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“According to a report of Prof. Geo. H. Perkins, 
 State Geologist of Vermont, the demand for mar¬ 
 ble is showing a marked increase each year, and 
 the total output from the Green Mountmn State 
 hzis doubled in eight years.”— Stone, Nov. 1912. 
 
KEEPING-- UP 
 WITH TVIARBLE 
 
 vSKE-TCHING- THE. GRIDWTH OF 
 A G-ICE.AT INDTJvS TPJV" AND 
 TDLDING- WHY A5LAR.BLE. HA<S 
 K.BPT IN THE. I.E.AD 
 
 VBRM.ONT MARBLE. COMPANY 
 
 BOSTON PROCTOR. VT. NEAV YORK 
 
 CHICA.G-0 sST. X^OTJIsS 
 
 PHILADELPHIA CLEVELAND v^ATST FRANCIsSCO 
 WAx^HING-TON KA.NvSA.>S‘ CITY TA.C02V1A 
 PORTLAND VANCOUVER, B.C. 
 
 PETERBORDXJCH, ONT. 
 
Page four 
 
 The Old Mill where the Vermont Marble Co. was born 
 
EARLY DAYS 
 
 'HEN John Sutherland journeyed up the old mili¬ 
 tary road and pitched his tent at the falls of the 
 Otter Creek, he had no idea of becoming famous. 
 As a matter of fact, the renown which was two 
 or three generations late in reaching him came 
 in rather a roundabout way. 
 
 Sutherland built a saw-mill and a grist-mill at the foot of the 
 falls and established a home there in the wilderness. In time 
 the little settlement began to be known as Sutherland Falls. All 
 this was prior to the American Revolution. Those early settlers 
 never knew that they held the key to a wonderful treasure-house. 
 
 After the passing of nearly a century, two brothers, named 
 Humphrey, made an opening at the base of the mountain and 
 began to take out marble. They also constructed a small mill 
 there beside the river. But the years never brought them any 
 great returns. Something was lacking. The work needed more 
 railroads and better machinery. It needed also a man of vision 
 — someone who could look down into the future and plan for 
 big things. 
 
 LAYING THE FOUNDATIONS 
 
 With the advent of Redfield Proctor in 1870, came a new 
 order of affairs. It was through him that the marble industry 
 received its great development. Gradually, but with unalterable 
 determination, he pushed Sutherland Falls marble out over the 
 country. Thus was the Vermont Marble Company born, and 
 the name of Sutherland given permanency. 
 
 It all started in that old mill down in the hollow, a building 
 in which only six or eight quarry blocks could be sawed at a 
 time. There was a track leading up to the quarry, and the blocks 
 
 Page five 
 
Page six 
 
 The Proctor Plant as it looked in 1885 
 
A Corner in the Shop 
 
 
 VERyv^O ISI T ' MATl-B l-E. • COJV\PA.NY 
 
 were placed on a car and lowered into the mill by means of a 
 cable. A yoke of oxen furnished the motive power that was 
 needed to get the empty car back to the quarry again. The traffic 
 of the early seventies called for no very complete equipment. 
 
 BRANCHING OUT 
 
 But when people really became acquainted with Vermont 
 marble a change was noted in the volume of the incoming mail. 
 It took a little more time each day to copy the orders. Another 
 mill had to be erected to accommodate the growing business; 
 extra help had to be employed; new houses had to be built. 
 
 A finishing shop was reared wherein marble could be carved 
 and polished. A building shed sprang up — for marble was 
 pushing its way into structures of every kind. More mills were 
 added that there might be less delay in cutting up the quarry 
 blocks. A machine shop and a wood-working shop were raised. 
 
 Page seven 
 
The Sutherland Falls Quarry—in many respects the most wonderful 
 
 quarry in the world 
 
 Page ei ght 
 
Channeling Machines in Pittsford Valley Quarry 
 
 In fact, every department was bending under the strain of keeping 
 up with marble. 
 
 And while all this was taking place, the old water power 
 was being converted into electric power; horses were crowding 
 out the oxen, and traveling cranes were creeping into the shops 
 and yards. Other quarries — the Pittsford Valley, the White 
 Rutland, and the Blue Rutland — were being developed to 
 supplement the work of the old Sutherland Falls. Shops 
 were being established at Center Rutland and West Rutland, 
 and a railroad was being pushed to completion that all these 
 expanding interests might be centralized. Marble was out for 
 a conquest of the world, and everyone was expected to keep 
 up with it. 
 
 The community, too, was showing the effects of keeping up 
 with marble. It was outgrowing its old surroundings. Trees 
 were cleared away to make room for homes. Schools and 
 churches took their places on the hillside. A cooperative store 
 was opened where the profits were divided among the employees, 
 and foundations were laid for a library, a Y. M. C. A., and a 
 
 Page nine 
 
Page ten 
 
 In the Building Shop 
 
hospital. In short, the little settlement of Sutherland Falls was 
 transformed into the modern village of Proctor. 
 
 But keeping up with marble called for other things. It 
 called for more land — land that would supply additional quarries, 
 and lumber for boxing, and feed for horses. It demanded that 
 the yards be lined with railway tracks, and that a dependable 
 water system be installed. It necessitated the stretching forth of 
 a tramway which should keep the mills supplied with sand — 
 and therein lies a story. 
 
 MOVING A MOUNTAIN 
 
 In the days of the old mill a few teams could haul all the 
 sand that was needed. When the business began to increase 
 a short tramway was constructed, but the buckets soon began to 
 come back empty. Finally, the cable was extended for two-and- 
 a-quarter miles up over the mountain, and the work of keeping 
 
 The Riverside Quarry 
 
 Page eleven 
 
Page twelve 
 
 Interior of one of the Mills 
 
Falls and Power House 
 
 up with marble was again placed on a solid footing. That was 
 ten years ago. At the present time the tramway is still in opera¬ 
 tion, and the sand is still forthcoming, although seventeen acres 
 have been lowered to a depth of sixty feet. 
 
 To express it in another way, each bucket weighs 300 
 pounds and has a capacity of 500 pounds, and so rapidly are 
 they filled and emptied that they move along the cable at the 
 rate of one every fifty seconds, or seventy-two an hour. During 
 the day (they are in operation throughout the twenty-four hours) 
 1,728 of them arrive in Proctor. Thus it will be seen that within 
 the past ten years about 1,500,000 tons of sand have been fed 
 to the hungry mills. 
 
 THE VERMONT MARBLE CO. TODAY 
 
 It reads like fiction, and yet it is only a plain statement of 
 facts. It s only one of the many things that have entered into 
 the making of the largest marble company in the world — a 
 company that employs over 4,000 men, and distributes around 
 the globe 1,000,000 cubic feet of marble annually. 
 
 Page thirteen 
 

 Page fourteen 
 
 Underground Electric Road in Rutland Quarry — over 300 feet below surface and extending for hundreds of feet out into the tunnel 
 
1 
 
 
 VE.R.7VLON T * LE, • COA^PANY ! j 
 
 
 Stretched out there beside the river is a chain of shops and 
 mills, with a floor space aggregating twenty-five acres, and with 
 10,000 horse power at command. Within those buildings are 
 a score of turning lathes (one of the lathes will turn a column 
 thirty-two feet long), over 100 rubbing beds, about 300 pneumatic 
 tools, and more than 400 gang saws which are running day and 
 night. The yearly output of the quarries is 21,000 blocks, and in 
 1912 there were no less than 20,000 blocks on hand. From the 
 25,000 acres of land over which these quarries are scattered, comes 
 the bulk of the 6,500,000 square feet of lumber which must be pro¬ 
 vided every year for boxing and building purposes. It is by means 
 
 Looking down 
 into the 
 
 Rutland Quany 
 
 Page fifteen 
 
Page sixteen 
 
 One of the Block Piles 
 
Underground in the Esperanza Quarry 
 
 of these facilities that the Vermont Marble Company is able to 
 ship monuments to its customers at the rate of 250,000 per year. 
 
 Nor is the end in sight. The search for new quarries is still 
 going on, although nearly fifty distinct types of marble have 
 already been brought forth. Buildings and yards are continually 
 being remodeled and enlarged to meet the ever-changing condi¬ 
 tions. Even in far -away Alaska they are beginning to understand 
 what it means to keep up with marble. The demand becomes 
 more insistent with each succeeding year. 
 
 How does it happen that marble has won this unprecedented 
 popularity? What are the qualities that give it its appealing 
 power — its magical hold on the people who buy? The case 
 may be summed up in three words — beauty, durability, and 
 adaptability. 
 
 THE BEAUTY OF VERMONT MARBLE 
 
 If you were to step into the Sample Rooms of the Vermont 
 Marble Company and examine carefully the long rows of polished 
 slabs, you would understand why it is that the world never tires 
 
 Page seventeen 
 
A part of the Center Rutland Plant 
 
 Pag e eighteen 
 
 A part of the West Rutland Plant 
 
-'C OiVi PA7?Y^~ 
 
 
 of Vermont Marble. It seems almost unbelievable that one 
 small state should be able to produce so many wondrously- 
 blended varieties. No two of them are alike — each has an 
 individuality of its own. The delicate markings and shades 
 of color are arranged in manifold combinations. 
 
 Other substances fail to exert the same mystical charm. In 
 a recent article in Stone, it is declared that “Marble, apart from 
 its utility, has an inherent and mysterious beauty that appeals 
 to everyone.” There is something in its makeup that thrills 
 mankind, and enkindles the highest artistic feeling. 
 
 DURABILITY 
 
 The beauty of marble, however, is no less marked than its 
 durability. W. G. Renwick, in his book “Marble and Marble 
 Working,” thus refers to the marble structures of ancient Greece: 
 
 “ Indeed, it is no exaggeration to state, that but for the lasting 
 nature of the medium employed, the most magnificent conceptions, 
 both in architecture and sculpture, would have been lost to the 
 world. When it is remembered that our noblest buildings are 
 based on classic examples executed in marble (the only medium 
 in which such preservation as has obtained was possible), the 
 
 Cable Road 
 connecting 
 Danby Quarries 
 with the 
 Rutland R.R. 
 At this point the 
 grade is 55 feet 
 to the hundred 
 
 Page nineteen 
 
Page twenty 
 
 True Blue Mill Beldens MiO 
 
Taking out Blocks from one of our Alaska Quarries 
 
 debt of modernity, both to the medium and the workers therein 
 of ancient times, is indeed a heavy one. Nor is this the whole 
 of the debt. Mr. W. Brindley has pointed out that the imperish¬ 
 able nature of the material has enabled records to be preserved 
 which throw light on the history of bygone ages.” 
 
 Records are not lacking which show that marble has been 
 used in practically all periods of the world’s civilization. Certain 
 translations bring out the fact that marble was well known in 
 1000 B.C. Even in the rigorous northland it has kept its form 
 through unnumbered centuries. 
 
 Norway has several marble churches which, according to 
 a noted scientist, have stood 600 or 700 years, exposed to all 
 that country’s cold and stormy weather, yet they have come 
 through the long siege in almost perfect condition. 
 
 All this serves to indicate what may be expected of Vermont 
 Marble — for our own product is acknowledged to be the equal 
 of any foreign variety. Thus far its record has given promise 
 of even greater achievement. 
 
 In the country churchyards there are thousands of old 
 
 Page Twenty-one 
 
Florence Plant 
 
 Page tv\ enty-two 
 
 Middlebury Plant 
 
Cl S jSI j An ^/ 
 
 Vermont Marble slabs. Some of them have been standing for 
 over a century, half hidden by grass and weeds. They have 
 been given no care or attention, yet you will find very little 
 change in the marble. It will only require a thorough cleaning 
 to bring out the old-time color and brilliancy. 
 
 Owing to its compact formation, Vermont Marble offers 
 little chance for that absorption of moisture which is the begin¬ 
 ning of disintegration, and its crystalline structure is capable of 
 great crushing strength. It is also unexcelled as a heat-resistant. 
 This has been proven in every great fire wherein marble buildings 
 have been placed. 
 
 ADAPTABILITY 
 
 Speaking of buildings suggests another phase of the question 
 
 — the adaptability of marble. No other stone can be applied to 
 so many different uses with equally pleasing results. It has 
 entered into the making of public buildings and private resi¬ 
 dences, apartment houses, libraries and churches, thus bringing 
 into the modern world the beauty of old Athens. It matters not 
 whether it be used for exterior or interior work. You may mold 
 it into tile for your floors, or slabs for your electric switchboards 
 
 — and each of these branches, by the way, forms a separate 
 department of the industry. Fonts and altars that are fashioned 
 out of marble always add to the dignity of their environment, 
 while mausoleums and sepulchres depend upon it for a large 
 measure of their attractiveness. 
 
 MAUSOLEUMS 
 
 Indeed it seems only natural to refer to marble when you 
 speak of mausoleums. The two names have been linked together 
 for more than twenty centuries. The very word itself originated 
 in a structure born of the marble quarries, and from that union 
 has sprung a long line of beautiful tombs. Our own country 
 is dotted with such mausoleums. They form an immeasurable 
 addition to our memorial architecture, and reflect the true nobility 
 of marble. 
 
 Page twenty-three 
 
Page twenty-four 
 
 The Proctor Plant as it looks today. Back of the Shops and Mills you can 
 
 this picture with those that precede it, you can get a 
 
■ the line where the sand tramway goes up over the mountains. By grouping 
 !a of the present capacity of the Vermont Marble Co. 
 
 Page twenty-five 
 
Columns for the Curtis Building, Philadelphia —^ showing one of 
 
 the grip of a traveling crane, and some of the finished 
 
 D , that have been loaded on cars 
 
 rage twenty-six 
 
 the rough shafts in 
 columns 
 
It must not be supposed that all these are of elaborate design. 
 A mausoleum need not be unrestricted in price to be commend¬ 
 able, for the same painstaking labor and inimitable marble go 
 into the making of the small unassuming sepulchre. Ornamental 
 work is not a necessity; artistic and compelling results may be 
 obtained without it. 
 
 MONUMENTS 
 
 This same rule may also be applied to monuments. Nothing 
 can really take the place of the large marble memorials. They 
 express big ideals in a big way. They place marble before you 
 in its best light, enhanced by all the grace and imagery of the 
 carver’s chisel. They are keeping alive all the valued traditions 
 of memorial art. Thousands of them have taken their place in 
 the cemeteries of the land, and thousands more are yet to be built. 
 
 Take the cross design for instance — one of the oldest of 
 religious symbols. It may be a work calling for months of labor. 
 The sculptor may place upon it the story of a life, and stamp it 
 with his own personality. Or it may be a simple slab, relieved 
 only by a bit of tracing or lettering, to mark an unknown grave 
 in some obscure churchyard. In either case it’s the marble that 
 furnishes the irresistible touch of beauty. 
 
 The wonderful conformity of marble is well exemplified in 
 monumental work. For a child’s grave, nothing can compare 
 with white marble as a medium of expression — it seems to stand 
 preeminently for the ideals of childhood. The carved design, 
 whether it be simple or intricate, is never complete without 
 marble — other materials may be carved, but not with such telling 
 effect. You may use it in rock work, finish it with hone or sand, 
 or cover its surface with a deep, unblemished gloss. In whatever 
 way you look at it, marble is always dependable. 
 
 OTHER FACTORS 
 
 These are the three great reasons why marble has forged 
 ahead, but there are other factors which must not be overlooked. 
 
 Marble can be easily cut, and the lettering is always distinct 
 
 Page twenty-seven 
 
The McClintock Monument, finished out of Riverside Marble for 
 Miller and Laycock, Wilkesbarre, Pa. 
 
 Page twenty-eight 
 
The Godey Mausoleum, erected in Laurel Hill Cemetery, Philadelphia, in 1869. 
 
 The photograph shows you how the marble looks at the present time 
 
 and clearly outlined. The cost of getting out a marble memorial 
 is never excessive. There seems to be no limit to its wearing 
 power, and yet it gives the cutter a good chance to work, thereby 
 reducing the price of the finished stone. No other form of 
 memorial that is really worth while can be produced with the 
 same amount of labor. 
 
 Then, too, marble is usually shipped promptly. You can 
 set a date for the erection of a monument, and feel reasonably 
 certain that the marble will be ready. You are seldom asked to 
 wait six months or a year for stock — which would probably 
 mean that your customer would place his order elsewhere, 
 leaving the work on your hands. 
 
 COST 
 
 Moreover, the prices are invariably uniform. The same list 
 goes out to all the retailers, with a discount for cash as an extra 
 inducement. And in case you happen to be a dealer with a 
 
 Page twenty-nine 
 
Page thirty 
 
 Receiving Vault, Woodlawn Cemetery, Baltimore, Md., the contract for which was secured by Wm. A. Gault and Son 
 
BI UVIOKX - iV\A L E • ,,C OM. PAN 
 
 limited capital, marble will enable you to make a creditable 
 display of finished work. 
 
 THE CLEANING OF MARBLE 
 
 Again, marble can be cleaned in case it becomes soiled. In 
 fact, it ought to be given frequent and thorough renovation even 
 though it may be free from spots and stains. 
 
 The Kiser 
 Monument, 
 a product of our 
 Pittsford Italian 
 Quarries, erected 
 by J. M. Vickers 
 in Redfield, 
 
 So. Dakota. 
 
 Page thirty-one 
 
The Baxter Monument, which was set up 1 5 years ago by Everson and Company 
 
 in Evergreen Cemetery, Rutland, Vt. 
 
 Peige thirty-two 
 
The Gratz Mausoleum, another old landmark in Laurel Hill Cemetery, Philadelphia. 
 After nearly half a century of service the marble remains unchanged 
 
 CEMETERY MARBLE 
 
 For nearly all stains on monumental work, except those 
 resulting from oil, use javelle water. This is a simple preparation 
 made from chloride of lime and washing soda. It can be obtained 
 at any drugstore. Frequent and copious applications of this liquid 
 will usually restore the marble to its natural condition. It may 
 also be used to good advantage when dirt has become hardened 
 on the surface. 
 
 When the stain comes from oil, gasoline of good quality 
 should be used. Saturate cotton waste or blotting paper and 
 press it firmly down on the marble. Allow it to remain for a 
 day or two if necessary, wetting it often with gasoline. The 
 process may be accelerated by the introduction of sunlight or 
 some form of artificial heat. 
 
 When these remedies prove ineffective, the only thing to do 
 is to set the monument out in the open and trust to the action of 
 the sun and frost. This will sometimes succeed when all else fails. 
 
 Page thirty-three 
 
Page thirty-four 
 
 The Rockefeller Mausoleum, constructed out of Plttsford Valley marble for J. S. Heckert & Son, and erected in Sunbury, Pa. 
 
r? N T ^iWA ILB L.F. • C OvViPAN Y ' 
 
 Every cemetery memorial should be cleaned with javelle 
 water once or twice a year, and all the dirt and moss that has 
 started to collect should be removed. If foreign substances are 
 allowed to accumulate, they absorb moisture. This tends to 
 roughen the surface and in turn invites the absorption of more 
 moisture. Keep the marble smooth and uncoated and this 
 damage will be averted. 
 
 The monument that has once become roughened can best 
 be restored by thorough treatment with pumice stone or fine grit. 
 It is a practice more or less general to use as a renovator a weak 
 
 HEH-ORX 
 
 ' ^bi! !'u^ciieJ 
 
 :OcioBlr!he'TetbD ?.^ 
 Irr Ovood Afsureance ofar ira' 
 eref 11 n i he, Lord kin s C h ri^ ^ 
 
 7,7 Years-o\ ; 
 
 A Hufband hincl.Aloveiy friend is gone . , 
 APar.ent dear.'^f'A Neighbour kind, i 
 In Honesty %\/iri ue Tiv/'c!. 
 iSi^Jaig] in<a .Han bU ‘Al'a’ A t VA I 
 
 This marble slab was 
 placed in the Cemetery 
 at Fair Haven, Vt. 
 in 1 797. 
 
 It is now well started 
 on Its second century, 
 yet you will note no 
 change in the delicate, 
 finely-cut inscription. 
 
 Page thirty-five 
 
The Memorial to Governor Elisha Dyer, built for F. F. Tingley and put up in 
 Page thirty-six Swcin Point Cemetery, Providence, R. I. 
 
The Graham Mausoleum, a medium-priced structure formed out of Sutherland Falls 
 marble and erected by H. R. Lewis, Youngstown, Ohio 
 
 solution of muriatic acid. This should never be permitted. The 
 immediate results may appear to justify the treatment, but in the 
 end you will find that the stone has been greatly injured. 
 
 EXTERIOR BUILDING MARBLE 
 
 Outside walls that present a sand-rubbed surface may be 
 cleaned with scrubbing brush and Sapolio. On the tooled portions 
 use a dry, steel wire brush. Spots on exterior work that cannot 
 be taken out in this manner can usually be effaced with either 
 javelle water or gasoline according to the nature of the stain. 
 
 INTERIOR MARBLE 
 
 Polished interior marble should be cleaned daily, rubbing it 
 vigorously with a soft woolen cloth or white cotton waste. The 
 best results come from dry cleaning. If you must use water, 
 apply it warm and in small quantities. In order to keep it clean 
 it must be changed frequently. Never use soap or any other 
 cleaning preparation. In order to preserve the delicate beauty of 
 
 Page thirty-seven 
 
The Costello Chapel, Lowell, Mass., another tribute to Vermont Marble. 
 Designed by F. Joseph Untersee, Boston 
 
 Page thirty-eight 
 
interior marble, you must give it fair treatment, keeping those 
 things away from it which are likely to cause discoloration. Not 
 only should you guard the front of the slab, but you should also 
 be sure there are no foreign substances at the back of it which 
 may work their way to the surface. 
 
 Some few things like iron rust and creosote cannot be erased. 
 Others are conquered with difficulty if allowed to stand for a long 
 time. Therefore if spots are discovered they should be removed 
 at once if possible. For this purpose there is nothing better than 
 javelle water for ordinary stains or than gasoline for oil-spots. 
 
 The Stephen 
 A. Douglas 
 MemoricJ 
 unveiled at 
 Brandon, Vt. 
 June 27, 1913, 
 in commemora¬ 
 tion of the 1 00th 
 anniversary of 
 Douglas’s birth. 
 Designed by 
 Shepley, Rutan 
 & Coolidge, 
 Chicago. 
 
 Page thirty-nine 
 
Page forty 
 
 in memory of Edwin Hawley, the Railroad Magnate 
 
The Eveleth-Crafts Mausoleum, Greenville, Me., chiseled out of grey building marble 
 
 Floors, stair treads, and all sand-finished marble may be 
 cleaned with an ordinary scrubbing brush. In this connection it 
 is safe to recommend Sapolio or any other good material that 
 contains no greasy soap. As an aid in the sweeping of marble 
 floors, white pine sawdust is very satisfactory — oak and other 
 hard woods are likely to produce stains. 
 
 If marble is given the care that it deserves, the care that any 
 valuable product should receive, there will be no change in its 
 appearance. It will go down through the centuries reflecting the 
 same brilliancy and distinctiveness that it reveals today. 
 
 A DEALER’S OPINION 
 
 There is a dealer in Buckfield, Me., by the name of Horace 
 A. Murch. He learned the granite cutting trade in Quincy, Mass. 
 At the present time he owns a granite quarry in Maine and ranks 
 as a high-grade dealer in his territory. He has lately bought for 
 his own lot a large Riverside marble monument. In giving his 
 reasons for buying marble instead of granite, he says: 
 
 Page forty-one 
 
Page forty-two 
 
 The Chambers Mausoleum, moulded out of Florence marble for J. H. Sloan, Elkton, Md 
 
VBRJWONT -iWAILE) LE • COA\PAN Y’ 
 
 “ I have told lots of people that granite was more durable than 
 marble, but the last few years have been watching them both, 
 and I have changed my mind. I believe that a good grade of 
 Riverside or Brandon or any of your hard varieties will stand 
 as well as any granite, and I like the looks of the marble best.” 
 
 GOVERNMENT FIGURES 
 
 In passing, it may be well to give a few figures. “The Stone 
 Industry of 191 1 ” is the title of a report which comes from the 
 government printing office in Washington. It is compiled under 
 the supervision of the United States Geological Survey, Depart¬ 
 ment of the Interior. 
 
 The Griffiths Memorial, delivered to Bills Brothers, Denver, Colo., and placed by 
 them in the cemetery at Carlsbad, N. M. 
 
 Page forty-three 
 
The Willard Monument at Westminster, Vt., a noteworthy white marble creation 
 
 Page forty-four 
 
The “Last Supper,” executed by one of our carvers from a celebrated French model 
 of Leonardo’s masterpiece. It forms a part of the altar in 
 St. Mary’s Church, Ticonderoga, N. Y. 
 
 One of its tables gives us a striking comparison between 
 granite and marble. The gain in the value of marble monu¬ 
 mental work from 1910 to 1911 was $450,232.00. During the 
 same period the loss in the value of granite monumental work 
 was $450,788.00. It is a singular coincidence that marble should 
 gain approximately the same amount that granite lost. 
 
 This is introduced merely to show that marble is continually 
 making progress. Other materials may have their ups and downs 
 but nothing can stop marble. The Vermont Marble Company’s 
 shops and mills there in the valley of the Otter Creek are never 
 idle. There are always new memorials to be planned and 
 perfected, new buildings to be chiseled into form. From one 
 year’s end to another it’s a case of keeping up with marble. 
 
 Page forty-five 
 
The Schumann Memorial Tablet, Magnolia Cemetery, Philadelphia, designed by 
 L. V. Boyd, and wrought out of a single piece of white marble. The 
 order came from E. A. Carroll Co., Philadelphia 
 
 Page forty-six 
 
“ It is notable that the best tints are always those of 
 naturcil stones. These can hardly be wrong: I 
 think I never yet saw an offensive introduction of 
 the natural colors of marble and precious stones 
 unless in small mosciics and in one or two glcuring 
 instances of the resolute determination to produce 
 something ugly at any cost.”— JOHN RUSKIN.