
 marble. The most durable finish is obtained by means of 
 tin-putty. Alum has been occasionally employed for 
 rapid polishing, but the surface produced by it is only of 
 a factitious character, and easily impaired. Theodore 
 Chateau * mentions a test by whi3h the use of alum can 
 be detected. Water is applied to the surface of the 
 marble, when, if alum be present in any considerable 
 quantity, the water will be absorbed, leaving a dull white 
 stain. With regard to this test, it is to be observed that 
 a high polish, even if legitimately obtained, is always 
 more or less impaired by the application of water. The 
 test should therefore be applied only near the edges of 
 " Technologie du Batiment." Paris, 1863-69. 
 
4 
 
 MARBLE DECORATION, 
 
 polished slabs, or to such portions as are not intended to 
 be seen. It is scarcely necessary to point out that the 
 effect of the colours subsisting in marble is greatly en- 
 hanced by the aid of polish, and that the colours of 
 unpolished specimens may be better appreciated when 
 their surfaces are moistened with water. 
 
 (8.) The liability of marble to decay is a matter for 
 important consideration, as it cannot be doubted that this 
 has largely tended to discourage its use in this climate. 
 The coloured materials capable of receiving a high polish, 
 which are best adapted for external use are the granites 
 and porphyries. Most of the marbles do not preserye 
 their colour and texture at all well when exposed to the 
 action of the weather, and the serpentines are particularly 
 susceptible in this respect. It has been observed that 
 when marble has been exposed to the weather for thirty 
 or forty years the crystals no longer adhere firmly to- 
 gether. Under favourable conditions, in the absence of a 
 smoky atmosphere like that of London, the external 
 appearance of marble may remain unaltered ; but the 
 influence of the weather continues to penetrate into the 
 mass, and after the lapse of about a century it falls into a 
 kind of sparkling sand. It must be generally understood, 
 therefore, that the art of marble decoration is intended to 
 be applied to the interiors of buildings, where it probably 
 affords the most durable means of producing polychromatic 
 effects, with the exception of faience, to which it is cer- 
 tainly superior as regards precision of outline. Even in 
 interiors, however, marble is liable to a gradual process of 
 disintegration, induced by changes of temperature, which 
 cause its crystals to expand and contract until it has lost 
 its homogeneity. It has been observed that those varie- 
 gated marbles in which the boundaries of colour are sharply 
 defined are more liable to a separation of parts than those 
 in which the colours blend and intermingle ; and in all 
 situations where marble is exposed to extremes of heat, as 
 in the jambs and mantels of chimney-pieces, and in the 
 boxed enclosures to hot-water pipes, it is important to 
 remember these considerations. Vibratory shocks will also 
 contribute to the disintegration of marble ; and pudding- 
 
DURABILITY OF MARBLE. 
 
 5 
 
 stones, conglomerates, and brecciated varieties, supposed 
 to have been formed in remote periods from small frag- 
 ments of older rocks united by a natural cement, have 
 been sometimes shaken to pieces in the process of working. 
 
 (9.) Pure white statuary marble, and the ordinary so- 
 called Sicilian or Ravaccione, may be regarded as prac- 
 tically homogeneous, especially when the veins are of a 
 cloudy and ill-defined character. Marbles of this kind, 
 when used for columns, or in other situations where great 
 resistance to compression is desired, is generally understood 
 to possess an ultimate strength of 6,000 lbs. per square 
 inch of sectional area, or let us say that it will take a safe 
 load of 36 tons per superficial foot. The average weight 
 of marble being 170 lbs. per cubic foot, it becomes easy to 
 calculate the bearing capabilities of any piece of solid 
 work. But when we are dealing with marbles in which 
 the streaks or markings are of a clearly defined character, 
 we must not rely upon any such margin of strength. In 
 marbles like Grand Antique, for example, where we have 
 jagged streaks of white and pale grey running in almost 
 parallel directions upon a ground of dark grey and black, 
 there is a danger of fissures occurring in the direction of 
 the streaks ; and it would be an act of imprudence to work 
 such a marble into columns with the streaks running in 
 vertical directions, although this arrangement would have 
 a satisfactory decorative appearance. Marbles of this cha- 
 racter should be subjected to pressure only in directions at 
 right angles to their cleavage. 
 
 (10.) Various preparations are used by marble masons 
 for filling up small interstices which occasionally appear 
 in marble, so as to give it a perfectly even appearance. 
 <xum shellac is the principal ingredient used for this pur- 
 pose, and sometimes colouring matters are combined with 
 it, in order to make it agree in appearance with the marble 
 to which it is applied. Chateau gives a recipe for a lute 
 or stopping for filling up the interstices of marble. It 
 consists of yellow wax, resin, and Burgundy pitch, made 
 into a thick paste with a little sulphur and finely- sifted 
 plaster. A kind of red putty (potee rouge) is made with 
 six parts of sulphate of iron to one of rough saltpetre. 
 
6 
 
 MARBLE DECORATION. 
 
 This mixture is exposed for twenty-four hours, then re- 
 duced to a powder, washed several times, and rolled into 
 sticks for use. A little of this and some lampblack are 
 combined with colouring matter and mixed with the stop- 
 ping. For green or yellow marbles Chateau recommends 
 a stopping made with gum shellac and sealing-wax of 
 the colour required. This is spread over the marble, and 
 takes a good polish. Sometimes small fragments of marble 
 are combined with a stopping, but this is only in dealing 
 with the coarser kinds of marble. When any such pre- 
 parations as these have been employed, it will be under- 
 stood how undesirable it is to expose the marble to the 
 influence of heat, which may disfigure it by melting the 
 stopping. 
 
 (11.) Several processes are recommended for cleaning 
 marble and removing stains from it. For ordinary wash- 
 ing, soap and water with the addition of a little soda will 
 suffice. A popular recipe consists of two parts of common 
 soda, one of powdered pumice-stone, and one of powdered 
 chalk. These ingredients are passed through a fine sieve, 
 and then made into a thin paste with water. The marble 
 is well rubbed over with this preparation, which is then 
 washed off with soap and water. A somewhat better pre- 
 paration, because less likely to disturb the polish, is made 
 with finely powdered pipeclay, mixed with one quarter of 
 a pint of ox gall, one quarter of a pint of strong soap- 
 suds, and half a gill of turpentine, all made into a smooth 
 paste. This is laid over the surface of the marble with a 
 brush, and then left for two days, after which it is washed 
 off. 
 
 (12.) For removing stains caused by the rust of iron or 
 by the juices of fruit, some strong acids are used. Equal 
 parts of lemon juice and spirits of vitriol form an applica- 
 tion with which the stained portions may be just wetted 
 and left for a few minutes, after which the acid is washed 
 away. A case came under my own knowledge, in which 
 some white marble mantelpieces had been stained during 
 transport on board ship, it was supposed by some acid. A 
 weak solution of sulphuric acid and water was used. The 
 operator had two vessels, one filled with the solution, and 
 
CLEANING MARBLE. 
 
 7 
 
 the other with pure water. He applied a little of the 
 solution to the stained portions with a sponge, immediately 
 washing it away with water. In this way the stains were 
 all removed. 
 
 (13.) We cannot hope to employ such remedies as these 
 without impairing the surface of the marble ; and in most 
 cases where stains have been removed, the process of re- 
 polishing has been necessitated. Polish affords a certain 
 amount of protection against grease stains, or gradual dis- 
 colouration by contact with a smoky atmosphere. The 
 latter takes place with comparative rapidity in the case of 
 unpolished statuary marble, and there is no doubt that the 
 impurities retained by the material are absorbed to some 
 depth below the surface. For effectually cleaning marble 
 which has arrived at this condition, as well as for remov- 
 ing stains from it, the following process has been adopted 
 by marble masons : — 
 
 The marble is laid, exposed to the atmosphere, in a bed 
 of clean wet sand, the sand being so arranged as to sur- 
 round the marble up to its thickness, so as to be level with 
 the upper surface. The marble is sluiced with water two 
 or three times a day, until it has become perfectly clean. 
 New stone slabs or new deal boards are used underneath 
 and around the sand, to prevent the possibility of its im- 
 parting any stain to the marble. This process of cleaning 
 will generally occupy from ten to fifteen days. In the 
 case of polished marble, the polish must first be removed 
 by rubbing with sand. 
 
 (14.) The surface of marble has been protected at times 
 against the destructive influence of the atmosphere by 
 means of special preparations. A preservative solution 
 manufactured by the Indestructible Paint Company has 
 been applied to this purpose with success. Methods of 
 producing such preparations are kept secret, but the fol- 
 lowing recipe for a " wax varnish " for protecting the 
 surfaces of statues and ornaments exposed to the air, is 
 recommended by some authorities : One part of wax is 
 melted and mixed with four parts of pure essence of tur- 
 pentine. The mixture is used hot, being spread thinly 
 over the surface of the marble. 
 
8 
 
 MARBLE DECORATION. 
 
 (15.) Marble possesses a certain degree of flexibility, 
 and thin slabs have been known to bend with their own 
 weight. Sometimes a slab forming the soffit of a mantel 
 will sag down in the form of a bow, its deformation being 
 doubtless assisted by the heat of the fire. Sometimes such 
 a slab has been restored to its normal straightness merely 
 by being supported for some time in a reversed position, 
 having a weight suspended from it in the middle. Some- 
 times it has been straightened by being placed under water 
 and weighted. A slab that has become bent ought not to 
 be allowed to remain in situ, for there is no knowing how 
 soon or how suddenly its fracture may occur. Bent slabs 
 cannot therefore be used in decoration for the soffits of 
 arches, or in other situations where circular work is re- 
 quired, but the material must be shaped to the requisite 
 forms. 
 
CHAPTER II. 
 
 CEMENTS AND MASTICS. 
 
 (16.) Having considered the nature and properties of 
 marble, I now propose to describe some of the cements 
 and mastics employed for uniting its blocks, slabs, or tes- 
 serae together. Some lutes or stoppings for closing up the 
 fissures of marble have been mentioned in the preceding 
 chapter (If 10). We are not therefore concerned with these, 
 although many of the mastics used for joining purposes 
 are analogous in their composition. 
 
 (17.) Bituminous cements have been employed for 
 jointing floors of marble mosaic. For setting large tes- 
 serae, a black earth mixed with boiling pitch has been 
 used. Such preparations are inferior in durability to 
 cements made with lime. For setting smaller tesserae, 
 some authorities recommend oleaginous cements. One 
 of these is made with the calcareous stone of Tivoli, 
 pounded and mixed with oil. Another is made with twenty 
 parts of litharge and one of freshly burnt lime in a 
 dry powder, made into a putty with linseed oil. It sets 
 hard in a few hours. Another, called mason's mastic, 
 consists of pulverised bricks, quicklime and wood ashes, 
 in equal parts, all mixed and diluted with olive oil. This 
 mastic hardens immediately in the air, and does not crack 
 under water. Another cement or mastic to resist the 
 action of water is made with two parts of hydrochlorate of 
 ammonia, one of flour of sulphur, and sixteen of iron 
 filings free from rust. The whole is reduced to a powder, 
 and kept from the access of air. One part of this powder 
 is used with twenty of iron filings, and sufficient water to 
 form a stiff paste. It takes about three weeks to set, 
 when it becomes as hard as iron. 
 
MARBLE DECORATION. 
 
 (18.) Several authorities recommend a " mastic of fil- 
 ings/' or " fountain-maker's cement," for jointing marble 
 in situations where the clean and delicate appearance of 
 the joints is not a necessity, but where a cement is re- 
 quired that will effectually resist the action of water. This 
 preparation consists of 26^ pounds of iron filings, with 
 which copper filings may be combined, while both must 
 be free from rust, pounds of salt, and four garlics. 
 These ingredients are soaked for twenty-four hours in 
 3 \ pints of vinegar, with a little urine. The liquid is 
 poured off, and the thick paste remaining is the mastic, 
 which is to be used at once. 
 
 (19.) A " mastic de Corbel ; ' is mentioned by Chateau 
 and others, for making the joints of steps and terraces in 
 situations exposed to variations of temperature, but not to 
 damp. It is made with six parts of Burgundy tile, 
 pounded and passed through a fine silken sieve, one of 
 litharge, one of pure white lead, three of linseed oil, and 
 one of lard oil. The whole is well mixed and preserved 
 in cakes for use. 
 
 (20.) Portland cement is not generally used for joint- 
 ing marble, owing to the discolouration liable to be pro- 
 duced by it. In marbles of dark heavy colours, however, 
 this discolouration is not observable, and large blocks are 
 sometimes bedded and jointed with Portland cement. A 
 kind of cement used occasionally for this purpose is made 
 with twelve parts of Portland cement, six of slaked lime, 
 and one of infusorial earth, all made into a thin paste 
 with common salt and water. This cement sets hard in 
 twenty-four hours. 
 
 (21.) When a wall is veneered with thin slabs of marble, 
 a backing is required, which is usually about f of an inch 
 thick. For the backing, ordinary lime-and-hair plaster is 
 used, combined with one-third part of fine dust, which 
 may be made from pounded tiles, or brick, stone, or marble 
 dust. Plaster alone has a tendency to swell and burst 
 out the marble work. 
 
 (22.) The material almost universally employed for 
 jointing internal marble work is plaster of Paris, usually 
 combined with alum, and forming Keene's cement. The 
 
KEENE'S CEMENT. 
 
 II 
 
 alum retards the process of setting. The most approved 
 method of preparing the plaster is to take moderate-sized 
 lumps of the raw gypsum or alabaster, from which plaster 
 of Paris is made, and to burn them at a temperature just 
 below red heat. A solution is made with one part of alum 
 in ten of water, and in this the lumps of gypsum are 
 immersed while warm for about fifteen minutes, when 
 they become thoroughly saturated. They are then drained 
 dry and burnt to a red heat, and being afterwards pow- 
 dered, are mixed with water for use. This forms a slow- 
 setting cement of great durability. 
 
 (23.) A cement recommended by several authorities is 
 made in the following manner. About one hundred snails 
 are caught, and kept fasting for about six or eight weeks, 
 care being taken to clean them occasionally. They are 
 then sprinkled with a little water to induce them to quit 
 their shells, any excess of water being drained off as soon 
 as the snails come out. A pinch of common salt, a little 
 vinegar, and the juice of four or five lemons are now 
 added, and the whole is well beaten up together. The 
 snails give off their mucus, which is collected and mixed 
 in a mortar with 4| drachms of gum tragacanth, rather 
 less than half a gill of garlic juice, and about half a pint 
 of alcohol. This cement is to be applied cold, but the 
 joints made with it must afterwards be exposed to the 
 heat of the sun, or a fire. It sets perfectly opaque, and 
 may be coloured to match the marble. 
 
 (24.) A more durable cement is said to be made by 
 putting 3 per cent, of borax or sal-ammoniac into a solu- 
 tion of chloride of zinc having a specific gravity of 
 about 1*50. Oxide of zinc, previously subjected to a red 
 heat is added, until the mass attains the desired consis- 
 tence. It is stated that this cement sets as hard as the 
 marble itself, and may be used for moulded work. 
 
 (25.) A cement in use for mending small broken por- 
 tions of marble is made with eight parts of resin, one of 
 litharge, and four of plaster of Paris. These ingredients 
 are mixed by fusion, and the parts are joined hot. This 
 cement sets rapidly. 
 
 (26.) A neatness of appearance in the joints is essen- 
 
12 
 
 MARBLE DECORATION, 
 
 tial in internal work placed near the eye. A fat mastic 
 or mastic gras, is prescribed by Chateau for application to 
 the outer edges of marble blocks and slabs, so as to make 
 them join with neatness and precision. This mastic is 
 made with two parts of wax, three of Burgundy pitch, 
 and eight of resin, all melted and mixed, and hardened 
 into cakes by immersion in cold water. This mastic is 
 sometimes mixed with finely powdered stoneware frag- 
 ments, and used for stopping the holes in which cramps 
 are inserted for holding pieces of marble together. 
 
 (27.) Marble mosaic work is usually bedded and jointed 
 in ordinary mortar made with lime and sand. Sometimes 
 fine tile dust is substituted for sand, and this gives a 
 general warmth of tone to the jointing, which is very 
 agreeable. Sometimes marble dust is used, and it may 
 be from the same marble as the majority of the tesserae. 
 Sometimes the joints are raked out and pointed with 
 mortar to match the colours of the various tesserae. 
 This is a laborious operation and quite unnecessary for 
 ordinary work. A very clean joint is required in uniting 
 those gold and silver mosaics of which the body consists 
 of glass, and which are used in conjunction with mosaic 
 work in marble. For jointing these a cement is used 
 composed of lime, finely powdered tiles, white of eggs, 
 and gum andragan. The ancients are stated to have used 
 one part of slaked lime and three of pounded marble, 
 made up with water and white of egg. This, however, 
 has been found to harden too rapidly for convenience, and 
 a cement is used compounded of one part of slaked lime 
 and three of finely powdered travertine stone — a whitish 
 concretionary limestone, deposited from the water of a 
 spring holding lime in solution — mixed with linseed oil 
 and stirred every day, the oil being added as it dries. 
 This preparation is ready sooner in warm than in cold 
 weather, occupying between twenty and thirty days in 
 manufacture, after which it resembles a smooth ointment. 
 
CHAPTER III. 
 
 THE ARRANGEMENT OF COLOURS. 
 
 (28.) It is most essential, in forming designs with vari- 
 ously coloured marbles, to so arrange the materials as to 
 produce agreeable decorative results. There are certain 
 principles of colour-decoration recognised amongst artists 
 who work with paint or distemper, and these principles 
 should as nearly as possible be followed in employing the 
 natural colours of marble. It must be understood that in 
 advocating certain methods of arrangement, I have no 
 wish to dogmatise or to lay down hard and fast rules, but 
 merely to enunciate broad principles for general guid- 
 ance. 
 
 (29.) One of the first rules in decoration is that the 
 lightest colours should be applied to the largest surfaces. 
 The surface of a panel may not exceed the united super- 
 fices of its stiles and rails, but it should be lighter, if any- 
 thing, than these latter, because its surface is seen in one 
 mass. 
 
 (30.) No colour in a decorative composition should ap- 
 pear isolated, or strike attention on account of its singu- 
 larity. To avoid this, and to produce a generally har- 
 monious effect, colours should be repeated. Thus, the 
 general colour of a dado may be repeated, although in 
 smaller sizes, in the frieze ; the colours in the skirting 
 should be repeated in the dado-capping, and again in the 
 cornice ; and in the case of a marble ceiling, some of the 
 colours in it should be identical with some of those in the 
 wall-panelling, although the latter may well be darker in 
 its general tone. 
 
 (31.) The darker and heavier colours should occupy the 
 
14 
 
 MARBLE DECORATION. 
 
 lower part of a composition, and the lighter colours the 
 upper parts. It is desirable to make ceilings appear remote, 
 avoiding in them large masses of heavy or startling colour, 
 which may bring them nearer to the eye in appearance. 
 Heavy colours of no very decided tone may properly pre- 
 vail in floors, to which they give the appearance of firm- 
 ness and solidarity, but colours of startling brilliancy will 
 give a floor the appearance of rising. 
 
 (32.) The primary colours, red, blue, and yellow, are 
 usually sparingly employed, blended tints being mostly 
 applied to large surfaces. In marble, the pure primary 
 colours are not available in large sizes, as their effect is 
 subdued by means of veins and spots. It is easy, there- 
 fore, to avoid glaring effects, the difficulty being, as a rule, 
 to obtain any pure colour at all. Pure blue in any con- 
 siderable size is never found, all the so-called blue marbles 
 being greyish or slate- coloured. There are certain kinds 
 of spars in which we find brilliant blue, but only in small 
 patches. The general effect of blue in decoration is to 
 give the effect of distance, and therefore of size, to any 
 part of a composition. Hence in ceilings or in similar 
 situations, bluish-grey and bluish- white marbles will best 
 produce the desired effect. With red, yellow, orange, and 
 especially gold, the contrary result is obtained ; and these 
 should therefore be applied to parts which we desire to 
 bring into prominence. {Striking contrasts of colour should 
 be used with caution upon a large scale, but are most ap- 
 propriate in small patterns, as in mosaic work, for ex- 
 ample. 
 
 (33.) Decoration in colour may be arranged according 
 to harmonies of analogy or of contrast, as explained by 
 Chevreul.* This writer recognises six kinds of harmony 
 in colour decoration — three of analogy, and three of con- 
 trast. The following brief explanation of his theory will 
 probably be of service. 
 
 (34.) Of the harmonies of analogy, the first is harmony 
 of scale. This is produced by the simultaneous view of 
 
 * " The Laws of Contrast of Colour, and their Application to the Arts 
 of Painting, Decoration of Buildings, Mosaic Work, etc." By M. E. 
 Chevreul. Translated by J. Spanton. London, 1857. 
 
CHEVREUUS THEORY, 
 
 different tones of any one colour, no tones which are widely 
 different being placed in proximity. The second, or har- 
 mony of hues, is produced by the simultaneous view of 
 different hues, but belonging to neighbouring scales of 
 colour, such as purple, red, and orange, or orange, yellow, 
 and green, all hues being of the same, or nearly the same, 
 depth. The third, or harmony of a dominant coloured 
 light, is produced by the simultaneous view of colours 
 assorted according to the law of contrast, but with one 
 colour^redominating, the effect being such as would result 
 from the view of all these colours through a slightly 
 coloured glass. 
 
 (35.) Of the harmonies of contrast, we have first the 
 harmony of contrast of scale. This is produced by the 
 simultaneous view of two very different tones of the same 
 colour or scale of tones. Black and white would afford an 
 example of this ; so would deep red and pale pink. The 
 second, or harmony of contrast of hues, is produced by the 
 simultaneous view of tones of colour of different depths, 
 belonging to neighbouring scales or groups of tones. Dark 
 purple and pale orange red would afford an example of 
 this. The third, or harmony of contrast of colours, is pro- 
 duced by the simultaneous view of colours belonging to 
 very distant scales, assorted according to the law of con- 
 trast. The difference in the depths of adjacent tones may 
 further augment the contrast of colours. Dark red and 
 pale green, or dark violet and pale orange, in close proxi- 
 mity, would afford examples of this. 
 
 (36.) This explanation would be incomplete without 
 giving a definition of what is meant by the arrangement 
 of colours according to the law of contrast, although this 
 is tolerably well known. There are, properly speaking, 
 only three colours, red, yellow, and blue, all other hues 
 being combinations or modifications of these. White is 
 only a combination of all the colours, as is proved by the 
 prismatic or rainbow colours into which white light is 
 separable. To produce the effect of the most complete 
 harmony upon the eye, we must therefore employ the 
 three colours, or such combinations or modifications of them 
 in such proportions as would, if the colours were inter- 
 
i6 
 
 MARBLE DECORATION. 
 
 mingled, produce the effect of white. We find that when 
 we gaze at one pure colour, such as blue, for example, 
 there is a sense of incompleteness, because the eye demands 
 the presence of red and yellow, either separately or com- 
 bined to form orange. We can, in fact, produce the com- 
 plementary hue, which will harmonise with any one pure 
 colour by a combination of the remaining two. Thus, 
 green will harmonise with red, orange with blue, and 
 violet with yellow. Coming to hues of a more compound 
 character, we find that yellowish green harmonises with 
 purple, orange-yellow with violet-blue, and greenish-blue 
 with reddish orange. The amount of colour surface may 
 be regulated according to the depth of tone in each case ; 
 thus a small surface of deep red will compensate the eye 
 for a large surface of pale green. This exemplifies the 
 principle already stated (^f 29), that the lightest colours 
 should be applied to the largest surfaces. 
 
 (37.) It will be understood from the foregoing obser- 
 vations that those species of harmony mentioned by Chev- 
 reul in which various tones of one colour only are admitted, 
 cannot produce perfectly satisfactory impressions upon the 
 eye. There will always be a sense of incompleteness con- 
 nected with them. This, however, is not objectionable in 
 halls or anterooms, or in suites of apartments through 
 which we may wander, the eye being refreshed by the 
 variety in the prevailing tones of each. A sense of cold- 
 ness is produced by a composition in which blue predomi- 
 nates, while red, yellow, and gold convey the impression 
 of warmth. An ante-chamber panelled with white or pale 
 grey marble, with the dado, cornice, and framing to the 
 panels in dark grey, and with some of the principal mould- 
 ings in black, can form an attractive composition in itself, 
 but is especially valuable if its lack of warm colour can be 
 made to heighten, by contrast, the glory of an , interior 
 beyond it, richly decorated in varieties of colour. We 
 must not, however, run into the error of employing too 
 many varieties of colour in any one composition. Some 
 of the finest decorative effects have been produced with 
 not more than three varieties of coloured marble; and 
 indeed it is seldom advisable to exceed this number. 
 
COMBINING MARBLES. 
 
 17 
 
 (38.) It may not be out of place here to remark that 
 the semi-transparent effect of polished marbles or granites 
 will not combine satisfactorily with ordinary stone or 
 brick. Such combinations have often been made, but have 
 been condemned upon grounds of taste by eminent archi- 
 tectural critics, amongst whom may be mentioned the late 
 Messrs. Burges and E. Barry. In forming colour combi- 
 nations with marble, great care should be exercised in 
 selecting the actual slabs or blocks to be used ; for large 
 masses often differ widely in parts from small specimens. 
 Moreover, it is seldom safe to rely upon the discretion of 
 workmen in the particular arrangement of patterns. Above 
 all, it is necessary to avoid using large, coarse-looking 
 patterns in small sizes. 
 
 c 
 
CHAPTER IV, 
 
 MOSAIC MARBLE WORK. 
 
 (39.) The art of mosaic, or more properly musaic, may- 
 be defined as a mode of forming patterns or pictures by 
 the inlaying of small pieces of glass, stone, marble, and 
 sometimes of artificial substances. The descriptions of 
 mosaic here will, however, be confined to those classes of 
 work in which marble, or other natural materials which 
 rank with it, can be employed ; except in so far as such 
 materials may be used in conjunction with gold or silver 
 enamels, which are held for decorative purposes to be 
 legitimately connected with marble mosaic. 
 
 (40.) The Romans, who appear to have borrowed the 
 art from the Greeks, followed two distinct modes of con- 
 struction. The first is seen in its earliest form in the 
 Opus Tesselatum, the second in the Opus Sectile. It is 
 to these modes of construction that we owe two distinct 
 methods of design, which can be followed in floor, wall, 
 and ceiling decoration, with coloured marbles. 
 
 (41.) The oldest kind of Roman mosaic was the Opus 
 Tesselatum, in which small cubes or tesserce of marble, of 
 ^ of an inch average thickness and diameter, were so com- 
 bined as to form geometrical patterns, amongst which the 
 well known Greek fret was of most frequent occurrence. 
 At first, black and white marble were only used, coloured 
 kinds being introduced later. The Opus Tesselatum seems 
 to have been chiefly confined to floor decoration, to which 
 it was admirably suited. It had probably been in use 
 about a century, when the Opus Figlinum began to be 
 employed, between twenty and thirty years before the 
 Christian era. In this work, the marble tesserae were used 
 
OPUS SECTILE. 
 
 '9 
 
 in conjunction with cubes of a vitreous composition. Re- 
 presentations of figures, flowers, and fruit, combined with 
 foliated ornamentation, were produced in various colours, 
 but all in a conventional style, and with little attempt at 
 the effect of shade. The Opus Figlinum was used more 
 in mural decoration than for paving. It was revived at 
 the period of the Renaissance in the sixteenth century, 
 under the name of Roman mosaic, by which it is still 
 known. The Opus Vermiculatum may be regarded as a 
 further development of the preceding, though hardly in a 
 direction most applicable to architectural purposes. In it 
 we find life-like imitations of natural objects, the colours 
 and shadows being reproduced with realistic fidelity by 
 means of various- sized pieces of marble, glass, precious 
 stones, and fictile ware, some pieces not measuring more 
 than -^-ftth of an inch across. In some mosaics of this cha- 
 racter, such delicate gradations of shadow and colour have 
 been obtained as to resemble the productions of the painter's 
 art. But it is now generally admitted that such work is 
 out of keeping with the proper treatment of mosaic, besides 
 being unsuitable for decorations of an architectural cha- 
 racter. It may be remarked that what happened in the 
 later developments of the art of mosaic is what has too 
 often happened in connection with other arts allied to 
 architecture : fundamental principles of design which first 
 suggested themselves as being characteristic of the mate- 
 rial employed, were lost sight of as mechanical methods 
 of execution became elaborated. 
 
 (42,) The Opus Sectile of the Romans was applied 
 more generally in pavements than 
 
 elsewhere. Mosaic work of this 
 kind was formed with thin slabs of 
 differently coloured marbles, called 
 crusta, cut into geometrical shapes 
 and arranged in patterns. Its in- 
 troduction into Rome dates from 
 about a hundred years before the 
 
 Christian era. The Romans bor- 
 rowed the art from the Greeks, who had previously derived 
 it perhaps from a Persian source. Fig. 1 shows a specimen 
 
20 
 
 MARBLE DECORATION, 
 
 of Roman Sectile, in which the pattern betrays a decidedly 
 Oriental origin. Towards the end of the third century, 
 Roman art began to exhibit traces of Oriental influence, 
 resulting from the contact of western civilisation with that 
 of so-called barbaric races. From this time onwards the 
 round-and-square character of the geometrical ornament 
 which Rome had derived from Greece gradually gave place 
 to the angular and interlacing patterns common in Moorish 
 and Arabian designs. Of this kind was the Opus Grrecan- 
 icum, executed with small geometrically shaped pieces of 
 coloured glass, and found in so many of the Romanesque 
 churches of Italy. Long before this period the Opus Sectile 
 seems to have fallen completely into disuse, and ancient 
 examples of it are extremely rare. 
 
 (43.) At the period of the Renaissance, the Opus Sec- 
 tile was revived in Italy. At Florence was produced 
 what has been regarded as a species of Opus Sectile, 
 and commonly known as Florentine mosaic. In this 
 we have thin veneers of coloured marble and more pre- 
 cious minerals laid upon a backing of slate, and so 
 arranged as to produce pictorial representations of natural 
 objects. This class of work is styled by the Italians Opera 
 di Commesso. 
 
 (44.) A kind of mosaic work called Opus Alexandri- 
 num prevailed in Italy for a period of nearly a thousand 
 
 years from the commence- 
 ' " ment of the fourth cen- 
 tury, and is supposed to 
 have been introduced into 
 Rome early in the third 
 century. In this work 
 channels were formed in 
 slabs of white or light- 
 coloured marble, and co- 
 loured pieces, cut into 
 geometrical shapes, were 
 so inlaid as to form pat- 
 terns. Dark porphyry and green serpentine were 
 almost exclusively employed for this purpose. Giallo 
 Antico is found in some specimens, but is believed to 
 
 Fig. 2. 
 
OPUS ALEXANDRINUM. 
 
 21 
 
 have been subsequently introduced. In Fig. 2 we have 
 an example of Opus Alexandrinum from the border to a 
 pavement in the basilica of Santa Maria Maggiore at 
 Rome, executed in the fourth century. The small trian- 
 gular pieces of inlay measure not more than a quarter 
 of an inch across. 
 
 (45.) Considerable ingenuity was displayed in the pro- 
 duction of geometrical patterns in this kind of marble 
 inlay, which long retained its severe purity of character. 
 In the Florentine work we have black and red inlaid upon 
 a ground of white. An example of this is shown in 
 Fig. 3, from a pavement in the Duomo at Florence, 
 
 Fig. 3. 
 
 executed in the twelfth century. Here the small central 
 stars only are in red. In the form and disposition of 
 this pattern, as in others of the same period, an Oriental 
 influence is traceable. More elaborate and not less pleas- 
 ing, is the pattern in Fig. 4, which is taken from the 
 Baptistery at Florence, and may be referred to the com- 
 mencement of the thirteenth century. Later on, conven- 
 tional imitations of natural forms were gradually intro- 
 duced, a black mastic being used for inlaying upon white 
 marble. A mastic used for this class of inlaid work at 
 the Cathedral of Siena in 1444, consisted of sixty pounds 
 of pitch, twenty- four of wax, and ten of " bolo " — a kind 
 of black bole or earth. The use of such a material for 
 inlaying resulted in the production of fine lines and natu- 
 ralistic foliage not consistent with marble mosaic; and 
 
22 
 
 MARBLE DECORATION. 
 
 the later specimens of the art show signs of corruption. 
 In Fig. 5 is an example in which some severity of form 
 is still retained. It is taken from the Church of Santa 
 
 .Fig. 4. 
 
 Maria Novella, Florence, and belongs to the fifteenth 
 century. In such examples, where we see a more distinc- 
 tively Gothic character exhibited, broad masses of black 
 
 are introduced, 
 which impart a 
 general appear- 
 ance of heaviness 
 to these designs. 
 
 (46.) For the 
 decoration of 
 walls and vaults, 
 a kind of inlaid 
 mosaic work was 
 executed in the 
 Roman basilicas 
 between the fifth 
 Fig- 5. and fourteenth 
 
 centuries. In this 
 
 kind of work, sacred figure subjects were represented upon 
 a gold ground, with slight indications of shadow; and the 
 style of art was closely allied to that which subsequently 
 found expression in coloured glass. At Florence also 
 figure subjects were executed with marble inlay in pave- 
 
MOSAIC FLOORS. 
 
 23 
 
 ments, between the end of the thirteenth and commence- 
 ment of the fourteenth centuries. Grey marble was used 
 for the shadowed portions upon a ground of white, the 
 outlines and hatchings of the figures being filled in with 
 black mastic. 
 
 (47.) Examples for our guidance in the application of 
 marble mosaic are sufficiently numerous amongst the 
 works of the past ; and our aim should be to select those 
 for study which exhibit the best principles of design in 
 form and colour. Floors, walls, and ceilings are respec- 
 tively capable of being treated in a distinctive manner, 
 and I now propose to indicate what kind of mosaic is best 
 applicable to each, together with the methods of construc- 
 tion and fixing. 
 
 (48.) For floors, we must consider ourselves restricted 
 to the use of granites, porphyries, and coloured marbles, 
 reserving gold and silver enamels for situations not ex- 
 posed to actual wear. A firm and perfectly level founda- 
 tion is indispensable. The Roman mode of laying was 
 first to put down a bed of large stones, with very little 
 cement, upon the ground. Over this was spread a mass 
 of concrete, composed with five parts of small stones and 
 two of lime, carefully rammed to a thickness of about 
 nine inches, and to an even surface. This was covered 
 with a layer of a finer species of concrete, composed with 
 three parts of crushed tiles and one of lime, well mixed, 
 spread evenly, and floated to a true face upon which the 
 outlines of the requisite patterns could be scored. The 
 mosaic was then laid, and the whole was well grouted 
 with liquid cement so as to fill all interstices. The surplus 
 cement was afterwards cleaned off, and the surface of the 
 mosaic was polished by rubbing down with marble. In 
 modern work, Portland cement concrete is generally used 
 for the foundation, the mosaic being bedded in mortar 
 made with pounded tiles, as already described (If 27). The 
 surface is then rolled with granite rollers, which force the 
 tesserae well down into the bed of mortar, which is squeezed 
 upwards into the interstices. Care should be taken to 
 avoid unsettling the tesserae before the mortar is set, and 
 boards are usually laid down over all parts liable to be 
 
MARBLE DECORATION. 
 
 traversed by unwary feet. A high degree of polish is not 
 desirable ; and most mosaic floors are simply " gritted " 
 or rubbed down with blocks of sandstone to a surface 
 which is sufficiently smooth without being slippery, after 
 which the floor is cleaned by washing. 
 
 (49.) The commonest kind of marble mosaic is formed 
 with irregularly-shaped tesserae, broken to an average 
 f-inch diameter, and passed through a machine which 
 takes off the sharpest angles. This is the kind of mosaic 
 called Terazzo or T'razzo by Italian workmen; and the 
 tesserae may be all of one species of marble or of several 
 colours mixed, so as to form a kind of " Opus Incertum " 
 in colours. Wooden rakes are sometimes used for spread- 
 ing the tesserae, so that their colours are evenly distributed 
 throughout, the general effect from a distance being that 
 of a warm grey of moderate depth. For borders and pat- 
 terns, the tesserae are roughly squared or shaped by hand, 
 as in Roman mosaic. In borders to T'razzo mosaic, or any 
 other kind in which there is considerable diversity of 
 colour, it will be found that continuous lines of black are 
 absolutely necessary. A large mass of T'razzo paving is 
 agreeably relieved by the introduction of symmetrical 
 paterae or other ornaments in black and white, placed at 
 regular intervals. Their diameter is usually greater than 
 the width of the border, and they should be so spaced 
 as to present neither an isolated nor a crowded appear- 
 ance. 
 
 (50.) As regards the sizes of patterns in floors, it is to 
 be observed that as they are always at the same distance 
 from the eye they should always preserve the same scale. 
 It is often desirable to lay out a large floor in such a man- 
 ner that the effect of the whole design can only be appre- 
 ciated from a gallery above ; but in such a case it is better 
 that the larger pattern should be made up of several sub- 
 divisions, each containing a complete design in itself, than 
 that large patches of colour should be introduced, the 
 meaning of which is unintelligible to those who walk 
 upon the floor. 
 
 (51.) Patterns are usually set out before being placed in 
 situ. A frequent method is to draw the design in reverse 
 
SETTING OUT MOSAICS. 
 
 25 
 
 upon stout lining-paper, and fill in the colours. Over this 
 the marble tesserae are placed in their proper positions, 
 being made to adhere to the paper with the aid of paste or 
 glue, and being generally enclosed in a light wood frame 
 attached to the paper. When the pattern is completed the 
 whole is placed in its properly-prepared bed of mortar, and 
 the paper is removed from the surface, after which the 
 usual process of grouting, cleaning, and gritting is pur- 
 sued. Sometimes a black bituminous mastic 17) is used. 
 Fine sand is spread upon a flat surface, upon which an 
 empty frame of the requisite size is placed. Inside this 
 the tesserae are so arranged as to form the pattern, the out- 
 line of which is previously traced upon the sand. The 
 hot mastic is then poured into a kind of wooden tray, about 
 three-quarters of an inch deep, and of the same size as the 
 frame enclosing the pattern. The tray is reversed over 
 the mosaic, and the mastic passes downwards, penetrating 
 into the interstices between the tesserae, but is prevented 
 by the sand from spreading under their lower surface, 
 which is to form the front of the design. When the 
 mastic has become hard, the mosaic is reversed, and placed 
 upon a level bed of mortar thoroughly set and covered 
 with boiling mastic to a thickness of about a quarter of 
 an inch. When the latter has cooled down and hardened, 
 the mosaic is retained in position. By such means the 
 whole or any portion of a design may be set out and its 
 effect criticised before it is fixed. 
 
 (52.) In forming patterns — and this applies to mosaic 
 work in any situation — the tesserae in the ornament itself 
 should run in directions parallel to the outline as nearly as 
 possible, so that the effect may not be marred by an in- 
 harmonious arrangement of joint lines. A single row 
 of tesserae in the ground should also follow the outline, 
 so that no joint lines may cut awkwardly against the 
 leading forms. Both of these desiderata are illustrated 
 in Fig. 6. 
 
 (53.) The impropriety of walking over a picture has 
 been generally acknowledged ever since the publication of 
 Pugin's True Principles, and it is, therefore, needless to 
 protest against the introduction of pictorial subjects into 
 
26 
 
 MARBLE DECORATION. 
 
 floors. Even with conventional ornament care should be 
 taken to employ only that which can be viewed from any 
 
 standpoint without present- 
 ing the appearance of being 
 upside down. The same thing 
 applies to geometrical pat- 
 terns, which may, however, 
 be made to express direction, 
 while perfectly symmetrical 
 in their parts. To explain 
 this more fully, any pattern 
 may be said to express 
 direction, which is composed 
 of elongated forms placed .end to end and ranging in 
 parallel lines, or where the colours are so disposed in 
 any regular pattern as to give the effect of continuous 
 
 Fig. 6. 
 
 Fig. 7. 
 
 parallel lines. The patterns shown in Figs. 1, 3, 7, 
 and 9 all express direction, while Figs. 4 and 10 do not, 
 Fig. 4 giving the effect of repose very happily by an 
 ingenious combination of straight lines and curves. In 
 
OBJECTION TO SHADING. 
 
 27 
 
 designing patterns it is certainly easier to express direc- 
 tion than repose, because even when the forms are satis- 
 factorily arranged it is often difficult to prevent the colours 
 from falling into parallel rows. It is decidedly better in 
 most floors to have patterns which express repose. Pat- 
 terns expressing direction are proper enough in corridors, 
 where the direction of the pattern should of course coin- 
 cide with the length of the corridor. If an elongated 
 pattern is employed in the floor of an elongated room, the 
 length and breadth of the geometrical figures should be 
 proportionate to the length and breadth of the floor- space 
 measured within the border, and then it will be found that 
 a satisfactory finish can be made at the corners. 
 
 (54.) Following still further the principle of avoiding 
 pictures in floors, we should endeavour in the arrangement 
 of colours to convey an impres- 
 sion of flatness, quite free from 
 anything which may resemble 
 an attempt at shading. The 
 eye is not agreeably impressed 
 by a floor pattern which seems 
 to rise up in relief, as if offering 
 impediments to the feet in walk- 
 ing. Fig. 8 shows a fragment 
 of a border from a Pompeian 
 tesselated pavement, in which 
 the objectionable practice of shadowing has been deliber- 
 ately adopted. The effect calls to mind some of the vul- 
 gar sorts of shop -lettering to be seen in London and 
 elsewhere. 
 
 But the effect of shadowing will sometimes arise unin- 
 tentionally, and is not always easily avoided. This is seen 
 in the pattern, Fig. 9, from the Basilica of Santa Maria 
 Maggiore. Here we have a series of rhombus- shaped 
 slabs of porphyry and serpentine inlaid upon a ground of 
 light marble, producing the appearance of a series of 
 cubical blocks viewed anglewise. The crude simplicity of 
 the pattern gives it an effect of tiresome monotony, not- 
 withstanding which it has come into very common use. 
 Fig. 10 shows another arrangement of the same materials, 
 
28 MARBLE DECORATION. 
 
 the effect of direction, resulting in Fig. 9 from parallel 
 rows of colours, being avoided. 
 
 (55.) Coming to the consideration of mosaic work as 
 applied to wall surfaces, it may be remarked that here it is 
 
 Fig. 9. 
 
 desirable that the pattern should be expressive of direction, 
 either vertical or horizontal. If, for example, we have a 
 long, low wall surface, we may wish to impart an appear- 
 
 Fig. 10. 
 
 ance of height to it by an arrangement of lines expressing 
 vertically. This could be done by the use of the pattern 
 shown in Fig. 7, from the dado of the Hall of Justice in 
 the Alhambra, of thirteenth centurv date. The black in 
 the diagram represents dark blue, the other colours being 
 pale blue, grey, green, and orange. These mosaics are 
 formed with tiles, but there is no reason why they should 
 not be reproduced in marble, a more limited range of 
 colours being adopted. The pattern in Fig. 7, if turned 
 sideways, would give apparent breadth to a wall surface 
 considered to be too lofty or too narrow. Figs. 11 and 12, 
 both from pavements in the Baptistery at Florence, afford 
 
MOSAIC FOR WALLS. 
 
 29 
 
 simple suggestions for producing similar effects. Fig. 11 
 would give breadth and Fig. 12 would give height to a 
 wall surface. Fig. 12 might be ap- 
 plicable to inlaid marble columns, 
 or to elongated panels in pilasters. 
 But if we wish to give a marked 
 character to wall as distinguished 
 from floor decoration, we ought to 
 employ in the former such orna- 
 mentation only as can be properly Fig. 11. 
 placed in a vertical position. Fig. 
 
 13, from the church of St. Anastasia, Verona, is applied 
 to a floor surface, but it so plainly suggests an upper and 
 an under side in its form that it seems best fitted for wall 
 decoration. The colours are red and grey 
 alternated with white. 
 
 (56.) The application of Roman tesselated 
 mosaic work to walls allows greater freedom 
 in the design of ornamental forms than can 
 be obtained in any species of Opus Sectile or 
 Alexandrinum. With Roman mosaic, gold 
 and silver enamels are often used in con- 
 junction with marble tesserao. These enamels Fig. 12. 
 are made by placing metal leaf upon a 
 foundation of glass or enamel, and covering it with a 
 thin layer of fine glass of uniform thickness, which may 
 be plain or coloured, according to the effect which is 
 desired to be produced. The 
 three substances are fused 
 together by the aid of heat, 
 and the whole must of course 
 be of the same finished thick- 
 ness as the marble tesserae to 
 be used in connection with 
 it. The enamel is also cut 
 into the same average sizes Fig. 13. 
 
 as the marble, so that the 
 
 jointing of the whole may present uniformity of appear- 
 ance. The cements used in jointing have been de- 
 scribed in the second chapter flj 27). It will be found 
 
3° 
 
 MARBLE DECORATION. 
 
 that dark-coloured marbles show to the best advantage 
 against gold or silver mosaic, black marble, porphyry, and 
 serpentine being highly effective. The gold or silver 
 frequently forms a ground in which the ornament is in- 
 laid with marble. Silver being more dazzlingly brilliant 
 than gold, should be used more sparingly ; and when we 
 have a silver ground, the patterns upon it will bear to be 
 inlaid with broader lines than upon a gold ground. 
 Patterns suitable for panels and friezes are those which 
 
 are irreversible, like the 
 Pompeian mosaic shown in 
 Fig. 14, without being of 
 too pictorial a character. 
 Pictorial designs are often 
 executed with several 
 colours upon a gold 
 Fig. 14. ground ; but when this is 
 
 done it is necessary to 
 surround each mass of light colour with an outline of 
 small black tesserae, to set it off against the background. 
 The scope for variety is practically unlimited in the deco- 
 ration of walls with mosaic work, but the general principles 
 to be observed in connection with it are well summed up 
 in the following extract from a paper read before the 
 Poyal Institute of British Architects by Mr. (afterwards 
 Sir Matthew Digby) Wyatt, in 1862. According to this 
 eminent authority, a well-devised system of mosaic should 
 give " by predominant vertical lines height to a structure 
 in which height is wanting, and by predominant hori- 
 zontal lines, length where length is needed. Brilliancy 
 may be wrought out of darkness by allowing gold grounds 
 and luminous colours to prevail ; while the eye in another 
 building, 6 faint with excess of light/ may be refreshed by 
 a preponderance of cool and quiet tones. String courses 
 and borders, archivolts and imposts, bands and friezes, 
 should be treated as permanent frames to permanent pic- 
 tures, essential, by their rectangularity or other simple 
 geometrical character, to afford the eye a ready means of 
 testing all adjoining and more complex forms by con- 
 
MOSAIC COVES. 
 
 3i 
 
 trast. Need I say," continues the lecturer, " that where 
 the skeleton of the picture's composition is tossed about 
 in lively action, a stronger boundary of more vivid and 
 contrasted lines must enclose it as a corrective, than when 
 the motive power of the picture is a quieter and simpler 
 structure. That is the reason why the great Venetian 
 pictures require such massive framing, while the more 
 serene compositions of the early Florentine and Sienese 
 schools look best when separated one from another by 
 little else than narrow bands of flat and softly tinted 
 ornament. In the same way in mosaic, the rigid saints of 
 the early Byzantine school, with their evenly-balanced 
 limbs and perpendicular draperies, need little else than 
 vertical palm-trees or inscriptions, or even upright staves 
 placed between them, to keep them architectonic ; while 
 the later corresponding figures of the Italian school, with 
 their swaying lines, require often actual insertion into 
 niches to keep them even reasonably quiet." 
 
 (57.) Coves in marble mosaic are usually constructed 
 with curved ribs of rolled JL-iron, filled in between with 
 concrete resting upon their flanges. The mosaic is set 
 upon a backing of plaster worked to an even surface over 
 the concrete. Gold grounds are much used in coves, with 
 patterns in broad black lines. No pattern should be em- 
 ployed which is liable to be unpleasantly distorted by the 
 curvature of the surface ; and for this reason, curved lines 
 are more appropriate than those which, following rectan- 
 gular forms, are more fitly applicable to flat surfaces. 
 Similarly, no pattern should be employed in a cove which 
 is obviously suggestive of verticality. Thus, for instance, 
 representations of hanging swags, festoons, or garlands, 
 which would naturally fall into a drooping posture if sus- 
 pended against a wall, are generally admitted to be out of 
 place in a cove, as they are in a ceiling ; and figure sub- 
 jects should be avoided for similar reasons. The same 
 observations apply to the decoration of domes ; and it 
 may here be added with reference to figure subjects in 
 any situation, that when the figures are larger than life, 
 they always dwarf the apparent size of an interior, because 
 
32 
 
 MARBLE DECORATION. 
 
 we unavoidably suppose them to be smaller than they 
 actually are. The kind of mosaic ornament which seems 
 
 best suited to coves and domical 
 ceilings is that formed with inter- 
 lacing ribs, or with conventional 
 imitations of plant forms, in which 
 the undulating or scroll-like 
 character of the leading lines is 
 Tig. 15. not out of keeping with the 
 
 curved surfaces to which they 
 are applied. Fig. 15 shows an Indian pattern which, it is 
 suggested, might be adapted to the decoration of a mosaic 
 
 cove, or employed in zones 
 or bands of ornament around 
 a dome. Some o£ the well- 
 known intertwined scroll 
 ornaments of the Italian Re- 
 naissance would be equally 
 appropriate for such pur- 
 poses. Fig. 16 shows an 
 ornament from a Greek vase, 
 which might be employed in 
 the decoration of a domical 
 Fig. 16. ceiling, the ornament being 
 
 worked into the interspaces 
 between ribs and zones of a more formal character. I 
 have purposely selected Fig. 16 from a vase, because being 
 originally deemed suitable for a curved surface, we cannot 
 go far wrong in applying it to a dome. 
 
 (58.) Mosaic work may be applied to flat ceilings, the 
 patterns being first set out, and afterwards placed in posi- 
 tion. The ceiling is usually beneath an ordinary fireproof 
 floor constructed with rolled iron I or JL beams, having 
 concrete filled in between them. The mosaic work may 
 be laid in mortar upon l|-inch or 1 J-inch slabs of slate, 
 and rubbed down and polished to the requisite degree. A 
 margin is left at the side of each slab, to allow for a bear- 
 ing upon the flanges of the iron beams, which can be laid 
 at five or six feet apart. Fig. 17 shows a section through 
 the bottom flange of the beam, with the slate slab, which 
 
MOSAIC CEILINGS. 
 
 33 
 
 forms the backing to the mosaic resting upon it. The 
 iron is concealed by a 2^-inch moulded marble soffit, 
 having lewis-holes sunk in its upper face at from one foot 
 to eighteen inches apart. Brass bolts of |-inch diameter 
 are let into the 
 lewis-holes and 
 run with lead, 
 and being passed 
 through holes 
 drilled in the iron 
 flange and in the 
 slate above, are 
 secured by means 
 of screw - nuts. 
 The space be- 
 tween the soffit Fig. 17. 
 and the mosaic 
 
 work is occupied by a plain marble facia which takes its 
 bearing upon the former. Concrete, if required, is laid 
 upon the slate slabs. 
 
 (59.) Little need here be stated with reference to the 
 appropriate treatment of flat ceilings in mosaic work. It 
 is maintained that pictorial decorations ought only to be 
 placed where they can be seen to the best advantage — 
 that is, against vertical wall faces. The arrangement of 
 ceilings should be similar to that of floors, as regards the 
 expression of direction and of repose, as already stated 
 (*A 53), and also as regards avoiding the appearance 
 of relief resulting from artificial shadows (U 54). But 
 with reference to the sizes of patterns, these will be 
 governed by their distance from the eye, which will differ 
 in different cases. Lightness in general tone is essential 
 in a ceiling, if only from the practical necessity of making 
 it reflect as much light as possible upon the room below ; 
 and light colours should therefore predominate in ceilings, 
 as dark colours should in floors. 
 
CHAPTER V. 
 
 MARBLE LININGS AND BOXINGS. 
 
 (60.) Besides mosaic, there are two distinct means of 
 decorating the surfaces of buildings with marble, both of 
 which are described in G. E. Street's " Brick and Marble 
 in the Middle Ages/' as having prevailed in Italy. The 
 first method was that practised in Venice, and consisted 
 in veneering brick walls with thin slabs of marble. In 
 the other, practised at Bergamo, Cremona, and Como, the 
 marble formed a portion of the substance of the wall. 
 " These two modes led," observes the author, " to two en- 
 tirely different styles and modes of architecture. The 
 Venetian mode was rather likely to be destructive of good 
 architecture, because it was sure to end in an entire con- 
 cealment of the real construction of the work ; the other 
 mode, on the contrary, proceeded on true principles, and 
 took pleasure in defining most carefully every line in the 
 construction of the work. It might almost be said that 
 one mode was devised with a view to the concealment, and 
 the other with a view to the explanation, of the real mode 
 of construction." 
 
 (61.) With the objections against the practice of ve- 
 neering, I shall deal presently. As for the method of 
 explaining construction by the use of solid marble blocks, 
 as described, it is needless to state that effects of great 
 beauty combined with architectural truth were obtained 
 by it in Italy. The colours of the marble were alternated 
 in horizontal bands, sometimes of equal widths, and at 
 others with narrow courses of white marble between 
 broader ones of dark colour. In the voussoirs of arches 
 similar alternations of colour were pursued, and sometimes 
 
VENEERING WALLS. 
 
 35 
 
 straight lintels were formed with a number of stones dif- 
 fering in colour, ingeniously keyed together. This mode 
 of marble decoration is of course far too costly to be 
 adopted to any considerable extent amongst us, and we 
 are compelled, in the majority of cases, to resort to the 
 Venetian method, which adapts itself very conveniently 
 to the purposes of internal decoration, and enables us to 
 do full justice to the materials employed. The beauty of 
 coloured marble can only be properly appreciated when it 
 is seen in large masses. When it is cut into the average 
 sizes of ordinary building stones, and bonded into a wall 
 like ashlar work, we lose the majesty of effect resulting 
 from a single polished slab of large dimensions, such as 
 we can only have in veneered work. 
 
 (62-) In veneering brick walls with marble, the slabs 
 are rarely less than \ of an inch thick, although the Romans 
 are said to have veneered with \ -inch slabs in the baths 
 of Caracalla. A space of 1J inch is usually allowed from 
 the surface of the marble to that of the wall, to include 
 thejbacking of plaster (U 21) and any slight irregularities 
 in the wall surface. As marble suffers greatly from the 
 disintegrating influence of damp, the slabs should not be 
 fixed until the walls are thoroughly dry. Open spaces 
 should be left, where possible, between the marble and the 
 wall ; and with this object it is better for the backing to 
 be laid in narrow vertical strips, so spaced that each slab 
 may rest against at least two of the strips. If there is any 
 doubt about the wall being dry, open joints should be left 
 in the marble work for some time, so as to admit of a free 
 circulation of air behind, and prevent condensation. The 
 best fixing is obtained when a slab can be inserted between 
 two projecting string-courses of solid marble built into the 
 wall. Grooves, or rebates, are cut in the upper and under 
 sides of the string-courses to receive the slabs, and the 
 groove receiving the upper edge of each slab should be 
 deep enough to allow sufficient " play/' so that the slabs 
 may not be crushed or injured in the event of any settle- 
 ment in the wall behind. Vertical or horizontal joints 
 between slabs are usually tongued with copper or galva- 
 nized iron. As a rule, linings have to be fixed where 
 
36 
 
 MARBLE DECORATION. 
 
 there are no string-courses to give them support, and they 
 are then secured to the walls by means of small metal 
 wall-hooks. These hooks are made to grip the slabs by 
 passing into small sinkings in the top, bottom, and side 
 edges of the latter. The slabs are notched out at the back 
 so as to enable them to close with a neat joint in front, 
 while allowing for the thickness of the metal hooks. 
 Staples, or bars of metal hooked at both ends, are often 
 used for securing slabs of marble to solid stone backings. 
 The slabs themselves are jointed together with plaster of 
 Paris or Keene's cement (^j 22). 
 
 (63.) Hollow piers or pilasters are constructed with 
 marble slabs 1| inch or more in thickness according to 
 size, and tongued at the angles with copper or galvanized 
 iron. Beads or ovolos are usually worked upon the arrises, 
 or else the slabs are finished square at the edges, so as to 
 form a simple lap joint, showing a double arris, no attempt 
 being made to deceive the eye by an invisible angle- joint. 
 The angles are usually strengthened by means of gusset- 
 shaped blocks of any cheap freestone, fixed inside with 
 plaster or cement. In constructing a boxed enclosure to 
 an iron stanchion, large blocks of stone may be used, 
 which can take their bearings upon the feathers or cross- 
 flanges of the stanchion. 
 
 (64.) It will be understood that extremely careful work- 
 manship is necessary in fixing marble linings, so as to 
 avoid injuring the edges of the slabs. Great accuracy is 
 requisite in cutting them to the proper sizes, and in setting 
 out the work before it is fixed. It is as well that the hooks 
 and staples used in fixing should be so arranged as to 
 afford independent support to the slabs, and prevent them 
 from being subjected to any undue pressure. 
 
 (65.) In the work previously cited, Street has drawn 
 attention to the necessity of using marble veneer purely 
 as a decorative covering, and objects to its employment as 
 an apparently structural material. " There appears to 
 me," says this writer, "to be a certain limited extent to 
 which we may safely go in the way of inlaying or incrus- 
 tation ; we may, for instance, so construct our buildings 
 as that there may be portions of the face of their walls in 
 
VENETIAN EXAMPLES. 
 
 37 
 
 which no strain will be felt, and in which this absence of 
 strain will be at once apparent ; obviously, to instance a 
 particular place, the spaces enclosed within circles con- 
 structed in the spandrils of a line of arches can have no 
 strain of any kind. They are portions of a wall without 
 any active function, and may be safely filled in with ma- 
 terials the only object of which is to be ornamental. All 
 kinds of sunk panels enclosed within arches or tracery 
 would come under the same head; the spaces between 
 string-courses might also do so very frequently, if, as in 
 old examjoles, the string-courses were large slabs of stone 
 bedded into the very midst of the wall, and so capable of 
 protecting the thin weak slabs of marble incrusted between 
 them. In Venice we have some grand examples, at St. 
 Mark's, of this system of incrustation filling in the whole 
 of the space within large arches ; here it is lawful, because 
 there is no weight upon it to thrust it out of its place or 
 disjoint it, as the least pressure most certainty always will. 
 So far in praise of the Venetian system. But in other 
 parts of the same building we have this system carried to 
 a length which I cannot but think most mistaken, and 
 which, I most heartily trust, may never find imitators 
 here. In these the arches were constructed in brick, and 
 then entirely covered with marble. Of course there was 
 some difficulty in doing this, and the way in which the 
 difficulty was met was extremely ingenious. A succession 
 of thin slabs of marble was placed round the soffit of the 
 arch, having perhaps enough of the cohesion given by the 
 form of the arch to enable them to support their own 
 weight, and further supported by metal staples let into 
 the joints of the brickwork. The edges of these thin slabs 
 projected sufficiently in advance of the face of the brick- 
 work to allow of their being worked with some kind of 
 pattern — generally, as has before been said, a sort of dentil 
 — and of their giving some support to the thin slices of 
 marble with which the walls were then covered. The 
 whole system was excessively weak, and this can nowhere 
 be better seen than in the Fondaco di Turchi, where almost 
 the whole of the marble facing and beautiful medallions, 
 in which it was once so rich, have peeled off, and left no- 
 
38 
 
 MARBLE DECORATION. 
 
 thing but the plain and melancholy substratum of 
 brick." 
 
 (66.) But the remarks quoted above will apply, with 
 almost equal force, against marble veneering of any kind 
 which is held in position mainly by metal wall-hooks and 
 staples. Such a wall-covering cannot be of such a per- 
 manent character as the wall itself, any more than tiles, 
 woodwork, plaster, or any other decorative covering with 
 which we may clothe the nakedness of a brick wall. We 
 cannot afford to abandon a method of architectual decora- 
 tion simply because the building to which it is applied 
 may outlast its decay. On artistic grounds some excep- 
 tion may be taken to the use of marble veneer, not when 
 it conceals, but when it imitates construction. When, for 
 example, we have the walls of a room lined with small- 
 sized rectangular slabs of marble, carefully arranged so as 
 to break joint on the face ; when the joints are concealed 
 at the arrises instead of being allowed to show as quirks 
 or rebates ; when, in short, every effort is made to deceive 
 the observer into imagining that the walls are constructed 
 with blocks of solid marble — the whole system of decora- 
 tion may be denounced as a piece of false art, quite as 
 objectionable as the marble-block wall-papers which we 
 occasionally see. But in the right use of marble-veneer 
 there need be no attempt at deceiving the eye. With the 
 use of slabs too large to be mistaken for solid blocks, and 
 with the long vertical joints necessitated in panelling with 
 variously- coloured marbles, we follow a treatment dis- 
 tinctly non- constructional. When we have a marble with 
 any decidedly marked pattern in it, we can 
 saw it into thin slices, and by reversing 
 these and placing them in juxtaposition, 
 as shown in Fig. 18, we can obtain very 
 beautiful effects in a perfectly legitimate 
 manner. A panel of this kind tells its own 
 Fig. 18. tale at once. The four sections compos- 
 ing it cannot consist of entire separate 
 blocks, and they are put together without any attempt to 
 break joint. 
 
 (67.) It may be as well to remember that in veneering 
 
"STONES OF VENICE." 
 
 39 
 
 walls with marble we are not restricted to vertical and 
 horizontal jointing, and that the more we use our freedom 
 in departing from this, the more purely decorative and 
 n on- constructional does our work become. An example 
 of this kind of work is shown in Fig. 19, being the eleva- 
 tion of a spandril filling- in to the arches in the Ducal 
 Palace in Venice. 
 
 Here, according to Mr. Ruskin in " Stones of Venice/' 
 there is a depth of two inches roughly hewn between the 
 
 Fig. 19. 
 
 arches, to receive the marble slabs. The spandril shown 
 in Fig. 19 has a central disc of green serpentine; the 
 dark portions of the leaf-like ornament outside it are in 
 grey marble ; the dentil-band forming the larger circle is 
 in a coarse, sugary marble, believed to be from Greece ; 
 the portions charged with the three white triangles are 
 in red Verona marble ; and the remainder of the design 
 is in white marble. The extreme diameter of the larger 
 circle is 3 feet 10J inches, its field being slightly raised 
 
4 o 
 
 MARBLE DECORATION. 
 
 above the level of the spandrils outside it. It is clear that 
 we have here a kind of large mosaic work, which needs 
 the juxtaposition of mouldings to keep it in scale with 
 its surroundings. 
 
 (68.) Mouldings are generally necessary to emphasize 
 the lines of panel decoration. A moulding may be run 
 upon the edge of a marble stile ; but if the marble be of 
 any decided pattern, the veins or other marks cutting 
 across the lines of the moulding will greatly detract from 
 its effect. Moreover, what is needed in the majority of 
 cases is a separate boundary of colour between the two 
 surfaces. The stile being darker than the panel, the 
 moulding should be in a darker material than either ; and 
 with panels in strongly coloured marble, black mouldings 
 become necessary. In panelling we have a form of decora- 
 tion eminently suitable for execution in marble, because it 
 affords excellent opportunities for displaying the beauty 
 of the material. The form of a panel should, when pos- 
 sible, bear some relation to the position in which it is 
 placed. A ceiling panel should be symmetrical, but a wall 
 panel may have an upper and an under side, that is to say, 
 it may have an arched or cusped head, or its upper corners 
 may be taken off with quadrant or other forms, to show 
 that it is specially designed for no other than a vertical 
 surface. A similar treatment may be applied to the side 
 panels of ceiling beams, in contradistinction to their sof- 
 fits. Marble ceiling slabs may be hung up to the flanges 
 of iron beams with lewis-bolts, as shown in Fig. 17 (^f 58), 
 or if thin slabs are used, the bolts may pass through, and 
 be fitted at their lower ends with ornamental paterae in 
 polished metal, or bronze ; in which case, of course, the 
 bolts must be disposed at regular intervals, bearing an 
 appropriate relation to the general design of the ceiling. 
 
 (69.) One way of exhibiting the beauty of marble in 
 the form of panels consists in employing very thin slabs 
 for windows in place of glass. Oriental alabaster and 
 Algerian and Mexican onyx are suitable for this purpose. 
 If exposed to the weather, it would be prudent to protect 
 the outside with glass. The fluor spars of Derbyshire 
 exhibit the greatest beauty and variety of colour when 
 
VENEERING ARCHES. 
 
 light passes through them ; but to render them durable, 
 it is recommended that they should be mounted upon 
 plain glass and rubbed down very thin, like microscopical 
 sections, after which glass should be placed over them to 
 prevent the condensation of moisture upon their surface, 
 which would otherwise rapidly impair their beauty. The 
 above-named process was recommended by Mr. W. 
 Brindley, F.R.M.S., in a paper read by him before the 
 Royal Institute of British Architects, December 20th, 
 1886, on " Marble : its Uses as suggested by the Past." 
 
 (70.) With reference to veneering applied to arches, 
 as a matter of fact this is very seldom done with small 
 arches of sudden curvature, because it is generally found 
 that the extra labour involved in shaping and fixing sepa- 
 rate archivolts and soffits is no saving upon the cost of 
 executing the whole in solid work. Arches of slight cur- 
 vature, however, as well as beams, are often veneered with 
 marble. Moulded archivolts or architraves, as the case 
 may be, are connected with curved or straight soffits, and 
 fixed in the same manner as wall linings. Marble casings 
 to iron beams or girders have blocks or cores of stone, 
 resting upon the iron flanges, and cemented to the back of 
 the marble work at convenient intervals. It may be 
 urged that this is a system of decoration which is opposed 
 to all true principles of architectural design ; and certainly 
 few things can be more incongruous than sham arches, 
 sham lintels, and sham beams, all carefully constructed in 
 thin slabs, and hung up in the air in imitation of solid 
 work. But the right use of veneer enables us to express 
 in decoration a marked distinction between boxed and 
 solid work. We can obtain the most beautiful varieties of 
 effect by jointing together slabs of different kinds of 
 marble, so as to present a strong contrast with the uni- 
 formity of solid work. Thus, referring to Fig. 17 (If 58), 
 if the upright fascia be of a differently coloured material 
 to the moulded soffit, no one will imagine that he is gaz- 
 ing up at a beam of solid marble, while full advantage 
 will be derived from a judicious combination of colours. A 
 similar treatment should be applied to boxed entablatures 
 which form the enclosures to iron beams carried upon 
 
42 
 
 MARBLE DECORATION. 
 
 marble columns. The ancients regulated the interspaces 
 of their columns according to the structural nature of the 
 stone or marble entablatures which they had to support. 
 The use of iron beams enables us to place our columns at 
 much wider intervals apart, and we ought not to offend 
 the eye by producing imitations of solid marble beams 
 applied to impossible bearings. 
 
 (71.) Flights of steps are often constructed in boxed 
 marble. The treads are two inches or more in thickness, 
 with moulded nosings, 1^-inch slabs being used as risers. 
 The steps are usually supported upon raking beams of 
 iron, the outer strings and soffits being formed with 
 marble slabs and having suitable mouldings. In con- 
 structing such flights of steps, great care is often taken in 
 matching the steps and risers, so that the steps may appear 
 to be solid. But I contend that it would be far better if, 
 in pursuance of the principles already advocated, the 
 risers were made of a different marble from the treads, a 
 more highly-coloured material being used for the former 
 than for the latter. It is not expedient that the treads 
 should be polished, because polish renders them so slippery 
 as to be dangerous, besides which it becomes partially 
 destroyed by constant use; bat the full beauty of the 
 marble risers may be brought out with the aid of polish, 
 as is the custom in modern Belgian works. 
 
 (72.) There is scarcely any limit to the extent to which 
 boxed work in marble may be used for displaying the 
 
 variety of materials at our 
 disposal ; and yet the oppor- 
 tunities which it offers are 
 constantly neglected in the 
 manufacture of chimney- 
 pieces, in each of which only 
 one kind of marble is used, 
 whether it be common or 
 rare. Fig. 20 shows a simple 
 Fig. 20. application of boxed marble 
 
 in a modern handrail or 
 balustrade capping. The upper and lower slabs are of 
 black marble, the sides being of bright red Griotte d'ltalie. 
 
CIRCULAR WORK. 
 
 43 
 
 The lower slab has square dowel-holes cut in it to receive 
 slate dowels, which pass into the heads of solid marble 
 balusters. The central space is filled with Keene's cement, 
 in which a metal core may be imbedded for additional 
 strength. The joints are tongued and cramped with 
 copper. 
 
 (73,) Circular work in marble veneerings or casings is 
 usually cut out of the solid, to avoid numerous joints, the 
 appearance of which is considered unsightly. The advan- 
 tage of large, unbroken surfaces is thus obtained, often at 
 considerable expense. The Byzantine architects would 
 seem to have studied economy more closely in this respect,, 
 In the mosque of St. Sophia, Constantinople, for example, 
 portions circular upon plan are veneered with marble, cut 
 into narrow strips, each presenting a flat surface, so that 
 the whole is polygonal instead of curved. In some modern 
 designs for boxed marble trusses, enclosing cantilevers of 
 iron, the sides are in single slabs, while the soffit, being 
 considerably curved in form, is made up of a number of 
 small pieces all tongued together, and having a series of 
 reeds or other small mouldings running transversely, with 
 deep quirks between them, in which the joints are con- 
 cealed. 
 
CHAPTER VI. 
 
 MARBLE MOULDING S. 
 
 (74.) The use of marble for architectural purposes has 
 had a perceptible influence upon the character of the 
 mouldings wrought in it. The hard, compact nature of 
 the material has rendered it possible to produce in it forms 
 of much greater delicacy than could be executed in stones 
 of coarser grain ; and this delicacy of treatment has been 
 usually unaccompanied by that boldness which has found 
 scope in materials more easily worked. In the marble 
 architecture of ancient Greece and Rome, and of medieval 
 and modern Italy, we find small mouldings executed with 
 great precision, with sharp edges and narrow fillets ; 
 and we may notice a tendency to multiply members in 
 cornices and other groups of mouldings. On the other 
 hand, there is a general flatness of contour to be observed 
 in the mouldings. We miss the bold, deep under- cuttings 
 so common in the Gothic examples of this and other coun- 
 tries, where the softer kinds of stone have been so exten- 
 sively employed ; and we find that broad shadows are 
 produced by the projection of entire members — as in the 
 corona of a cornice, for instance — rather than by means of 
 large hollows laboriously cut out. Some allowance must 
 of course be made for climatic conditions. Boldness and 
 severity of treatment naturally grew up in countries where 
 the paucity of sunlight would not have displayed the con- 
 tours of Greek and Italian mouldings to the best advan- 
 tage. Yet it seems probable that the extreme hardness of 
 the material did greatly influence those who worked in 
 marble to adopt modes of treatment in which a maximum 
 of effect could be obtained with a minimum of labour. 
 
GREEK MOULDINGS. 
 
 45 
 
 That this was so in the later Italian works is, I think, 
 evident. 
 
 (75.) There is always much benefit to be derived from 
 the study of Greek mouldings, not only on account of 
 their forms, but of their adaptability to the situations in 
 which they were placed. As regards form, their profiles 
 usually followed the curves of conic sections. The result 
 was that under strong sunlight, delicate gradations of 
 shadow were produced, which cannot be obtained with 
 mouldings whose profiles are formed 
 from portions of circles. These grada- 
 tions of shadow are specially appre- 
 ciable when seen upon the surface of 
 the white marble such as Greece pro- 
 duced and still produces. It is not 
 merely a smooth, opaque surface like 
 that of white plaster, but a surface 
 alive, so to speak, with minute 
 scintillations of light, and deriving 
 in addition an almost luminous ap- 
 pearance from being partially trans- 
 lucent. If we polish this material, we 
 find that the play of light upon the 
 subtlely curved surfaces of Greek 
 mouldings gives us varieties of effect 
 which are perpetually shifting and 
 changing as we change our point of 
 view. As regards situation, the 
 Greeks paid the strictest regard, in 
 designing their mouldings, to the 
 aspects from whence they were to 
 be seen; and mouldings placed above 
 or below the eye were designed and 
 worked accordingly. In illustration Fig. 21. 
 
 of these remarks, I give in Fig. 21 
 
 two sections of mouldings from a Greek tomb at Carpuseli,. 
 in Asia Minor. The architectural purport of these mould- 
 ings will be understood at a glance. Wherever strong 
 lines of shadow are needed they are obtained by means 
 of incised quirks or grooves ; and where horizontal 
 
MARBLE DECORATION. 
 
 joints occur these grooves are so arranged as to pre- 
 clude the possibility of the marble grinding or spalling 
 at its edges. The upper group of mouldings is above, 
 and the lower group below the eye; and it will be 
 seen that no portion of any moulded surface is out of 
 sight. In fact, although the Greeks were not sparing 
 of labour, they never wasted any ; and it would be 
 well if the principles upon which they worked could 
 have been more fully understood by modern architects of 
 the so-called " classic " school. An example of what to 
 avoid may be instanced in the indiscriminate use of the 
 " Attic base " for columns and pilasters. This base is an 
 exceedingly beautiful composition in itself, but its prin- 
 cipal feature is the skotia — a large inverted hollow which 
 can only be properly seen below or on a level with the eye. 
 Yet the architects of the Renaissance and their modern 
 imitators have frequently employed this base in situations 
 so far above the eye that only its two torus mouldings 
 have been visible, the labour of forming the skotia being 
 completely thrown away. No Greek would have com- 
 mitted such an architectural blunder. 
 
 (76.) The vast wealth and military supremacy of the 
 Romans enabled them to force their vulgarised versions 
 of Greek architecture upon the world. The profiles of 
 tljgir mouldings were portions of circles, drawn by a 
 mechanical process instead of by the hand of the artist. 
 In these mouldings we lose all those subtle gradations of 
 shadow already noticed as obtained by the use of Greek 
 mouldings. But such effects are less appreciable in 
 polished than in unpolished marble. What we miss most 
 in the Roman mouldings are the quirks which the Greeks 
 obtained by the sharp turns given to their curves. The 
 quirks just above the two echinus mouldings in the upper 
 part of Fig. 21 do not occur in the Roman quadrant ovolo, 
 nor is the quirk at the bottom of the lowest moulding 
 found in the Roman ogee. The need for such quirks is 
 greatly felt in polished work, where the amount of re- 
 flected light renders it extremely difficult to obtain any 
 lines of shadow at all, especially in internal decoration 
 seen by night, when light produced by artificial means is 
 
FRENCH MOULDINGS. 
 
 47 
 
 shed from several directions at once. In some of the 
 French Renaissance work we see this difficulty successfully 
 overcome. Fig. 22 shows a section of the mantel and 
 shelf of a marble chimney-piece 
 in the Hotel de Lauzun, He St. 
 Louis, Paris. It belongs to the 
 period of Louis XIV. — the middle 
 of the seventeenth century. The 
 bold cushion-moulding in the 
 middle, with the deep quirk cut 
 behind it, produces strong shadow 
 lines which are plainly visible 
 from a distance. At the same 
 time it presents no appearance of 
 coarseness upon a nearer view, 
 because the extreme narrowness 
 of the adjacent fillets gives scale 
 to it. The works of these modern 
 French architects will repay study. 
 They exhibit judicious combina- 
 tions of boldness and refinement ; 
 their authors appear to have im- 
 bibed the true spirit of Greek art, 
 and to have worked in it with 
 perfect freedom and with exquisite 
 taste. In many of these mouldings 
 we meet with undercut hollows 
 which could not, without great 
 difficulty, be worked by hand. Modern firms, however, 
 frequently run their mouldings by machinery, by which 
 extreme accuracy of outline is obtained. To avoid the 
 necessity of working any portion by hand, the mouldings 
 are usually mitre -jointed. This expedient, though more 
 proper in joiner's than in mason's work, is not out of 
 keeping with a purely decorative use of marble. 
 
 (77.) If we wish to see examples of economy practised 
 in the treatment of marble mouldings, we may refer to 
 the mediaeval architecture of Venice. Here the architects 
 appear to have realised the fact that the beauty of coloured 
 marbles is best appreciated in plain surfaces ; and their 
 
 Fig. 22. 
 
4 8 
 
 MARBLE DECORATION. 
 
 mouldings are consequently few and far between. Fig. 23 
 shows two marble archivolts from St. Mark's ; and their 
 extreme simplicity contrasts curiously with the elaboration 
 of form shown in Fig. 22. Throughout all these Venetian 
 works in marble is noticeable a plentiful use of nail-head 
 and dog's-tooth ornament, and of small splays. These are 
 proper to the quasi-Grothic character of Byzantine work, 
 and, as seen in the left-hand example in Fig. 23, were 
 
 often worked upon the 
 projecting edge of a 
 soffit or lining to an 
 arched opening — a 
 truthful and legitimate 
 method of treating 
 boxed jambs and archi- 
 volts. Such kinds of 
 ornament, requiring no 
 great skill for their 
 execution, help to in- 
 crease the play of light 
 upon the surface of 
 polished marble by 
 means of their numer- 
 ous small facets cut at 
 various angles. Splays, 
 in fact, are as valuable 
 for obtaining lines of 
 light as grooves are 
 for obtaining lines of 
 shadow; and by these 
 two means alone, much that is effective in marble can be 
 produced at a comparatively slight cost. 
 
 (78.) A highly characteristic form of Venetian enrich- 
 ment is that which occurs in the outer circle of the span- 
 dril filling, Fig. 19 (H 67), of which Fig. 24 shows the 
 detail. It will be seen to consist merely of a hollow and 
 fillet, the width of the latter being one-half the entire 
 width of the band, so that the junction linf of the hollow 
 and fillet is in the centre. The moulding is in short 
 lengths, each length being alternately reversed, so that 
 
 Fig. 23. 
 
SPLAYED ORNAMENT. 
 
 49 
 
 the fillet is now on tlie outside, now on the inside of the 
 circle. This ornament was often executed with a splay- 
 instead of a hollow, and when formed with bricks, the 
 colours were alternated — a 
 
 very simple means of pro- _ 
 
 ducing a rich effect, equally- 
 applicable in marble. — 
 
 (79.) Enrichments of the || I |i=^^I 
 class described above are ^^^H B^m 
 about the most effective that Fig. 24. 
 
 can be executed in coloured 
 marble ; but they can never afford the same pleasure to 
 the eye as carved ornament, and they become positively 
 offensive if they are made too conspicuous. There is 
 something crude — almost vulgar — in the appearance of a 
 large nail-head or dog's-tooth ornament ; and the reason 
 for this is not far to seek. Accepting Mr. Ruskin's dic- 
 tum, that the evidence of manual labour is one of the chief 
 sources of value in ornament, we can understand why the 
 eye is offended by a species of ornament produced by 
 the very primitive process of chopping pieces of stone or 
 marble into angular forms, conveying the impression that 
 sufficient pains have not been bestowed upon the work. 
 It was left to the Gothic school to borrow this barbaric 
 style of decoration from Oriental sources. The " classi- 
 calism " which Mr. Ruskin so strongly condemns, was free 
 from this blemish, whatever its other defects may have 
 been. 
 
 (80.) All kinds of splayed ornament are therefore to be 
 employed cautiously, and not worked too large. En- 
 riched mouldings, on the other hand, while highly appre- 
 ciable in white marble, lose their effect when executed in 
 any material of strong colour. Bearing in mind what 
 can scarcely be reiterated too often — that the beauty of 
 coloured marble is seen to the best advantage in plain sur- 
 faces — we ought generally to abstain from enriching our 
 mouldings with carving. In many of the darker marbles, 
 the effect of colour is so overpowering as to practically 
 obliterate the forms of mouldings executed in them. This 
 is especially the case with black marble, although the use 
 
5o 
 
 MARBLE DECORATION, 
 
 of black for mouldings is frequently necessary, as already 
 stated (51 68). Many an elegant black bedmould shows 
 no more effectively than if it were a plain splay, for the 
 deep shadows in quirks or grooves present no contrast to 
 the depth of the marble itself, and the only diversity of 
 appearance obtainable results from the high lights upon 
 the polished surface. 
 
 (81.) Marble, whether light or dark, used for mouldings 
 should be uni- coloured, and free from veins or markings, 
 which destroy the effect of mouldings by crossing them 
 with inharmonious lines. Mouldings to be enriched by 
 carving should be either in white or very pale- coloured 
 marble. A mode of enrichment occasionally practised in 
 Venice and elsewhere consists in making incised patterns 
 in mouldings, and filling up the sinkings with a kind of 
 black mortar or mastic. By this means the contour of the 
 moulding is preserved unbroken, while the effect of the 
 ornament does not depend upon the varying influence of 
 light. 
 
 (82.) Allied to the subject of mouldings is the shaping 
 and general treatment of columns and pilasters. The 
 Greeks, when their columns had bases, frequently gave 
 the lower portion of the shaft and the mouldings beneath 
 it a gently-spreading contour, like the base mouldings in 
 Fig. 21, a treatment which seems to have been borrowed 
 from the spreading bases of the Persian columns. Later 
 on, as in Roman examples, we have the hollow or apophyges 
 at the bottom of the shaft worked very small in a quad- 
 rant curve, so that the fillet in which it terminates pro- 
 jects like a thin circular plate around the bottom of the 
 shaft. The same thing is noticeable in the apophyges and 
 fillet at the top of the shaft, immediately under the neck- 
 ing of the capital. This was the kind of treatment pursued 
 by the modern classical school of Sir W. Chambers, and it is 
 too familiar to need illustration here. It gives us thin 
 projecting rims of marble at each end of the shaft, which 
 are extremely weak and liable to fracture ; besides which 
 there is a great expenditure of labour in cutting away 
 from the face of the fillet to that of the shaft. The Gothic 
 architects, on the other hand, worked their shafts without 
 
COLUMNS AND PILASTERS. 
 
 5* 
 
 fillets at either end, any fillet or other member which 
 adjoined the shaft forming a portion of the cap or base. 
 This is the method usually adopted in modern works 
 in marble, chiefly with the object of 
 economising labour and material. The 
 Venetian architects of the middle ages 
 made a quaint compromise between the 
 Gothic and Classic methods, as shown in 
 Fig. 25, from a base in St. Mark's. Here 
 the extreme depth and slight projection 
 of the fillet at the bottom of the shaft 
 are at once favourable to strength and 
 economy of labour. A similar treatment, 
 though to a far less exaggerated degree, 
 was pursued by the Florentine architects 
 of the sixteenth century. The chief 
 objection to be urged against the sec- 
 tion in Fig. 25 is, that there is nothing 
 but a joint line to show where the base 
 ends and the shaft begins, a deficiency 
 particularly evident when a marble of different colour is 
 used for each. 
 
 (83.) In the fluting of columns and pilasters we have 
 a valuable means of giving decorative expression to them. 
 The straightness and rigidity of a vertical support are 
 appropriately emphasized by a series of vertical lines, as 
 exemplified in numerous Greek and Roman examples. 
 Flutings, like mouldings and enrichments, are extremely 
 effective in columns of white or pale uni-coloured marble. 
 But in marbles of strong, dark colours, flutings become 
 almost invisible when viewed from a short distance, espe- 
 cially if they are executed in polished work. Again, if 
 the marble, whether dark or light in colour, has a pattern 
 of veins or alternations of colour, the effect of flutings is 
 to cause kinks or notches to appear in the veins or mark- 
 ings, and to destroy the continuity of the pattern. As a 
 general rule, therefore, flutings in marble columns and 
 pilasters must be pronounced undesirable. Two methods 
 of treating pilasters suggest themselves as being suitable 
 in marble decoration. One is by means of panelling, in 
 
 Fig. 25. 
 
52 
 
 MARBLE DECORATION. 
 
 which the plain polished surface of the material appeals to 
 the eye like a framed picture ; and it is the most legiti- 
 mate way of treating boxed pilasters. The other method, 
 largely adopted by the modern French architects, is appli- 
 cable to solid pilasters, and consists in working chamfers 
 of varying widths upon them, the chamfered surfaces often 
 following curved contours, and forming, in fact, a larger 
 species of mouldings. This chamfering affords us the 
 opportunity of cutting variegated marble in diagonal 
 directions, and of thus obtaining variety in the effect of 
 its pattern. The appearance of coarseness arising from 
 broad chamfers is skilfully avoided by the French archi- 
 tects, in the subtle delicacy of the curves which they 
 employ, and in the smallness of the fillets introduced. 
 
 (84.) If we have an uni-coloured marble, whether light 
 or dark, used for columns or pilasters, we can give it all 
 the decorative effect of fluting without breaking up the 
 continuity of its surface, by inlaying it with a darker or 
 lighter material. A black column may be inlaid with 
 white or yellow marble, or a white column with black or 
 any dark-coloured marble. A column of coloured marble 
 may be most effectively inlaid with a material of the com- 
 plementary colour. Thus, dark red may be inlaid with pale 
 green, dark purple with yellow or orange, and vice verm. 
 
 (85.) Stone bands around columns appear to date their 
 origin from the necessity of joining several shafts to- 
 gether. We see these features in Gothic work, where 
 slender detached shafts are connected with the wall by 
 means of stone bands, which are themselves portions of 
 projecting wall-strings. The bands are usually narrow 
 and of bold projection. In the works of the Romanesque 
 and Renaissance periods, such bands were broad, flat, and 
 of slight projection ; and it will be found that in columns 
 or pilasters of Classic or pseudo-Classic type, the projec- 
 tion of a band is easily overdone. The continuity of a 
 marble shaft should not be broken by a band, unless it is 
 necessary to join the shaft in separate lengths. It is also 
 advisable that the band should be of a different material 
 from the shaft, and should match the cap and base. 
 
CHAPTER VII. 
 
 CAR FED ORNAMENT. — CONCL USION. 
 
 (86.) If the careful selection of marble for moulded work 
 is of importance, still more so is it for the productions of 
 the sculptor's art. Pure white marble is the best for 
 sculptured ornament ; and failing this, the material should 
 be of an even tint, free from veins or other markings, and 
 as pale as possible, in order that the full value may be 
 obtained from lights and shadows. It will further be 
 found that in the majority of cases, delicacy of form is 
 best appreciated in unpolished work. As with mouldings, 
 so with carvings executed in marble, the nature of the 
 material has almost necessarily produced a general flatness 
 of treatment, while it has rendered possible an extreme 
 delicacy of execution. It is now proposed to indicate some 
 of the chief characteristics of carved work, and the lessons 
 to be drawn therefrom. It may be remarked at the out- 
 set that, apart from representations of the human figure, 
 carved ornament, regarded as an architectural accessory, 
 may be broadly divided into two classes : that which is 
 sunk below, and that which is raised above the general 
 surface. 
 
 (87.) To commence with work of the former descrip- 
 tion, the simplest mode of carving applied to a flat surface 
 is that so largely practised by modern French architects. 
 It consists in producing scroll-like and other curvilinear 
 forms by means of sunk lines or channels, and is equally 
 applicable to polished or unpolished work. Provided that 
 the sunk lines are cut sufficiently deep in proportion to 
 their width to show as lines of shadow, they become more 
 effective under a strong light than they would be if they 
 were filled up with a black cement or mastic, as in the 
 
54 
 
 MARBLE DECORATION. 
 
 enrichments described in the preceding chapter (U 81). 
 The next kind of sunk ornament to which I have to refer 
 is the enrichment from the celebrated " Lily " capitals in 
 St. Mark's, Venice, shown in Fig. 26. Here it may be 
 
 observed that in the 
 sunk line-ornament 
 mentioned above the 
 design is produced in 
 the sunk portions 
 only, the forms of the 
 intermediate surfaces 
 being left to chance. 
 In Fig. 26 it is hard 
 to say whether the 
 sunk or the solid portions follow the actual design. This 
 rather rare species of ornament therefore occupies an 
 intermediate position between that formed with sunk 
 channels, and the more legitimate kinds of carving. As 
 it consists entirely of splayed surfaces which catch the 
 light, it is applicable to polished marble, and is effective at 
 some distance from the eye, although it is wanting in those 
 black shadows which are of great value in all carving. 
 
 (88.) Byzantine architecture, in which marble happens 
 to have been extensively employed, is rich in examples of 
 delicate carving sunk below the surface. As remarked by 
 Fergusson, in his " History of Architecture/' the govern- 
 ing line of the Corinthian capital was a hollow curve, 
 having the acanthus leaves and other ornaments applied 
 to it. This was suitable for columns placed at short dis- 
 tances apart, and only designed to carry a beam or entab- 
 lature ; but when used for supporting arches, it was found 
 to be too weak. The tendency was, before the sixth cen- 
 tury, to reverse the curve and incise the ornament ; and 
 this incised ornament was applied, not only to capitals but 
 to mouldings, to pulvinated friezes, and to flat surfaces. 
 In the mosque of St. Sophia, Constantinople, completed 
 before the middle of the sixth century, nearly all the carv- 
 ing depends for its effect upon splayed surfaces. In most 
 cases, the main portion of a leaf is depressed in a broad 
 V-shaped channel, while smaller forms, such as the lobes 
 
 Fig. 26. 
 
INDIAN CARVING, 
 
 55 
 
 of acanthus leaves, consist each of two splayed surfaces 
 rising up to a ridge along the middle. The greater 
 portion of the carved work is thus as simple as that shown 
 in Fig. 26. From an artistic point of view it cannot rank 
 high, but it may be said that in it a maximum of effect is 
 obtained with a minimum of labour. 
 
 (89.) In some of the later carving we find much more 
 elaborate workmanship. In the Kakrieh mosque, at Con- 
 stantinople, for example, there are foliated enrichments so 
 deeply incised and undercut as to become almost detached, 
 while the forms of the leaves are executed with a degree 
 of refinement worthy of the best periods of the Renais- 
 sance. Some of the spandril carvings are actually perfo- 
 rated, the designs exhibiting slender stems arranged in 
 spiral curves, arid having only small leaves and pods, 
 which play quite a subsidiary part. This kind of carving, 
 in which the perforations occupy more space than the 
 solid parts, can be most aptly compared with wrought 
 metal work, which it closely resembles in its proportions. 
 But it is to India that we must turn for specimens of 
 pierced ornament in marble, in which there is evidence 
 of the highest mechanical skill. Amongst works of a 
 strictly Mohammedan character may be mentioned the per- 
 forated stone windows in the Jumma mosque at Beejapoor. 
 These are slabs of a hard material, resembling marble, 
 1| inch think, pierced so as to form interlacing geometrical 
 patterns, the solid bars measuring about § inch across, and 
 the perforations in most cases being about three inches in 
 average diameter. This work belongs to the latter part 
 of the sixteenth century. In other instances, while the 
 Hindoos had been converted by their Mohammedan con- 
 querors, their art still retained much of its native vitality, 
 and they produced in perforated screens exquisite carvings 
 of more or less conventionalised foliage. Some of the 
 finest work of this character is in the mosque of Seedee 
 Syeed, at Ahmedabad. Here there are arched window- 
 openings filled in with screens of perforated marble, hav- 
 ing carved representations of trees with spreading branches 
 intertwined in spiral curves and with innumerable leaves, 
 many of which are disposed edgewise. The average width 
 
5<> 
 
 MARBLE DECORATION. 
 
 of the interspaces is about 1 \ inch, and the work through- 
 out is so delicate as to* be comparable to carving in 
 ivory. Servile regularity is not aimed at, one half of a 
 design not being an exact repeat of the other half ; but 
 by an equal balance of parts an effect of perfect symmetry 
 is obtained, which is the more charming because it appears 
 to be the result of accident. The mosque, the greater 
 
 portion of which has 
 been destroyed, is re- 
 ferred to the early part 
 of the fifteenth cen- 
 tury. Some idea of the 
 character of the orna- 
 ment mentioned may 
 be formed from Fig. 
 27, which shows the 
 upper part of a per- 
 forated panel from one 
 of the niches in the 
 mosque of Moohafiz 
 Fl 8- 27 - Khan, also at Ahmeda- 
 
 bad, and stated to have 
 been built in the latter half of the fifteenth century. The 
 panel is about a foot in width. The leaves and stems are 
 slightly rounded, and their resemblance to Gothic orna- 
 ment is striking and interesting. In some of the other 
 panels the forms are more of a flowing character, and 
 would remind us of Flamboyant carvings. 
 
 (90.) It will be observed that in all perforated carv- 
 ings a practical difficulty arises from the fact that no por- 
 tion of the design can be detached from the remainder. 
 The difficulty has been met in Fig. 27, by leaving here 
 and there some small connecting pieces of marble, which , 
 however, form no part of the design. The expedient is a 
 somewhat clumsy one, and might easily have been avoided. 
 The labour involved in such carving as this might seem 
 rather formidable to the mind of an English mason, yet 
 there seems to be no reason why perforated work should 
 be altogether banished from modern marble decoration, as 
 it seems to be at present. 
 
CARVING IN RELIEF. 
 
 57 
 
 (91.) With reference to the second class of ornament 
 mentioned at the commencement of the chapter — that which 
 is raised above the surface — probably the simplest kinds are 
 those formed with bands or fillets in slight relief. Amongst 
 these may be mentioned the well-known Greek frets and 
 similar enrichments adopted by the Roman and Renais- 
 sance schools, and the interlacing ribbon- ornaments carved 
 upon ancient stone Celtic crosses, and often reproduced 
 with success in granite. Some of the simplest types of 
 foliated raised ornament are the representations of the so- 
 called " honeysuckle 99 and similar forms in ancient Greek 
 art. The use of splayed channels in volutes and leaves 
 was well understood, as may be seen from Fig. 28, which 
 
 Fig. 28. 
 
 represents part of a carved truss from the foot of the ter- 
 minal surmounting thechoragic monument of Lysicrates. 
 Here, as pointed out by Owen Jones in his " Grammar of 
 Ornament/' we may observe a characteristic feature of 
 Greek ornament, continued by the Romans, but abandoned 
 during the Byzantine period, which is, that the various 
 parts of a scroll grow out of each other in a continuous 
 line. " What is evident/' remarks this author, " is, that 
 the Greeks in their ornament were close observers of 
 nature, and although they did not copy, or attempt to 
 imitate, they worked on the same principles. The three 
 great laws which we find everywhere in nature — radiation 
 from the parent stem, proportionate distribution of the 
 areas, and the tangential curvature of the lines — are always 
 obeyed ; and it is the unerring perfection with which they 
 are, in the most humble works as in the highest, which 
 
58 
 
 MARBLE DECORATION. 
 
 excites our astonishment, and which, is only fully realised 
 on attempting to reproduce Greek ornament, so rarely 
 done with success.'' 
 
 (92.) The Roman carvings in low relief upon friezes 
 and similar surfaces exhibited generally too great a re- 
 dundancy of form, and the foliage, although conventional, 
 was less so than that of the Greeks. There was often 
 more leaf than stem to be seen, and the result of this was 
 to make the leading forms of the designs difficult to dis- 
 tinguish from a distance. The Italian Renaissance work 
 of the sixteenth century showed more of the spirit of Pom- 
 peian art, the natural forms being made subservient to 
 the general composition of a design. Carving in low relief 
 was for the most part framed in panels, beyond the exter- 
 nal mouldings of which it did not project. Great delicacy 
 of workmanship has been found possible in works of this 
 kind executed in marble, the spiral-shaped stems in foli- 
 ated ornament being sometimes of a threadlike thinness, 
 and no portions throughout being undercut. The brothers 
 Adam in the last century infused all the refinement of 
 Greek feeling into carving applied to similar purposes ; 
 whereas modern French architects have rather travelled 
 in the opposite direction, making nearer approaches to 
 imitations of natural foliage, and often allowing their 
 carved ornament to spread out over the mouldings of the 
 panel containing it, as if it had outgrown its proper boun- 
 dary. This shows an amount of licence which the severity 
 of classic taste would strongly condemn ; and it is diffi- 
 cult to see where such arbitrary transgressions of archi- 
 tectural principles are to cease when they once begin. The 
 skill of the artist should find ample scope in designing 
 ornament which will adequately fill any panel or other 
 defined surface. 
 
 (93.) Many examples might be cited of carved orna- 
 ment in marble which is partly detached from the surface, 
 and of which the projecting parts are of extremely deli- 
 cate proportions. Among the most familiar instances of 
 this may be mentioned the carved leaves under the modil- 
 lions of Roman cornices, and the overturned leaves in 
 Corinthian capitals. But the most remarkable instances 
 
MONUMENTAL SCULPTURE. 
 
 59 
 
 are to be found amongst Hindoo works, as in the temple 
 at Kirwuttee, which is supposed to have been built in the 
 first half of the twelfth century. Here there are capitals 
 in which there is much open carved work. Representa- 
 tions of plant forms, which are almost detached, and have 
 slender stems resembling metal work in their proportions, 
 are grouped in an irregular manner, as if literally grow- 
 ing over the architecture which they scarcely touch. The 
 carving of these early Hindoo art workmen, who as yet 
 had not come under the influence of Mohammedanism, is 
 probably the most free and naturalistic in the world. I 
 may add, what has often been stated before, namely, that 
 the subject of Hindoo architecture is one deserving of 
 much closer study than it has yet received from English- 
 men. 
 
 (94.) Carved ornament in marble must in the present 
 day be largely affected by considerations of economy. Pro- 
 bably face- work, whether sunk or raised, will, in the ma- 
 jority of cases find adoption in preference to anything 
 which involves laborious undercutting. It is to be hoped 
 that modern carvers will avoid imitating natural forms too 
 closely in foliated ornament. It may be difficult to define 
 the reasons why naturalistic carving is usually offensive to 
 the taste of architectural critics. It may be that there is 
 an agreeable impression of reserve power in the work of a 
 carver who refrains from following nature closely, while 
 he shows that he possesses the requisite skill to do so. 
 Perhaps also the contrast between the stability suggested 
 by architectural forms and the fragile character of natural 
 foliage seems inharmonious when both are executed in 
 the same material. Certain it is that the attempted imi- 
 tation of natural forms in marble is one of the worst faults 
 committed by monumental sculptors, who seem sadly in 
 want of sound architectural training. 
 
 (95.) In concluding this little work, I have to thank 
 the reader who has had the patience to follow me thus 
 far. My labours might have been greatly extended, but 
 the object has been to condense rather than to amplify. 
 As works in marble are often executed by Continental 
 workmen, who are familiar with the metrical system only, 
 
6o 
 
 MARBLE DECORATION. 
 
 the subjoined table of English dimensions and foreign 
 equivalents will probably prove serviceable for reference 
 in giving instructions or figuring drawings. 
 
 TABLE OF ENGLISH DIMENSIONS AND 
 FOREIGN EQUIVALENTS. 
 
 Inch. 
 
 Metre. 
 
 Inches. 
 
 Metre. 
 
 1 
 
 8 
 1 
 
 •00317 
 
 2 
 
 •05079 
 
 •00634 
 
 3 
 
 •07619 
 
 
 •00952 
 
 4 
 
 •10158 
 
 •01269 
 
 5 
 
 •12698 
 
 1 
 
 •01587 
 
 6 
 
 •15238 
 
 3 
 4 
 
 •01904 
 
 7 
 
 •17778 
 
 7 
 8 
 
 •02222 
 
 8 
 
 •20317 
 
 
 •02539 
 
 9 
 
 •22857 
 
 i 1 
 
 •02857 
 
 10 
 
 •25397 
 
 li 
 
 •03174 
 
 11 
 
 •27936 
 
 if 
 
 •03492 
 
 12 
 
 •30476 
 
 1 1 
 
 -03809 
 
 24 
 
 •60953 
 
 if 
 
 1 3 
 
 •04127 
 
 36 
 
 •91430 
 
 •04444 
 
 48 
 
 1-21906 
 
 ii 
 
 A 8 
 
 •04762 
 
 60 
 
 1-52383 
 
APPENDIX. 
 
 TERMINOLOGY OF BRITISH AND FOREIGN MARBLES. 
 
 Acajou. — This term, the French equivalent for mahogany, 
 is applied to a marble exhibiting undulating bands of reddish 
 brown. It is quarried at Mirecourt, in Vosges, France. See 
 Eouge Acajou. 
 
 AfFumicato. — This marble, named thus on account of its 
 smoke-like pattern, is grey mingled with shades of brown. It 
 is quarried near Trescore, Italy. 
 
 African Antique. — This beautiful antique marble is a 
 breccia, having a black ground with large spots of greyish white 
 and deep red, sometimes inclining to purple. 
 
 Agly. — The marbles quarried in this valley, in the Eastern 
 Pyrenees, France, are of the puddingstone order, with spots 
 of red, brown, green, white, and grey. 
 
 Ain. —The department of Ain, France, produces several mar- 
 bles, including white, grey, and rose-coloured varieties ; a luma- 
 chello marble, showing bluish grey and pinkish spots; and 
 another of crystalline white, with fossil shells. Marbles some- 
 what resembling this latter are called St. Andre and Villebois, 
 after the names of the quarries. 
 
 Ain Ouinkel. — This marble, named after its quarry in Oran, 
 Algiers, is of a deep reddish brown, tending to greyish brown, 
 with black veins. It takes a good polish. 
 
 Alabaster. — This material, sometimes called bastard ala- 
 baster or Biscuit de Florence, is a sulphate of lime which does 
 not immediately effervesce under acids. Its proper name is 
 gypsum, and it must be carefully distinguished from Oriental 
 Alabaster, which see. Alabaster is not a marble, although it 
 will take a fairly good polish. It is mostly pure white. In 
 England the best kinds are obtained from Droitwitch, in Wor- 
 cestershire \ Orston, near Grantham ; the neighbourhood of 
 Newark-on-Trent ; Fauld, near Tutbury ; St. Bee's Head, White- 
 
62 
 
 APPENDIX. 
 
 haven ; in Staffordshire and Nottinghamshire ; at Alston, in 
 Cumberland ; in the neighbourhood of Watchet, in Somerset- 
 shire ; and in the Isle of Purbeck, Dorsetshire. Irish alabaster 
 comes from Carrickfergus, in County Antrim ; from Carrickma- 
 cross, in County Monaghan ; and from the banks of Lough 
 Allen, County Leitrim. A variety occasionally tinged with red, 
 grey, and dark blue, is found at Bex, in Switzerland ; at 
 Osterode, Ilfeld, and Walkenreid, in the Harz; at Mansfeld ; 
 Magdeburg; Sulz, on the Neckar; Liineburg, in Hanover; Sege- 
 berg, in Holstein ; Hall, in the Tyrol ; Hallein and Auszee, near 
 Salzburg; Berchtesgaden in Bavaria; Yic, in Lothringen ; and 
 at Bochina, and Wieickzka, in Galicia. In France it is found 
 at Aix and Auvergne, and near Salins and Lous-le-Saurier, in 
 the department of the Jura. In Spain it is found at Cervetto ; 
 Castelnau de Durban ; San Jago de. Compostella ; Paredes, in 
 Guadalaxara ; Conillo, near Cadiz ; and at Teruel in Aragon. 
 In Italy the best alabaster comes from the Val de Marmolago, 
 near Castellina ; and there is also a very fine variety quarried 
 at Volterra. Yellowish and red varieties come from Monte 
 Catini ; and a mottled kind, resembling granite, comes from 
 Carrara. In Tuscany, white alabaster occurs at Miemo, and in 
 Piedmont, at Aosta. In Canada there are extensive quarries of 
 workable alabaster on the Grand River, between Cayuga and 
 Paris. In the United States pure white alabaster occurs near 
 Lockport, at Camillus and Manlius, New York, in Davidson 
 County, Tennessee, and elsewhere. Mammoth Cave, Kentucky, 
 and the neighbourhood of Syracuse are other sources, as well as 
 Ohio, Illinois, Virginia, and Arkansas. 
 
 Alberese. — This Italian word, signifying dendritic, or tree- 
 like, is applied to those landscape or ruin marbles which exhibit 
 patterns resembling trees, and sometimes fragments of ruined 
 buildings. Alberese di Riguano, named after the locality of its 
 quarry, is of a yellowish white, with small black specks and lines, 
 forming tree-like patterns. Alberese di Vichio is similar but with 
 more numerous lines and specs. Both these marbles resemble 
 Alberese di Mugnione. See Mugnione. 
 
 Alcino. — A variety of marbles are quarried near this moun- 
 tain in Tuscany. A brocatello'has a dark violet ground with 
 interlacing white veins. Another marble is black with white 
 veins. Another is black with white spots, and resembles a 
 breccia. 
 
 Alentejo. — The marbles quarried at this locality in Portugal 
 comprise a fine yellow marble called Alentejo, which resembles 
 
TERMINOLOGY OF MARBLES. 
 
 63 
 
 yellow Sienna, and some brocatellos and breccias having a yellow 
 ground. 
 
 Aleppo Breccia. — This marble has a yellowish green 
 ground, with spots of green, white, yellowish red, violet, olive, 
 and brown, with pale grey veins traversing the spots. It is 
 very rare, and is obtained from Saravezza and from Fourni, in 
 its neighbourhood, in Piedmont. It has sometimes been con- 
 founded with a breccia quarried at Alet, in France, " Breche 
 d'Alep," being easily mistaken for " Breche d'Alet." See Alet 
 Breccia. 
 
 Alet Breccia. — This marble, called by the French " Breche 
 d'Alet," is quarried at Alet and at Tolouet, near Aix, in Provence. 
 It has a rich, yellowish brown ground, with red and grey spots. 
 It is sometimes confounded with Aleppo Breccia, which see. 
 
 Algerian Alabaster. — See Oriental Alabaster and Onyx. 
 
 Ampus. — Jaune d'Ampus is a yellowish marble quarried at 
 Ampus, in Var, France. 
 
 Angers. — Three varieties of marble are quarried near this 
 locality, in Maine-et-Loire, France. One is grey veined with 
 white ; and another is grey mingled with violet, and a third is 
 black. 
 
 Anglesea. — See Mona. 
 
 Anis d'Any. — This marble, named after its quarry in Aisne, 
 France, has a grey ground with black dots. It is rather soft. 
 
 Antique African. — See African Antique. 
 
 Antin. — This marble, quarried at Veyrette, in the Upper 
 Pyrenees, France, is red with yellow veins. For Vert d'Antin 
 see Veyrette. 
 
 Appisson. — In the Vallon d'Appison, in Lot, \ France, is 
 found a brownish yellow marble with black and brown veins, 
 which takes a good polish. 
 
 Arc. — This marble, quarried near Arp-sur-Till, in Cote d'Or, 
 France, is of two varieties. One has a ground of reddish 
 yellow spotted with deep red, and the other has a ground of 
 brownish amber-yellow with flesh-coloured spots. 
 
 Arcy. — At the Grottes d'Arcy, in Yonne, France, a pale 
 yellow lumachello with grey and white crystalline fossils, and 
 a bluish grey lumachello with white fossils, are found. 
 
 Ardese. — This is a grey marble dappled with white and 
 brilliant red. It is quarried at Bergamasque, in Italy. 
 
 Ardinghen. — This name is given to a marble quarried at 
 this locality, in Pas-de-Calais, France. It has a reddish ground 
 speckled with white. Other marbles quarried here comprise 
 
6 4 
 
 APPENDIX. 
 
 Sanguin, having a ground of greyish white with thin veins of 
 blood-red, and Ruban Bleu, having a similar ground intersected 
 with bluish white ribbons or bands. 
 
 Argentr6. — The marbles quarried at Argentre, near Laval, 
 in Mayenne, France, comprise black specimens, and greyish 
 white marked with red. 
 
 Argonne. — The marbles quarried in the forest of Argonne, 
 at Verdun, Avocourt, Rubreville, Parois, Brocourt, and at 
 Rampont, in Meuse, France, are called Lumachelle des Argonnes, 
 Pierre Chaline, or Racine de buis. They consist mostly of 
 blackish fossils united in a ground of bluish grey. Some 
 varieties are tinged with yellow and reddish hues, and all have 
 a tendency to turn yellow on exposure. These marbles are 
 very compact and take a good polish. 
 
 Arlecchino. — This is an antique marble, also called Seme 
 Santo. It exhibits a ground of variegated red and white with 
 spots resembling seeds. 
 
 Arlequin Breccia. — See Brecciato Tracagnina. 
 
 Aries. — See Statuary. 
 
 Armagh. — The marbles quarried near Armagh, in Ireland, 
 comprise the cream-coloured, which is also found at Cheevy, 
 near Dungannon, and a variegated marble having different 
 shades of light red tending to purple, brownish yellow, and 
 dove-colour. 
 
 Arno. — The marbles found near the banks of the Arno, in 
 Italy, comprise several varieties. A giallo brecciato is a 
 brecciated marble exhibiting several shades of yellow. A tigrato 
 is yellow with black specks. A pillora del fiume is similar but 
 with veins. Giallo con frappo di Arno is similar but with 
 large yellow bands. Giallo liniato di Arno is yellow with fine 
 bands of deeper yellow. Caia di pillora is yellow, in several 
 shades, with spots and small specks of black. Fiorito di Arno 
 is yellow in varied shades, presenting tree-like patterns formed 
 with minute black specks. A marble called pillora di Arno is 
 greenish yellow with pinkish veins and black specks. Liniato 
 di Arno is of an olive tint, marked like the grain of wood and 
 with reddish brown spots. Breccia con frappa di Arno is of a 
 similar colour, with reddish patches resembling mountains. 
 Nuvolosa di Arno is pale green with spots of clear yellow, the 
 colours being sometimes intermingled. Scuro di Arno is white 
 with reddish veins. Bianco di Arno has a reddish white 
 ground with black bands and specks. Rosso fiorito di Arno is 
 deep red, veined in several shades and sprinkled with small 
 
TERMINOLOGY OF MARBLES. 
 
 black specks in tree-like forms. Garatonio has a red ground 
 with veins of a golden tint, and is much esteemed. 
 
 Arrenti. — A brocatello is quarried at Mount Arrenti, in 
 Tuscany. It shows a mixture of green and violet, and is as 
 hard as porphyry. 
 
 Ashburton. — A dark mottled marble, quarried at Ashburton, 
 Devonshire, has a ground of dark, warm grey, with fine red 
 markings and pinkish white veins here and there. 
 
 Ashford. — The marbles quarried at Ashford, in Derbyshire, 
 include the finest black marble found in the United Kingdom, 
 and the kind called rosewood. The latter is a dense brown 
 laminated limestone, with a pattern resembling the grain of 
 rosewood. It is only obtainable in small sizes, and is chiefly 
 employed for small articles and for inlaid work. 
 
 Assynt. — The marbles quarried at Assynt, in Sutherland, 
 Scotland, are white, bluish grey, and dove-coloured. 
 
 Augray. — A marble quarried at this locality, in Isere, France, 
 is black with white fossil spots. 
 
 Avorio. — See Giallo Antico. 
 
 Aynac. — This is a reddish marble, named after its quarry, in 
 Lot, France. Varieties of the same kind are found near Livernon, 
 La Capelle, Marwal, St. Cere, and elsewhere. 
 
 Babbacombe. — Several marbles are quarried at Babbacombe, 
 in Devonshire. One, found in small quantities, exhibits varied 
 shades of light brownish red, resembling the colour of Spanish 
 mahogany, with small bluish grey spots. A similar marble is 
 found at Ipplepen, near Totnes. Some of the Babbacombe 
 marbles resemble red granite in general hue, but with large 
 veins of white, grey, and dull pink. Some are of a dark 
 greenish grey with white and yellow veins. Others exhibit 
 patches of pinkish grey, small spots of pink and grey, rays of 
 pale grey and yellow, and a thin network of dark red veins. 
 See Devonshire. 
 
 Bagny. — A marble quarried at Bagny, in Ain, France, has 
 a reddish ground with white and yellow spots. 
 
 Baixas. — This marble, named after its quarry, in the 
 eastern Pyrenees, France, and also called Breche de Portugal, 
 or Las Fous, has a ground of ash-grey, sometimes brown, with 
 white crystalline veins. 
 
 Ballaculish. — The marble quarried at Ballaculish, in Inver- 
 ness-shire, is of a beautiful ash-grey, of uniform grain, and takes 
 a high polish. 
 
 Ballinahinch. — A marble found at this locality, in Ireland, 
 
 F 
 
66 
 
 APPENDIX. 
 
 exhibits varied shades of light green, with brown and greenish 
 white markings. 
 
 Bally kiloboy. — The marble quarried at this locality, near 
 Waterford, in Ireland, is dark grey, with fossils embedded 
 in it. 
 
 Balsieges. — A marble quarried at this locality, in Lozere, 
 France, is white with red veins, and takes a good polish. 
 
 Balvacaire. — This marble, quarried at St. Bertrand-de- 
 Comminges, in the Upper Garonne, France, has a greenish 
 ground mixed with red and white. Some granites, exhibiting 
 large and small fragments of white, grey, pink, red, green, and 
 brown, are quarried in the same locality. 
 
 Bar. — The marbles quarried in the neighbourhood of Bar, in 
 Aube, France, are mostly lumachellos, containing fossil shells. 
 They exhibit various tones of mottled grey, and will take a high 
 polish. Some varieties have a yellow ground with black or 
 grey shell-spots. 
 
 Barbazan Breccia. — This marble, which is quarried at 
 Cierp, in the Upper Garonne, France, is known there as Breche 
 de Cierp. It exhibits white, brown, and black fragments united 
 together. 
 
 Bardilla. — This name, or bardiglio, applies to marbles of a 
 blue or bluish grey tint. They are chiefly obtained from 
 Vulpino, in the Milanese territory, and are sometimes called 
 Vulpino marbles. A bardilla with blue and purple veins comes 
 from Monte Silvestro, near Carrara, Italy. A kind called 
 Bardiglio Fiorito comes from Montalto, in the mountain of 
 Retignano, near Strazzema. Its veins, instead of being simply 
 sinuous, run into flower-like forms. A fine grey bardilla is 
 quarried at Onofrio, in Corsica. 
 
 Bardiglio Fiorito. — This is a variety of bardilla, which see. 
 It is quarried near the torrent of the Rostonica, in Corsica. It 
 is grey, veined with white, and is sometimes brecciated. 
 
 Barege. — Some marbles quarried near this locality in the 
 Upper Pyrenees are white with grey and green interlacing 
 veins. In some varieties the veins are pinkish. 
 
 Barga.— A marble quarried at this locality, in Tuscany, is 
 black marked with white, with some reddish spots. A black 
 marble is also found here. 
 
 Bariole. — The French equivalent for variegated. 
 
 Basedes. — A marble quarried in this locality, in Hainaut, 
 Belgium, has a ground of black with grey spots and veins. 
 
 Bastard Alabaster. — See Alabaster. 
 
TERMINOLOGY OF MARBLES. 
 
 67 
 
 Bathurst. — An albite is found at this locality, in Canada. 
 It shows varied shades of pale green and grey, with a crystalline 
 lustre. 
 
 Beaudean Breccia. — This marble is sometimes called 
 Caroline Breccia, or in French, Breche Caroline. It is quarried 
 at Bagneres-de-Bigorre, in the Upper Pyrenees. It exhibits 
 bright red, brown, and yellow fragments, closely united. See 
 Sarancolin. 
 
 Beaujeu. — A marble of a dull, faded black, is quarried at 
 Beaujeu, in the Lower Alps. 
 
 Beaume-la-Roche. — A marble quarried at this locality, in 
 Cote d'Or, France, has a ground of olive green with blood-red 
 spots and white marks. 
 
 Beaurecueil. — See Breche Galifet. 
 
 Beauregard. — This marble, named after its quarry in 
 Meurthe, France, exhibits combinations of red, yellow, and 
 white, with fragments of pearly and crystalline lustre. 
 
 Bedouin. — See Puit-Real. 
 
 Ballignies. — Marbles quarried at this locality, in the Nord 
 Department, France, are uniform black, and black with small 
 grey spots. 
 
 Bergamo. — The marbles quarried at Bergamo, Italy, com- 
 prise the black called Paragone, which is of a superior quality, 
 and takes a high polish, and the breccia, which has a greenish 
 grey ground with black and grey spots. 
 
 Betogh. — See Statuary. 
 
 Bianco. — The Italian equivalent for white. 
 
 Bigio. — This name, signifying grey, is given to several 
 Italian marbles. Bigio del Fiume Grassino is quarried near 
 Grassino, in Tuscany. It is grey, closely marked with white veins. 
 Bigio di Radi is a grey marble quarried near Siena. Bigio 
 Bianco, quarried at Trapani, in Sicily, is grey with white spots. 
 Bigio con frappa di Pisa, found near Mugnione, is grey with 
 olive-coloured spots. 
 
 Bird's Eye. — A marble bearing this name is quarried at 
 Highlow, Derbyshire. It has a ground of mottled grey, and 
 numerous fossil crinoids. See Derbyshire. 
 
 Bisachino. — A marble quarried at this locality, in Sicily, is 
 of an uniform light apple -green. Some varieties of it are 
 whitish, spotted with yellow. 
 
 Biscuit de Florence. — See Alabaster. 
 
 Bise\ — The marbles quarried at Bise, in the Upper Garonne, 
 France, comprise black Fleur-de-Pecher, which see ; Rouge 
 
68 
 
 APPENDIX. 
 
 Sanguin, resembling Griotte, which see ; and Turquin, pre- 
 senting varied shades of grey and white. 
 
 Black. — The finest black marble in the United Kingdom is 
 quarried at Ashford, Bakewell, and Derby, in Derbyshire. The 
 Welton marble, from Staffordshire, is coarse. That found at 
 Kibblesdale, Sedbury, and in the western moorlands of York- 
 shire, is durable. A hard, durable marble, which takes a good 
 polish, is quarried at Port St. Mary, Isle of Man. The British 
 black marbles, although fine in colour, do not yield large 
 blocks free from faults. The best quality occurs in thicknesses 
 of from three to nineteen inches. In Ireland, black marble is 
 found in the Galway quarries at Auglihan and Menlough, where 
 blocks about 14 feet by 5 feet by 13 inches are obtained. Black 
 marble is quarried at Kilkenny, which takes a beautiful polish ; 
 but after a time the blackness fades and small white fossil forms 
 become visible upon the surface. A fine black marble is found at 
 Crayleath, Co. Down. Black marble is also found at Churchtown 
 and Doneraile, Co. Cork, at Carlow, in the neighbourhood of 
 Tralee, and in the islands of Kenmare River. In Italy a black 
 marble, sometimes called Paragone,is found mixed with marble 
 of an inferior quality at Castle Nuovo, in Piedmont; at Como ; 
 at Barga ; Vailareno ; and Porto Venere, in Tuscany ; at 
 Guzzinaga, in Brescia; and at Santa Maria del Bosco, in 
 Bergamo. In France, black marbles are quarried at Mont 
 Majeur, in the Upper Garonne department, and at Bellignies, in 
 the Nord department. Belgium black is quarried at Golzinnes, 
 Dinant, and Augre, and is generally thought superior to that 
 produced in France. Black marble is also found at Spa, in 
 Germany. At La Mancha, in Spain, is found a fine deep black 
 marble, which takes a good polish. Another is found near 
 Segovia. See Fareau. 
 
 Black Vein. — This marble has a deep black ground, finely 
 marked with white veins. It is sound and durable, takes a 
 good polish, and can be obtained in large sizes. It is quarried 
 near Yeumont, on the banks of the river Sambre, in France, 
 close to the Belgian frontier. 
 
 Black and White Antique. — See Panno di Morto. 
 
 Blairgowrie. — A white statuary marble is quarried at 
 Blairgowrie, in Scotland. 
 
 Blanc Fleuri. — See Bleu Fleuri. 
 
 Blanc P. — This marble, quarried at Carrara, in Italy, is of 
 a slightly bluish white, obtainable in large blocks without spots 
 or marks. In general tone it resembles Sicilian. 
 
TERMINOLOGY OF MARBLES. 
 
 69 
 
 Bleiberg. — The marble quarried at Bleiberg, in Austria, has 
 a grey ground, diversified with red, blue, and green tints, which 
 are reflected with opalescent lustre, the eflect being heightened 
 by the presence of iron pyrites in the marble. It is extremely 
 brittle, and is not much used on that account. 
 
 Bleu d'Arbois. — A marble exhibiting combinations of bluish 
 grey and white is quarried at Valle-en-Pollieres, near Arbois, in 
 Jura, France. 
 
 Bleu Dor£. — This marble, quarried at Chatillon, in Cote 
 d'Or, France, has a bluish ground, with veins of yellowish gold. 
 
 Bleu Pleuri. — This name, or Blanc Fleuri, is given to a 
 marble quarried at Popolasca, Corsica. It exhibits mingled 
 shades of yellow, pink,, red, green, and violet. 
 
 Bleu de Neuvillette. — See Neuvillette. 
 
 Bleu Turquin. — See Turchinecchio. 
 
 Blue. — The blue marbles available for decorative purposes 
 comprise Bleu Beige, Bardilla, and Turchinecchio. A fine blue 
 alabaster (gypsum) is found at Sulz, on the Neckar, in 
 Germany. 
 
 Blue Antique. — This is a very scarce antique variegated 
 marble. It has a ground of reddish white, with spots of slate- 
 colour resembling festoons. 
 
 Blue John. — This is a Derby fluor spar, from Tre-Cliff, 
 near Castleton. It is translucent, exhibiting a ground of clouded 
 white and warm grey, tinged with iridescent amber-colour, 
 with wave-like bands and lines of very dark purple, resembling 
 the colour of writing-ink. It has only been obtained in small 
 sizes, rarely exceeding six inches in depth. It is understood that 
 the genuine Blue John is not now obtainable from the quarry. 
 
 Bone. — This marble, named after its quarry, near Edough, in 
 Algiers, is greyish white, with occasional black veins. 
 
 Boue. — At Boue, near St. Beaume, is found a marble spotted 
 with red, white, fawn-colour, and silver-grey. 
 
 Boulonnais. — This name is generally bestowed upon all 
 marbles quarried in the neighbourhood of Marquise, Pas-de- 
 Calais, France. See Napoleon and Stinkal. 
 
 Bounardelliere. — This is a common white marble named 
 after its quarry in Vienne, France. A marble called Le Rous- 
 selet, yellowish, tinged with grey, and veined with white, is found 
 in the same locality. 
 
 Bourbonnais. — This name is given to a bluish grey marble, 
 veined with grey, which is quarried at Corbigny, in Nievre, 
 France. 
 
70 
 
 APPENDIX. 
 
 Bouvignes. — The marbles quarried at this locality, in Bel- 
 gium, have a black ground with patches of dark grey, and 
 sometimes with white spots and veins. 
 
 Brayelle. — See St. Anne. 
 
 Breccia. — This term is applied to brecciated marbles, or 
 those which contain fragments of some older rock, held to- 
 gether by an intermediate material. The fragments are under- 
 stood to be larger than the grains occurring in the stones called 
 oolites, and smaller than the masses forming those called con- 
 glomerates. Little Breccias are those in which the fragments 
 forming them are less than an inch in diameter, and Great 
 Breccias, those in which they are more. Some encrinital 
 marbles are called brecciated. See Encrinital. 
 
 Breccia Antica. — This shows spots of red, black, white, 
 grey, and dull blue, in rounded forms and unequal sizes. It is 
 quarried at Aubert, in Ariege, France, and is called Breche 
 Antique. 
 
 Breccia Antica Grande. — This marble is a brecciated 
 variety of Grand Antique, which see. It has large black spots 
 with a few fossil shells, and is crossed by zig-zag white lines. 
 It is quarried at Aubert, in Ariege, France. 
 
 Breccia Antica Piccola. — This is a brecciated variety of 
 Grand Antique. It resembles Breccia Antica Grande, but the 
 spots in it are smaller, and instead of being black they are dark 
 grey. It is quarried at Aubert, in Ariege, France. 
 
 Breccia Dorata. — See Giallo Antico. 
 
 Breccia Pavonazza. — This is an antique marble having 
 a white ground and red spots. 
 
 Breccia di Porta Santa. — This is a scarce antique marble 
 with unequal white, blue, grey, and red spots. 
 
 Breccia di Serravezza. — This marble is quarried at Straz- 
 zema, near Serravezza, Italy. It has a white ground tinged 
 with purple, with spots of red, and sometimes, but rarely, of 
 black. Some varieties are red, rose-colour, lilac, peach-colour, 
 or yellow. See Serravezza. 
 
 Breccia di Verde. — This beautiful marble is composed of 
 angular and rounded fragments of marble, greenstone, slate, 
 gneiss, porphyry, and serpentine, united with a compact paste, 
 varying from all shades of green to a dark purplish-red. 
 
 Breccia di "Verona. — This fine marble, obtainable in large 
 sizes, is quarried in the upper mountains of Yallarsa, Italy. It 
 presents a crystalline mass of pale red, mixed with yellow, black, 
 and sky-blue. 
 
TERMINOLOGY OF MARBLES. 
 
 7i 
 
 Brecciato Tracagnina. — This is an antique breccia, almost 
 a puddingstone. It has a ground of pale yellow with spots of 
 white, grey, brown, green, and red. 
 
 Breche Afrieaine. — See Breccia Serravezza. 
 
 Breche Antique. — See Breccia Antica. 
 
 Breche Caroline. — See Beaudean Breccia and Sarancolin. 
 
 Breche Chinoise. — This name, or Chinese Breccia, is given 
 to a marble of a deep blackish grey, quarried at Cierp, in the 
 Upper Garonne, France. 
 
 Breche d'Aix. — This marble, quarried at Aix, in Provence, 
 has a yellowish ground with small grey, brown, and red spots. 
 It takes a high polish. 
 
 Breche d'Alep. — See Aleppo Breccia. 
 
 Breche d'Alet. — See Alet Breccia. 
 
 Breche de PAri£ge. — This is the same as Petit Deuil. See 
 Deuil. 
 
 Breche de Dourlais. — This marble, quarried at Vaulsort, 
 Belgium, has a ground of pinkish white, with irregular angular 
 spots of light yellowish brown, red, black, and grey and white 
 veins. 
 
 Breche d'ltalie — See Italian Breccia. 
 
 Breche de Memphis. — This marble has a reddish ground, 
 and small white, grey, and brown fragments. It is quarried at 
 the mountain of Sainte Victoire, in Bouches-du-Rhone, France. 
 Other varieties are Sainte-Victoire Grand Melange, a breccia 
 exhibiting nearly every colour in small patches and spots, and 
 Sainte-Victoire Rouge, having a ground deeper red than Breche 
 de Memphis. 
 
 Breche de Portugal. — The same as Baixas, which see. 
 
 Breche des Pyrenees. — The brecciated marbles quarried 
 near Signa, in the Upper Pyrenees, France, exhibit several 
 varieties. Some are reddish brown with black, grey, and red 
 spots ; others are of a clear orange yellow with white spots ; 
 and others again are yellow with small black spots closely 
 placed. 
 
 Breche de Tarentaise. — This marble has a violet ground 
 and small spots of white, blackish grey, and yellow. It is 
 quarried at Villette, on the right bank of the Isere, France, and 
 is called Breche Yiolette d'Hermitage. 
 
 Breche Galifet. — This is a brecciated marble, having frag- 
 ments of red, grey, and black, quarried at Tholonet, in Bouches- 
 du-Rhone, France. It is much esteemed, and takes a high 
 polish. The marble called Beaurecueil is a species of brocatello 
 
72 
 
 APPENDIX. 
 
 with similar colours, but more yellowish and more speckled. It 
 is quarried at Beaurecueil, near the same locality. 
 
 Breehe Imperiale. — This marble, quarried at Montigny- 
 Saint-Christophe, in Hainaut, Belgium, has a ground of very 
 dark grey, almost black, sprinkled with fossil shells of a lighter 
 grey. 
 
 Brdche St. Antonin. — This name is sometimes applied to 
 varieties of Alet Breccia in which red predominates. See Alet 
 Breccia. 
 
 Brdche Vierge Antique. — This very scarce antique marble 
 has a ground of chocolate brown, numerous angular white spots, 
 and a few red spots. 
 
 Brdche Violet. — See Italian Breccia. 
 
 Brdche Violette d' Hermitage. — See Breche Tarentaise. 
 
 Brema. — The marble quarried at Brema, in Italy, is yellow 
 with white spots. 
 
 Brentonico. — At Brentonico, in the neighbourhood of Verona, 
 is a breccia with large spots of pink, yellow, and iron grey. 
 
 Brescia. — A pale red marble with white veins is found at 
 this locality in the old province of Brescia, Italy. 
 
 Bressano. — A marble quarried at this locality, in Italy, is 
 dark green, mixed with serpentine, with yellow spots and silvery 
 white fragments of talc. 
 
 Brest. — This marble, named after the neighbourhood of its 
 quarry in Finistere, is of a deep black with veins of light grey. 
 A red lumachello, having white fossil rings, is found in the same 
 locality. 
 
 Bridgend. — Some marbles quarried at Bridgend, Glamorgan- 
 shire, have a varied ground of dark greenish grey, with marks 
 and spots of pinkish white. 
 
 Brignolles. — The marble quarried in this neighbourhood, in 
 Vau, France, is white tinged with red. 
 
 Bristol. — Various marbles are quarried at Clifton, and in the 
 neighbourhood of Bristol, exhibiting mostly different shades of 
 light, brownish red. Some specimens have a ground of blackish 
 green, with whitish fossil spots and rings. See Landscape and 
 St. Vincent. 
 
 Brocatello. — This term is applied with different meanings 
 in France, Italy, and Spain. French brocatello has a bluish 
 grey ground, with brown and rich yellow veins, and contains 
 minute fossils. It is quarried in the neighbourhood of Moulins, 
 in the department of Allier, and is called Brocatelle de Moulins. 
 Dark yellow, clear yellow, violet, and pink varieties of broca- 
 
TERMINOLOGY OF MARBLES. 
 
 73 
 
 tello are quarried at Molinge, in the department of Jura. Italian 
 brocatello, called by the French, Brocatelle de Sienne, has a 
 rather dark rich yellow ground, broken into large irregular 
 spots by veins which vary in colour from bluish black to purple 
 and dark red. Spanish brocatello, known as Tortosa Brocatello, 
 or the French Brocatelle d'Espagne, has a dark red ground, 
 covered with minute yellowish grey and clear white spots, with 
 some violet spots and veins. It is quarried near Tortosa, in 
 Catalonia, Spain. See Lumachello. 
 
 Brulat (lie). — A marble quarried at this locality, near Gour- 
 don, in Lot, France, is a lumachello, resembling Petit Deuil in 
 appearance. See Deuil. A lumachello of a light reddish 
 brown is quarried in the same locality, and a similar marble is 
 found in the valley of the Bleon. 
 
 Buckfastleigh. — See Devonshire. 
 
 Buixater. — See Statuary. 
 
 Caen. — In the neighbourhood of Caen, France, is quarried a 
 marble of pinkish red colour with large grey and white veins, 
 called Caen marble. A black marble is quarried in the same 
 locality, and is often substituted for the black marble of Dinant, 
 to which it is inferior. 
 
 Cahors. — A fine red griotte, veined with white and bluish 
 grey, is found at Cahors in Lot, France. A fine yellowish 
 brown stone resembling marble is found at Crayssac, in the 
 neighbourhood. 
 
 Cahus. — A marble quarried at this locality in Lot, France, 
 exhibits combinations of white, green, and black. 
 
 Cajarc. — In the Commune de Cajarc, in Lot, France, several 
 grey brecciated marbles are quarried. 
 
 Caldana. — This marble, quarried at Marmiere, in Tuscany, 
 has a dark violet ground, with white spots caused by fossils. 
 
 Cambovin. — This name is given to a fine white stone re- 
 sembling marble, quarried at Cambovin, in Drome, France. 
 
 Camonica. — This is a grey marble mottled with black and 
 white. It is quarried in the valley of Camonica, in Brescia, 
 Italy. 
 
 Campan. — The Campan marbles, so called from the situa- 
 tion of the quarries in the Upper Pyrenees, are exceedingly 
 beautiful, and present great varieties of colour. Campan 
 Isabelle has a delicate rose-coloured ground, which in some 
 places merges into a dark red, with a few white spots and pale 
 green veins. Campan Rouge has a dull, blood-red ground, with 
 veins of darker red and bronze green, and spots of fleshy, and 
 
74 
 
 APPENDIX, 
 
 sometimes greenish white. Campari Yert is of two kinds, the 
 clear and the dark. The former has very light shades of green 
 softly blended as a ground with thin veins of darker green, 
 forming a network with long meshes. The dark Campan Vert 
 has a ground of dark green with numerous flesh-coloured spots. 
 Sometimes there are also spots of transparent green, or small 
 red spots and thin white veins. The mixed Campan combines 
 all these varieties, which are found in layers, each occupying 
 a space of from a few inches to three or four feet in depth. 
 See Isabelle Campan. 
 
 Canarino. — See Giallo Antico. 
 
 Canelle. — This name, signifying cinnamon, is given to a dark 
 reddish brown marble quarried at Taveau in Nievre, France. 
 Cardiglio. — See Cipollino. 
 Car ew-Norton. — See Pembrokeshire . 
 
 Cargoloin. — This marble, named after its quarry near Nuits, 
 in Cote d'Or, France, is yellow, with purple veins. 
 
 Carniolo. — This marble, named after the province where it is 
 quarried, in Austria, is flesh-red in colour, veined and shaded 
 with white. In the same province are quarries of brecciated 
 marbles having a matrix of pale red, and fragments of grey, 
 white, and blue. 
 
 Carol. — See Statuary. 
 
 Caroline Breccia. — See Beaudean Breccia, and Sarancolin. 
 
 Cartrare. — This marble, named after its quarry in C6tes-du- 
 Nord, France, has a ground of blackish grey, veined with 
 greyish white. 
 
 Caserta. — This marble, named after its Italian quarry, has a 
 ground of pale fawn-colour, with crimson patches, and inter- 
 lacing white veins. 
 
 Castel-Franco. — A marble quarried at this locality in Tus- 
 cany is olive green, with bands of black and is called Verde di 
 Castel-Franco. 
 
 Caster a- Verduzan. — A marble thus named after its quarry 
 in Gers, France, is of a fine yellow tint, almost uniform. 
 
 Castres. — Noir de Castres is a deep black marble of medium 
 quality, quarried at Castres, in Tarn, France. Some granites 
 and puddingstone marbles are also found here. 
 
 C6. — The marble known by this name is quarried in the 
 valley of Seriana, Italy. It is leaden grey, marked witn 
 white. 
 
 C6on — On the right side of the valley of the Ceon, in Lot, 
 France, is quarried a marble having a clear brownish yellow 
 
TERMINOLOGY OF MARBLES, 
 
 75 
 
 ground, clouded with black. It takes a good polish. A brec- 
 ciated variety is also found here. 
 
 Cerfontaine. — The marbles called Cerfontaine and Charle- 
 ville, after the names of their quarries in Ardennes, exhibit 
 combinations of red, grey, blue, and white, with fossil shells. 
 
 Cerveias. — This marble, called also Cervelatte, or sausage 
 marble, has a dark red ground with grey veins and white spots., 
 As an antique marble, it is said to have been found in the north 
 of Africa. A variety called Cerveias Kose Vif is now quarried 
 at Cannes, in the department of Aude, France. A cerveias 
 having a dark red ground, with whitish and grey veins and 
 spots, is found in Ariege, and a somewhat similar marble is 
 found in Indre. See Villefranche. 
 
 Cette. — A marble thus named, and quarried near the port of 
 Cette, in Herault, France, is dark red marked with grey and 
 white. 
 
 Chalenches. — This marble, named after its quarry in Isere, 
 France, has a ground of pinkish white, with spots or grains 
 resembling sugar. 
 
 Chalons. — A marble quarried here, in the department of 
 Saone-et-Loire, France, is red, with white fossil shells. 
 
 Champoli. — This marble, named after its quarry in Loire, 
 France, shows combinations of blue, grey, white, and yellow. 
 
 Champ -Robert. — This marble, named after its quarry in 
 Nievre, France, is greyish white, with small black veins. It is 
 sometimes used for statuary . See Nivernais. 
 
 Charence. — See Gap. 
 
 Charlemon't. — The marble quarried at Charlemont, in Ar- 
 dennes, resembles Givet, which see. Other varieties quarried 
 here are mostly black and white. 
 
 Charleville. — See Cerfontaine. 
 
 Chartreux. — This is a fine white marble quarried at Cam- 
 bovin in Drome, France. 
 
 Chateau. — The marble quarried at the Montagne du Chateau, 
 in the Eastern Pyrenees, France, is a breccia, with a ground of 
 ashy grey, veined with blue. 
 
 Chateau-Landon. — This species of marble, named after its 
 quarry in Seine-et-Marne, France, exhibits varied shades of 
 yellow in bands or layers, with whitish translucent veins and 
 fossil shells. 
 
 Chatelperron. — The marbles quarried at and near this 
 locality, in Allier, France, are chiefly of a greyish white. Some 
 have pinkish veins, and others, as those found at Gilly, are 
 
7 6 
 
 APPENDIX. 
 
 veined with yellow. Some white marbles are found, and some 
 exhibiting combinations of blue, white, and grey. 
 
 Chaumont. — A marble quarried at Chaumont, in the Upper 
 Marne, France, is of a whitish grey, with pink spots. It takes 
 a high polish. 
 
 Chenove. — A marble quarried at this locality, in Cote d'Or, 
 France, has a ground of light brown with small white spots. 
 
 Cher. — The marble called by this name exhibits combinations 
 of red and grey. It is quarried at Salle- au-Roi, in Cher, France. 
 See St. Pallaye. 
 
 Chippal. — This marble, named after its quarry in the Vosges, 
 France, is white and crystalline. Some varieties of it are of a 
 greyish white with blue veins. 
 
 Chorges. — See Portor. 
 
 Churchtown. — This marble, named after its quarry in 
 County Cork, Ireland, is red speckled with white, of a fine 
 appearance. Some brownish red and black marbles are also 
 found here. 
 
 Cintra. — The " blue " marble quarried at Cintra, near 
 Lisbon, has a grey ground spotted and veined with blue and 
 black. It is highly crystalline, and takes a good polish. 
 
 Cipollino. — This name is given to marbles having a whitish 
 ground traversed with veins of green talc. To this class 
 belongs Cipolinnacci di Carrara, quarried at Carrara. A kind 
 found at Pentelicus, in Greece, is called Statuary Cipollino. A 
 marble called Cipollinaccio has a white ground with greenish 
 grey spots and bands. It is obtained from the valley of St. 
 Maurice, in the Upper Alps ; from La Tuile, Mont Blanc ; and 
 from several parts of Savoy and Piedmont. A grey variety of 
 Cipollino, called Cardiglio, is obtained from Sicily. Cipollazzo 
 is white streaked with violet. Cipolaccia has a bright yellow- 
 ish green ground, with large and small square black spots, and 
 sometimes with smaller white ones intermingled. A fine Cipol- 
 lino is quarried at Onofrio, in Corsica. Some varieties are found 
 at Basle, in Switzerland. 
 
 Claret. — This marble, named after its quarry in the Lower 
 Alps, has a ground of white and grey speckled with black. 
 
 Cliiton. — See Bristol. 
 
 Cluny. — A white marble is quarried at this locality in the 
 department of Saone-et-Loire, France. 
 Cluse (La). — See Malpas. 
 
 Coarlou. — This marble, named after its quarry in Cote d'Or, 
 France, is of ashy grey colour, marked with fawn colour. 
 
TERMINOLOGY OF MARBLES. 
 
 77 
 
 Coltshill. — See Swansea. 
 
 Como. — A pure black marble, is quarried at Como. 
 Connemara. — This is a serpentine called Irish Green. See 
 Serpentine. 
 
 Coraline Breccia. — The same as Sarrancolin, which see. 
 Corbigny. — See Bourbonnais. 
 
 Cork. — Some marbles quarried in Cork, Ireland, show a 
 ground of fleshy red and pink, with dark thin veins and white 
 specks. See Churchtown and Victoria Red. 
 
 Comae. — At this locality, and at Trespoux, in Lot, France, 
 marbles are quarried having a red ground with veins of white 
 and greenish grey. A marble called Universel, exhibiting com- 
 binations of red, grey, white, yellow, green, and black, is also 
 found at Trespoux. 
 
 Corsican. — The Corsican marbles, quarried at Onofrio, com- 
 prise white statuary of singular purity, bardilla, and cipollino. 
 
 Cosne. — At Cosne, in the Nievre, France, is quarried a 
 marble somewhat resembling Griotte, which see. 
 
 Cotonello. — See Languedoc. 
 
 Cousance (Le). — A marble quarried at Cousance, in Jura, 
 France, has a ground of variegated grey, with round reddish 
 spots, and a network of radiating marks. 
 
 Crestola. — See Statuary. 
 
 Croset (Le). — A marble named thus, and quarried at Les 
 Crosets, in Jura, France, is of an olive bronze tint, with undu- 
 lating lines and spots of pale red. 
 
 Dauphin. — This marble, quarried near Baune, in Cote d'Or, 
 France, is of a pale red, melting into white, and sometimes into 
 agatised violet. It takes a good polish. 
 
 Derbyshire. — The marbles of Derbyshire vary in colour 
 between black, blue, light grey, and russet. They are chiefly 
 encrinital, their varieties of pattern depending upon the character 
 and arrangement of the fossils embedded in them. These 
 marbles comprise the Bird's-eye, the Dog's-tooth or Mussel, the 
 Entrochal, Shelly, and the brecciated varieties. For black and 
 Rosewood see Ashford. See Blue John and Wetton. 
 
 Desert (Le). — At Le Desert, in Isere, France, marbles are 
 quarried comprising a white statuary, some varieties of which 
 exhibit white, pink, and green, with some green veins ; and a 
 Poudingue Vert, or green puddingstone, which contains rounded 
 patches of white, grey, green, yellow, and black. 
 
 Deuil. — This term, which signifies mourning, is applied to 
 marbles quarried at Moulis and its neighbourhood, in Ariege, 
 
73 
 
 APPENDIX. 
 
 France. Grand Deuil has a white ground with black streaks. 
 Petit Deuil is similar but with smaller streaks. Similar marbles 
 are quarried near Valmiger, in Aude, France. 
 
 Devonshire. — The Devonshire, or Devonian marbles, present 
 considerable variety, and are mostly quarried in the neighbour- 
 hood of Plymouth, Petit Tor, Babbacombe, and Newton Bushell. 
 Some of them are madreporic, containing minute fossil shells, 
 and the prevalent colours are different shades of grey with 
 white and yellow veins. A marble exhibiting mottled pink and 
 grey, with marks and patches of blood-red, is quarried at Buck- 
 fastleigh. Bed varieties occur in smaller quantities. A hand- 
 some reddish marble is quarried at Ipplepen, near Totnes, and 
 one of similar beauty at Babbacombe. See Babbacombe. A 
 green marble and a rose-coloured spar of great beauty are 
 quarried at Kitley Park. Varieties of black and white marble 
 are quarried at Bridestow, South Tawton, and Drewsteigton. 
 Marbles having a black ground and large veins of semi-trans- 
 parent white are found at Chudleigh, Staverton, and Berry 
 Pomeroy. See Ashburton, Happaway, Ogwell, and Petit Tor. 
 
 Diaspro della Rochetta. — This marble, quarried at Rochetta, 
 in the territory of Siena, exhibits a mixture of a great variety 
 of colours. 
 
 Digne. — A marble quarried near this locality in the Lower 
 Alps, and called Breche Jaune de Digne, resembles Breche 
 d'Alet, which see. It has a ground of bluish tint, with spots 
 of yellow, red, brown, and grey. 
 
 Dog's Tooth. — See Derbyshire. 
 
 Dole. — The marble quarried in this neighbourhood, in Jura, 
 France, is of a fine purple red, and of a fine grain. It can be 
 obtained in large sizes. 
 
 Dornington. — Some marbles quarried at Dornington, Here- 
 fordshire, have a ground of varied greenish grey, with dirty 
 white and yellowish spots. 
 
 Dou6. — A marble quarried at this locality, in Cote d'Or, 
 France, exhibits varied shades of purple and small white spots. 
 
 Doulers. — A marble quarried at this locality, in the Nord 
 department, France, is a breccia with white, grey, and reddish 
 spots. 
 
 Dove. — This term is applied to various marbles presenting a 
 bluish grey or dove -coloured hue. The best known specimens 
 are quarried at Canal Grande and Collonata, Italy. These 
 marbles are very hard. 
 
 Drap Mortuaire. — This name is given to marbles having a 
 
TERMINOLOGY OF MARBLES. 
 
 79 
 
 black ground with occasional white fossil shell-fish, called 
 gasteropoda. The quarries are in the neighbourhood of Angre, 
 Belgium, where pure black marble is also found. 
 
 Draycot. — A marble found at Draycot, near Wells, has a 
 ground of brownish red, with large and small spots of grey and 
 various hues of brown. 
 
 Dunkerron. — In the islands of the Kenmare Kiver, near 
 Dunkerron, Ireland, marbles are quarried exhibiting combinations 
 of black and white ; white, yellow, and purple ; and purple 
 veined with dark green. 
 
 Ecton. — The marbles quarried at Ecton, Staffordshire, have, 
 in some cases, a ground of brownish grey and a network of 
 white veins. Other varieties are of a pale, warm brown, with 
 brown shell-spots. 
 
 Eglier du Hoi. — This marble, quarried at St. Maurice, near 
 Gap, in the Upper Alps, exhibits combinations of white, pink, 
 red, and yellow. 
 
 Egyptian G-reen. — This marble has a darkish green ground 
 with spots of grey and occasionally of white. Another variety 
 has a red ground with clear dark green veins and a network of 
 white lines. Both marbles are quarried in the neighbourhood 
 of Carrara. Egyptian Green should not be confounded with 
 Verde Antico, which see. 
 
 Elban. — The marbles from the Island of Elba are mostly 
 white with blackish green veins. 
 
 El Buix. — See Statuary. 
 
 El Gitanos. — See Statuary. 
 
 Elinguehen. — Marbles exhibiting combinations of red, 
 grey, and white are quarried at this locality, in Pas-de- Calais, 
 France. 
 
 El Slop. — See Statuary. 
 
 Elmentier. — This marble, named after its .quarry, in Correze, 
 France, exhibits several semi-transparent tints mingled with 
 silver upon a red ground. 
 
 Emperor's Red. — This marble, quarried in the neighbour- 
 hood of Lisbon, is of a mottled yellowish pink, some large 
 patches of light red occurring occasionally, with veinings of 
 dark red and brown. 
 
 Encrinital. — Marbles called encrinital or entrochal, are 
 those which contain fossil encrinites, crinoids, or stone-lilies. 
 These, with their stems and arms, are sometimes called " wheel- 
 stones," and when cut in various directions they impart a pecu- 
 liar star-like pattern to the marble. A marble crowded with 
 
8o 
 
 APPENDIX. 
 
 fragments of minute encrinites is called "bird's-eye," and is 
 quarried in Derbyshire. See Derbyshire. An encrinital marble 
 is quarried at Poolwash, in the Isle of Man. See Poolwash. 
 On the Continent a dark grey marble with small sections of 
 crinoid stems goes by the name of " Petit Granit." See Petit 
 Granit. 
 
 Entrevaux. — This marble, named after its quarry, in Var, 
 France, is grey, veined with white. 
 Entrochal. — See Encrinital. 
 
 Estendar. — Several varieties of marble are quarried at this 
 locality, near St. Maximin, in Var, France. Some have a grey 
 ground with black spots and brilliant yellow veins. A kind 
 called Isabella du Var, is light brownish yellow tinged with red. 
 A griotte, resembling Griotte d'ltalie, is found here. Some 
 brocatello marbles, exhibiting shades of yellow, grey, blue, 
 violet, red, and white, are also found. There are also granites, 
 a red porphyry, and a serpentine. 
 
 Estival. — A serpentine is quarried at this locality, in Lot, 
 France. It is of a deep green, with clear green crystals em- 
 bedded in it. 
 
 Estremoy. — A coarse crystalline white marble, is quarried at 
 this locality, in Portugal. 
 
 Etroeugt. — This marble, called Breche d'Etroeugt, after its 
 quarry in the Nord department, France, shows greenish and 
 grey spots speckled with red. 
 
 Falcovaia. — See Statuary. 
 
 Fareau. — This marble, quarried at La Fare, in the neigh- 
 bourhood of Gap, in the Upper Alps, is of a fine deep black, and 
 takes a good polish. 
 
 Fauche. — A grey marble with white veins is quarried near 
 this mountain, in the Eastern Pyrenees, France. 
 
 Fausse Griotte. — This name, or False Griotte, is given to a 
 fine-grained marble, quarried in the neighbourhood of Dole in 
 Jura, France. It is veined, combining pale and bright red, and 
 spotted with white. It takes a good polish. 
 
 Faux Cervelas. — This name, or False Cervelas, is given to 
 a marble showing combinations of yellow, red, grey, and blue, 
 in configuration resembling Cervelas, which see. It is quarried 
 at Taveau, in Nievre, France. 
 
 Faux Portor. — This name, or False Portor, is given to a 
 marble quarried at Marche-les-Dames, in Namur, Belgium. It 
 has a yellow ground with deep grey spots and yellow veins. It 
 does not in the least resemble the real Portor marbles. 
 
TERMINOLOGY OF MARBLES. 
 
 Si 
 
 F6ronville. — A yellowish grey marble, which takes a good 
 polish, is quarried at Feronville, Meuse, France. 
 
 Fior di Persica. — This term, signifying peach-blossom, or 
 fleur de pecher in French, is applied to an antique breccia 
 having a white ground with large violet spots closely placed, 
 and inclining sometimes to wine-colour. It bears a modified 
 resemblance to Aleppo Breccia, and must not be confounded 
 with the French Fleur de Pecher. See Aleppo Breccia and 
 Fleur de Pecher. 
 
 Fiorito. — See Languedoc. 
 
 Fire Marble. — See Lumachello. 
 
 Firenze. — A clear green marble is quarried at this locality in 
 Tuscany. 
 
 Fixin. — This marble, named after its quarry in Cote d'Or, 
 France, has a red ground veined with white. 
 
 Fleur de Pecher. — This term, signifying peach-blossom, is 
 applied to a greyish white marble with red veins, quarried at 
 Savennieres, in Maine-et-Loire, France. It must not be con- 
 founded with the Italian Fleur de Pecher. (See Fior di Persica.) 
 A marble called Fleur de Pecher, exhibiting shades of peach- 
 colour, white, pink, and brown, is quarried at Bise, Upper 
 Garonne. See Bise. 
 
 Floriae. — This marble, named after its quarry in Lot, 
 France, is yellow, with patches of grey and red. 
 
 Florence. — This name is given to some Belgian marbles 
 found in Namur. Varieties quarried at Lesves have a ground 
 of pale ash grey, with irregular grey spots evenly distributed, 
 with small yellowish white veins, which do not extend over 
 the spots. A similar marble is quarried at Philippeville, but 
 darker in colour and without veins. Another found here has a 
 ground of reddish grey with spots of dark grey and black. 
 Another, found at Thon, has a more reddish ground blended 
 with black with a few white spots. Another, found at Samson, is 
 similar, but the ground is paler, blended with reddish grey, and 
 with black bands, more or less parallel. Some of these marbles 
 resemble Leopard, which see. 
 
 Florimont. — The marbles quarried at this locality, in Dor- 
 dogne, France, are mostly white mingled with yellow, with 
 grey and black veins. 
 
 Flumay. — See Statuary. 
 
 Fontaine-l'Eveque. — The marbles quarried here include, 
 besides Frederic, which see, a breccia having a reddish ground 
 slightly varied with very small grey spots and white veins. 
 
 G 
 
APPENDIX. 
 
 Fontenelle. — The marbles quarried at Fontenelle, Aisne ? 
 France, have a ground of bluish grey and white cloudy veins. 
 Lumachelle des Bossus has a similar appearance, but contains 
 whitish translucent fossils. A blue lumachello is similar, but 
 with blackish fossils. 
 
 Fosse. — The marbles quarried at this locality, in Belgium, 
 have a grey ground with numerous white conical fossils. 
 
 Fougeres. — A marble thus named after its quarry in 
 Herault, France, shows combinations of yellow and violet. 
 
 Framayes. — A black marble is quarried at this locality, near 
 Macon, in the department of Saone-et-Loire, France. 
 
 Framont. — This marble, named after its quarry in Vosges, 
 France, is white, sometimes tinged with pink or pearl grey. 
 Some specimens are red. 
 
 Fr£d&ric. — The marbles called by this name are quarried in 
 Hainaut, Belgium. Some varieties found at Landelies have a 
 reddish ground with yellowish white veins here and there, 
 running nearly straight and intersecting at all sorts of angles. 
 Varieties found at Fontaine-l'Eveque have a black ground with 
 reddish grey marks arranged in nest-like forms, and small grey 
 and white veins running in all directions. Some specimens 
 found here have a similar ground, but with small white veins 
 running nearly straight and intersecting in all directions. 
 
 Frome. — The marbles quarried at I rome, Somersetshire, are 
 chiefly dark brown, brownish red, and warm brownish grey, 
 with streaks and veins of yellow and grey. Some varieties 
 exhibit dark brown spots upon a grey ground. Others have a 
 ground of very dark grey, almost black, with grey veins and 
 spots, caused by small fossil shells. 
 
 Gabro. — See Serpentine. 
 
 Gagonniere. — This marble, quarried in Deux-Sevres, France, 
 is black with blackish grey veins. A cervelas, showing white, 
 red, grey, violet, and yellow, is found in the same neighbour- 
 hood. 
 
 Gandrieux. — This marble, named after its quarry in the 
 Nord department, France, is grey and black with white veins. 
 (See Pacagne.) Another marble found here shows combina- 
 tions of red, brown, grey, and black, and is called Eouge de 
 Fontaine. 
 
 Gap. — At Le Clarence and Le Morgon, near Gap, in the 
 Upper Alps, marbles are quarried having a ground of greyish 
 brown lightly spotted with grey. Some varieties are greyish 
 black, and all are easily worked. (See St. Firmin and St. Maurice). 
 
TERMINOLOGY OF MARBLES. 
 
 ^3 
 
 Gassino. — A marble quarried at Gassino, in the neighbour- 
 hood of Turin, has a clear grey ground spotted with fossil 
 shells. 
 
 Gherardesea. — A marble quarried at this locality, near 
 Florence, is a brocatello spotted with white, violet, and flesh- 
 colour. (See Pieva.) 
 
 Giallo Antico. — This is a yellow marble, called by the 
 French, Jaune Antique, It is of the colour of the yolk of an 
 egg, sometimes uniform and sometimes marked with black or 
 brownish yellow rings. Some varieties of Siena resemble it. 
 Giallo breccia is a brecciated variety of the same, having a light 
 yellow ground with deeper spots. Another variety, called 
 Breccia Dorata, has a red ground with yellow spots and small 
 intermediate white spots. The ancient Roman quarries, which 
 have been discovered within recent years, are at Chemtou, in 
 Tunisia. The Giallo Antico found there is of excellent quality, 
 comprising rose-tinted varieties, and is imported in blocks of as 
 much as 8 feet by 4 feet. This marble is also quarried at the 
 Montagne Grise, Kieber, Algiers. Varieties of it are known as 
 Paonazzo, Canarino, and Avorio. Paonazzo, somewhat resem- 
 bling in pattern the plumage of a peacock, is reddish, and has 
 been compared to Rosso Antico. Some of these varieties have 
 been called Numidian. 
 
 Givet. — The marble quarried at this locality, in Ardennes, 
 and called Rouge de Givet, has a ground of deep red mingled 
 with patches of white, and contains fossil shells. A marble 
 called Charlemont, and quarried in the neighbourhood, is of the 
 same colour but has white veins. Some black and white marbles 
 are found at Givet. 
 
 Glageon. — This is a blackish lumachello, resembling Petit 
 Granite, which see, and considered superior to it. It is quarried 
 at Glageon, in the Nord department, France. 
 
 Gold. — The gold available in marble decoration is gold 
 mosaic, as described in the chapter on mosaic work. 
 
 Gramat. — This marble, named after its quarry in Lot, France, 
 is yellow, with ramified markings resembling trees. 
 
 Grand Antique. — This marble shows a ground of black 
 and dark grey streaked with lines of white, sometimes zig-zag 
 and sometimes nearly parallel. It is quarried at Aubert, in 
 Ariege, France, and is obtainable in large sizes. See Nero 
 Antico. 
 
 Grand Courtil. — See Yiolon. 
 
 Grande Chartreuse. — This marble, named after its quarry 
 
8 4 
 
 APPENDIX. 
 
 in Isere, France, exhibits large patches of white, grey, pink, 
 brown, and black. 
 
 Grand Jasp6. — This marble, quarried in the valley of Biros, 
 in Ariege, France, shows combinations of grey, yellow, brown, 
 green, and white. 
 
 Grand Noir. — This is a fine black marble, found at Pouilly, 
 in Doubs, France. Some specimens of it are marked with white 
 and grey. 
 
 Grand Rouge. — A variety of marbles bearing this name 
 are quarried at Montferrier and Belasta, in Ariege, France. 
 They present mixtures of white, grey, and red, and are 
 very effective. 
 
 Granite. — This is a crystalline granular rock, not properly 
 termed a marble, but, like porphyry, it is extremely durable 
 and takes a high polish. Its chief colours are mottled grey, 
 red, brownish yellow, and green in varied shades. Some of the 
 grey varieties incline to blue. The red and grey granites of 
 Aberdeen and Peterhead are among the most familiar. The 
 Cornwall granites are chiefly dark grey with large white patches. 
 Some varieties are nearly black, while others are red — called 
 Oriental — and yellowish. For a Cornish granite of great beauty 
 see Luxullianite. Syenite combines various colours, including 
 reddish brown, grey, and yellowish brown in large patches. Its 
 original source was Syene, in Upper Egypt, but it is now 
 quarried in Pembrokeshire, Cumberland, and at Markfield 
 Knowle, in Leicestershire. Some of the finest Continental 
 granites are produced in Italy. Granito di Arno, quarried near 
 the banks of the Arno, in Tuscany, is olive green speckled with 
 brown and white. A deep red granite with black and white 
 spots is found near the river Grassino. Minerale della Grassina 
 is grey spotted with white. Two varieties of granite are quarried 
 in the neighbourhood of Lake Maggiore. One, called Migliarolo 
 Eosso, is mottled with red, grey, black, and white ; the other, 
 called Migliarolo Bianco, has a white ground with black and 
 grey spots. Pale green granites with black and white spots are 
 found in the Isle of Sardinia. Granites are found in nearly 
 every department of France. At Giranze, in the Upper Alps, 
 is found a pink and greenish grey spotted with grey and black ; 
 and a red granite with dark grey and white spots is quarried in 
 the same neighbourhood, and called Le Severaise. Some grey 
 granites are found at Ussel, in Correze. Granite de St. Brieuc 
 is named after its quarry in Cotes du Nord. It is grey, of a fine 
 grain, and takes a good polish. Some grey, pink, white, and 
 
TERMINOLOGY OF MARBLES. 
 
 85 
 
 blackish granites are quarried at Florimont, in Dordogne. Some 
 fine granites in varieties of colours are quarried near the mouth 
 of the Isere, in Drome. Granites of various colours, including 
 red and bluish grey, are found at St. Julien, in the Loire depart- 
 ment. They are said to be equal to those of Egypt. Granite 
 de Cherbourg is quarried at Flamanville, in Manche. It is 
 mottled with varied shades of grey, with black, and yellowish 
 brown. Granite de St. Honorine, named after its quarry in 
 Orne, is mottled with bluish grey and black. Granite de Tou- 
 vailles is similar, and quarried in the same department. Both 
 are much esteemed in Paris. A fine grey granite, called Granite 
 d'Arbresles, after the neighbourhood of its quarry in the Rhone 
 department, is also much esteemed. At Lues, in Vendee, is 
 found a granite mottled with bluish grey and red. Some por- 
 phyries have been called granites. See Granite Vert des Vosges. 
 For Belgian granite see Petit Granite. 
 
 Granitello. — This is a fine-grained grey granite, quarried 
 near Raide-de-Brest, in Finistere, France, and sometimes called 
 Kersanton, 
 
 Granite Vert des Vosges. — This name is given to a kind 
 of green porphyry containing crystals so closely packed that 
 they almost hide the ground colour. It is found at Chaume, in 
 the department of Vosges, France. See Porphyry. 
 
 Green. — The green materials chiefly available in marble 
 decoration comprise varieties of dark green porphyry, found in 
 large sizes, and sufficiently durable for external use ; the dark 
 green serpentines only suitable for interiors ; and all those 
 marbles having the prefix vert in French, or verde in Italian, 
 which are described under their respective names. For light 
 greens we have Vert de Geries and Campan Vert. 
 
 Griotte. — This name is generally given to those marbles 
 showing oval blood-red spots upon a dark brown ground. That 
 which is called Italian Griotte, or Griotte d'ltalie, is quarried at 
 Cannes, in the neighbourhood of Carcassone, in the department 
 of Aude, France. It has a ground of pinkish red, clouded with 
 darker red and brown, with thin veins of semi-transparent bluish 
 white. There are three varieties, the florid (fleuri), the feathered 
 (panachee), and the partridge-eye (ceil de perdrix). The latter 
 has numerous small spots or eyes of pure pearly white, which 
 give a strikingly beautiful appearance to the marble. There is 
 a griotte quarried at Felines d'Hautpoul, in Aude. Griotte des 
 Pyrenees and Griotte de Sost are quarried in the communes of 
 Esbareich and of Sost, in the Upper Pyrenees. A griotte 
 
86 
 
 APPENDIX. 
 
 quarried at Campan has a fine blood-red colour, and indeed the 
 griottes generally furnish some of the finest reds available in 
 marble decoration. A fine griotte is quarried in the neighbour- 
 hood of Cahors, in Lot, France. See Rosso Antico. 
 
 Gris Panach6. — This name, or streaky grey, is given to a 
 black marble veined with grey, found at Le Peychaguay, in 
 Is ere, France. 
 
 GuillaiiHie. — This marble, quarried at Landelles, in Hainaut, 
 Belgium, has a ground of pale whitish brown with darker 
 shades of the same tint here and there. A similar but darker 
 variety is found at Chenu, near Dinant. 
 
 Guillestre. — This puddingstone marble, named after its 
 quarry, near Embrun, in the Upper Alps, has a red ground with 
 rounded spots of white, grey, and yellow. For another Guil- 
 lestre see St. Maximin. 
 
 Guipuzcoa. — At the mountains named thus in Spain is 
 quarried a red marble veined with grey, and closely resembling 
 Sarancolin, which see. 
 
 Happaway. — A Devonshire marble called Dove Happaway, 
 has a ground of light, warm grey, with paler blotches, and veins 
 of slightly darker grey here and there. See Devonshire. 
 
 Harpenden Puddingstone. — This marble, quarried at 
 Harpenden, Hertfordshire, has large orbicular spots, mostly 
 orange, with red in the middle and brown at the edges, set 
 closely in a ground of grey and yellow. 
 
 Heehette. — At Heehette, in the Upper Pyrenees, is found a 
 black marble veined with white and grey. 
 
 Hecourt. — A grey lumachello, with black fossils, is quarried 
 at this locality, in Oise, France. 
 
 Heer. — A marble quarried at this locality, in Namur, Bel- 
 gium, has a reddish ground blended with pale grey, with oc- 
 casional yellowish white veins. 
 
 Herbosum. — This is a fine antique marble, with varying 
 shades of grass green. 
 
 Hopton Wood. — This stone deserves to rank as a marble, 
 for it will take an excellent polish. Its colour is a pale brownish 
 white, and it is quarried in the neighbourhood of Middleton and 
 Wirksworth, Derbyshire. 
 
 Houdain. — The marbles quarried at this locality, in the Nord 
 department, France, are black, with white and yellowish spots. 
 
 Huronian Conglomerate. — This material, which takes a 
 fairly good polish, is quarried upon the shores of Lake Superior, 
 Canada. It shows a ground of light mottled grey in large 
 
TERMINOLOGY OF MARBLES. 
 
 37 
 
 rounded patches, with large spots of slate blue, brown, and 
 bright red both dark and light. 
 
 Hymettian Marble. — This is an antique marble from Mount 
 Hymettus, near Athens. It has a ground of dingy white, with 
 a slight tinge of green, and long parallel dark grey veins of 
 varying breadth. 
 
 Iberian Agate. — This marble shows a mixture of dark red, 
 yellow, and slate colour, and various combinations of these 
 tints. It is quarried near the town of Villa Nova d'Ourem, 
 Portugal. It is of a hard, compact texture, and takes a good 
 polish. 
 
 Iona. — The marble quarried at Iona,in the Hebrides, is grey 
 and white, sometimes with yellowish spots or veins of yellowish 
 white. It does not take a high polish. 
 
 Irish Green. — The same as Connemara Serpentine. See 
 Serpentine. 
 
 Isabelle. — This is the French name for a colour somewhat 
 between white, yellow, and flesh colour. A marble of this 
 colour, called Isabelle marble, is quarried at Cierp, in the Upper 
 Garonne, France, and another at Montrouge, Seine. 
 
 Isabelle Campan. — This marble must not be confounded 
 with Campan Isabelle. It is quarried between Cannes and 
 Villartel, in Aude, France. It has a ground of strong bright 
 red, with translucent spots of orange red and some white spots. 
 It takes a high polish. 
 
 Isabelle du Var. — See Estendar. 
 
 Istrian Marble. — This is quarried in Istria, near Trieste, in 
 Austria. It is of a light cream colour, and is very compact and 
 durable. 
 
 Italian Breccia. — This marble, called by the French, Breche 
 d'ltalie, is found in various parts of Italy. It has a reddish 
 brown ground and white veins. It is sometimes called Breche 
 Violet. 
 
 Izernore. — A marble thus named after its quarry in Ain, 
 France, exhibits shades of bluish ash grey, and is trans- 
 lucent. 
 
 Jaune Fleuri. — See Lamartine. 
 
 Jaune de la Nievre. — This is a yellow marble with brown- 
 ish marks, quarried at Clamecy, Nievre, France. 
 
 Jaune Uni des Pyrenees. — This marble, quarried at Hers, 
 in the Upper Garonne, France, is of a fine yellow colour, almost 
 uniform. 
 
 Joinville. — See Lunel. 
 
88 
 
 APPENDIX. 
 
 Joligny. — This marble, named after its quarry near Moulins, 
 in Allier, France, has a bluish ground speckled with red, black, 
 and grey, 
 
 Kersanton. — See Granitello. 
 
 Killarney. — A beautiful marble striped with red and white 
 is quarried at Killarney, Ireland. 
 Kitley Park. — See Devonshire. 
 
 Kurnool. — This name has been given to a limestone quarried 
 at Beejapore, India. It is fine and close, and takes a good 
 polish. Its colour is yellowish or creamy grey. 
 
 Labradorite. — This is a very beautiful kind of spar, found 
 in small sizes at Labrador. It exhibits various tones of 
 bright blue and green, sometimes translucent, in veins and 
 patches, with opaque green and grey, and streaks of greenish 
 gold. 
 
 Laconian Marble. — This is a green porphyry, the ancient 
 quarries of which have been discovered near Levetza, between 
 Sparta and Marathon. See Porphyry. 
 
 Lamartine. — The marble called Jaune Lamartine is of a fine 
 yellow tint, with small veins of brownish red and grey. It is 
 quarried at Vaux, in Jura, France . Jaune Fleuri is another 
 variety of the same, quarried at Pratz, in Jura. It is of similar 
 appearance, but of a much darker yellow, some specimens being 
 of a rich reddish brown, and the veins in it are more closely 
 distributed than in Jaune Lamartine. 
 
 Landscape. — This term is applied to marbles which exhibit 
 patterns resembling landscape prospects, caused by fossil vege- 
 table growths. A landscape marble, quarried at Penarth, near 
 Bristol, has a ground of pale greyish brown, with dendritic or 
 tree-like markings of varied brown and dull sap green. 
 
 Landscape (Florence). — See Buin. 
 
 Langres. — Marbles quarried at this locality, in the Upper 
 Marne, France, have a ground of brownish grey, with numerous 
 white semi-transparent fossils. Some varieties contain small 
 yellow shells. 
 
 Languedoc. — This marble, also called St. Beaume, is a 
 madrepore of a fiery red colour streaked with white and grey in 
 convoluted bands or zones. It is quarried at Alais (Gard) and 
 at Portes (Herault), in the old province of Languedoc. See 
 St. Beaume. Languedoc is found to resemble the antique 
 marbles known as Cotonello, Fiorito, Purichiello, Bosso Annul- 
 lato, Serpentelo, and Yendurino. A marble called Languedoc^ 
 having a ground of tarnished green with red spots, is quarried 
 
TERMINOLOGY OF MARBLES. 
 
 S9 
 
 at Figeac, in Aude ; and marbles similarly named, having a 
 ground of pale yellowish green, are found at St. Alban, and 
 other parts of Lozere, France. 
 Las Fons. — See Baixas. 
 
 Laug6at. — This marble, named after its quarry in the Upper 
 Loire department, France, is red spotted with white. 
 
 Laurentian Limestone. — This is a material of a serpen- 
 tinous character, quarried at Grenville, Canada. It exhibits 
 various tones of sap green, and greenish and pinkish grey, in 
 veins and zones of great beauty. 
 
 Lautenne. — The marbles quarried at this locality, inNamur, 
 Belgium, have a ground of slightly greenish grey, with darker 
 irregular spots and large white spots and veins. 
 
 Lauzanier. — Marbles bearing this name are quarried in the 
 Lower Alps. Some have a white ground irregularly spotted 
 with green, brown, and yellow, and are quarried at St. Vincent, 
 which see. A variety found at Entrevaux has a grey ground 
 veined with white, and takes a good polish. 
 
 Lauzet-Monetier. — See Portor. 
 
 Laval. — See Argentre and St. Berthevin. 
 
 Laveline. — This is a white marble named after its quarry in 
 Yosges, France. It is difficult to work on account of the quartz 
 and felspar which penetrate it. 
 
 L6ard.es. — This marble is quarried at Blavosy, Upper 
 Loire, France. It is grey with white veins, and very hard. 
 
 Leek Marble. — This is an antique marble resembling ser- 
 pentine, with a ground of light green shaded with blackish 
 green, and with long green veins. 
 
 Leopard. — This marble, quarried at Philippeville, in Namur, 
 Belgium, has a ground of reddish grey spotted with darker grey 
 and black, with crystalline veins slightly tinged with bluish 
 grey, and running like rivers upon a map. This resembles some 
 marbles called Florence, which see. 
 
 Levanto. — The Levanto marbles, named after the locality of 
 their quarries in Italy, are in masses of dark red and green, 
 separated by clearly denned boundaries. Some specimens are 
 of uniform colour in large sizes, of a fine marone red or olive 
 green. Some bands and patches of pale green are found here 
 and there. 
 
 Les Bains. — See Statuary: 
 
 Lescun. — At Lescun, in the Lower Pyrenees, is found a 
 marble presenting shades of green slightly varied. 
 
 L'Improneta. — This marble, named after its quarry near 
 
9 o 
 
 APPENDIX. 
 
 Florence, is green spotted with clear green, olive green, and 
 brown. 
 
 Linghon. — This marble is grey with red veins, and is quar- 
 ried near Ambleteuse, in Pas-de-Calais, France. 
 
 Lorrain. — This marble, quarried at St. Catherine, near 
 Nancy, France, shows combinations of white, grey, yellow, 
 red, and black, and takes a high polish. 
 
 Loubie. — A marble quarried at Loubie, in the Eastern Alps, 
 is white with occasional grey veins. 
 
 Lu^on. — This name is given to some marbles quarried at 
 Gochenee, in Namur, Belgium. Lucon Chocolat has a ground 
 of chocolate mingled with red, with occasional large grey veins 
 and spots. Lucon Cailloute has a ground of dark grey spotted 
 with pale grey, white, and red, in large blotches. Lucon, quar- 
 ried in Vendee, France, is red, with spots of deeper red, black, 
 and pale grey. 
 
 Lues. — A granite is found at this locality in Vendee, France. 
 It exhibits various shades of grey, blue, and red, and contains 
 fossils. 
 
 Lumachella Castracani. — This is identical with Yellow 
 Lumachella. It has a ground of very deep brown spotted with 
 small bright orange rings, caused by fossil shells. The ancient 
 quarries are lost. 
 
 Lumacrielle des Bossus. — See Fontenelle. 
 
 Lumachelle Champenoise. — This marble, quarried near 
 Rheims, in Marne, France, is yellowish grey, with numerous 
 fossils. 
 
 Lumachello. — This term, or Lumachella, is applied to 
 marbles which present figures caused by the section of small 
 shells, so closely united as to form the body of the marble. The 
 shells may be white, black, or greyish brown, and the material 
 uniting them may be black, pink, yellow, or transparent white. 
 The lumachello of Tuscany is of a dark brown colour, contain- 
 ing shells, and having brilliant sparkling reflections from within. 
 It is sometimes called fire marble. The marble of Tortosa, in 
 Spain, is composed of crushed shells, and is properly a luma- 
 chello, although it is called a brocatello. See Brocatello. A 
 grey lumachello, or lumachelle gris, is quarried in the depart- 
 ment of l'Aube, France. It exhibits large ammonites mixed 
 with small shells, but its colour is not agreeable, although it 
 takes a good polish, There is a clear grey lumachello quarried 
 at Lourdes, in the Upper Pyrenees. 
 
 Lunel. — This marble is of a dull brown colour without much 
 
TERMINOLOGY OF MARBLES. 
 
 9* 
 
 marking. It is obtainable in large sizes, entire columns twelve 
 feet long being made from it, and it harmonises well with red 
 brick. It is quarried in the Yallee Heureuse, near Boulogne- 
 sur-Mer, France. Lunel Fleuri, also found here, has a similar 
 ground, but with markings of darker colour. Joinville, another 
 variety of the same, is slightly marked with red patches and 
 veinings. See Napoleon. 
 
 Luxullianite. — See Porphyry. 
 
 Madrepore. — Marbles called madrepores, or madreporic 
 marbles, are those which contain fossils which produce the 
 effect of white and grey spots, in the middle of which are small 
 dots or stars regularly disposed. The St. Anne marbles furnish 
 examples of this. 
 
 Malpas. — Marbles quarried at this locality, and at La Cluse, 
 and Oye, near the lake of St. Pont, in Doubs, France, are fine- 
 grained, of a flesh-colour spotted with bright red, and take a 
 high polish. 
 
 Malplaquet. — This name is given to a marble quarried in 
 the valley of Biros, in Ariege, France. It has a bluish grey 
 ground with large black and pinkish white spots. A marble 
 quarried at Malplaquet, Belgium, has a ground of pale reddish 
 yellow, sprinkled with irregular patches of lighter colour, 
 fringed at the edges with a darker tint. Another variety 
 quarried here has a black ground covered with large reddish 
 grey patches, shaded at the edges. This marble is known as 
 Premiere Qualite, or First Quality, Malplaquet. 
 
 Manche. — Some marbles quarried near lies Chaucey, in 
 Manche, France, are white speckled with varied shades of grey, 
 with some white and grey crystalline zones. 
 
 Mandelato. — This is a light red marble with yellowish red 
 spots, quarried at Luggezzana, in the Veronese. 
 
 Margorre. — A bluish marble with brown veins is quarried 
 at this locality, in Tuscany. 
 
 Marmiere. — The marbles quarried at this locality, in 
 Tuscany, comprise Caldana, which see, and Brocatelle de 
 Sienne, which has spots of orange upon a ground of dark violet, 
 and is very beautiful. 
 
 Marmora. — The marble quarried at the Isle of Marmora is 
 of a greyish hue with stripes of darker grey. It is coarse, and 
 of little use for decoration. 
 
 Marmoraja. — A marble quarried in this locality, in Tuscany, 
 is yellow with veins and spots of darker yellow. 
 
 Marquise or Marquese. — See Napoleon and Stinkal. 
 
92 
 
 APPENDIX. 
 
 Marston. — A remarkable madrepore is quarried at Marston, 
 Somersetshire. It exhibits the outline forms of pale yellow 
 ammonite shells, mostly spiral-shaped, and closely united in a 
 ground of blackish brown. 
 
 Matifoux. — This marble, named after the neighbourhood of 
 its quarry, in Algiers, has a grey ground, with sometimes 
 yellowish or bluish shades. Sometimes it is spotted or brec- 
 ciated. It is not highly esteemed. 
 
 Merbes-le-Chateau. — The marbles quarried in this locality, 
 in Hainaut, Belgium, are of a dark marone red with white 
 veins. 
 
 Mergozza. — A fine white marble with grey veins is quarried 
 near Mergozza, Italy. 
 
 Middleton. — The marble quarried near Middleton and 
 Churchtown, Co. Cork, Ireland, has a ground of brownish red 
 with spots and veins of white and whitish red. 
 
 Miery. — A marble quarried at this locality, near Poligny, in 
 Doubs, France, is a lumachello having a black ground and 
 white fossil shells. 
 
 Migliarolo. — See Granite. 
 
 Misehio. — This Italian word, signifying mixed, is applied, 
 properly speaking, to a violet or purple variety of Breccia 
 Serravezza, which is penetrated by veins of iron ore. The 
 term misehio, however, has been somewhat indiscriminately 
 applied. Misehio di Serra Yalle is of a dirty white intermingled 
 with grey, black, and yellow. Misehio di Marmaroja is clear 
 ash colour. Misehio di Yolterra is grey intermingled with 
 white and light red. Misehio dei Conti is pale grey with brown 
 spots. Misehio di Mitigliano is pale red mixed with yellow. 
 Misehio quarried in Brescian is pink mingled with white. 
 Misehio di Sienna, found in Tuscany, is flesh-coloured mingled 
 with white, and resembles alabaster. Misehio di Frosini, quarried 
 near the Abbey of St. Galgano, is reddish with white spots. 
 Verde Misehio, quarried near Padua, is green with black and 
 white veins. Most of the above-named marbles are named after 
 the situations of their quarries. 
 
 Mitigliano. — A breccia quarried at this locality, in Tuscany, 
 has a ground of mingled yellow and grey, marked with white 
 and brown. Misehio di Mitigliano^ exhibits combinations of 
 yellow and pale red. 
 
 Molina. — Near this locality, in Spain, is an entire hill of a 
 red, yellow, and white marble, having a coarse, granular 
 texture. 
 
TERMINOLOGY OF MARBLES, 
 
 93 
 
 Mona. — Mona marble is understood to consist of a combina- 
 tion of crystalline limestone and serpentine. It exhibits dark 
 green, moderately brilliant green, and occasionally dark purple, 
 blended irregularly with white, and it is of great beauty. It is 
 quarried in Anglesea. See Ehoscolyn. 
 
 Moneyash. — Two kinds of marble are quarried at Moneyash, 
 in Derbyshire. One has a ground of light mottled grey, while 
 the other has a similar ground of a bluish tint. The former 
 has purple veins, which spread out in elegant ramified forms, 
 and both contain numerous fossil crinoid shells. See Derby- 
 shire. 
 
 Mons. — See Petit Granite. 
 
 Montarenti. — At this locality, near Siena, Italy, is quarried 
 a marble having a yellow ground with black veins, tending 
 sometimes to purple. 
 
 Montbart. — This marble, quarried in the department of 
 Cote d'Or, France, is a breccia spotted with white, red, and 
 yellow. 
 
 Monte Corchia. — See Statuary. 
 
 Montel. — This marble, named after its quarry, in Lot, 
 France, is blackish grey with green spots. 
 
 Monthricaux. — A black and red marble is quarried at this 
 locality, in Lot, France. 
 
 Montmartin. — The marble called Brun de Montmartin has 
 a ground of brown marked with white fossil shells. It is 
 quarried at Montmartin, in Doubs, France. Some black and 
 white marbles are also found here. 
 
 Montmirel. — A marble exhibiting combinations of brown, 
 grey, and white, is quarried at Montmiral, in Tarn, France. 
 
 Montrichoux. — This marble is named after its quarry, in 
 Tarn-et-Garonne, France. 
 
 Montrouge. — The marbles quarried here, in the Seine 
 department, France, exhibit varieties of yellowish Isabelle, 
 which see, with ramified tree-like markings. 
 
 Morgon. — See Gap. 
 
 Mosaic. — This name is given to a marble quarried at Mol- 
 tifseo, in Corsica. It exhibits a variety of coloured fragments, 
 mostly dark, comprising grey, blue, yellow, red, and brown, all 
 united with white veins. It takes polish unequally, and changes 
 quickly on exposure to the air. 
 
 Mugnione. — Various marbles are quarried at this locality, 
 in Tuscany. Amongst these are Alberese, or tree-like, which 
 is of a clear yellowish white with fine lines and small spots 
 
94 
 
 APPENDIX. 
 
 of black, arranged in tree-like forms. Nuvoloso di Mugnione is 
 reddish grey. Giallo Liniato di Mugnione is yellow mingled 
 with red, and veined in a manner resembling wood. Caia di 
 Mugnione is an olive yellow brecciated marble, with small specks, 
 and resembles wood cut from the root of a tree. Verde di 
 Mugnione is of a tarnished bluish green, marked with olive 
 yellow. A lighter variety is pale olive green with shades of 
 reddish colour. Cosuale di Mugnione is a green brecciated 
 marble with patches of reddish yellow, crossed by darker lines, 
 which give it some resemblance to a woven fabric. 
 Mussel. — See Derbyshire. 
 
 Nanquin Coquilier. — This marble, quarried at Mentious, 
 in the Upper Garonne, France, is of a warm whity-brown tint, 
 and contains small fossils. 
 
 Napoleon. — The marbles bearing this name are of various 
 brown tints, with veins of white, grey, and auburn. The marble 
 called Marquise or Marquese is quarried in the locality of that 
 name, near Boulogne-sur-Mer, France. It has a brownish grey 
 ground, resembling the colour of coffee mixed with milk, with 
 veins which vary between white and auburn. There are three 
 varieties, the grey (gris), the pink (rose), and the florid (fleuri). 
 Sometimes the ground is of a fine ruddy brown. The kind 
 called Napoleon des Yosges is quarried at Schirmeck, in the 
 department of Vosges, where is also produced a brecciated 
 marble called Breche Napoleon. See Lunel and Stinkal. 
 
 Napoleonite. — This puddingstone marble, quarried in 
 Corsica, has grey orbicular spots upon a dark grey ground. 
 
 Nero Antico. — This marble, known as Black Antique, or 
 Noir Antique, is the original Grand Antique. It exhibits large 
 angular and jagged patches and bands of black, dark grey, and 
 white. Some small intensely black fragments are occasionally 
 found. The ancient quarries have been lost. The modern 
 Noir Antique is of a fine uniform black, and is quarried at St. 
 Crepin, in the Upper Alps. 
 
 Neuvillette. — A marble called Bleu de Neuvillette is quarried 
 at this locality, in Mayenne, France. It is white with blue 
 veins. 
 
 New England. — The marble known by this name is quarried 
 at Stainton, near Barrow-in-Furness. There are two varieties. 
 One is of a light fawn-colour, without much veining, and the 
 other is darker, with purple and brown markings. 
 
 Nivernais. — This name is given to a bluish grey marble 
 quarried at Champ-Kobert, Nievre, France. Orange du 
 
TERMINOLOGY OF MARBLES. 
 
 95 
 
 Nivernais is of an orange tint, and is quarried at Taveau, in the 
 same department. 
 
 Noir Antique. — See Nero Antico. 
 
 Tfoir Jurassique. — This is a pure black marble, quarried in 
 Jura, France. 
 
 Nonette. — A marble quarried at Nonette, in Auvergne, has 
 a ground of pearl grey with fossil shells. 
 
 Numidian. — The only known quarry in the ancient African 
 province of Numidia, is at Fillfila, where a white marble of 
 ordinary quality is found ; and it is supposed that the Marmor 
 Numidicum of the Romans was so called from having been 
 shipped at some Numidian port. The marbles now called 
 Numidian are quarried at the Montagne Grise, near the village 
 of Kleber, about twenty miles north-east of Oran, in the western 
 part of Algiers. These marbles comprise a creamy white 
 Marmor Bianco, a flesh-tinted Rosa Carnagione, a fine variety of 
 Cipollino (see Cipollino), various specimens of Giallo Antico (see 
 Giallo Antico); yellow marbles of various tints, including Giallo 
 Avorio, Giallo Canarino, and Giallo Paonazzo ; and brecciated 
 marbles, including Breccia Sanguina, Breccia Coronata, Breccia 
 Dorata, and Breccia Grande. The last-named is of a deep red 
 colour, slightly brecciated, and resembling Rosso Antico, which 
 see. These breccias are all of great beauty, take an even 
 polish, and are mostly homogeneous, thus presenting no neces- 
 sity for the use of lutes or stoppings. Algerian Onyx is also 
 found here. See Onyx. All these marbles are shipped at 
 Oran. 
 
 Occhiato. — This Italian word, which means full of eyes, is 
 applied to a lumachello marble having a ground of violet colour 
 with round fossil shells closely placed, and resembling eyes. 
 It is quarried at Mora, in Venetia. Occhiodino resembles it, 
 but the eyes are smaller. It is quarried at Cerveno. Another 
 similar occhiadino is found at Bordogna. 
 
 Occhio di Pavone. — This marble, which is Peacock's Eye, 
 or the French GEil de Paon, is a madrepore, having a ground 
 of red inclining to yellow, in which the shells form large 
 orbicular spots of red, white, and yellow. It is quarried in the 
 neighbourhood of Verona. There is a similar antique marble 
 bearing the same name. 
 
 Ogwell. — Among marbles quarried at Ogwell, in Devonshire, 
 are specimens with a ground of dark reddish brown, with brown 
 and grey spots and markings. 
 
 Oletta. — The marbles quarried at this locality, in Corsica, 
 
9 6 
 
 APPENDIX. 
 
 exhibit three varieties. One has a ground of dark red, or marone, 
 with white and sometimes yellow veins. Another has a yellow 
 ground with mingled shades of red, white, and grey. A third 
 variety has a blackish ground with small white or brownish 
 veins. 
 
 Onhaye. — A marble quarried at this locality, in Namur, 
 Belgium, has a ground of brownish black, mingled with paler 
 shades, with grey spots and veins. 
 
 Onyx. — Onyx marble is to be distinguished from Oriental 
 Alabaster, which has been mistaken for it. Onyx is translucent, 
 usually of amber-colour blended with white. Some varieties are 
 quarried at Ain Tekbulet, near Tlemc^u, in Algiers. Mexican 
 Onyx, quarried at Pueblos, near Vera Cruz, presents great 
 variety of colours, comprising white and amber, cloudy bluish- 
 grey, and occasionally rich brown verging upon deep red. Large 
 quantities are obtainable, but the uncertainty of demand has 
 made it scarce in this country. 
 
 Opalescent Lumachelle. — The same as Bleiberg, which 
 see. 
 
 Oriental Alabaster. — This is a calcareous substance which 
 effervesces under nitric acid. It differs essentially from ordinary 
 Alabaster, which see. It is much used in decoration, both on 
 account of its beauty and the ease with which it is worked. It 
 exhibits a ground of translucent white, tending in places to a 
 reddish yellow, and is profusely marked with undulating bands 
 and streaks of amber colour, tending in some cases to a dark 
 reddish brown, and often resembling the grain of wood in its 
 general effect. It is quarried in the neighbourhood of Alicant 
 and of Valencia, in Spain, and of Trapani, in Sicily. Sienna 
 alabaster, or Albatre de Sienne, is of an uniform amber yellow, 
 and is nearly transparent. It is quarried at Malta. Algerian 
 alabaster is quarried in Algiers. It is of bright green, bright 
 red, golden yellow, brownish yellow, pure white, and cream- 
 colour. The name of Oriental Alabaster has been wrongly 
 applied to onyx marble. See Onyx. 
 
 Orival. — This marble, named after its quarry in the Lower 
 Seine department, France, is brown with black veins. 
 
 Ossau. — The marbles quarried in this valley, in the Lower 
 Pyrenees, comprise some varieties of St. Anne, which see. 
 Breche Grrise, or grey Breccia, pearly grey, &c. 
 
 Osseux. — This name has been given to a marble quarried 
 near Verona. It shows a reddish and greenish ground, with 
 large white spots caused by fossil bones. 
 
TERMINOLOGY OF MARBLES. 
 
 97 
 
 Oye. — See Malpas. 
 
 Pacagne. — This marble, quarried at Gandrieux, in the Nord 
 department, France, is of a clear ashy grey. 
 
 Palliato di Casentino. — This is a breccia quarried near 
 Casentino, in Tuscany. It presents varied shades of yellow. 
 
 Palombino. — A dove-coloured marble with delicate white 
 blotches, quarried at Carrara, is called by this name. 
 
 Panno di Morto. — This name, signifying a funeral pall, is 
 given to an antique marble having a black ground with white 
 shell spots about an inch long. It takes a high polish, and is 
 called Black and White Antique. 
 
 Paonazzo. — See Giallo Antico. 
 
 Paragone. — See Bergamo and Black. 
 
 Parian. — See Statuary. 
 
 Paris. — The marbles quarried in the neighbourhood of Paris 
 are mostly of a yellowish or brownish white, with brown or 
 brownish grey spots. 
 
 Partridge-eye. — See Griotte. 
 
 Pavonazetta. — This antique marble derives its name from a 
 supposed resemblance of its pattern to the plumage of a peacock. 
 It is also called Phrygian marble. It exhibits bands of green 
 in various shades approaching a bluish or greyish tinge, and 
 alternating with bands of pure white. These bands follow, for 
 the most part, wavy contours, occasionally interrupted with 
 sharp breaks. The name Pavonazzo (which see), has often 
 been applied to this marble. 
 
 Pavonazzo. — This antique marble is white, with spots of 
 ruby red. The name is given to some modern marbles of Serra- 
 vezza. See Serravezza and Breccia di Serravezza. See also 
 Pavonazetta. 
 
 Peach-Blossom. — See Fleur de Pecher and Fior di Persica. 
 
 Pech-Cardaillac. — A serpentine, quarried at this locality in 
 Lot, France, combines varied shades of dark green, passing 
 from olive to almost black. 
 
 Pembrokeshire. — The marbles quarried in Pembrokeshire, 
 as at Carew-Norton and Williamston Park, are almost black. 
 At Templeton there is a black marble with white outlines of 
 fossil shells. 
 
 Pendant. — At the quarries named thus, near Pendant, in 
 Lot, France, is a grey brecciated marble veined with red. 
 
 Penne St. Martin. — This is a brecciated marble quarried at 
 St. Beat, in the Upper Garonne department, France. It shows 
 combinations of white, yellow, and grey. 
 
 H 
 
98 
 
 APPENDIX. 
 
 Pentelic. — See Statuary. 
 
 Perigueux. — This marble, named after the locality near 
 which it is quarried, in Dordogne, France, has a ground of pale 
 bluish grey, with varied shades of green and red. 
 
 Persecchino. — This name is given to two varieties of 
 antique marble. Persecchino Grande has a white ground with 
 lilac and violet-coloured spots, as much as a foot in diameter. 
 It is sometimes called Violet Breccia, and this name is also 
 applied to a marble having a brown ground with long violet 
 bands and spots mixed with white. Persecchino Piccolo is like 
 Persecchino Grande, only its spots are smaller. Some rare 
 varieties have rose-coloured spots. 
 
 Petit Antique. — This marble has a blackish ground with 
 white and grey veins running nearly parallel. The ancient 
 quarries have been lost. Marbles now called by this name 
 are quarried at Brabancon, in Hainaut, Belgium. They have a 
 black ground with irregular grey and white spots and veins, 
 tolerably evenly distributed. In some varieties the white spots 
 are larger and more irregular, while the veins are larger and 
 disposed in directions more or less parallel. In others there are 
 fewer white spots, which, with the grey spots and veins, are 
 more irregularly disposed. See Grand Antique and Nero Antico. 
 
 Petit Granite. — This is an encrinital marble quarried at 
 Mons, in Belgium. It has a ground of dark grey, nearly black, 
 with small light grey spots formed by sections of the fossil 
 crinoid or stone-lily stems. It is not durable, and does not 
 take a good polish. 
 
 Petit Tor. — Among marbles quarried at Petit Tor, Devon- 
 shire, are Yellow Clouded, having a ground of pale grey with 
 grey and dark red veins, and slight dashes of yellow ; Pink 
 Clouded, having a ground of pale pink with patches of yellow 
 and grey, and small dark brown markings here and there ; and 
 Dark Spot, having a ground of warm grey mottled like granite, 
 with small black specks. 
 
 Peyrere (Le). — A red marble, spotted with white, is quarried 
 at Peyrere, in Lozere, France. 
 
 Peysonnier. — Marbles called Peysonnier and Peschagnard, 
 quarried in Isere, France, are dappled with large shades of 
 grey, black, and white. 
 
 Pezenas. — A marble quarried near this locality, in Herault, 
 France, is brecciated with white, grey, and green. 
 
 Philippe ville. — The marble called by this name, after the 
 neighbourhood of its quarry in Algiers, has been identified with 
 
TERMINOLOGY OF MARBLES. 
 
 99 
 
 the Numidian marble of the ancients. It has a yellowish 
 ground, tending to reddish or pinkish hues, and has small 
 accidental veins of black, reddish brown, and brownish violet. 
 It takes a high polish, and is much esteemed. 
 
 Phrygian. — See Pavonazetta. 
 
 Pidichiasa. — See Trapani. 
 
 Pieds de Souris. — This name, which means mouse's feet, is 
 given to a marble quarried at Montigny- Saint- Christophe, in 
 Hainaut, Belgium. It has a grey ground spotted with paler 
 grey, and with little white marks resembling the feet of mice. 
 
 Pierre Chaline. — See Argonne. 
 
 Pierre d'Etoile. — See Pietra Stellaria. 
 
 Pietra Stellaria. — This marble, quarried in the neighbour- 
 hood of Verona, is entirely composed of starlike madreporic 
 shells converted into a grey and white substance. It will take 
 a fine polish. 
 
 Pieva. — Brocatello della Pieva is spotted with white, violet, 
 and flesh-colour, and is found at Molli, on Mount Arrenti, in 
 Italy. It is much finer than the marble found at Gherardesca, 
 which see. 
 
 Pisa. — Various marbles are found in this neighbourhood. 
 Fiorito di Pisa has a ground of clear yellowish white with 
 numerous black spots and small specks. Vert de Pise is pale 
 greenish grey. 
 
 Pistoja. — Verde di Pistoja, quarried at this locality, in 
 Tuscany, is of a deep olive green, marked with interlacing veins 
 of more or less clear green. See Polveroso. 
 
 Plougastel. — Marbles quarried at this locality, in Finistere, 
 France, exhibit various tones of bluish grey. 
 
 Poggio di Rossa. — The marbles quarried at this locality, in 
 Tuscany, are yellow 7 spotted with yellow and black. 
 
 Poligny. — In this neighbourhood, in Jura, France, some 
 fine Oriental Alabaster is found. It is white and semi-transparent. 
 Some varieties showing shades of yellow and red are also found 
 here. 
 
 Polla (La). — See Statuary. 
 
 Poolwash. — The marbles quarried at Poolwash, in the Isle 
 of Man, comprise the grey encrinital and the black flagstone. 
 The former shows white star-like fossils upon a ground of grey, 
 and is one of the most beautiful specimens of encrinital marbles. 
 See Encrinital. The black flagstone has a few grey veins, and 
 takes a good polish. 
 
 Polveroso. — This marble, which has a black ground sprinkled 
 
100 
 
 APPENDIX. 
 
 with small white and grey spots, is quarried at Pistoja, in 
 Tuscany. 
 
 Polzevera di Genova. — The same as Verde di Genova, 
 which see. 
 
 Poppi. — A marble quarried at this locality, in Tuscany, is 
 greyish green, brecciated and veined with yellow. 
 
 Porphyry. — This is a crystalline substance, which does not 
 correctly rank as a marble, but which, in some of its varieties, 
 is much used in marble decoration. It is extremely durable, 
 but requires the aid of polish to display its beauties to perfec- 
 tion. The antique red or purple porphyry, from Upper Egypt, 
 is called Porfido Rosso Antico by the Italians, and must not 
 be confounded with Rosso Antico, which see. This antique 
 porphyry has a ground of dark crimson or chocolate-colour, 
 sprinkled with minute crystals. Black Antique Porphyry, or 
 Porfido Nero Antico, has a ground of black with large white 
 crystals. Some less valued specimens have small crystals. The 
 quarries have been lost. Green antique porphyry has a ground 
 of olive green, tending to dark, almost blackish green, with 
 whitish green crystals of a medium size, and with occasional 
 small bluish grey agates. This has been called ophite or serpen- 
 tine bv the ancients, and must not be confounded with Verde 
 Antico, which see. This green porphyry is extremely rare. 
 Porfido Bruno, or brown antique porphyry, has a ground of 
 liver brown with large spots of greenish white. It has been 
 found in Roman ruins. The term porphyry is applied to various 
 rocks containing distinct crystals sprinkled through a fine- 
 grained ground of black, green, red, brown, violet, and grey. 
 Some varieties are quarried in Cumberland, amongst which are 
 mottled dark red, grey, and pink, some specimens having a 
 dark grey ground with white and dark red spots. Some fine 
 porphyries are quarried at Shap, in Westmoreland. In Corn- 
 wall we have the El van varieties, mostly dark grey with black 
 and white specks. At Launceston is found a steatic porphyry, 
 with a ground of pale bluish silvery grey, mottled with white 
 and grey, and sparkling with metallic lustre. The kind called 
 Luxullianite, found at Luxullian, near Lostwithiel, has a ground 
 sometimes of a dark brown, sometimes of bluish black, sprinkled 
 with large flesh-coloured crystals. A porphyry with a reddish 
 or flesh-coloured base, with white crystalline spots, is found at 
 Tremore, near Bodmin. Another variety found in the same 
 neighbourhood has a brownish red ground and light pink 
 crystals. A beautiful reddish elvanite porphyry is found at 
 
TERMINOLOGY OF MARBLES. 
 
 101 
 
 Barton and Ennis, between Bodmin and Truro. A kind found 
 at Seveock Water, near Chasewater, has a grey granitic ground, 
 with rose-coloured and radiating crystals. Other Cornish local- 
 ities are Mayon, near Land's End, St. Austell, Camelford, and 
 between Penhale and Bochin, where is a porphyry with a dark 
 green ground and white crystals ; and a fine porphyritic green- 
 stone occurs at Boswednon Cliff, near Zennor. In Scotland, 
 some beautiful rose-coloured porphyries are found among the 
 Sidlaw and Lammermuir Hills, in the Pentlands, and near 
 Lesmahagow. Some fine porphyries are also found between 
 Blair Athol and Dalnacardoch, and on the south-west coast of 
 the Isle of Arran. In Ireland, a porphyry found at Lambay 
 Island resembles Verde Antico, which see. It has a dark 
 green ground sprinkled with light green crystals. In France 
 and Belgium the principal quarries for porphyry are those of 
 Lessines and Quenast. Porphyre Vert des Vosges has a ground 
 of dark green and numerous pale green crystals. It is quarried 
 at Fresle, in Comte. For a similar kind of porphyry, see Granite 
 Vert. Green porphyries, called Vert des Pyrenees, have been 
 found at St. Engrace, near the bridge of Osse, to the north of 
 Atas, and elsewhere. Porphyre Brun des Vosges has a ground 
 of chocolate brown and numerous white semi-transparent 
 crystals. It is quarried upon Mount Evres, near the Ballon. 
 Porphyre Violet des Vosges has a ground of deep blackish 
 violet, with good-sized crystals. It is quarried at Mount Ocelle. 
 Another variety is found near Plancher-les-Mines, and resembles 
 the last-mentioned, but its crystals are smaller. A dark grey 
 porphyry, containing numerous yellow and reddish crystals, is 
 found at the Mountain of Lechelatton, in the Vosges. Porphyre 
 Noir des Vosges is found at Framont, and is black, as its name 
 imports. A kind called Gris de Briancon, is of a dark greenish 
 grey, with white spots slightly tinged with green. A reddish 
 brown porphyry is found at Koanne, in the Loire department. 
 It has white crystals which are grey in the centre. The island 
 of Corsica produces several varieties of porphyry. Amongst 
 these are black, having crystals slightly tinged with green ; 
 deep bottle-green with white crystals, quarried at Nioto ; flesh- 
 red with white crystals slightly tinged with pink ; blackish 
 brown with brilliant flesh-red crystals ; violet, or deep lilac, with 
 red and brown spots and some green lines ; deep grey with 
 white crystals and small black dots, found at Bussaggio ; deeper 
 grey, and having more numerous crystals, found at Caivi ; and 
 brownish yellow with red crystals. A black porphyry is found 
 
IC2 
 
 APPENDIX. 
 
 in Sardinia. Some fine porphyries are quarried in the neigh- 
 bourhood of Geneva. Amongst these we have the opaque 
 black with white spots, and the clear, semi-transparent green 
 with white crystals. Among the mountains of Piedmont are 
 quarried a porphyry resembling Verde Antico, and a leek-green 
 porphyry with white and red spots, found at Mount Viso. In 
 Sweden some varieties of porphyry are quarried at Elfdahlen. 
 These exhibit grounds of red, blue, violet, and grey, and con- 
 tain, in addition to variously coloured crystals, iron pyrites and 
 specular ore. Some of these porphyries are found in the south 
 of Norway, and some quarried at Leune-Gebiet, in "Westphalia, 
 Germany, resemble them. Other German resources for por- 
 phry are in Saxony, Thuringia, and the southern borders of the 
 Hartz Mountains. For Greek porphyry, see Laconian Marble. 
 There is a porphyry found in Egypt which has a ground of deep 
 red, and which contains two varieties of crystals. The more 
 celebrated Egyptian porphyry is Roseo Antico, which see. An 
 extremely rare black porphyry, with white crystals and small 
 grains of quartz, is found in Siberia. A red porphyry, quarried 
 in Cordova, Spain, has a ground of very dark red, which occurs 
 in patches, more or less dark, here and there, and small crystals 
 barely visible. It is not very attractive in appearance. Further 
 varieties of porphyry will be found noticed under their specific 
 names. 
 
 Port Etroit. — This name is given to a black marble quarried 
 at Juigne, in Sarthe, France. 
 
 Porth Felen. — The marbles quarried at Porth Felen, 
 Caernarvonshire, exhibit patches of pink, brownish grey, 
 and whitish pink tinged with yellow, with marks of dull 
 red. 
 
 Portor. — This name is given to marbles having a black 
 ground and yellow veins, sometimes of a golden appearance. 
 The original portor is quarried at Porto Venere, in the Apennines, 
 and in the Isle of Palmaria. A fine portor is quarried at St. 
 Maximin, in Yar, France. Another is found at La Grande 
 Chartreuse, in Isere ; and a brecciated variety, exhibiting pink 
 and violet spots, is found in the same locality. A portor is 
 quarried at Lauzet-Monetier ; and another, called Portor de 
 Eezoul, at Kezoul, in the same neighbourhood. Blackish and 
 rose-coloured varieties of portor are quarried at Chorges, in the 
 Upper Alps. A violet-coloured and brecciated portor is quarried 
 at Guillestre ; and a breche portor, having black fragments 
 surrounded with white and brownish veins, is found at St. 
 
TERMINOLOGY OF MARBLES. 
 
 103 
 
 Crepin. A portor and a breche portor are found near Philippe- 
 ville, in Algiers. See St. Maximin and St. Paul. 
 
 Portor d'Espagne. — This marble comes from Biscay. It 
 lias a ground of dark, dirty grey, with veins of a red-ochre tint. 
 
 Poudingue. — This term, equivalent to the English pudding- 
 stone, is applied by the French to those brecciated marbles in 
 which the fragments are rounded instead of being angular. 
 
 Poudingue TJniversel. — This is a name generally given to 
 those puddingstone marbles which exhibit a great variety of 
 colours. A marble called Poudingue Universel, quarried at St. 
 Amour, in Jura, France, has spots of grey, yellow, green, red, 
 and brown, and resembles Alet Breccia, which see. See also 
 Desert (Le). 
 
 Poudingue Vert. — See Desert (Le). 
 
 Poujade (La). — At this locality, near Loubressac, in Lot, 
 France, is quarried a red marble resembling Aynac, which see, 
 with occasional white veins. 
 
 Pratolino. — Various marbles are found at this locality, in 
 Tuscany. Liniato di Pratolino is greyish green with bands and 
 veins. Verde di Pratolino is of a dirty green resembling the 
 boughs of a palm-tree, and must not be confounded with Verde 
 di Prato, which see. Tagliaferro is greyish green with bands 
 and veins. Another marble found here shows blended shades 
 of green and pale red. 
 
 Puit Real. — This marble, named after its quarry, in Vaucluse, 
 France, is of a bluish grey tint. Another variety, called Bedouin, 
 is also quarried here as well as a white marble. 
 
 Pulteau. — This marble, named after its quarry in Vendee, 
 France, is greyish-white, shelly, and crystalline. 
 
 Purbeck. — This shows a number of minute fresh-water 
 shells embedded in a dark bluish grey limestone, which is very 
 hard and compact and takes a good polish. It is quarried in 
 the Upper Purbeck beds of Swanage, in Dorsetshire, and can be 
 obtained in blocks seven or eight feet long, but rarely more 
 than a foot in thickness. Experience has shown that Purbeck 
 marble is not so durable as the older marbles of Great Britain. 
 A specimen of so-called Purbeck, quarried in the Isle of Man, 
 has patches of dark grey and brown, with networks of dark 
 red and cream-coloured veins. 
 
 Purichiello. — See Languedoc. 
 
 Puycavel. — At this locality, in the Commune de Larnagol, 
 Lot, France, is found a brecciated marble with a yellowish 
 brown ground, which takes a good polish. 
 
104 
 
 APPENDIX. 
 
 Py. — See Statuary. 
 
 Racine de Buis. — See Argonne. 
 
 Radon. — The marble bearing this name is quarried at the 
 Foret d'Ecouves, in Orne, France. It is blackish or slightly 
 bluish grey, with white and grey veins and thin yellow lines. 
 It occasionally contains iron pyrites. 
 
 Radstock. — A marble quarried at Radstock, Somersetshire , 
 has a ground of light grey tinged with brown and pale grey 
 veins. 
 
 Ravaccione. — See Sicilian and Statuary. 
 
 Regn^ville. — The marbles quarried in this neighbourhood, 
 in Manche, France, vary in colour from black to whitish grey, 
 and take a good polish. 
 
 Regny. — Marbles quarried at this locality, in Loire, France, 
 are bluish black and black and white. The latter take a good 
 polish, but are soon discoloured by exposure. 
 
 Rezoul. — See Portor. 
 
 Reyrevigne. — The quarries in this locality, in Lot, France, 
 yield large quantities of marble with a grey ground slightly 
 approaching yellow, and profusely veined with bright red. 
 
 Rhondona. — A marble quarried at Mount Rhondona, Tus- 
 cany, has a ground of pale pinkish white, with dark grey veins 
 and tinges of greyish purple. It is of great beauty. 
 
 Rhoscolyn. — This marble is named after its quarry in Angle- 
 sea. It has a ground of very dark green with delicate lines 
 and veins of dark grey. See Mona. 
 
 Rochette. — The marble quarried at this locality, in Pas -de- 
 Calais, France, is black with grey veins. 
 
 Roquebrune. — A marble quarried in this neighbourhood, in 
 Herault, France, is brecciated with red, yellow, and violet. 
 
 Roque-Partide. — This marble, named after its quarry in 
 Gard, France, has a ground of yellowish white, lightly clouded 
 with grey. 
 
 Rosa Carnagione. — See Numidian. 
 
 Rose Antique. — This name is given to a brecciated marble, 
 having a ground of light red variegated with small rose-red 
 spots, with other still smaller spots of a deep black, and some 
 middle-sized white spots. The ancient quarry is lost, and the 
 marble is very scarce. This marble must not be confounded 
 with Roseo Antico, which see. 
 
 Rose-Eujugeraie. — This marble has a red ground inter- 
 spersed with patches of pearly grey, and with bright red and 
 white veins. It is quarried at Bonero, near Mayenne, 
 France. It is exceedingly compact, is fairly easy to work, 
 
TERMINOLOGY OF MARBLES. 
 
 takes a good polish, and is obtainable in large sizes with few 
 defects. 
 
 Roseo Antico. — This is a porphyry quarried near the first 
 cataract of the Nile, in Egypt, and also in the deserts near 
 Mount Sinai. It has a reddish brown or chocolate base, 
 sprinkled with small white crystals which ought to be free 
 from any tinge of rose-colour. 
 
 Rose Venus. — This is a flesh-tinted marble with greenish 
 spots and yellow veins. It is quarried near the village of 
 Eorba, in Portugal. 
 
 Ros6 Vert. — This marble, quarried near Brioude, Upper 
 Loire, France, shows combinations of pink, green, yellow, and 
 a little violet. A bluish grey marble is found in the same locality. 
 
 Rosewood. — See Ashford. 
 
 Rosso Annullato. — See Languedoc. 
 
 Rosso Antico. — This marble, called also Rouge Antique, 
 has a ground of blood -red with thin white veins and minute 
 white dots. It is identified with the ^Egyptium of the ancients. 
 Specimens of Griotte have been mistaken for it. The ancient 
 quarries have been rediscovered at Cynopolis, Damaristica, and 
 Lageia, in Greece, from whence Rosso Antico is now obtained. 
 Some varieties found at Lageia incline to brownish-red with 
 black, white, and grey veins, and are not much esteemed. Rosso 
 Antico is also quarried near Rome. 
 
 Rouge Acajou. — This term, signifying <; red mahogany," 
 is applied to a marble quarried at Cierp, in the neighbourhood 
 of St. Beat, in the Upper Garonne department, France. It is 
 rose-coloured and mottled, takes a good polish, and is obtain- 
 able in large sizes. 
 
 Rouge Antique. — This is the French name for Rosso Antico, 
 which see. A marble called Rouge Antique is quarried at Cierp, 
 and in the neighbourhood of Villerembert, in the Upper Garonne 
 department, France. It closely resembles Rosso Antico. The 
 specimens found at Cierp are coarser in appearance and take a 
 less fine polish than those found at Villerembert, but the latter 
 place only produces small blocks of little service for archi- 
 tectural purposes. 
 
 Rouge d'Alais. — This is a speckled marble of a reddish 
 colour quarried at Alais, in Gard, France. 
 
 Rouge de Fontaine. — See Gandrieux. 
 
 Rouge Frangais. — This marble, quarried at Liessies, in the 
 Nord department, France, has a ground of varied red, with 
 white veins, and black and red spots. Some varieties of it 
 resemble Rosso Antico. 
 
APPENDIX, 
 
 Rouge Joyeux. — This marble, quarried at La Doix, in 
 Cote d'Or, France, has a ground of pinkish white, evenly 
 speckled with pinkish violet. 
 
 Rouge Royal. — This marble, quarried at Franchimont, near 
 Philippeville, Belgium, has a ground of light brownish red with 
 white and grey veins. Another similar variety is found at 
 Saint Hubert, in Luxembourg. Another, of which the ground is 
 a darkened, is found at Cerfontaine, in Namur, and another at 
 Agimont. A variety found at Vieux-Gochenee has a ground of 
 deep brick-red, spotted irregularly with grey and white, toned 
 off at the borders, but marked off strongly against the ground. 
 Three other varieties are quarried at Hainaut, having a ground 
 of very deep greyish red, with spots of unequal sizes of reddish 
 and greyish white. In some specimens the ground is of a 
 clearer red, while others exhibit bright red worm-like fossils. 
 A variety quarried at St. Gerard has a ground of chocolate 
 colour veined and spotted with creamy chocolate and light 
 brown. Rouge Royal is among the finest of the Belgian 
 marbles. 
 
 Rousselet. — See Bonnardelliere. 
 Ruban Bleu. — See Ardinghen. 
 
 Ruin. — This name, or Landscape, is given to a marble 
 quarried at Florence. It exhibits varied shades of light, warm 
 brown, not blended, but forming patterns like the grain of 
 wood. Sometimes there are zones of pale grey, nearly white. 
 Some broken patches of brown resembling the outlines of ruined 
 buildings have given the name to this marble. 
 
 Russ. — The marbles quarried at this locality, in Vosges, 
 France, contain numerous fossils. Russ Brun is brown, and 
 Russ Vert exhibits mingled shades of brown and green. 
 
 Sabl6. — The marbles known under this name, and quarried 
 near this locality, in Sarthe, France, comprise black, streaky 
 grey, St. Anne, and Sarancolin. The two latter resemble those 
 of the same names. See St. Anne and Sarancolin. A red 
 marble, spotted with black and white, and a yellow one with 
 red and white veins, are found at Sable. 
 
 St. Ambrosio. — This marble, quarried in the neighbourhood 
 of Verona, is of a light mahogany reddish brown, with nume- 
 rous oval patches of light red more or less closely arranged. It 
 is obtained in large sizes. 
 
 St. Andr6. — See Ain. 
 
 St. Anne. — This name applies to two sorts of marble. The 
 first has a ground of dark grey with whitish spots, amongst 
 
TERMINOLOGY OF MARBLES. 
 
 which are madreporic fossils. The second has a ground of 
 lighter grey, with irregular and dirty spots. A great quantity 
 of the best St. Anne marble is quarried in the province of 
 Hainaut, Belgium, as at Lavalle-Chaudeville, and at Montigny- 
 Saint-Christophe. Some varieties found at the latter place have 
 spots of a worm-like appearance. A variety called Brayelle 
 has a black ground tinged with light red or orange, and spotted 
 with white and grey. It is quarried at Brabancon. A variety 
 quarried at Fontaine-Valmont is somewhat similar. In France, 
 Sainte-Anne Francois is quarried at Cousolre, in the Nord de- 
 partment, and Sainte-Anne Hergies and Sainte-Anne Hurtebise, 
 at the places with those respective names in the same depart- 
 ment. Sainte-Anne des Pyrenees is quarried in the valley of 
 Ossau, in the Lower Pyrenees. 
 St. B6at. — See Statuary. 
 
 St. Beaume. — This is the same as Languedoc, which see. 
 A marble quarried in the mountain of St. Beaume, in Bouches- 
 du-Rhone, France, is of a dirty white streaked with red, and is 
 called St. Beaume. A brocatelle de St. Beaume, quarried in 
 the same locality, has a white ground marked with yellow and 
 red. A yellow breche de St. Beaume is quarried at St. Beaume, 
 in the department of Yar. Another marble called St. Beaume 
 is quarried in the valley of Aure, Dordogne, France. It ex- 
 hibits shades of yellow and red intermingled with white. 
 
 St. Berthevin. — This marble, named after its quarry, near 
 Laval, in Mayenne, France, is speckled with red, white, and 
 slate-blue. 
 
 St. Brieuc. — A granite bearing this name is quarried near 
 St. Brieuc, in Cotes du Nord, France. It is grey, fine-grained, 
 contains much mica, and takes a good polish. 
 
 St. Catherine. — A red and white marble is quarried at this 
 locality, near Nancy, France. A breche St. Catherine is also 
 found at St. Catherine, in Mayenne. 
 
 St. Cr<§pin.— St. Portor. 
 
 St. Etienne. — This marble, named after its quarry in the 
 Lower Seine department, France, is yellow, marked and spotted 
 with deeper yellow, sometimes with tree-like markings. A so- 
 called onyx marble, blackish with white veins, is also found here. 
 
 St. Firmin. — This marble, named after its quarry in Valgo- 
 demard, in the Upper Alps, is a lumachello, exhibiting combina- 
 tions of grey, black, and white. 
 
 St. Pond. — A marble thus named after its quarry in Herault 
 France, is white with grey veins. 
 
io8 
 
 APPENDIX. 
 
 St. Fortunat. — A black marble is quarried at this locality, 
 in the Rhone department, France. 
 
 St. Hugon. — This marble, named after its quarry in Isere, 
 France, is black with white veins. 
 
 St. Jean. — This name is given to a variety of marble quarried 
 at Rousset, in Bouches-du-Rhone, France. It exhibits combina- 
 tions of red, yellow, and grey. Other marbles quarried in the 
 same locality are the pink (rose), showing combinations of blue, 
 white, grey, and pink, and the brown (grand brun), showing 
 combinations of grey, brown, and white. All these marbles are 
 much esteemed. 
 
 St. Julien. — The marbles quarried at this locality, in Loire, 
 France, are white, grey, and black. A yellow, white, and green 
 St. Julien is found at Lozere. 
 
 St. Just. — A serpentine of this name, quarried at St. Just, in 
 Loire, France, is green with greenish white veins. A statuary 
 marble is also found here. 
 
 St. Luce. — This marble, named after the neighbourhood 
 where it is quarried, in Isere, France, is of a fine uniform black. 
 
 St. Maurice. — The marbles quarried in this locality, in the 
 neighbourhood of Gap in the Upper Alps, comprise varieties 
 having a white crystalline ground tinged with pink and green. 
 A Cipolin de St. Maurice is white with large green veins. See 
 Eglier du Roi. 
 
 St. Maximin. — The marbles quarried at this locality in Yar, 
 France, comprise Portor, which see, and a yellow speckled 
 marble called St. Maximin. 
 
 St. Pallaye. — This marble, named after its quarry in Cher, 
 France, has a red ground veined with white. 
 
 St. Paul. — This marble, named after its quarry in the Lower 
 Alps, has a ground of dark purple with spots of violet hue. 
 Portor de St. Paul, found in the same locality, has a ground of 
 blackish, grey, and white and yellow veins. See Portor. 
 
 St. Pons. — A white marble of inferior quality is found at 
 St. Pons, in the Herault, France. 
 
 St. Quentin. — This marble, named after its quarry in Isere, 
 France, exhibits various shades of grey and slate- blue. 
 
 St. Remi. — This marble, quarried at St. Remi, in Aveyron, 
 France, has a ground of clear yellow speckled with violet, and 
 with crystalline fragments. 
 
 St. Remy. — This name is given to a variety of marbles 
 quarried in Bouches-du-Rhone, France. Most kinds exhibit 
 combinations of white, yellow, and red, and are very beautiful. 
 
TERMINOLOGY OF MARBLES. 
 
 109 
 
 One variety is found at Aiguiliere. near Tarascon, and another 
 at Oreilles. 
 
 St. Romain. — This is a breccia, having a ground of dull 
 brick-red, with angular spots of egg-yellow. It is quarried at 
 St. Eomain, in the department of Cote d'Or, France. 
 
 St. Saveur. — See Statuary. 
 
 St. Serges. — This name is given to black marbles with 
 white veins quarried at St. Serges, in Sarthe, France. An 
 encrinital marble, exhibiting red, grey, and brown hues, and a 
 reddish madrepore, are also quarried here. 
 
 St. Silvester. — This is a marble of great beauty, exhibiting 
 combinations of delicate pink and semi-transparent white. It 
 is quarried near the town of Villa Nova d'Ourem, Portugal. It 
 is fairly sound, takes a good polish, and is not difficult to work. 
 
 St. Simon. — This marble, named after its quarry in Lot, 
 France, shows combinations of grey, yellow, and red. 
 
 St. Urcisse. — This marble, named after its quarry in Tarn, 
 France, is greyish white with grey veins. 
 
 St. Vincent. — The marble quarried at St. Vincent's Rocks, 
 near Bristol, exhibits undulating bands of pale flesh-pink tinged 
 with yellow, bands of light, iridescent, drabbish brown, with 
 veins of rose colour, and narrow streaks of dark wine red. 
 
 St. Vincent (France). — The marble called by this name, 
 after its quarry in the Lower Alps, is rather soft. It has a ground 
 of white mingled with pink and yellow, and spotted with grey. 
 
 San Calogero. — This marble, named after its quarry near 
 Sciacca, in Tuscany, is green with yellowish undulating lines. 
 
 San Gavino. — This marble, named after its quarry in 
 Corsica, is of a greyish white with black and violet veins. 
 
 Sanguin. — See Ardinghen. 
 
 Santete, or Sans-tete. — This is a black and white marble 
 quarried in the neighbourhood of Bourbon-rArchambault, in 
 Allier, France. 
 
 Sarancolin. — This marble has a ground of blood red with 
 large spots of greenish yellow, and large vein-like patches of 
 white. It is quarried at Ilhet, in the Upper Pyrenees, where 
 there are four recognised varieties : the dark, the clear, the 
 flesh-coloured, and the golden. Breche Caroline, quarried at 
 Bagneres de Bigorre, in the Upper Pyrenees, is a similar marble. 
 See Beaudean Breccia. Sarancolin de l'Ouest, quarried atjGreez- 
 en-Bauere,in Mayenne, France, is in two varieties, red and yellow. 
 
 Sassenage. — A marble quarried at this locality, in Isere, 
 France, exhibits combinations of white, grey, and yellow. 
 
no 
 
 APPENDIX. 
 
 Saupan. — This name is given to marbles having a pale and 
 cherry-red ground with veins and white spots. They are quar- 
 ried at Bocologne, near Besancjon, in Doubs, France. 
 
 Sauveterre. — A marble quarried at Sauveterre, in the Lower 
 Pyrenees, has a black ground with white spots. 
 
 Scuro. — This Italian word, as applied to marbles, means 
 shadowed or dark. 
 
 Scuro del Porto Venere. — This is the same as Portor, 
 which see. 
 
 Seissin. — The marbles quarried at this locality, in Isere, 
 France, comprise black, and a Breche de Seissin, having a 
 ground of bright yellow with black spots, with streaks and 
 lines of less decided black running parallel between them. 
 
 Seme Santo. — See Arlecchino. 
 
 Senantes. — A yellow lumachello marble with grey fossils is 
 quarried at this locality in Oise, France. 
 Serancoline. — See Sarancolin. 
 Serpentelo. — See Languedoc. 
 
 Serpentine. — This substance is not properly a marble, but 
 it is extensively employed in marble decoration. It is called 
 gabro by the Italians. Noble or precious serpentines are those 
 which possess a certain degree of transparency, being of a dark 
 and sometimes olive green colour. Large quantities of serpen- 
 tine are brought from the Lizard, Cornwall. It is chiefly of a 
 deep olive-green, variegated with bands and blotches of rich 
 brownish red mixed with lighter tints. This variety is obtained 
 from the Balk near Landewednack, at Kynance Cove, at Signal- 
 Staff Hill, near Cadgwith, at Cennack Cove, St. Keverne, and on 
 Goonhilly Downs. Serpentine with an olive green base with 
 greenish white veins is found near Trelowarren. A variety 
 with a deep reddish brown base, studded with crystals which 
 shine with metallic lustre, is found at Maen Midgee, Kerwith 
 Sands. In Anglesea, a greenish serpentine, sometimes slightly 
 reddish, is found at Llanfechell and Ceryg-moelion. A brecci- 
 ated serpentinous marble with white veins is found at Tre-gala^ 
 near Llanfechell. In Ireland there are two varieties of the ser- 
 pentine called Connemara marble. One, which is quarried at 
 Letterfrack, is of a dense, opaque, and uniformly deep green 
 colour. The other exhibits twisted and interlacing bands of 
 green, varying from deep sap green to pale yellowish green, 
 with interlacing bands of white. It is quarried at Ballyna- 
 hinch, at Lissoughter Hill, Kecess, and Streamstown. A dense, 
 olive green serpentine is found at Aughadovey, and a foliated 
 
TERMINOLOGY OF MARBLES. 
 
 in 
 
 green variety with yellowish green veins, at Crohy Head, in 
 County Donegal. A deep leek-green serpentine is quarried at 
 Kock Wood Glen, county Sligo. In Scotland the serpentine 
 obtained from Portsoy, Banffshire, varies in colour from sap 
 green to deep red, and has veins of yellowish white. Serpentine 
 is also found in the Alie Hills, Aberdeenshire, at Killin, Perth- 
 shire, and in the Shetland Islands of Unst and Fetlar. Serpen- 
 tine is found at Waldheim, Greifendorf, and Zoblitz, in Saxony, 
 in Moravia, at Hrubschitz, and from the Reichenstein, in Silesia. 
 The serpentine of the Vosges Mountains at Epinal varies in 
 colour from red to green, and contains iron ore. Some noble 
 serpentine occurs here. In the Alps, serpentine occurs among 
 the rocks of the Matterhorn, the Breithorn, the Alpe la Mussa 
 in Piedmont, &c. It is also found in the cantons of the Grisons 
 and Wallis, and in the Sierra Nevada in Spain. In France 
 there is a breccia of serpentine embedded in carbonate of lime 
 of a light green colour, and quarried at St. Veran and at Maurins 
 in the Upper Alps. Serpentine is found at Pech-Cardaillac and 
 at "Veran and Estival, near St. Cere, in the Upper Alps ; at Arvien, 
 Canton de Cassagnes ; in the Zermatt Valley, Switzerland ; and 
 at Bivinco, near Bastia in Corsica. In Italy, serpentine is 
 obtained from Susa in Piedmont, Yal Sezia, Yal di Pegli, Pietra 
 Lavezzara, near Genoa ; and Prato, near Florence. A serpen- 
 tine called Euphotide, of varied colours, is found at Matarana, 
 near Genoa, and at Beverone. The Greek serpentine from 
 Tenos is of a bright green colour, with whitish green veins, 
 and occasionally iron pyrites embedded in it. Serpentine is 
 quarried at a variety of localities in the Ural Mountains. In 
 the south of India it also occurs. Varieties of Italian serpen- 
 tine are known under specific names. See Verde Antico, Verde 
 di Genova, Verde di Pegli, and Verde di Prato. 
 
 Serravezza. — The marbles quarried at Strazzema, near Ser- 
 ravezza, Italy, are mostly white with purple veins and occasional 
 red spots. One kind is called Pavonazzo. See Pavonazzo. 
 There are brecciated varieties. See Breccia di Serravezza. 
 
 Shepton Mallet. — The marbles quarried at Shepton Mallet, 
 Somersetshire, are mostly dark grey, dark brown, almost black, 
 and greyish brown, light and dark. Some have faint grey spots 
 and marks. 
 
 Sicilian. — Marbles called Sicilian or Ravaccione are those 
 well known white marbles marked with bluish grey veins, and 
 quarried in the neighbourhood of Carrara. The name Sicilian 
 is stated to have arisen through the marble having been origin- 
 
112 
 
 APPENDIX. 
 
 ally reshipped at some port in Sicily, or from its having been 
 first brought to England in a vessel named Sicilia. Two well- 
 known kinds are the veined and the clouded. The former is 
 white with well-defined bluish veins resembling those visible 
 upon the human body. The latter is more of a pale grey than 
 white, and its veins are blurred and clouded. See Statuary. 
 
 Sicilian Jasper. — This is a marble quarried in Sicily. It 
 has a red ground with zigzag bands of white, red, and some- 
 times green. 
 
 Sidi Yaga. — This marble, named after its quarry, near Bougie, 
 in Algiers, is black with white veins, and takes a good polish. 
 
 Sienna. — The marbles quarried at Sienna and Montarenti in 
 its neighbourhood are mostly of a rich yellow, resembling the 
 yolk of an egg, which occurs in large irregular patches inter- 
 spersed with thin veins of bluish red and purple. The veins of 
 the Montarenti marbles tend to black. In the Sienna brocatello, 
 the veins are extremely numerous and interlaced. Some varieties 
 of Sienna tend to a reddish hue. Where the ground is of a 
 rich colour, the veins are usually less strongly marked than when 
 the ground is paler. A marble called Sienna is quarried in 
 King's County, Ireland, but it is inferior to the Italian kind. 
 
 Sienna Alabaster. — See Oriental Alabaster. 
 
 Signa. — The marble named thus, after its quarry in the 
 Upper Pyrenees, France, has mingled shades of brown and 
 green and red spots. See Breche des Pyrenees. 
 
 Skye. — The marble quarried at the Isle of Skye is of a greyish 
 hue, veined. 
 
 Sobre. — The marble found in the quarry of Pacagne, at 
 Sobre-St.-Gery, near Beaumont, in Hainaut, Belgium, is of an 
 ashy grey tinged with blue, with black spots and veins of white 
 and rich yellow. 
 
 Solestr6. — A marble quarried here, in the department of 
 Saone-et-Loire, France, is red with white marks and patches. 
 
 Scalane. — The marbles quarried at Soulane, in Correze, 
 France, are mostly white with grey veins. Some called granite, 
 chiefly mottled grey, sometimes with a tinge of pink, are quar- 
 ried in the same locality. 
 
 Spontin. — The marbles quarried at this locality in Belgium 
 have mostly a black ground speckled with grey and marked 
 with white fossil crinoids, which generally form parallel lines. 
 
 Statuary. — This name has been bestowed upon white 
 marbles, free from spots or veins, because they are most suitable 
 for statues. In Italy large quantities of statuary are quarried 
 
TERMINOLOGY OF MARBLES. 
 
 "3 
 
 at Carrara, but the specimens require careful selection to avoid 
 the liability to discolouration. Statuary is also quarried at 
 Serravezza. At each of these localities three varieties of 
 statuary are recognised, namely; Falcovaia, La Polla, and 
 Ravaccione di Altissimo, at Serravezza ; and Crestola, Betogli, 
 and Ravaccione di Carrara, at Carrara. Falcovaia, which ranks 
 as the first quality, is of a uniform creamy white. The marble 
 of Monte Corchia resembles it. The Crestola of Carrara is 
 scarcely inferior to it. It is found at Crestola, Poggio-Silvestro, 
 Torano, Miseglia, &c. The marbles of the second quality, 
 quarried at La Polla and Betogli, are of a not very uniform 
 white. The marble of the third quality, called Ravaccione, is 
 known as Sicilian, which see. Some of the purest white statu- 
 ary marble is quarried at Massa. Statuary is also quarried at 
 Monte Candido, near the Lago Maggiore, at Verona, and in the 
 Schlanders. A fine close-grained statuary is quarried at Ono- 
 frio, in Corsica. In France some of the best statuary is quarried 
 at St. Beat, in the Upper Garonne, and in the Eastern Pyrenees, 
 at Els Gitanos, El Llop, El Buix, Les Bains, Valmagne, Py, 
 Aries, Buixater, Carol, and St. Saveur ; also at Flumay, in 
 Isere. Specimens free from veins are, however, extremely rare. 
 In Algiers the best statuary is found at Filfila. But it is from 
 Greece that the finest statuary has come. That quarried at 
 Paros, and known as Parian, is probably the finest in the world. 
 On being freshly broken it shows a sparkling play of light, more 
 brilliant than that which comes from the fractured surface of 
 Carrara marble, and this enables an experienced mason to dis- 
 tinguish between the two materials. The Pentelic marble is from 
 the quarries in Mount Penteles. Pentelic is inferior to Parian, 
 and it is found that the former exhibits in time a brown dis- 
 colouration, which is due to the sulphuret of iron contained in 
 it, and to which Parian is not liable. Other sources of statuary 
 are Scio, Samos, and Lesbos. The marble from Tenos is white, 
 but opaque. Some of the quarries of Greece have been worked 
 within recent years. In India, statuary marble is found at 
 Delhi, Gya, Jeypore, and Judpore, and in Jinevelly and Ner- 
 budda. A white statuary is quarried at Blairgowrie, in Scotland. 
 
 Stinkal. — This name is given to two varieties of marble 
 quarried in the neighbourhood of Marquise, Pas-de-Calais, 
 France. One is dark bluish grey and the other is whitish grey 
 speckled. See Napoleon. Some varieties called Stinkal have 
 a ground of yellowish brown with brown spots. Stinkal Dore 
 has a golden tinge. 
 
 1 
 
ii 4 
 
 APPENDIX. 
 
 Straw-green Breccia. — See Verde di Pagliocco. 
 
 Sussac. — A grey marble containing mica is quarried at this 
 locality, in Upper Vienne, France. A fine green serpentine 
 containing metallic diallage is also found here. 
 
 Sussex. — The Sussex marble, which is quarried in Kent as 
 well as in Sussex, resembles Purbeck (which see) in structure 
 and appearance. Like Purbeck, it occurs in beds rarely exceed- 
 ing a foot in thickness, and is not remarkable for durability. 
 
 Suzon. — This marble, named after its quarry in Cote d'Or, 
 France, exhibits varied shades of grey and light brown. 
 
 Swansea. — The Swansea marbles are mostly of a dark 
 greenish grey with white and yellowish marks and spots. Some 
 varieties are quarried at Coltshill. 
 
 Syenite. — See Granite. 
 
 Tagliaferro. — See Pratolino. 
 
 Taormina. — The marbles quarried at this locality, in Tuscany 
 comprise red spotted with black, red spotted with darker red 
 and with white, and red spotted with black and white. 
 
 Taveau. — This marble, named after its quarry in Nievre, 
 France, shows black mingled with slate-blue. For other 
 marbles quarried here, see Cannelle, Faux, Cervelas, and 
 Nivernais. 
 
 Templeton. — See Pembrokeshire. 
 
 Tensin. — A marble quarried at Tensin, in Dauphine, France, 
 is of a clear grey with spots of cloudy rose-colour and chocolate 
 brown. It takes a high polish. 
 
 Theux. — A marble quarried at this locality, in Liege, Belgium, 
 has a ground of deep grey, blended in varied shades, with 
 angular black spots. 
 
 Tipperary. — A fine purple marble is found at Tipperary, 
 Ireland. 
 
 Tiree. — The marble quarried in the hill of Belephetrich, in 
 Tiree, one of the Hebrides, exhibits pale blood red, light flesh 
 red, and reddish white, with spots of dark green. 
 
 Tonni. — A marble quarried at this locality, in Tuscany, is 
 variegated with yellow, violet, and white. 
 
 Tortosa Brocatello. — See Brocatello. 
 
 Tournon. — Several marbles are quarried in the commune 
 of Tournon, in Lot-et-Garonne, France. Marbles of a fine yellow 
 colour, with tinges of colours approaching to pink and violet, 
 are found at La Marquise. Some florid yellow, " jaune fleuri," 
 and spotted yellow varieties are also found here. At Clairac 
 is found a bright yellow marble with numerous small interlac- 
 
TERMINOLOGY OF MARBLES. 
 
 115 
 
 ing grey veins. A bright yellow brecciated variety is found 
 here, with white veins and crystalline fragments. At Perri- 
 cara is found a marble with a pale yellow ground, with red and 
 brown veins. At Frouquet are some fine brecciated marbles of 
 a yellowish white, with brownish grey veins and spots. Most 
 of these marbles are obtainable in large sizes. 
 
 Trapani. — A variety of marbles are quarried near this 
 locality in Sicily. Bigio Bianco is grey with white spots. An 
 olive green marble is quarried in the neighbourhood. A marble 
 called Trapani is reddish brown mixed with white and green 
 marks and patches. Another, called Pidichiasa, has a ground of 
 red with golden yellow spots. It is also called Brocatelle de 
 Sicile. Another brocatello, quarried in the same neighbourhood, 
 exhibits mixtures of reddish brown, and clear red mingled with 
 white, with yellow spots. Breche Rose de Trapani is of great 
 beauty, of bright flesh colour, veined with yellow and white. 
 Verde di Trapani is green with bands of yellow. 
 
 Tray. — This name, or Trest, is given to a marble quarried 
 in the locality so called in Bouches-du-Rhone, France. It shows 
 varied shades of yellow, with grey, white, and red spots. 
 
 Trelon. — The marble quarried at Trelon, in the Nord depart- 
 ment, France, is deep red, shaded with white, pale red, and 
 darker red. 
 
 Trespoux. — See Cornac. 
 
 Trest. — See Tray. 
 
 Troncao. — The marble quarried at Troncao, Portugal, is 
 pale yellow with greyish veins and contains fossils. 
 
 Turchinecchio. — This name, or the French Bleu Turquin, 
 applies to a marble having a ground of deep, clear blue, with 
 large semi-transparent white veins. It is quarried at Carrara, 
 and at Seraggio in Corsica. It is rather liable to fade and turn 
 yellow. 
 
 Turchino di Rossa. — This marble, quarried at Rossa, in 
 Siena, Italy, is blue with grey veins. 
 
 Urf6. — At this locality, in the department of the Loire, 
 France, some greyish blue marbles are found. 
 
 Vaglis. — A marble quarried at this locality, in Verona, and 
 known as Vert de Vaglis, is green in varied shades in flowing 
 wave-like forms. 
 
 Valencia. — The quarries in this locality in Spain produce a 
 dull violet-coloured marble with orange yellow spots and a dull 
 red marble with black veins. 
 
 Valmagne. — See Statuary. 
 
u6 
 
 APPENDIX. 
 
 Vallerano. — See Black. 
 
 Vancelle. — A marble quarried at this locality in Namur, 
 Belgium, has a ground of slightly pinkish grey, with rather 
 dark grey crescent-shaped spots, caused by fossils. 
 
 Vareilles. — This marble, named after its quarry in Vienne, 
 France, is blue and white and takes a high polish. 
 
 Variegated.- — This term is applied to marbles presenting 
 varieties of colour in irregular spots and veins. 
 
 Vein. — This name is generally given to the ordinary white 
 marble with bluish grey veins, quarried in the neighbourhood 
 of Carrara. See Sicilian. 
 
 Vendurino. — See Languedoc. 
 
 Ventre de Biche. — This marble, quarried at Sirod, in Jura, 
 France, has a ground of light greyish brown and red spots. 
 
 Verde Antieo. — This name, or the French Vert Antique, is 
 given to a beautiful brecciated serpentine, several specimens of 
 which are found among ruins at Rome and elsewhere. The 
 best quality has a grass-green ground, with spots nearly black, 
 of noble serpentine. The best modern substitute for Yerde 
 Antico, and often mistaken for it, is quarried in Anglesea. See 
 Serpentine. Egyptian Green has also been mistaken for Verde 
 Antico. See Egyptian Green. Red spotted Verde Antico has 
 a dark green ground with small red and black spots, and occa- 
 sional white fossil encrinital fragments. It is extremely rare, 
 and only found in small fragments. Some specimens of Verde 
 Antico are pale, cloudy green. 
 
 Verde d'Egitto.— The same as Egyptian Green, which see. 
 
 Verde di Geneva. — This stone, called also Polzevera di 
 Genova, or in French, Vert de Genes, is a brecciated serpentine, 
 having leek-green, dark green, brown, and red fragments, 
 united in a ground of greenish white. It is quarried at Pietra 
 Lavezzaria, in Genoa. Another variety, quarried at Porto 
 Venere, Piedmont, has a ground of dark green with black and 
 white spots. 
 
 Verde di Paglioceo. — This is a breccia having a straw- 
 green ground with green and yellow spots. It is only found 
 among ancient ruins. 
 
 Verde di Pegli. — This is a serpentine found near the torrent 
 of Varenna, in Genoa. Some varieties of it are brecciated, 
 having a ground of light green with spots and patches of rich 
 green, produced by fragments of serpentine. See Serpentine. 
 
 Verde di Prato. — This is a deep green serpentine with 
 dark spots, occasionally consisting of noble serpentine. It is 
 
TERMINOLOGY OF MARBLES. 117 
 
 quarried amongst the Apennines at a few miles from Florence. 
 It is not obtainable in large sizes. 
 
 Verde di Suza. — This marble, found at Suza, in Piedmont, 
 resembles Verde Antico, which see. 
 
 Verde di Voltri. — This marble, which presents varying 
 shades of darkish green, is quarried near Genoa. 
 
 Verona. — The marble called Verona is a breccia contain- 
 ing crimson, pale red, and blue. It is quarried at Vallarsa, in 
 the Trentin, Italy. Two reddish marbles are found at Verona, 
 the general colour being a hyacinth red, inclining to yellow. The 
 finest quality is of a brilliant red and contains fossil spiral shells. 
 The other variety presents a dirty red. Another marble found 
 in the Verona quarries is called Marbre Osseux. See Osseux. 
 
 Vert d'Egypte. — The French name for Egyptian Green, 
 which see. The terms Vert d'Egypte and Vert de Mer are 
 sometimes applied to Verde di Genova, which see. 
 
 Vert de Genes. — See Verde di Genova. 
 
 Vert Maurins. — This is a serpentine named after its quarry 
 in the Upper Alps. It is dark green with light green interlacing 
 veins. It is much esteemed. 
 
 V6ru. — In this locality, near St. Cere, in Lot, France, is 
 quarried a serpentine of a clear yellowish green, with numerous 
 small blackish green veins. 
 
 Veyrette. — The marble named thus after its quarry in the 
 Upper Pyrenees, France, is greenish white with veins of fiery 
 red. It is also called Vert d'Antin. See Antin. 
 
 Victoria Red. — This marble, quarried in Cork, Ireland, is 
 of a brilliant red variegated with light coloured patches and 
 mottling. 
 
 Vierge. — This term, the French equivalent for virgin, is 
 applied generally to pure white marble. A " marbre vierge " is 
 quarried at Bayonne, in the Lower Pyrenees. It is a white 
 statuary, but is liable to turn yellow rapidly on exposure. 
 
 Vieux. — This name is given to marbles quarried in the 
 neighbourhood of Vire, in Calvados, France. Some varieties 
 exhibit a pinkish ground, with fossil madrepore shells. Others 
 are fine-grained granites, both grey and reddish yellow. They 
 are easily worked. 
 
 Villebois. — See Ain. 
 
 Villefranche. — This marble, named after its quarry in the 
 Eastern Pyrenees, France, is a cervelas or sausage marble, having 
 a red ground with white and green spots. 
 
 Violon. — This marble, quarried at Vodelee, in Namur, 
 
n8 
 
 APPENDIX. 
 
 Belgium, has a ground of dark grey blended with lighter and 
 slightly pinkish grey, with numerous grey veins following some- 
 what parallel directions, and traversed by paler and more 
 irregular veins. Another variety, quarried at the same place, 
 is called Grand Courtil. It has a similar ground to the above, 
 but its shades are more intermingled, and it has large white 
 ramified veins. 
 
 Vire. — See Vieux. 
 
 Vizille. — This marble, named after its quarry in Isere, 
 France, is of a yellowish white, with reddish brown veins. It 
 takes a high polish. 
 
 Vulpino. — See Bardilla. 
 
 Wetton (Derbyshire). — The marbles quarried at Wetton, 
 in Derbyshire, have mostly a ground of brownish grey, with 
 small grey dots and rings, caused by fossils. 
 
 Wetton (Staffordshire). — The marbles quarried at Wetton, 
 in Staffordshire, comprise varieties of dark greenish grey 
 mingled with yellowish grey, and having brown and yellow 
 veins. Some specimens exhibit mixtures of brown and grey, 
 with thin veins of dark reddish brown. Black marble is also 
 quarried at Wetton. See Black. 
 
 White. — See Statuary. 
 
 Williamston Park. — See Pembrokeshire. 
 
 Yellow. — The yellow marbles most in use for decoration 
 comprise varieties of Siena, and those which have the Italian 
 prefix giallo, or the French jaane, which mean yellow. 
 
 Yellow Lumachella. — See Lumachella Castracani. 
 
INDEX 
 
 A. 
 
 Ahmedabad, carving at, 55 
 Alabaster, Oriental, transparent, 
 40 
 
 Alexandrinum, Opus, 20 
 Alhambra, mosaics from, 26, 28 
 Alum, use of in polishing, not 
 
 recommended, 3 
 Anastasia, St., Verona, 29 
 Antique marbles, 2 
 Arches, boxed, in marble, 37, 41 
 
 solid, in marble, 34 
 Attic base, wrong use of, 46 
 
 B. 
 
 Backing for marble veneer, 10, 35 
 Bands around columns, 52 
 Baptistery at Florence, 28, 29 
 Barry, E., on combining marbles, 
 17 
 
 Bases to columns, 50 
 Beams cased with marble, 33, 41 
 Beejapoor, carving at, 55 
 Bituminous cements, 9, 21, 25 
 Bolo, 21 
 
 Boxed marble beams, 33, 41 
 
 Boxings, marble, 34 
 
 Breccia marbles, 2 
 
 Brindley, Mr. W., on marble, 41 
 
 Burges on combining marbles, 17 
 
 C. 
 
 Oaracalla, baths of, 35 
 Carpuseli, Greek tomb at, 45 
 Carved ornament, 53 
 Carving, pierced, at Constantinople, 
 
 55 
 
 at Beejapoor, 55 
 Carving, raised, Celtic, 57 
 ,, Greek, 57 
 ,, Eoman, 58 
 „ Italian, 58 
 „ Hindoo, 50 
 sunk, French, 53 
 
 „ Venetian, 54* 
 undue licence in, 58, 59 
 Ceilings, marble, in slabs, 40 
 
 mosaic, 32 
 Cements and mastics, 9 
 Chateau, Theodore, on marble, 3 
 on lutes, 5 
 on mastics, 12 
 
120 
 
 INDEX. 
 
 Chevreul on colours, 14 
 
 Cipollino marble, 2 
 
 Circular work in marble veneer, 43 
 
 Cleaning marble, 6, 7 
 
 Colours, arrangement of, 13 
 
 Columns, Greek, 50 
 
 Boman, 50 
 
 Gothic, 51 
 
 Venetian, 51 
 Contrasts in colour, 15 
 Coves in mosaic, 31 
 Cramps used in fixing slabs, 36 
 
 D. 
 
 Decay of marble, 4 
 Derbyshire spars, transparent, 40 
 Dimensions, English and foreign, 
 60 
 
 Domes, mosaics in, 31 
 Dove marbles, 2 
 
 Ducal Palace, Venice, veneering at, 
 39 
 
 E. 
 
 Enrichments, Gothic, vulgarity of, 
 49 
 
 Venetian, 48, 50 
 
 F. 
 
 Fat mastic, 12 
 Figlinum, Opus, 19 
 Flexibility of marble, 8 
 Floors, mosaic, 23 
 Florentine mosaic, 20 
 Flutings, 51 
 Fondaco di Turchi, 37 
 French mouldings, 47 
 
 G. 
 
 Gold mosaic, 30 
 
 Gothic mosaics, 22 
 mouldings, 44 
 Grand Antique, 5 
 Grecanicum, Opus, 20 
 Greek mouldings, 45 
 pattern, 32 
 
 H. 
 
 Hand-rail, marble, 42 
 Harmony in colour decoration, 14 
 Hindoo carving, 55, 59 
 
 I. 
 
 Incertum, Opus, 24 
 
 Incised patterns filled with black 
 
 mortar, 50 
 Indian pattern, 32 
 
 K. 
 
 Kakrieh mosque, carving at, 55 
 Keene's cement, 10 
 Kirwuttee, carving at, 59 
 
 L. 
 
 Lauzun, Hotel de, 47 
 
 Lee, Mr. Arthur, on selecting 
 
 marble, 2 
 Linings and boxings, marble, 34 
 Lintels, solid, in marble, 35 
 Lumachella marbles, 2 
 Lutes or stoppings, 5, 6 
 Lysicrates, monument of, 57 
 
 M. 
 
 Marble, definition of, 1 
 Marble used as glass, 40 
 Madreporic marbles, 2 
 
INDEX. 
 
 121 
 
 Maria Maggiore, Sta., 21, 27, 28 
 
 Novella, Sta., 22 
 Mark's, St., Venice, 37, 48, 51, 54 
 Mason's mastic, 9 
 Mastic de Corbel, 10 
 Monumental sculptors, modern, 59 
 Mosaic, bedding and jointing, 12, 
 23, 25 
 
 Mosaic marble work, 18 
 Mosaics, Gothic, 22 
 Mouldings, Gothic, 44 
 
 Greek, 45 
 
 Roman, 46 
 
 French, 47 
 
 Venetian, 47 
 
 mitre-jointed, 47 
 
 necessity of, 40 
 
 0. 
 
 Onyx marbles, transparent, 40 
 Opera di Commesso, 20 
 Opus Alexandrinum, 20 
 
 Figlinum, 19 
 
 Grecanicum, 20 
 
 Incertum, 24 
 
 Sectile, 19 
 
 Tesselatum, 18 
 
 Vermiculatum, 19 
 Oriental alabaster, transparent, 40 
 
 P. 
 
 Panels, marble, 38, 40, 58 
 Patterns in mosaic, setting out, 24 
 Perforated marble, Hindoo, 55 
 Piers, boxed, in marble, 36 
 Pilasters, marble, 36, 50 
 
 boxed, 51 
 
 chamfered, 52 
 Plaster of Paris, 10 
 Polishing marble, 3 
 
 Pompeian pavement, 27 
 
 frieze, 30 
 Portland cement,* 10 
 Preserving marble, 7 
 Puddingstone marbles, 2 
 Pugin'e 4 'True Principles,'' 25 
 
 R. 
 
 Rakes used in laying mosaic, 24 
 Ravaccione marble, 2, 5 
 Roman mouldings, 46 
 Ruskin, Mr., measurements by, 39 
 his own dictum used against 
 him, 49 
 
 S. 
 
 Sectile, Opus, 19 
 Shellac, 5, 6 
 Shell marbles, 2 
 Sicilian marble, 2, 5 
 Silver mosaic, 30 
 Snails used in cement, 1 1 
 Sophia, St., Constantinople, 43, 54 
 Statuary marble, 3, 5 
 Steps, marble, 42 • 
 " Stones of Venice," Mr. Ruskin'a, 
 39 
 
 Stoppings, or lutes, 5, 6 
 
 Street, G. E., on veneering with 
 
 marble, 34, 36 
 Strength of marble, 5 
 
 T. 
 
 Terazzo, 24 
 Tesselatum, Opus, 18 
 Transparent marble panels, 40 
 Trusses boxed in marble, 43 
 K 
 
122 
 
 INDEX. 
 
 Vabiegated marbles, 2 
 Veined marbles, 2 
 Veneering defended, 38 
 
 with marble, 35 
 Venetian mouldings, 47 
 Vermiculatum, Opus, 19 
 Verona, St. Anastasia, 29 
 
 U. 
 
 Uni-coloueed marbles, 2 
 W. 
 
 Walls, mosaic for, 29 
 
 Wax varnish, 7 
 
 Weight of marble, 5 
 
 Wyatt, Sir M. D., on mosaic, 30 
 
 PRINTED BY J. S. VIRTUE AND CO., LIMITED, CITY ROAD, LONDON. 
 
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