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THE 
 
 MARBLE-WORKERS' MANUAL. 
 
 DESIGNED FOR THE USE OF 
 
 MARBLE-WORKERS, BUILDERS, 
 
 AND 
 
 OWNERS OF HOUSES. 
 
 eONTAINlNa PRACTI3AIi INFORMATION RESPECTING MARBLES If 
 general; THEIR CUTTING, WORKING, AND POLISHING; 
 VENEERING OP MARBLE ; PAINTING UPON AND COLOR- 
 ING OP MARBLE ; mosaics; COMPOSITION and use 
 
 OP ARTIPIOIAL MARBLE, STUCCOS, CEMENTS: 
 RLCEIPTS, SECRETS, ETC., ETC. 
 
 Translated from the French, 
 BY M. L. BOOTH. 
 
 WITH AN APPENDIX 
 
 CONCERNING AMERIOAJT MARBLES 
 
 : V : vji I'iWfy-;^ up K u: ! ; : '*. ; •**. 
 
 HENR Y . C./VRE Y BAIRD & OC, 
 
 I I ilt)*.\C'All>t«JT &! aF.ET» .' I •! I *. • 
 
 18P5. 
 
PREFACE. 
 
 The art of the Marble worker may be classed among 
 those employments possessing the most interest and va- 
 riety. It demands of its votary the knowledge of design, 
 that of public and private monuments, and of the natural 
 historj' of Marbles. It demands, also, taste and patience, 
 without which the sculptor will be a bungler, instead of 
 an artist. The cotemporary of civilization, his hand is 
 found in the works of every centur}'. The more greatness 
 has belonged to nations, the more occasions had the artist 
 to celebrate it ; and if the monuments of Greece and Rome 
 had not been pillaged by the invasions of the barbarians, 
 their sculptures would have borne witness to the flour- 
 ishing state of the arts upon those two principal points 
 of the globe. 
 
 Less ambitious at present, as great fortunes are rare, the 
 artist must emplo}'^ himself upon the ordinary wants of pri 
 vato life ; and if a few public monuments still demand his 
 chisel, these are but exceptional, and in large cities. This 
 is a misfortune, yet it is not without its compensations. 
 These large fortunes, by their infinite subdivision, have 
 given rise to that middle class, who, on their pan, take 
 delight in what they call conveniences, and demand of the 
 Marble worker chimney-pieces, tables, vases, tombs, and 
 funereal monuments, panelmgs, pavements more or less 
 
iy 
 
 FREFACE. 
 
 decorated with stone and Marble, and even fountains, flag 
 and curbstones, frontings for the outside of warehouses, 
 and counters, slabs and fixtures for interiors. In this respect 
 the Marble workers of our times differ from those who 
 only devoted themselves to churches and palaces. It is, 
 therefore, important to place within the reach of skillful 
 workmen the information and models which they need, 
 and which are here extracted from the best authorities, 
 in order to encourage and stimulate good taste. 
 
 The Manual of the Marble worker has been long de- 
 manded. It has also been needed by those proprietors 
 who themselves desire to superintend works for which 
 they do not choose to employ an architect. They will 
 And in this manual all the information necessary to in- 
 struct them. We have probably invented notiiing, but we 
 have endeavored to make the most complete possible 
 analysis of the treatises upon ancient and modern Marble 
 working, which until now have only been found in folios 
 so costly and bulky, that it was very difficult to consult, 
 and almost impossible to possess them. 
 
 Our little volume, on the contrary, presenting a clear 
 and precise text, and free from all the scientific phrases 
 which perplex the subject, will be in the possession of 
 every person who seeks information respecting the art of 
 Marble working. It will be understood ; it will excite 
 comparative ideas ; it will draw forth essays ; it will at- 
 tract attention to this art ; and our object will be gained 
 if it restores to the atetiers of the Marble workers some 
 of the emulation which they seem to have lost. 
 
 It is divided into five parts. 
 
 The first treats of Marbles in general, of their qualities 
 beau'ies, and defects. 
 
FBEFACE. 
 
 V 
 
 The second treats of the use, cutting, and polishing of 
 the different Marbles which are in commerce. 
 
 The third describes the processes designed to facilitate 
 and perfect the labor of the workman. 
 
 The fourth part is devoted to plated Marbles, stuccos, 
 mosaic paintings, and terraces — the whole being ihe prac- 
 tical experience of the most skillful Marble workers. 
 
 The fifth part comprises new processes, secrets, recipes, 
 an essay on the manufacture of toy marbles, and various 
 otlier matters pertaining to the art. 
 
 We have also endeavored to enlighten the workmen 
 respecting their true interests, and to warn thein against 
 the mistaken principles which sometimes mislead them, 
 by pointing out the right course, and inspiring in them, 
 as well as in us, that love of truth and commercial integ- 
 rity, without which no industrial establishment will ever 
 gain the confidence of the public or secure honorable 
 protits. 
 
TABLE OF CONTENTS. 
 
 PAGK. 
 
 Alabaster 17 
 
 Appendix — Concerning American Marbles 243 
 
 Artificial Marble 153 
 
 " and Stuccus 119 
 
 Atelier of the Marble worker 116 
 
 Breccias, modern 30 
 
 Cement, universal 114 
 
 Cliimuey-piece in malachite 218 
 
 Chinese Paintings, unalterable 167 
 
 Coloring of Marbles 81 
 
 Coloring of Artificial Marbles 228 
 
 Crab, the 84 
 
 Crane, the 83 
 
 Defects of Marbles 32 
 
 Designs for the execution of works 215 
 
 Different varieties of Marbles 15 
 
 Figures in relief upon Marbles , 227 
 
 Granite 45 
 
 Imitations of Mai-bles 119 
 
 Imitations of Mosaics 205 
 
 Jack-screw, the 89 
 
 Jasi)er 40 
 
VIU 
 
 CONTENTS. 
 
 PA«E. 
 
 Lapis 16 
 
 Mastics 109 
 
 Mastics for cementing Marbles 112 
 
 Masons' Mastic for Cisterns, etc 113 
 
 Marbles in general 11 
 
 Marble, ancient method for painting 221 
 
 Marble, Artificial 153 
 
 Marble, Artificial, composition of 155 
 
 Marble, Artificial, coloring of 228 
 
 Marbles, coloring of. 31 
 
 Marbles, cleansing of 200 
 
 Marbles, cutting, working, and polishing of 50 
 
 Marbles, defects of 32 
 
 Marbles, different varieties of 15 
 
 Marbles, figures in relief upon 227 
 
 Marbles, imitations of 119 
 
 Marbles, modern 20 
 
 Marbles, machinery for raising 91 
 
 Marbles, machinery for sawing and molding 102 
 
 Marbles, machinery for sculpturing or reducing 104 
 
 Marbles, manner of working 55 
 
 Marbles, toy, manufacture of. 192 
 
 Marble working, ornamental 72 
 
 Marbles, painting upon 140 
 
 Marble, turned 229 
 
 Marble, veneering of i63 
 
 Marbles, workmanship of.. 33 
 
 Mosaics 62 
 
 Mosaics by absorption 202 
 
 Mosaics, imitations of 205 
 
 Ornamental Marble work "2 
 
CONTENTS. ix 
 PAGE. 
 
 Porphyries 16 
 
 Porphyries and Granites 39 
 
 Pozzolana 212 
 
 Pumice stone ^ 213 
 
 Preface 3 
 
 Quartz 39 
 
 Recipes, various 201 
 
 Sculptor, the 72 
 
 Sculpture by Acids 75 
 
 Serpentine 16 
 
 Setting up of works 59 
 
 Slabs of Marble, composition of. 160 
 
 Slabs, casting of 161 
 
 Slabs, tannage of. 163 
 
 Stuccos 120 
 
 Stuccos and Artificial Marbles 119 
 
 Stuccos, moldings in 137 
 
 Stuccos, pictures in 228 
 
 Tackle, the 88 
 
 Terraces, Venetian 71 
 
 Terraces, preparation of area 173 
 
 Terraces, working of Marble for 178 
 
 Terraces, Venetian, less costly 188 
 
 Turned Marble 229 
 
 Universal Cement. 114 
 
 Veneering upon Marble 63 
 
 Veneering upon Wood and Stone 63 
 
 Vocabulary 232 
 
 Winch, the 8: 
 
Jtrst |3art. 
 
 OF MAKBLES IN GENERAL. 
 
 SECTION FIRST. 
 
 Of THE FORMATION, QUALITIES, BEAUTIES, AND DEFECTa 
 OF MARBLE. 
 
 ^ 1. Marble, according to every analysis which 
 has been made of it, is a calcareous stone of differ- 
 ent degrees of hardness, of a fine grain, often colored, 
 and always susceptible of polish. As among other 
 calcareous stones, there are Marbles of the first, se- 
 cond, and perhaps of the third formation. The old 
 Marbles are not, like the new, composed of simple 
 stony particles, reduced by the action of water into 
 minate molecules ; they are formed, like other ancient 
 stones, of fragments of stones still more ancient, and 
 the most of them are mixed with shells and other 
 marine productions. All are deposited in horizontal 
 beds, or parallelly inclined, and differ only in colors 
 from other calcareous stones ; for there are some 
 stones which are almost as hard, as dense, and as 
 fine grained as Marbles, to which, nevertheless, this 
 name is not given, because they have no decided 
 
!2 
 
 THE MARBLE WORKERS' MANUAL. 
 
 color, or rather, no diversity of colors. These colors, 
 although very deeply imprinted in certain Marbles, 
 do not change their nature in other respects : they 
 add nothing to their hardness or density, nor do they 
 prevent their calcination and conversion into lime b}'' 
 the same degree of heat as with other hard stones. 
 
 Stones which are of a fine grain and susceptible of 
 polish, form a link between the common stone and 
 Marbles ; all are of the same nature, since all effer- 
 vesce with acids, all break in granulated fragments, 
 and all can be reduced to lime. 
 
 I say all, because I speak only here of pure Mar- 
 bles, that is, of those composed entirely of calcareous 
 matter, with no admixture of clay, slate, lava, or 
 other vitreous materials ; those which are largely 
 mixed with these heterogeneous substances are not 
 true Marbles, but demi stones, to be separately' con- 
 sidered. 
 
 § 2. The beds of old Marble were formed, like 
 other calcareous beds, from the deposit of the sea, 
 small quantities of stony substances, shells, gravel, 
 pebbles, &c., being washed together and stratified. 
 The local establishment of most of these beds of Mar- 
 ble of ancient formation seems to have preceded that 
 of other beds of calcareous stones, as they are almost 
 always found beneath such beds, and, in a hill com- 
 posed of twenty or thirty beds of stone, there are 
 usually but two or three, often but one, of Marble; 
 Uiese always lie beneath the others and near the clay 
 
OF MARBLES IN GENERAL. 
 
 13 
 
 wliicb forms the base of the hill, either resting upon it. 
 or only separated from it by another bed -which seems 
 to be the residuum of all the others, being made up of 
 \Iarble, pyrites, and a large quantity of sparry crys- 
 tallizations. 
 
 Thus, by their situation beneath the other beds of 
 calcareous earth, these old Marbles have received the 
 colors and petrifying fluids which the water always 
 collects in its passage through the vegetable earth and 
 the beds of stone which intervene between this and 
 the Marble beds. These first formations of Marble 
 p.re distinguished by several characteristics. Some 
 bear the prints of finely marked shells; others, as the 
 Lumachclla, or fire-marble, seem composed of small 
 snail-shaped shells; others contain belemnites, (I) 
 fragments of madrepores, (2) &c. These Marbles 
 bearing the imprints of shells are less common than 
 the Breccias, which contain fsw marine products, but 
 are made up of pebbles and rounded flints, joined with 
 a stony cement, forming angular fragments when bro- 
 ken, whence this name. (3.) 
 
 ^ 3. These Marbles of the first formation may be 
 divided into two classes, the first comprising those 
 
 1. Belemnites — organic remains of extinct fossil bodies, with a 
 straight, tapesing shell. 
 
 2. Madrepores. Fossil-coral of the class of Zoophytes, consisting 
 of carbonate of lime with a slight mixture of membraneous animal 
 .substance. 
 
 3. Breccia. From the French term "Breche," signifying notched 
 or angular. 
 
14 
 
 THE MARBLE WORKERS' MANUAL. 
 
 called Breccias, and the second, the Shell-marbles 
 Both contain veins of spar, yet they are more fre- 
 quent and more apparent in the shell-marbles, thai, 
 in the Breccias. What the artisans call '■'■flaws'''' in 
 blocks of calcareous earth, are also small veins of spar, 
 and the stone often breaks in the direction of these 
 flaws while working it with the mallet; yet sometimes 
 this spar acquires so much solidity, especially when 
 mixed with combinations of iron, as to offer as much 
 resistance as the other material. 
 
 § 4. The analysis of the substance of White Mar- 
 ble, and the sparry grains wliich are perceived on 
 breaking it, seem to demonstrate that it was formed 
 by the distillation of water. It is also worthy of no- 
 tice that, when worked, it yields equally to the mallet 
 in every direction, whether cut horizontally or upright, 
 while Marbles of the first formation can be worked 
 horizontally with greater ease than in any other man- 
 ner. These colors can be easily perceived in the 
 quarries, or on the rough blocks. Their immersion 
 in water draws out the colors, and gives them for the 
 moment, as much lustre as the highest polish. 
 
 § 5. There are but few Marbles, of much bulk at 
 least, which are of a single color. Some fine black 
 and white specimens are the only ones which can be 
 quoted, and even these are often tinged with grey or 
 brown. All others are of various colorsj. It may, 
 indeed, be said that every shade of color is visible ir 
 Marbles. We have red with its various shades, orange 
 
OF MARBLES IN GENERAL. 
 
 J5 
 
 yellow and yellowish, green and greenish, blues, more 
 or less decided, and violet. These last two colors are 
 the most rare, yet they are seen in the Violet Breccia^ 
 and in the Bleuturquin, a Marble obtained from 
 Genoa and several other quarries, and particularly 
 suited to furniture and chimney pieces. From the 
 mingling of these colors result an infinitude of shades 
 in the grey, dove, whitish, brown, and blackish Mar- 
 bles. 
 
 ^ 6. The natural brilliancy and intensity of the 
 colors of Marble can be increased by art. For this 
 end it is only necessary to heat them. The red will 
 become more vivid, and the yellow will change into an 
 orange or vermilion. The heat necessary to work 
 this change is acquired by polishing them till hot, and 
 the shades of color brought out in this simple man- 
 ner are permanent, and remain unchanged by cold or 
 time; they are durable because deeply imprinted, and 
 the entire mass of Marble would receive this increase 
 of colors by an intense heat. 
 
 ^ 7. The ground, which is generally of a uniform col- 
 or, should !:>e distinguished from those parts which are 
 stained or veined, often with diflFerent colors ; these 
 veins traverse the bottom, and are rarely intersected 
 by others, they being of a later formation than the 
 bottom, and only filling crevices caused by the waste 
 of the first material. In the same manner, the stains 
 are rarely traversed by other stains unless by a few 
 threads of herborizaiions of a still later formation, 
 
16 
 
 THE MARBLE WORKERS' MANUAL. 
 
 and it should be remarked that these stains termi- 
 nate irregularly, with broken edges, while the veins 
 are neither indented or broken, and are usually dis 
 tinctly marked through their course. 
 
 It often happens that portions differe-ntly colored, 
 and diiferently marked with spots and veins, are found 
 in the same quarries, and sometimes in the same block; 
 yet in general, the marbles of a country resemble each 
 other more strongly than those foreign to them. This 
 peculiarity they have in common with other calcareous 
 stones which are of the same texture and of different 
 grains. 
 
 ^ 8. There are some rough Marbles which are 
 worked with difficulty, resisting the tools of the work- 
 men, and often breaking into splinters. Some others 
 of a softer nature crumble instead of splintering. 
 Many others are filled with cavities ; some are tra- 
 versed by numerous threads of a tender spar, and are 
 called by the workmen Stringy Marbles. 
 
 § 9. The Italian Marbles are very numerous, and 
 are more celebrated than any European Marbles. That 
 of Carrara, which is white, is taken from the coasts 
 of Grenoa in blocks of an unlimited size. It has a 
 crystalline grain, and is comparable in purity to the 
 ancient Marble of Paros. 
 
 The Marble of Saravezza, which is found in the 
 same mountains as that of Carrara, is of a still finer 
 grain ; a red and white Marble is also found there, 
 with red and white spots distinctly marked; this Mar- 
 
OF MARBLES JN GENERAL. 
 
 17 
 
 ble resembles a Breccia, and is called Brocatello ; a 
 blackish tint is also sometimes seen in it. Its quarry 
 is almost as continuous as that of Carrara, and of all 
 other white or colored crystalline Marbles found in 
 Sienna, or in the Genoese territories ; all of these 
 are found in large masses, in which no indication of 
 shells is to be seen ; a few crevices are there, filled up 
 by a crystallization of calcareous spar. No doubt all 
 these Marbles are of second formation. 
 
 The environs of Carrara also furnish two kinds of 
 Green Marble ; one, incorrectly termed Egyptian 
 Qreen^ is of a deep green, with white and flaxen grey 
 spots ; the other, called Sea Green^ is of a clearer 
 color, veined with white. 
 
 h 10. The White Marble of Paros is the most re 
 nowned of antique Marbles. The great artists of 
 Greece employed it in those exquisite statues which 
 we still admire, not only for the perfection of the 
 workmanship, but also for their preservation during 
 more than twenty centuries This Marble is found iu 
 the isles of Paros, Naxos, and Tinos. Its grain is 
 coarser than that of Carrara, and it is mixed with 
 great quantity of small crystals of spar; these cause i 
 to crumble easily while working, and it is also these 
 which give it almost as great a degree of transpa- 
 rency as alabaster, which it resembles in softness. 
 
 §11. In Spain, as well as in Italy and Greece, 
 there are hills, entire mountains even, of White Mar- 
 ble. A kind is also found in the Pyrennes, on i\w 
 
18 
 
 THE MARBLE WORKERS MANUAL. 
 
 side of the Bayoune, which is similar to the Marble 
 of Carrara, with the exception of the grain, which is 
 coarser, and which gives it a strong resemblance to 
 the white Parian Marble ; but it is softer than the 
 last, and its white often takes a yellowish tinge. An- 
 other Marble of greenish-brown, spotted with red, is 
 also found in the same mountains. 
 
 In the suburbs of Molina, a flesh-colored and white 
 Marble is found, and about a quarter of a league from 
 there, others, red, yellowish, and black, and grained 
 like that of Carrara, but these quarries are quite 
 scarce. 
 
 § 12. The vasivhle ciiWed Antique Breccia seems a 
 sort of calcareous pudding-stone, composed of large 
 pieces distinctly rounded, some of which are white, 
 blue and red, and others black. This variety of col- 
 ors gives a beautiful appearance to this Marble. The 
 Breccia of Aleppo is also composed of rounded pieces 
 of a dove-color. The Breccia of Saravezzia presents 
 rounded fragments of a very large size, the most of 
 which are violet ; the others white or yellowish. 
 
 All the calcareous puddingy-stones are varieties of 
 Breccias, and no distinction would have been made 
 between them, did they not usually difi'er in their ce- 
 ment, which is softer, and unsusceptible of polish 
 Only one more degree of petrifaction is needed to 
 make them perfectly similar to the finest Breccias, as 
 the cement of those pudding-stones composed of vit- 
 reous flints needs but one shade of petrefaction to be 
 converted into a material as hard as porphyry or jasper. 
 
Of ]?iffkui:nt VAUiiyriiiS of marbi^e. 
 
 SECTION SECOND. 
 DIFFER ENT VARIETIES OF MARBLE. 
 
 Marble, according to most authorities, is an ex- 
 tremely hard species of rock, bearing the name of the 
 countr}^ in which are tlie quarries where it is obtained ; 
 sometimes, also, of the mountains from whence it is 
 taken ; as the Vosgean and Pyrenean Marbles. — 
 Marble is antique or modern. 
 
 The antique Marbles comprise those of which the 
 quarries havo been exhausted, and which are only 
 known to us through the works of the ancients. 
 
 The modern Marbles aie those which we now use, 
 and the quari ies of which are still in existence. It is 
 generally used for casings or inlaying ; rarely in the 
 block on account of its high price, unless for vases, 
 statues, columns and other works of this kind. Many 
 fine examples exist of interior and exterior decora- 
 tion. 
 
 Although the varieties of Marble are infinite, they 
 are reduced to two species, the veined and the Brec- 
 cian, the latter being simply a mass of small stones 
 firmly knit together in such a manner that, when bro 
 ken. they form angles, whence their name. 
 
20 
 
 tii'j: marble workers' manual. 
 
 OF THE ANTIQUE MARBLES. 
 
 § 13. The antique Marble, the quarries of which 
 were in Greece, and from which were the beautiful 
 statues still existing in Italy, is absolutely unknown 
 at present. In its stead we use that of Carrara. 
 
 The Lapis is regarded as the finest of the antique 
 Marbles. It is of a deep blue color, stained with a 
 clearer sky blue, and intermixed with veins of gold. 
 On account of its rarity, this was only used for inlay- 
 ing ; several specimens of it in Mosaic may still be 
 seen in slabs in castles. 
 
 §14. Porphyry passes for the hardest of the an- 
 tique Marbles, and, after the Lapis, one of the finest ; 
 it was formerly brought from Numidia in Africa, for 
 which reason it was called by the ancients the Numi 
 dian Lapis. It is red, green, and grey. The red 
 porphyry is very hard, of a deep red color, approach- 
 ing wine lees, and studded with small white spots. It 
 is very susceptible of polish. The largest specimen 
 of it in France is the laver of king Dagobert. The 
 finest is that of the deepest red, with the whitest and 
 smallest spots. The green porphyry, which is much 
 rarer, has the same hardness. It is mixed with small 
 green spots and grey points. A few slabs and vases 
 of it still exist. The grey porphyry is spotted with 
 black, and is much softer. 
 
 The Serpentine, thus called by the ancients from 
 
OF ALABASTER. 
 
 21 
 
 the resemblance of its color to that of the serpent, was 
 formeriy obtained from the Egyptian quarries. This 
 Marble possesses much of the hardness of porphyry. 
 Its color is of a greenish brown, mixed with a few 
 Bquare and round pale green spots and yellow veins. 
 Its rarity caused it only to be used in Mosaic. 
 
 OF ALABASTER. 
 
 § 1 5. Alabaster is a species of Marble either white and 
 transparent, or variegated with several colors, and is 
 taken from the Alps and the Pyrenees. It is very 
 soft when first taken from the quarry, but hardens 
 much on exposure to the air. There are several va- 
 rieties — the white, the variegated, the raontahuto, the 
 violet, and the roquebrue. The white alabaster is 
 used for vases, statues, and other objects of a medium 
 size. The variegated is divided into three kinds : the 
 Oriental, the Floral, and the Agate. There are two 
 varieties of the Oriental ; the first in the form of an 
 Agate, the second mixed with red, blue, yellow, and 
 white veins. The Floral alabaster is of two kinds : 
 one spotted with various colors resembling flowers, 
 whence its name — the other, veined like the Agate 
 cold and transparent. The Agate alabaster is 
 similar to the Oriental, but has paler colors. The 
 alabaster of Montahuto is very soft, yet harder than 
 the German Agate, which it strongly resembles — 
 The ground is brown, traversed by grey veins, some- 
 what in the style of geographical charts. 
 
THE MARBLE WORKERS MANUAL, 
 
 OF GRANITE. 
 
 § 16. Granite, thus called because marked with small 
 dots formed of several grains of condensed gravel, is 
 very hard, and takes polish badly. It is evident that 
 no other Marble was used by the ancients in large 
 quantities, since most of the edifices of Rome, even to 
 the dwellings of private citizens, were decorated with 
 it. Doubtless this Marble was abundant, from the nu- 
 merous shafts of columns which even now serve as 
 boundaries in every quarter of the city. There are 
 many varieties ; the Italian, the Egyptian, and that 
 of Dauphiny — the green, and the violet. The Egyp- 
 tian granite, known as the Thebalcum inarmor, and 
 taken from the Desert of Thebaid, has a dirty white 
 ground, mixed with small grey and greenish spots, and 
 is almost as hard as porphyry. The granite of Dau- 
 phiny, found on the banks of the Rhone, near the 
 mouth of the Iser, is very ancient, as appears from 
 some columns which are in Provence. The green 
 granite is a kind of Serpentine, or antique green, 
 mixed with little green and white spots; several col- 
 umns of this kind of marble are to be seen at Rome. 
 The violet granite, brought from the Egyptian quar- 
 ries, is dotted with small spots of white and violet. — 
 The most of the antique obelisks of Rome are of 
 this Marble, such as that of Saint Peter of the Vat- 
 
OF ORANITE. 2o 
 
 ican, Saint John of Latran, the People's Gate, and 
 others. 
 
 § 17. The Marble of Jasper is of a greenish color, 
 with small red spots. There is another antique jas- 
 per, which is black and white, with small spots. This 
 is very rare. 
 
 The green antique Marble is also very rare. Its 
 color is a mixture of grass and dark green, with spots 
 of different form and size. 
 
 The black and white Marbles, the quarries of which 
 are lost^ are made up of slabs of the purest white and 
 the deepest black. 
 
 The little antique Marble is of this last variety, but 
 more covered with small veins, resembling the Bar- 
 ban Qon Marble. 
 
 §18. The Brocatello Marble was formerly found 
 near Adrianople. Its color is a mixture of grey, red, 
 light, yellow, and dove tints. 
 
 The African Marble is spotted with reddish brown, 
 mingled with veins of a dirty white and flesh color, 
 with a few threads of a deep green. 
 
 The black antique Marble was of two kinds ; one 
 called marmor lucuUum, brought from Greece, was 
 very soft. It was of this Marble that Marcus Scau- 
 rus caused the columns, thirty-eight feet in height, 
 with which his palace was decorated, to be sculp- 
 tured. 
 
 The yellow Marble has two varieties. One, called 
 Sienna yellow, is of a yellowish dove color, witliout 
 
24 
 
 THE MARBLE WORKERS' MANUAL 
 
 veins, and very rare, and was only used for Mosaic 
 work in panels ; the other, called golden, and yellow- 
 er than the first, is that to which Pausanius gave the 
 name of marmor croceuni, because of its saflVoii 
 color. It was found near Macedonia. 
 
 ^ 19. The Lumachella marble, thus called because 
 it is a mixture of white, grey, and black spots, in the 
 form of snail-shaped shells, is very rare, the qurir'-cs 
 being lost. 
 
 SECTION THIRD. 
 OF MODERN MARBLES. 
 
 ^20. The white Marble which is now taken from 
 Carrara, near the shores of Genoa, is hard and very 
 white, and is suitable for bas-reliefs and other works 
 of sculpture. Blocks of any size can be obtained ; 
 hard crystals arc also found there. 
 
 That Marble of Carrara termed Virgin Marble is 
 white, and is taken from the Pyrenees, on the side of 
 Bayonne, It is finer grained than the last, glitters 
 like a species of salt, and resembles the white antique 
 Marble from which the Grecian statues were made, 
 but is softer, not as fine, and is apt to grow yellow 
 and to spot. This kind is used in sculpture. 
 
 The modern black Marble is pure and spotless, like 
 the antique, and is much harder. 
 
OF MODERN MARBLES. 
 
 25 
 
 The Dinan Marble, which is obtained near the city 
 of that name, in the country of Liege, is very abun- 
 dant, and of a pure and fine black. It is used for 
 monuments, and especially for pavements. 
 
 The Marble of Namur is also very abundant, and 
 as black as that of Dinan, but not as perfect. It has 
 a slight bluish tinge, and is traversed by a few grey- 
 ish veins. In Holland a great trafl&c is made of its 
 •.iles. 
 
 The Marble of Thee, which is found in the country 
 of Liege, is entirely black, soft, and easily worked, 
 and is susceptible of a higher polish than those of 
 Namur and Dinan, It is, therefore, especially suit- 
 able for monumental use. 
 
 The white-veined Marble whieh comes from Car- 
 rara, is of a deep blue on a white ground, mixed with 
 grey spots and small veins. This Marble is apt to 
 spot and grow yellow ; it is used for pedestals and 
 entablatures. 
 
 The Marble of Margoire, which is brought from 
 Milan, is very hard, and quite abundant. Its color 
 is a blue ground, mixed with brown veins of the color 
 of iron. A part of the dome of Milan is built of it. 
 
 The black and white Marble which is taken from 
 the abbey of LeflF, near Dinan, has a deep black ground 
 with very white veins. 
 
 The Barban^on Marble, found in the country of 
 Hainaut, is black, veined with white and is abundant. 
 
26 
 
 THE MARBLE WOUKERS' MANUAL. 
 
 The shafts of the six composite columns of the canopjf 
 of Vol de Grace are of this Marble. 
 
 The Givet Marble is procured near Oharleinont, on 
 the frontiers of the Luxembourg. It is black, veined 
 with white, but more sparsely than that of Barban- 
 <jon. 
 
 The Portor Marble is taken from the foot of the 
 Alps, in the suburbs of Carrara. There are two va- 
 rieties of it; the finest has a deep black ground min- 
 gled with spots and golden yellow veins ; the other, 
 with whitish veins, is less esteemed. 
 
 The Marble of Saint Maximin is a species of Por- 
 tor, the yellow and black being more vivid. 
 
 The modern Serpentine Marble comes from Germa- 
 ny, and is more used for vases and similar ornaments 
 than for works of architecture. 
 
 § 21, The modern Green Marble is of two kinds; 
 one, improperly called Egyptian Green, is found near 
 Carrara, on the coast of Genoa. Its color is deep 
 green, with a few white and flaxen grey spots ; the 
 other, which is called Sea Green, is of a brighter green, 
 and veined. 
 
 The parti-colored Marble resembles the antique 
 jasper ; the finest is that \vhich resembles it the most 
 closely. 
 
 ^ 22. The modern Lumachello Marble comes from 
 Italy, and strongly resembles the antique, but the 
 spots are not as distinctly marked. 
 
OF MODERN MARBLES. 
 
 27 
 
 The Brema Marble, also found in Italy, has a yel- 
 low ground mixed with white spots. 
 
 The Peacock-eye Marble is also brought from Italy, 
 and is mixed with white, bluish, and red spots, some- 
 what resembling the sort of eyes in the feathers of the 
 peacock, whence its name. 
 
 The Serena Marble is mixed with large spots, and 
 grey, yellow, and reddish veins. 
 
 The Peach-blossom Marble, which is found in Italy, 
 has white, red, and a few yellow spots. 
 
 The Marble di Vescovi, or Bishop's Marble, also 
 found in Italy, has greenish veins, crossed by white 
 bands — long, round, and transparent. 
 
 § 23. The Brocatollo Marble, called Spanish Bro- 
 catello, which is taken from an antique quarry of 
 Tortosa, in An.'.alusia, is very rare. Its color is a 
 mixture of yellow, red, grey, pale and dove tints. 
 
 The Boulogne Marble is a kind of Brocatello which 
 is found in Picardy, but with larger spots, mixed with 
 a few red threads. 
 
 The Champagne Marble, resembling the Brocatello, 
 is mixed with blue in round spots, like the eyes of a 
 partridge ; it is sometimes found shaded with white 
 and pale yellow tints. 
 
 § 24. The Marble of Saint Baurae is brought 
 from that part of Provence, and is of a red and white 
 ground, mixed with yellow, and similar to the Broca- 
 tello. 
 
 The Marble of Tray, found in the neighborhood of 
 
•28 
 
 THE MARBLE WORKERS' MANUAL. 
 
 the preceding, closely resembles it. It has a yellow 
 ish ground, slightly spotted with red, and shaded with 
 grey and white. 
 
 § 25. The Languedoc Marble has two varieties. 
 One kind, found near the city of Cosne, in Langue- 
 doc, is very abundant. It has a dirty, vermilion-red 
 ground, intermixed with large veins and white spots. 
 It is used for decorations of court-yards, peristyles, 
 archways, &c. 
 
 The Griotte Marble, so called from its resemblance 
 to griottes, or cherries, is also taken from near Cosne, 
 and has a deep red ground, mingled with dirty 
 white. 
 
 § 26. The Marble called Bleuturquin, comes 
 from the coast of Genoa. It is of a blue ground, 
 mixed with dirty white ; it is apt to grow yellow, 
 and it spots easily ; but the casings, consoles, and 
 hearths which are made of it are so generally used, 
 that it has long been in vogue, and its price sustained, 
 despite tlie defects of which we have spoken. 
 
 ^ 27. The Serancolin was obtained from a spot 
 called the Golden Valley, near Serancolin. It is of a 
 blood color, mixed with grey, yellow, and some trans- 
 parent spots, like the agate ; the finest is very rare, 
 the quarry being exhausted. A few specimens of it 
 Btill exist in ancient castles. 
 
 ^ 28. The Campan is taken from quafries near 
 Tarbes; there are white, red, green, and dove-color 
 varieties, veined and spotted. The Green Campan ia 
 
OF MODERN MARBLES, 
 
 29 
 
 of a bright green, mixed onl}' with white, and is very 
 common. It is used for casings, tables, hearths, etc. 
 
 The Signan Marble is of a greenish brown, with 
 red, or flesh-oolored and grey spots, and a few green 
 threads; it resembles the green Campan. 
 
 The Marble of Savoy, brought from that country, 
 has a red ground mixed with several other colors 
 which seem to be cemented. 
 
 The Gauchenet Marble, procured near Dinan, is of 
 a red-white ground, spotted, and mixed with a few 
 white veins. 
 
 The Marble of LefF, an abbey near Dinan, is of a 
 pale red, with large stains and a few white veins. The 
 capital of the chancel behind the canopy of the Val- 
 (le- Grace, at Paris, is of this Marble. 
 
 ^ 29 The Marble of Raiice, from the country of 
 Hainaut, is very abundant. It has a dirty red ground, 
 spotted, with blue and white veins. The principal 
 specimens of it in Paris are the six Corinthian col- 
 umns of the high altar in the Church of the Sor- 
 bonne. 
 
 § 30. The Boui'bon Marble, brought from that 
 province, is of a bluish grey and dirty red, with veins 
 of dirty yellow. It is generally used in compartments 
 of pavements of saloons, vestibules, peristyles, etc. 
 
 ^ 31. The Sicilian Marble is of two kinds, the 
 ancient and the modern. The first is of a reddish 
 brown, white and dove, with square and long spots, 
 rcspmbling striped tnlfeta ; its color? are very vivid. 
 
30 
 
 THE MARBLE WORKERS' MANUAL. 
 
 The Swiss Marble has a slate blue ground mixed 
 with whitish tints. 
 
 OF MARBLES AND MODERN BRECCIAS. 
 
 § 32. The White Breccia is a mixture of brown, 
 grey and violet with large white spots. 
 
 The black, or Little Breccia, is of a grey or brown 
 ground, mixed with black spots and little white dots, 
 which produce but little effect. 
 
 The Golden Breccia is- a mixture of yellow and 
 white stains. 
 
 The Coraline Breccia has a few stains of a coral 
 color. 
 
 The Violet, or modern Italian Breccia, has a red- 
 dish brown ground, with long violet veins or spots, 
 mixed with white. 
 
 This Marble is beautiful in decorations of summer- 
 houses, but if care is not taken of it, it loses its bril- 
 liant colors, and turns yellow. It is easily spotted 
 by grease, wax, paint, oil, etc. 
 
 The dove-colored Breccia is a mixture of white 
 violet, and light spots, with large dove-colored stains 
 This is the Marble used for boudoirs. 
 
 The Marble of the Pyrenees has a brown ground, 
 mixed with grey, and several other colors. 
 
 The rough Breccia — so called because it contains 
 all the colors of the other Breccias — is a mixture of 
 red, grey, blue, white, and black spots. 
 
OV THE COLORING OF MARBLES. 
 
 31 
 
 The Verona Breccia is intermingled with blue, pale 
 red, and crimson. 
 
 The Saurveterre Breccia is a mixture of black, grey, 
 and yellow spots. 
 
 The Saravezzian Breccia has a brown and violet 
 ground, mixed with large white and dove spots. 
 
 The little Saravezzian Breccia is called thus, only 
 because its spots are smaller than the preceding. 
 
 ON THE COLORING OF MARBLES. 
 
 §33. By an easy process, different colors are given 
 to Marbles. Colors extracted from vegetables, such 
 as saffron, Brazilian wood, cochineal, litmus, dragon's 
 blood, etc., when joined with a suitable dissolvent, as 
 spirits of wine, urine mixed with quick lime and soda, 
 oils, etc., stain the Marble, and penetrate it quite 
 deeply ; but to give it stronger, more durable and 
 penetrating colors, metallic acidulous solutions are 
 necessary, such as aqua-fortis, spirits of salts, etc. 
 
 Artificial marble' can also be made. This process 
 iis commenced by making a foundation of plaster, tem- 
 pered with glue water. This foundation is covered 
 about half an inch in thickness with the following 
 composition : 
 
 Take foliated and transparent plaster-stone, calcine 
 it by fire, and reduce it to a very fine powder, dilute 
 it with strong. glue-water, and add red or yellow ochre, 
 01 whatever other nolor may be wished. The colorin/:^ 
 
32 
 
 THE MABBLE WORKERS' MANUAL. 
 
 should not be wholly mixed with the compositiou 
 when veined Marble is desired. After this composi- 
 tion has been applied, and is perfectly dry, polish it 
 by flrst rubbing it with fine sand, and afterwards with 
 pumice, or tripoli stone, and finish by rubbing finally 
 with oil. 
 
 ^34. No particular description has ever been given of 
 the fine Marbles of the Vosges mountains. There are 
 two varieties ; the granite with red tints, and the 
 Marbles, black, grey, and shaded with dove and rose 
 colors. The black has a few dirty white stains; its 
 black has a reddish cast, which somewhat detracts 
 from its beauty. The red is striped in straight lines 
 upon a dove ground ; the grey is almost a Breccia 
 with points, or little brown, grey, or russet shell 
 work. These varieties are eas'.ly worked, which fact 
 has caused the establishn;e;.t of several workshops at 
 Epinal, where a large number jf tables, slabs for bu- 
 reaus and secretaries, etc., are fabricated, and many 
 smaller articles are made by the prisoners, who are 
 thus relieved, by occupation, from the dangers of idle- 
 ness. 
 
 OF THE DEFECTS OF MARBLE. 
 
 ^35. Marble, like stone, has faults which will cause its 
 rejection by the merchant who is a judge of it. They 
 are as follows : 
 
 Stubborn Marble is that which, on account of its 
 excessive hardness, is very difficult to work, and is apt 
 
OF MARBLE ACCORDING TO ITS WORKMANSHIP. 66 
 
 to fly ofif in splinters. This is the case with most hard 
 Marbles. 
 
 Crumbly Marble is of the nature of sandstone, and 
 when worked, cannot retain its sharp arris ; the white 
 Grecian Marble, that of the Pyrenees, and several 
 others, are of this nature. 
 
 The Terraced Marble has soft spots in it called ter- 
 races, which it is often necessary to fill up with mas- 
 tic. The Marble of Languedoc and Hon, and many 
 of the Breccias, are examples of this class. 
 
 The Stringy Marble is crossed by flaws ; as that of 
 Saint Bauiue, Serancolin, Ranee, and almost all colored 
 Marbles. 
 
 The camlet Marble is that which, retaining the same 
 color after polishing, appears tabbied ; as that of Na- 
 mur and some others. 
 
 OF MARBLE ACCORDING TO ITS WORKMANSHIP. 
 
 ^ 36. Rough Marble is that which, having been taken 
 from the quarry in specimen blocks, or for block works, 
 remains unworked. 
 
 Rough hewn Marble is that which is cut in the 
 yard with the saw, or simply squared with the 
 mallet, according to the design of the vase, statue, 
 profile, or other work of this kind. 
 
 Outlined Marble is that which, having received a 
 few subordinate strokes for architecture or sculpture, 
 is worked wiih the double point for one and the chisel 
 I'or the other. 
 
34 THE MARBLE VVOIIKEIIS' AlANUAI,. 
 
 Pierced Marble is worked with the edge of the mal- 
 let to detach the front from the back part ou the out- 
 side of works of a rustic order. 
 
 Polished Marble is that which, having been rubbed 
 first with sandstone and the beater, and afterwards 
 with pumice stone, is polished by hand with a linen 
 cushion and emery dust for colored, and the powder 
 of calcined tin for white Marbles, the emery being apt 
 to redden them. In Italy a piece of lead is used in- 
 stead of linen, which is better, and imparts a finer and 
 more durable polish to the Marble ; however, this costs 
 much more time and pains. 
 
 Soiled, tarnished, or stained Marble can be repol- 
 ished in the same manner. Spots of oil, especially 
 upon white Marble, cannot be effaced, as they pene- 
 trate it. 
 
 Lump Marble is rubbed with shave grass or the 
 skin of the sea-dog, to give a polished surface to the 
 subordinate parts of sculpture or architecture. 
 
 Finished Marble is that which, having received all 
 necessary work from the hand of the artisan, is ready 
 for its place. 
 
 § 37. Artificial Marble is manufactured from a com- 
 position of gypsum resembling stucco, in which dif- 
 ferent colors are mixed in imitation of Marble. This 
 composition is tolerably hard, and takes polish, but is 
 apt to chip off". Other artificial Marbles are also 
 made by means of corrosive tinctures upon white Mar- 
 ble, which penetrates the surface about one-third of an 
 
OF MARBLE ACCORDING TO ITS WdRKMAXSHIP. 35 
 
 inch ; ill this manner any kind of ornamental figures 
 can be made, and the appearance of the most minutely 
 carved foliation given to the Marble. 
 
 \^ "38. Counterfeit Marble is painting which imi 
 tates the colors, veins, and chance beauties of Mar- 
 bles, and to which is given, by means of a varnish, 
 an appearance of polish on wood or stone. 
 
 ^ 39. We do not know how to better conclude 
 these remarks than by an extract from M Huot, who 
 has reduced the Marble question to those which are 
 practically best known, in commerce, which is, after 
 all, the point most interesting to Artists and Mer- 
 chants. 
 
 Mineralogists, he says, divide Marbles into two 
 great classes ; the calcaires saccharoides^ that is, those 
 which break like sugar, and are most suitable to stat- 
 uary ; and the calcaires sublamxllaires, which, from 
 the fineness of their grain, are particularly suited to 
 the decoration of buildings. 
 
 These are separated into two groups, the antique 
 and the modern. 
 
 The following are the principal varieties : — The 
 Red Antique was taken from the Egyptian quarries, 
 situated between the Nile and the Red Sea. The 
 chain of Taygetus, in Laeonia, also furnished it, but 
 of an inferior quality. 
 
 The Black Antique, or LucuUus Marble, is remark- 
 able for its intensity of color. It is supposed to have 
 been brought from Grreece. Quarries of this Marble 
 
36 
 
 MARBLE workers' MANUAL. 
 
 were also found near Spa, but they have long been 
 abandoned. 
 
 The Green Antique is a Breccia, composed of frag- 
 ments of serpentine and saccharoide Marbles, joined 
 together with a calcareous cement. This was used in 
 Thessalonica and Macedon. 
 
 The Yellow Antique was also found in Macedonia. 
 It was from this Marble that the columns, composed 
 of a single piece, which decorate the interior of the 
 Pantheon, were made. 
 
 The Violet Antique Breccia, or Aloppian Breccia, 
 was probably taken from Carrara, where some of it is 
 still found. It is of various colors, and contains angu- 
 lar fragments of white and lilac limestone, joined with 
 a violet cement. 
 
 The African Antique Breccia, composed of grey, 
 red, and violet fragments, joined by a black, calcareous 
 paste, is not less variegated than the preceding. This 
 Marble produces a beautiful effect. 
 
 § 40. Asia, Africa, America, Oceauica, Sweden, 
 Norway, and Germany possess Marble quarries which, 
 although less known than those of Italy and Greece, 
 are neither inferior or less beautiful. But only in 
 Italy can be found the Sienna Yellow, the Florence 
 Green, the Praio, the Bergamo, the Suza, and the 
 Lumachella of Abruzzi, or the Statuary of Carrara 
 from the Genoese coasts, or the superb Bleuturquin, 
 or Bardiglio, also taken from the suburbs of Carrara; 
 
OF MAKBr.p; ACCORDING TO ITS WORKMANSHIP. 37 
 
 'jr the Black Portor, furrowed with numerous veins 
 of a reddish yellow. 
 
 41. Spain alone can rival Italy in MarMes. 
 Her Marbles of Molina are considered as fine grained 
 as those of Carrara. The provinces of Grranada and 
 Cordova possess those which equal them in purity. 
 The Grey of Toledo, the Black of La Mancha, and 
 of Biscay, the Black, veined with White., of Mur- 
 viedro, the Yiole.t of Catalonia, the Red of Seville and 
 of Molina, the Green of Granada, the Ked of Santi- 
 ago, the red Lumachellas of Granada and Cordova, 
 and the Spanish Brocate^fos with yellow cement, form 
 a collection of mineral riches, which only need skillful 
 workmen to embellish both public and private edifices 
 with all the splendor and prodigality of decorations 
 of the artists of Greece and Rome. 
 
 § 42. England also possesses fine quarries, which 
 might rival those of the continent. The expense of 
 transportation hinders the introduction of the English 
 Marbles into France. They are seldom seen there 
 except in museums. 
 
 ^ 43. Belgium has considerable commerce in 
 Marbles, especially in the kind called Drap Mortu- 
 aire, on which the white shells stand out distinctly 
 from the black ground. It also has well known Mar- 
 bles which are in great demand among workmen since 
 the introduction of railways has facilitated their 
 transport. Among these is the Granitel, a species 
 of black Lumachella, interspersed with fragments of 
 
38 
 
 THE MARBLE WORKERS' MANUAL. 
 
 coral and other polypi, and found principally at Ligny 
 and near Mons. The Saint Anne is also found there, 
 and is of a grey ground with irregular white spots, 
 or of a reddish grey ground with long and large white 
 veins. 
 
 § 44. But France can also compete, in her varied 
 products, with those countries most favored by nature ; 
 she has grey, brown, ash and red Granites, whose 
 beauty is equalled by their solidity. Those of Cher- 
 bourg, Boulogne, and the Vosges, unite these qual- 
 ities. 
 
 All these Marbles, and many otners which are still 
 buried beneath beds of calcareous earth, long remained 
 neglected or unknown on account of the expense of 
 quarrying and transportation ; perhaps, also, for the 
 reason, too common in France, that we value less the 
 products of our own soil than those of foreign coun- 
 tries ; yet all these Marbles, we confidently assert, 
 can compete advantageously with those of Italy or 
 Greece. 
 
 The mechanical means now used for the quarrying 
 of Marbles, the use of steam engines in cutting, work- 
 ing, and transporting them, and the diminution of 
 their market price, will place them within reach of the 
 world, and ere long we shall see them in baths, bases 
 of columns, stairways, and garden vases and foun- 
 tains, as substitutes for the stone which grows yellow, 
 scales ofiF, and is covered with disa^jreeable lichens and 
 
OF rOUrilYRlES AND GRANITES. 
 
 30 
 
 mosses, and the plaster which must often he replaced 
 to the detriment of the owner. 
 
 But it is not private individuals alone who should 
 modify the general ideas respecting Marble. It is 
 most necessary that the Marble workers themselves, 
 should endeavor to manufacture the small articles 
 which are demanded in trade, at reasonable prices. It 
 is a wrong system to put a high price on novelties. 
 It is better, on the contrary, to make them popular ; 
 and the best means of accomplishing this is to offer 
 them at a cheap rate. A new art of veneering Marble 
 upon wood or stone, of which we shall speak hereaf- 
 ter, will favor the introduction of fine French Mar- 
 bles in commerce. This veneering will be found 
 very beautiful for mantels, consoies, tables, and other 
 articles of the same nature, which are executed in 
 Marble. 
 
 SECTION FOURTH. 
 
 OF PORPHYRIES AND GRANITES. 
 
 Before occupying ourselves with these costly stones, 
 we will say a few words respecting the primitive ma- 
 terial which enters into their composition. 
 
 OF QUARTZ. 
 
 ) 45. Quartz is the first of the primitive glasses.— 
 
40 
 
 THE MARBLE WORKERS' MANUAL. 
 
 This same material is supposed to form the great in- 
 ternal rock of the globe ; its exterior portions, which 
 form the base and nucleus of the highest elevations 
 of the earth, are composed of the same primitive mat- 
 ter. The nucleus of these mountains became at first 
 surrounded with, and covered by broken fragments of 
 this glass, together with scales of jasper, spangles of 
 mica, and little crystallized masses of feld-spar and 
 shorl, from which were formed, by their union, huge 
 'masses of granite, porphyry, and all other vitreous 
 rocks. 
 
 To perfectly understand the nature and formation 
 of porphyry and granite, we must first define the dif- 
 ference between quartz and jasper. 
 
 OF JASPER, 
 
 ^ 46. Jasper is simply a quartz, more or less filled 
 with metallic particles ; these color it, and render its 
 fracture less clear than that of quartz , it is also more 
 opaque. Yet as jasper, with the exception of its 
 color, is only composed of a single substance, it may 
 be regarded as a species of quartz, unmixed with any- 
 thing but metallic vapors. 
 
 § 47. Mica is a material, the substance of which ia 
 nearly as simple as that of quartz or jasper, and all 
 three are of the same nature Its formation is con- 
 temporary with that of these two glasses [t is not 
 found, like them, in large, hard, and solid mas.ses, but 
 generally in spangles or small thin plates, and dissem- 
 
OF ASPER, 
 
 41 
 
 inated through other vitreous substances. These 
 spangles of mica have finally formed talcs, which are 
 of the same nature, but with larger laminae talcs or 
 plates. Usually, small parcels of matter come from 
 those which are in larger masses. Here, on the con- 
 trary, the large volume of talc is formed from parti- 
 cles of mica which first exirited, and the molecules of 
 which, being united by means of water, have formed 
 talc in the same manner as sandstone is produced by 
 the blending of quartzose sand. 
 
 § 48. Common Talc is a kind of unctuous stone, 
 soft, clean, pearl-colored, and easily separated into 
 plates, which, when thin, are quite transparent. It is 
 easily bent or cut, is greasy and fatty to the touch, is 
 broken with difficulty, will bear a strong heat without 
 suffering much change, and is not dissolved by any 
 acid or alkaline menstruum in a liquid form. The 
 most esteemed talc is that which is as transparent as 
 clear water ; that with a green tint is not as valuable. 
 
 Talc is prepared for commerce by splitting it into 
 plates with a thin, two-edged knife, so that the back 
 of the plate may not chip ofi". This is used through- 
 out Siberia for windows and lanterns instead of glass, 
 and no glass is clearer or more transparent than good 
 talc. 
 
 Some talcs are greenish, yellow, and even black, and 
 these colors, which aifect their transparency, do not 
 change their other qualities ; these colored tales are 
 nearly as soft to the touch, and pliant to the hand, 
 
42 
 
 THE MARBLE WORKERS' MANUAL. 
 
 and resist, like the wliit'e talc, the action of acids and 
 fire. 
 
 It is easy to understand, from these facts respecting 
 the composition of porphyry and granite, why they 
 have a greater hardness and solidity than Marble ; 
 yet these are not the only materials which have aided 
 in their foundation. 
 
 § 49. Feld-spar is also a vitreous matter, and is 
 sparry when broken ; it is never found in large masses 
 like quartz or jasper, but in small crystals incorpo- 
 rated in granite and porphyry ; sometimes, also, iu 
 little isolated pieces in the purest clay, or in the sands 
 formed from the decomposition of porphyry or gran- 
 ite, it being one of the constituent parts of these 
 rocks. It is usually found crystallized and colored, 
 and in small masses. 
 
 Feld-spar is sometimes opaque, like quartz, but 
 oftener almost transparent. The different tints of red 
 or violet with which its crystals are often colored, in- 
 dicate a strong proximity between the time of its 
 formation and that of the metallic sublimations which 
 have penetrated and tinged jaspers of different colora. 
 
 § 50. Shorl is the last of the five primitive glasses, 
 and, as it has several characteristics in common with 
 the feld-spar, it can be plainly seen, by contrasting 
 them, that both have a common origin, and that both 
 were formed at the same time, and by the same law 
 t)f nature, during the general vitrification. 
 
 Shorl is a sparry glass — that is, composed of longi 
 
OF JASPER. 
 
 43 
 
 tudiual plates like the feld-spav ; it is also found in 
 small crystallized masses, its crystals forming prisms 
 surmounting pyramids. 
 
 This explained, we are naturally led to speak of 
 porphyry. Quartz, jasper, mica, feld-spar, and shorl 
 are, as we have just seen, the simplest substaoces 
 which nature has produced by means of fire. We will 
 now follow the combinations she has made by the mix- 
 ture of two, three, four, and sometimes by the whole 
 five together, to compose other substances by the same 
 means of fire, at the time of the first consolidation of 
 our globe. This seems to be a digression from our 
 subject, but it is that we may penetrate it more deep- 
 ly, and to initiate the Marble workers into this branch 
 of the art, which is usually but little understood by 
 them. 
 
 §51. Porphyry is the most precious of these com- 
 posite substances, and, after the jasper, the most beau- 
 tiful of all vitreous matter found in large masses. It 
 is, as we have just said, composed of jasper, feld-spar, 
 and small particles of shorl, mingled together. It 
 -cannot be confounded with the jaspers, they being of 
 a simple substance, containing neither feld-spar or 
 shorl; aor can it be classed with the granites, as 
 they never contain jasper, but are made up of three 
 or four other substances, namely, quartz, feld-spar, 
 shorl, and mica. 
 
 The name of porphyry seems exclusively to desig- 
 nate a purplish red substance, which is, in fact, the 
 
44 
 
 THE MARBLE WORKERS' MANUAL. 
 
 nolor of the finest porphyry ; but this title is extend- 
 ed to all porphyries, without distinction of color. 
 
 The red porphyry is interspersed with very small 
 spots, more or less white, sometimes reddish. These 
 spots are the particles of feld-spar and shorl which 
 wore disseminated and incorporated in the paste of 
 the jasper. The essential characteristics of all por- 
 phyries, and by means of which they can always be 
 recognized, is this mixture of feld-spar or shorl, or 
 of both together, with the substance of the jasper; they 
 are more opaque and highly colored when jasper en- 
 ters largely in their composition, and become some- 
 what transparent by the presence of a larger quantity 
 of feld-spar. The less opaque the porphyry, the 
 harder it is, while, on the contrary, the more transpa- 
 rent the Marble, the softer is it found to be. 
 
 In porphyry the ground or paste is deeply colored ; 
 the grains of feld-spar and shorl are white, or some- 
 times of the color of the ground, but of a much paler 
 shade ; in granite, on the contrary, the feld-spar and 
 shorl are colored, — and the quartz, which may be 
 regarded as the paste, is always white. This proves 
 that the substance of jasper is the base of porphyry, 
 as quartz is that of granite. 
 
 § 52. Although much less common than granite, 
 porphyry is often found in masses, and in some places 
 in large blocks. It is usually a neighbor of the jas- 
 per, and both rest, like the granite, upon quartzose 
 
OF GRANITES. 
 
 45 
 
 rocks; this proximity indicates a contemporary for- 
 mation. 
 
 The durable solidity of the substance of porphyry 
 also proves its affinity with the jasper — neither tarnish, 
 except by a long-continued action of watery elements, 
 and of all substances in the world used in large quan- 
 tities, quartz, jasper, and porphyry are the most un« 
 changeable. 
 
 Black porphyry, properly called, has an entirely 
 black ground, with small, oblong spots, and only dif 
 fors from the red porphyry in color. 
 
 There is a porphyry with a brown ground, with 
 large, greenish, oblong spots ; another is also found 
 with a reddish brown ground, with spots of bright 
 green, and others of a blackish brown ground, with 
 spots of blackish and greenish tints. 
 
 The green porphyry has several varieties ; the green 
 antique Serpentine, the ground of which is green, and 
 the spots oblong or parallelopipedon, is of a bright or 
 pale green, and partaking of the nature of feld-spar or 
 shorl. 
 
 We will now pass to the second part of this section, 
 which, though offering less interest to our curiosity, 
 possesses for us a much greater degree of utility. 
 
 OF GRANITES. 
 
 §53. Of all matter produced by the primitive fire 
 granite is the least simple and the most-varied; it ia 
 usually composed of quartz, feld-spar, and schorl , 
 
46 THE MARBLE WORKERS' MANUAL. 
 
 quartz, feld-spar, and mica, or of quartz, feld-spar 
 shorl, and mica. 
 
 The red tints of feld-spar and the blackish brown 
 of shorl are, doubtless, attributable to the metallic 
 sublimations, which, in the same manner, have colored 
 the jasper, and which permeated the matter of feld- 
 spar and shorl when in a state of fusion. However, 
 all are not thus colored, as white and whitish feld-spars 
 and shorls are found ; and in several kinds of granite 
 and porphyry, feld-spar is not distinguishable from 
 quartz by its color. 
 
 The Vosges, though not the highest elevations, are 
 composed of granite, exhibiting no vestige of marine 
 products, and these granites are not covered with cal- 
 careous beds, although the sea has borne its relics to 
 much greater heights in other places. With this ex- 
 ception, it is only in high vitreous mountains that the 
 ancient structure and primitive composition of the 
 earth can be seen bare in masses of quartz, veins of 
 jasper, groups of granite, and metallic veins. 
 
 When the metallic exhalations are abundant, and 
 also mixed with other corrosive elements, they deteri 
 orate the substance of the granite in time, and even 
 change that of quartz : this is seen in the sides of all 
 perpendicular clefts in which veins of metallic mines 
 nave been found — th« quartz seems decomposed, and 
 the adjacent granite is crumbly. 
 
 Buffon says, with reason, that granite is only found 
 on high mountains, or at the foot of them, having been 
 
OF GRANITES. 
 
 47 
 
 precipitated by time, or detached by watei'S. An im- 
 portant historical fact supports this theory ; the dis- 
 covery in a marsh of the piece of granite which serve? 
 for the base of the colossal statue of Peter the Great 
 This fragment belonged to no mass, and the neighbor- 
 ing mountain was surmounted by pieces of the same 
 nature. 
 
 ^ 54. M. Huot also says, that granite is styled 
 by mineralogists, a rock composed of lamellar feld- 
 spar, quartz and mica, almost equally disseminated. 
 If the mixture is equal, common granite is found. — 
 Whenthe granite contains crystals of feld-spar of a reg- 
 ular form, and larger than those of the other constitu- 
 ents, it takes the name of porphyroide granite, be- 
 cause, at first sight, it bears the aspect of porphyry. 
 
 It would be very interesting to follow the thought 
 suggested by Buffon for the study of granite, and to 
 avail ourselves of the reasoning of M. Huot ; but 
 this would take us too much from our subject, and 
 we should occupy ourselves here less with the means 
 used by nature in the composition of these Marbles 
 and granites, than with those which may enable man 
 to avail himself of a part of them. 
 
 Nowhere, says Bexon, quoted by BufFon, can one 
 conceive a more magnificent idea of masses of granite, 
 than in the mountains of the Vosges. In a thousand 
 places they offer blocks much larger than those we 
 admire in the most superb monuments, and the broad 
 Bummita and steep sides of these mountains are uoth- 
 
t8 THE MARBLE WORKERS' MANUAL. 
 
 ing but piles and groups of huge granite rocks, heaped 
 upon each other. 
 
 § 55. Since the epoch in which these naturalists 
 wrote, many surveys have been made, and we can say 
 with them, that the Vosges contain the greatest 
 wealth of this kind ; that they produce very fine 
 granites of various grains and colors, several species 
 of porphyry and richly colored jaspers. 
 
 The use of granite in the arts would be highly val- 
 uable for many purposes, particularly for water ducts, 
 troughs, basements of manufactories, pedestals of 
 funeral monuments, pavements or curbstones, props, 
 supporting columns, and even for articles requiring 
 polish ; for the most of the Vosgean granites take 
 polish as well as marble, and retain it for a long time. 
 
 The principal objection is the difficulty of working 
 them. There is the certainty, at least, that neither 
 frost, or water, or the sun or moon, which acts so 
 powerfully on stone, can destroy the article which the 
 hand of the artist has formed. There is also the 
 certainty that troughs, fountains, and vessels for hold- 
 ing water, will not leak, and that the necessity will 
 be obviated, of cementing pieces, which is often done 
 in blocks of our best stone. 
 
 § 56. Marble workers use granite but little, on 
 account of its hardness. This is not their fault, but 
 that of persons who do not take this difficulty of labor 
 into consideration. A little reflection will convince 
 one that the transportation and setting being of the 
 
OF GRANITES. 
 
 49 
 
 same price, it is more advantageous to build works 
 that will endure forever, without the trouble of repair- 
 ing and renewing, than those that last but a brief 
 time. 
 
 We will not speak farther upon the uses of granite 
 as much that we would sav on this head would be a 
 repetition of what we have already said respecting 
 Marble. 
 
0€ConD Jpart 
 
 THE ART OF MaKBLE V^OEKING IN 
 GENERAL. 
 
 SECTION FIKST. 
 CUTTING, WORKING, AND POLISHING MARBLE. 
 
 § 57. The Art of the Marble worker consists 
 in cutting, working, and polishing Marbles for the 
 sculpture of chimney-pieces, facings, columns, pedes- 
 tals, vases, basins, spandrels, rose-work, urns and 
 monuments. 
 
 Marble workers are also commissioned with Marble 
 pavements for compartments, stairways, vestibules, 
 dining-rooms, baths, temples, chapels, and churches. 
 A principal branch of their art is the sculpture of 
 tombs and monuments ; and in connection with this, 
 they are required to engrave inscriptions upon Mar- 
 ble or stone, sometimes in black or white, sometimes 
 in gold or silver. We will speak hereafter on this 
 point. 
 
 Marbles are generally cut up in the same direction 
 in which they are quarried ; this is called sawing with 
 
CUTTING, WORKING, AND POLISHING MARBLES. 51 
 
 the grain. Sometimes, however, it is necessary to 
 cut them in a contrary di*"3Ction ; this is to saw against 
 the grain. This renders them more difficult to work 
 Some marbles can only be sawed in the direction in 
 which they are cut up. 
 
 The Marble worker is often obliged to rough hew, 
 boast with the puncheon, and work, without the help 
 of the saw, casings, rounded consoles, columns, and 
 other articles with curved contours ; sometimes, too, 
 but rarely, he re-works, with the chisel, badly execu- 
 ted sawings ; he then squares each piece with the saw 
 or chisel, to give it the required dimensions, and 
 finally mounts the Marble upon its stone core, and 
 sets up his work in its place, which is not the least 
 delicate part of the process. 
 
 The working of mouldings in particular, demands 
 much time and pains ; the first operation is to saw the 
 arris, then to boast with a notched chisel, making sev- 
 eral successive groovings, on account of the contour 
 and expansion, in which but very small pieces of the 
 material are taken, for fear of splintering it; and fi- 
 nally finish with small common chisels, which should 
 be sharp and well tempered. 
 
 Cylindrical pieces, such as round pedestals, columnS; 
 urns, vases, etc., are boasted with the chisel, and then_ 
 if portable, finished on a turning lathe, by placing 
 them between the points of large puppets, and giving 
 them a continued rotary motion by means of a wheel, 
 which is moved by a man in ordinary workshops, and 
 
52 
 
 THE MARBLE WORKERS' MANUAL. 
 
 by water or steam in large establishments. When it 
 is impossible to place the pieces in a lathe, they are 
 thickly grooved, boasted with the puncheon, and the 
 desired contours obtained by means of thick panels ; 
 they are then worked with a small chisel, which re- 
 moves the dust, and thus prepares the Marble for pol- 
 ishing. 
 
 § 58. A complete polishing includes five distinct 
 operations, namely : 
 
 Grinding, which consists in smoothing the rough- 
 ness left by the burin. This is done by rubbing the 
 Marble with a piece of moist sandstone ; for mould- 
 ings, either wooden or iron mullars are used, crushed 
 and wet sandstone, or sand, more or less fine accord- 
 ing to the degree of polish required, being thrown un- 
 der them. 
 
 The second process is continued rubbing with pieces 
 of faience, without enamel, which have been baked but 
 once, also wet. 
 
 If a brilliant polish is desired, Gothland stone in- 
 stead of faience is used, and potter's clay or fuller's 
 earth, a sort of clay mixed with fine sand, is placed 
 beneath the mullar. 
 
 This operation is performed upon granites and por- 
 phyries with emery and a lead mullar, the upper part 
 of which is inerusted with the mixture until reduced 
 by friction to clay or an impalpable powder. 
 
 § 59. Perfection of polish depends almost entirely on 
 the care bestowed upon these two operations, whirb 
 
CUTTING, WORKING, AND POLISHING MARBLES. 53 
 
 should be performed with a regular movement, re- 
 quiring much patience. 
 
 When the Marble has received this first polish, th« 
 flaws, cavities, and soft spots are sought out, and filled 
 with mastic of a suitable color. This mastic is usu- 
 ally composed of a mixture of yellow wax, resin, 
 and Burgundy pitch, mixed with a little sulphur and 
 plaster passed through a fine sieve, which gives it the 
 consistenc}' of a thick paste ; to color this paste to a 
 tone analogous to the ground, tints or natural cement 
 of the material upon which it is placed, lamp black 
 and rouge, with a little of the prevailing color of the 
 material, are added. For green or red Marbles, this 
 mastic is sometimes made of gum-lac, mixed with 
 Spanish sealing-wax of the color of the Marble ; it is 
 applied hot with pincers, and these parts are polished 
 with the rest. Sometimes orushod fragments of the 
 Marble worked are introduced into this cement, but 
 for fine Marbles, tlie same colors are employed which 
 are used in painting, and which will produce the same 
 tone as the ground ; the gum-lac is added to give it 
 body and brilliancy. 
 
 The third operation of polishing consists in rubbing 
 it again with a hard pumice stone, under which water 
 is constantly poured, unmixed with sand or other 
 mordant. 
 
 § 60. For the fourth process, which Marble workers 
 call softening the ground, lead filings are mixed with 
 the emery mud produced by the polishing of mirrors 
 
54 
 
 THE MARBLE WORKERS' MANUAL. 
 
 or the working of precious stones, and tlie Marble is 
 rubbed with a compact linen cushion, well saturated 
 with this mixture ; the English rouge is also used for 
 this first polish. For some outside works, and for 
 hearths, paving tiles, etc., Marble workers confine 
 themselves to this polish. 
 
 When the Marbles have holes or grains, as do cer- 
 tain Breccias, a lead mullar is substituted for this 
 close linen cushion. 
 
 Finally, in order to give a perfect brilliancy to the 
 polish, the gloss is applied. This is done by first 
 washing well the prepared surfaces, and leaving them 
 until perfectly dry ; then take, again, a linen cushion 
 moistened only with water, and a little powder of cal- 
 cined tin of the first quality. After rubbing with this 
 for some time, take another cushion of dry rags, rub 
 with it lightly, taking care to brush away any foreign 
 pubstance which might crease the Marble, and a per- 
 fect polish will be obtained. 
 
 ^61. It is necessary to observe that, in order to 
 gain time and facilitate labor, many Marble workers 
 mix alum in the water which they use. This mordant 
 penetrates the pores of the Marble, and really gives 
 it a speedier polish. This, however, is a fictitious 
 polish, which spots very easily, and which is soon tar- 
 nished and destroyed by dampness. It is necessary, 
 when purchasing mantels, tables, or other articles of 
 polished marbles, to subject them to the test of 
 water ; if there is too much alum, the Marble absoibs 
 
ON THE MANNEPl OF W )RKING MARBLE. 55 
 
 the liquid, and a whitish spot is left. When Maible 
 refuses this test, one may be sure that the polish has 
 been forced with alum, and, consequently, will not be 
 durable ; it is very common on selling a piece of fur- 
 niture of this Marble, to pronounce it a capital polish; 
 but this is a fraud to conceal that of the artisan. 
 
 Marble workers mount and fasten their works upon 
 plaster mixed with a third part of dust, as pure plas- 
 ter repels the Marble, and causes it to sweli out and 
 burst. These are joined together by cramps and gud- 
 geons of iron and copper, which should be carefully 
 covered, in order that the oxides may not spot the 
 casings. 
 
 Mounting is an important point, for the Marble 
 worker as well as the proprietor. It is not uncommon 
 to see mantels broken by the force of the plaster, and 
 the angles and sharp arris of hearths are almost al- 
 ways broken off by the carelessness of the masons, who 
 trouble themselves less, as they incur but a trifling 
 responsibility. 
 
 Marble chimney-pieces are, or should be, lined with 
 lias stone or plaster : this is the same stone which is 
 generally used in bands for pavements. 
 
 ON THE MANNER OF WORKING MARBLE. 
 
 ^ 62. The first care of the Marble worker should 
 be to procure those Marbles best suited by nature for 
 his work, whether purchased in the block, or, as is 
 most usual, iu slabs of different thicknesses. 
 
56 
 
 THE MARBLE WORKERS' MANUAL. 
 
 Wh en in the workshop, he should examine each 
 piece, note its beauties, and endeavor to hide its de- 
 fects, before even cutting or working it ; this is a very 
 important point, both for his own interest and that 
 of the art. He should, when chance beauties are 
 found, endeavor to cut them into two or three parts, 
 in order to multiply them ; the height of the art con- 
 sists in cutting them in such a manner, that these 
 happy accidents may be reproduced according to the 
 will of the artist. Thus, it is a piece of good fortune 
 to be able to cut a Marble for a mantel in such a 
 manner, that the collection of veins which form its 
 chief beauty, may be reproduced on both sides, and in 
 the middle of the mantel. But this rarely happens, 
 for the artisans cut the Marbles in the most economi- 
 cal manner, and this cutting throws these accidents in 
 the strangest positions. 
 
 This can be understood when we consider the calcu- 
 lations of most Marble workers. Thus, let us take 
 for example a block from which two console-tables are 
 to be made. There is a beautiful collection of veins 
 in the upper part ; we saw it beveling, in order to di- 
 vide the happy accident ; it is reproduced, in truth, 
 but it is on one side on the top, and on the other the 
 bottom of the console. 
 
 The best way will be to have two such pieces, and 
 to cut them uniformly; but to do this, it is necessary 
 to be well served in the quarries, where the workmen 
 can see the exact contents of a block, from th^ one 
 
CN -^H^. Ma.\KKR op WOS-KINr^ AMRBLE. 57 
 
 "'ii^h pre^^eded its estraction and that which I'e- 
 ir vcs 
 
 IV the M^irble worker chooses to order hlo Mcrbles 
 read> out, he must take such as are ssnt to him ; and, 
 instead oi" making his own choice in the quarry, he i? 
 never sure of obtaining the finest, and often chances" 
 to receive the most defective, for the simple reason 
 that the finest blocks are often selected before thej 
 are cut. 
 
 Marble in slabs is almost always better sawed than 
 that which is cut up in the workshops, because the 
 tools of the large establishments are always better 
 mounted, and better managed than those of the 
 smaller ones ; and I call all Marble yards small ip 
 comparison with the quarries, whatever may be theii 
 private importance. 
 
 § 63. It is not uncommon to see works in Marble 
 yards which were not executed there ; they are sent 
 there ready made, and even polished. It only remains 
 to the artizans to double them, and to decorate them 
 in the tastes of the purchasers ; and they are often 
 spared even this trouble by the furnishers, who employ 
 themselves in the decoration as well as the execu- 
 tion of the most exquisite works. There is one great 
 advantage in this ; the wholesale furnishers have 
 greater facilities, a more extensive choice, and less 
 expense, and if a piece breaks from a defect or acci- 
 dent, it can be replaced by taking another from the 
 block from which it was extracted; whereas, on tb^e 
 
58 
 
 THE MARBLE WOllKEKs' MANUAL 
 
 other hand, it would be necessary to order it at a 
 great expense, and with an uncertainty of finding it, 
 if the accident should happen in the Marble worker's 
 shop. 
 
 Whatever may be the article which is placed on the 
 bench, whether console, mantel, or tablet, all are 
 worked in the same manner; with the mallet for rough- 
 hewing, the chisel and burin for boasting and finish- 
 ing, the sand-stone for planishing, and the pumice-stone 
 and cushion for polishing. 
 
 § 64. Besides the tools of which we have spoken, 
 the Marble worker has in his shop pieces of sand- 
 stone, hone, and pumice-stone, prepared in the best 
 manner to glaze smooth surfaces, to round and groove 
 mouldings, to destroy marks, stains and roughness, 
 and to prepare a brilliant polish which will draw out 
 all the beauties of the Marble, without concealing 
 any of its defects. 
 
 When the piece is finished, and the flutings well 
 grooved and uniform, the dust of baked clay, called 
 rabat^ of which we have spoken before, is used. This 
 dust should be well sifted, and rubbed over the Mar- 
 ble, either with a piece of sandstone prepared for that 
 purpose, or with a coarse linen cushion, which should 
 be moistened from time to time. 
 
 The workman sees the effect of his labor every mo- 
 ment, when the marble is of a good quality ; but 
 when otherwise, he can only obtain an imperfect pol- 
 ish ; diflSculties occur ; soft parts drop off", mastics 
 
OF SETTING UP. 
 
 59 
 
 spring up, cracks become visible, and it is exceedingly 
 vexatious when, after haying lost much time, and 
 wearied several men, the Marble worker is compelled 
 to reject the stubborn and defective piece. 
 
 The more inferior the quality of the Marble, tho 
 longer and more difficult is the labor. When it is good, 
 the artisan soon completes his task ; he congratulates 
 himself upon his work ; but a little time is needed to 
 finish the work so well begun ; a few strokes of thy 
 rabat and of pumice-stone, aud then the cushion, pow- 
 dered with em.ery dust for the colored, and powder of 
 tin for the white Marbles, or, which is still better 
 substitute, as we said before, a piece of lead, by 
 which a finer and more durable polish will be ob- 
 tained. 
 
 There are more expeditious methods which are 
 employed in inferior workshops, but we shall say 
 nothing of them, except that they are a discredit to 
 the establishments which employ them. 
 
 SECTION SECOND 
 
 OF SETTING UP. 
 
 ^ 65. The setting up of chimney-pieces, patterns, 
 plinths, etc., is at the charge of the Marble worker, 
 i.s well as the plaster and other materials necessary 
 
60 
 
 THE MARBLE WORKERS' MANUAL. 
 
 to the consolidation of the work. This is the most 
 delicate operation of his labor. There is little dan- 
 ger of mistakes when he does this work himself, but 
 it is quite a different thing when left to the care of 
 masons. Often, through carelessness, they set up a 
 Marble without making sure that it will not warp, 
 that it will not crack, that it is not above or beneath 
 the flooring, that it does or does not rest squarely 
 upon the wall, that the table beneath will be perfectly 
 fastened to the mortar, the mantel or the band, in 
 such a manner that it will not unhinge. 
 
 ^ 66. This precaution is particularly necessary in 
 setting up white marbles, which are apt to sag in the 
 middle, when they bear only on their ends. This sag- 
 ging of perhaps the half or one-third of an inch in the 
 course of the year, is exceedingly disagreeable and un- 
 graceful, the clocks being no longer upright, and the 
 vases and candelabras inclining to the side of the curva- 
 ture. A little attention, however, will prevent all these 
 inconveniences. 
 
 There is yet another reason why the Marble worker 
 should himself set up his mantels, his hearths, his 
 moldings and patterns. For this work small claws 
 are necessary to keep in place the different parts of 
 the Marble. The mason often neglects these, and the 
 action of fire or plaster causes a movement in the 
 mantel or molding, which becomes so distorted as to 
 shock the most unpracticed eye. 
 
 The same thing is true respecting the setting up of 
 
OF SETTING UP. 
 
 61 
 
 plinths along the walls. This is considered of so 
 much importance, that careful Marble workers always 
 reserve this part of the labor to themselves, and in 
 this they act wisely. 
 
 For all this work, plaster should not be used, lest 
 the Marble might be warped or broken by its expan- 
 sion. 
 
 ^ 67. The reasons which we have just given, ought 
 to be sufficient to convince Marble workers how much 
 their own interest demands the setting up of works 
 by themselves: but a more important one still remains ; 
 their responsibility. The proprietor, or builder, who 
 employs a Marble worker, cares little as to what 
 workman sets up the work, provided it is well done. 
 When this is not the case, they are angry, and blame 
 the Marble worker. They do not hesitate to accuse 
 him of negligence, of incapacity, of deceit and unskill- 
 fulness ; yet we see establishments decline, and fail 
 even, against whom no serious charge has been made. 
 T'he reason is obvious. As soon as the proprietor 
 complains of the work, the Marble worker casts the 
 blame upon the mason, and he in turn upon the Mar- 
 ble worker, whose Marbles he declares to have been 
 warped and defective ; and to settle the difficulty, be 
 must appeal to the law. He prefers to be silent, to 
 suffer the damage, but with the resolution of no longer 
 employing one who had fulfilled his obligations so 
 badly. This, perhaps, is somewhat rigorous, but it 
 is the exercise of an incontestible right. 
 
62 
 
 THE MARBLE WORKERS' MANUAL. 
 
 SECTION THIRD. 
 OF MOSAIC WORK. 
 
 § 68. The modern workers in Mosaic use, at present, 
 the black Marble of Farran, of Labal, the deep black 
 of Argueil, of Pouilly, and of St. Cyr, in the suburbs 
 of Lyon. 
 
 For blended tints, the ancient moaaists employed 
 the Marbles of Florence, which are found near the 
 Arno, and which, in general, are of an olive, dead-leaf 
 color, umber and wood shades ; they also used differ- 
 ently tinted flints, reddish violet, and brown. 
 
 It must be admitted that in lapidary paintings, 
 above all, in portraits, nothing can better render the 
 mellowness and transparency of reflex in the shade 
 which oil paintings give us, particularly when the bril- 
 liancy is enhanced by the glow of the vitrified pastes. 
 M. Belloni has profited by these resources so well in 
 his Mosaic of the Car of Victory, that one must be 
 forewarned, to know that it is a lapidary painting. 
 
 The Mosaics of the ancients are less fine and less 
 finished than those of the moderns, but they are dis- 
 tinguished by a happy mixture of colors, a spirit and 
 design which are wanting in the latter. They cut 
 their Marbles in strips to form their cubes, and gave 
 them the shape of dice. When prepared, they proba- 
 bly placed each color in a compartment, separately 
 as we now do. 
 
VENEERING UPON WOOD AND STONE. 63 
 
 The ancients, to collect their cubes, employed a 
 mastic composed of lime, the dust of marble, and cur- 
 dled milk or skimmed cheese, the sediment of which 
 would form a line of the rich color given by the milk. 
 M. Ritter, in his Collection of Swiss Antiquities, ob- 
 serves that the cement of the cubes of an Avenchon 
 Mosaic is composed of a paste of pulverized yellow 
 stone and linseed oil. To this, litharge may also be 
 added. 
 
 When the mastic is very dry, rub it and polish it 
 as usual, taking care to move the instrument or cush- 
 ion evenly, so as not to injure the cubes, which are still 
 soft, or the mastic, which has not yet acquired its full 
 degree of solidity. The white Marbles, in particular, 
 are softer than the others, and more apt to strike oflF. 
 
 After a little time, warm the Mosaic a little to free 
 it from all moisture, and then finish by rubbing the 
 whole with a cushion of cotton or soft wool, slightly 
 moistened with linseed oil. 
 
 SECTION FOURTH. 
 ON THE VENEERING OF MARBLE. 
 
 VENEERING UPON WOOD AND STONE. 
 
 § 69. The plating of silver, the veneering of costly 
 woods upon common ones, and that of Marble upon 
 
54 
 
 MARBLE workers' MANUAL. 
 
 walls, might have naturally suggested the idea of tho 
 veneering of Marble upon wood for pedestals of clocks, 
 little articles of toilet furniture, or even for centre and 
 all other ornamental tables. 
 
 M. Mudesse claims to have found a certain method 
 of effecting this object, without the obstacle which the 
 constant warping of the wood opposes to the preserva- 
 tion of the Marble, which is often broken by this ex- 
 pansion. 
 
 The purport of his ideas is as follows : 
 
 During several years, the use of Marble upon stone 
 has greatly increased, despite the inconvenience of the 
 enormous weight of the articles manufactured of the 
 plated Marble, which has also caused their transporta- 
 tion to be very expensive. 
 
 Marble workers have sought to obviate these diffi- 
 culties as much as possiLle, for ornamental clocks in 
 particular, by hollowing out the interior. But this 
 method, by leaving only a slight thickness of stone, 
 compromises the solidity of the plated articles, and 
 exposes them to many risks in transportation. 
 
 M. Mudesse has devoted much time to experiments 
 in order to remove these obstacles, which have re- 
 sulted in the discovery of a method by which veneer- 
 ing upon wood may be substituted for that on stone. 
 
 This new process, which is safe and solid in com- 
 parison with the old, offers every Dossible advantage 
 to dealers in Marble. 
 
 The principal diflSculty has been in veneeriag tho 
 
VENEERING UPON WOOD AND STONE. 
 
 65 
 
 Marble firmly upon the wood without danger of its 
 breaking. The removal of this difficulty would pro- 
 cure the following advantages : 
 
 Firstly. The lightness of the plated articles, and 
 their consequeut facility for transportation, with the 
 great reduction of price which would result in the di- 
 minution of the weight. 
 
 Secondly. The simplification of labor — as the wood 
 could be easily hollowed out as much as deemed pro- 
 per without danger of its breaking, which often hap- 
 pens to the stone. 
 
 Thirdly. The absence of the oxydation of the pieces 
 of iron and steel composing the movement of a clock ; 
 an oxydation which is inevitably produced by the 
 dampness communicated to them by the stone, and 
 which, when dry, shells off and scatters its dust in the 
 pivots, which stops the working of the movement, and 
 proves an incessant cause of repairs. 
 
 " Thus," says M. Mudesse, " veneering upon wood 
 is preferable, in every respect, to that on stone." 
 
 M. Mudesse has also made many experiments in 
 the plating of Marble upon different metals, but has 
 found that none possessed the same advantages as 
 wood, in respect to resistance, solidity, and lightness. 
 
 The difficulty to be obviated was in the manner of 
 veneering the Marble upon the wood. 
 
 For this purpose, as Marble, particularly the black, 
 would break by heating it in the usual manner, M. 
 Mudesse places the slabs of Marble in a cauldron. 
 
66 
 
 THE MARBLE \^ ORKERs' MANUAL. 
 
 tightly closed, in which he lets them boil. He thei 
 takes them from the cauldron, and after this prelimi- 
 nary operation, he can, without risk, subject the Mar- 
 ble to the heat of the fire to receive a mastic of tar. 
 The wood having been first prepared in a similar man- 
 ner, he presses the Marble, coated with the mastic, upon 
 the wood, and a perfect cohesion is etfected. 
 
 The mixture of glue with tar, is found an improve- 
 ment in effecting this veneering. 
 
 §70. We said above that M. Mudesse had unsuc- 
 cessfully endeavored to plate Marble upon various 
 metals : these possessing a smooth and polished sur- 
 face, the substance which should fasten them to the 
 Marble, could not incorporate itself with them inti- 
 mately enough to join both and render them insepa- 
 rable. 
 
 To resolve this problem, it was necessary to inter- 
 pose between the metal and the Marble a third body, 
 which should force them to perfectly adhere; this he • 
 effected by the use of sand paper 
 
 The cases of ornamental clocks are hollow, for the 
 movement of the pendulum and other works. This 
 hollowing cannot be effected on stone without detri- 
 ment to its solidity. 
 
 But when wood is used, a frame is made of it, vary- 
 ing in form to suit the taste of the artisan, and the 
 exterior parts upon which the Marble is to be ve- 
 neered. 
 
VENEERING UPON WOOD AND STONE. 
 
 67 
 
 The following process is that which is employ '3d in 
 the plating of Marble upon zinc : 
 
 Take a plate of zinc of about the tenth part of an 
 inch in thickness; make a frame of this of the form 
 of one of the parts which compose the case of the 
 clock, or whatever other article may be wished ; upon 
 this form glue the sand paper, leaving the rough side 
 outermost, and upon this rough side apply the Marble, 
 having first prepared it by heating in a water bath, 
 and placing between the Marble and the sand paper a 
 coating of mastic of tar. 
 
 By this means, so perfect an adhesion between the 
 Marble and the zinc is effected, that the Marble could 
 be easier broken than removed. 
 
 The application of Marble upon zinc can also bs ef- 
 fected by grooving the metal in every direction with 
 strokes of the file, but this plating is imperfect : the 
 sand paper produces the best results. 
 
 In case of need, coarse emery paper produces equal- 
 ly as good effects. The cohesion of the Marble upon 
 the metal by the interposition of powdered glass or 
 emery by means of glue, is not as perfect; the paper 
 adheres better to the metal. 
 
 The inventor has given the preference to zinc over 
 other metals, because it possesses both resistance and 
 cheapness, and causes no other expense in the manu- 
 facture than that of cutting up to form the model. 
 
 Tin possesses neither the same resistance or the 
 game cheapness ; sheet iron is dearer ; cast iron is too 
 
68 
 
 THE MARBLE WORKERs' MANUAL. 
 
 heavy ; copper is expensive ; while, by the application 
 of Marble upon zinc, clocks or other articles can be 
 manufactured and put in market at the same price as 
 those veneered upon wood. 
 
 Taught by experience, M. Mudesse has joined to 
 the processes of which we have spoken other means 
 of execution, which we shall mention. 
 
 We have said that, in fastening the Marble to the 
 metallic plating, the tar which is used in the applica- 
 tion of Marble to stone will not be suflScient; for the 
 metallic plate and the Marble do not possess suflBcient 
 roughness to absorb and connect themselves with the 
 glue so closely, but that a slight shock will disjoin 
 and separate them. 
 
 It was necessary, then, to find an intermediate mor- 
 dant to effect the solid and inseparable adhesion of 
 Marble to metals, and to replace the sand paper effec- 
 tually. 
 
 When, in making the case of a clock for Instance, it 
 is desirable to apply Marble to a plate of zinc or any 
 other metal, the parts must first be heated in a water 
 bath, or over a furnace prepared for this purpose, and 
 then, by means of a sieve, sprinkled with one of the 
 following mordants : 
 
 Crushed glass, grains of emery of all sizes, copper 
 filings, castings of any metal, finely rasped lead, any 
 kind of powdered stone, such as sandstone. Marble, 
 granite, pumice-stone, etc., even caoutchouc can be 
 aged. 
 
VENEEraNG UPON WOOD AND STONE. 
 
 69 
 
 When the sheet of metal and that of the Marble 
 have thus received a suflBcient mordant, they are joined 
 with a coating of tar, which fastens together the rough- 
 ness of these two substances, and forms a solid and 
 inseparable whole. 
 
 The inventor, believing he had attained the highest 
 degree of perfection in the application of his methods 
 to the plating of Marble upon wood and metals, 
 gives this abstract in a statement given to obtain a 
 patent, in October, 1841. 
 
 " In the substitution of wood and every species of 
 metal for stone, upon which, formerly, the plating of 
 Marble was made, this problem has been resolved : 
 
 The production of perfect cohesion between two 
 smooth surfaces. 
 
 This difficulty did not exist in the plating of Mar- 
 ble upon stone, because this being by nature grainy 
 and spongy, it gave every facility to the clinging of 
 the mastic, and the adhesion could be effected by the 
 simple interposition of the mastic between the Marble 
 and the stone. 
 
 But the same result could not be obtained between 
 two smooth surfaces, as between Marble and metal." 
 
 •'•After numerous experiments to find a mastic, the 
 grained composition of which might replace the rough- 
 ness of the stone, I was convinced," says M. Mudesse, 
 " that whatever might be the composition of this 
 mastic, its sole interposition between the Marble and 
 ihe metal could not produce an adhesion sufficient to 
 
70 
 
 THE MARBLE WOKKEUS' MANUAL. 
 
 resist the shocks and concussions attendant upon the 
 transportation and working of these pieces. 
 
 I finally succeeded in discovering a process, which 
 consists in establishing an artificial mordant upon the 
 plates of zinc, or other metal, and that of the Marble, 
 and then causing the adhesion of these two surfaces 
 thus rendered grainy, by the interposition of common 
 mastic, or tar." 
 
 The artificial mordant is fastened to the surfaces 
 by means of paste, or other glue. 
 
 Any web of linen, hemp, or cotton, can also be in- 
 terposed between the Marble and the metal ; this web 
 being covered with -grainy substances, or artificial 
 mordants, applied by means of glue. 
 
 These methods are not only applicable to the cases 
 of clocks, but also to frame-works of every kind, and 
 to all articles of ornament or luxury. 
 
 ^71. It can be easily supposed that the above rules 
 will apply to anything which is susceptible of being 
 veneered with Marble, and M. Adin has used them 
 for dressing-cases, work-boxes, and other articles. — 
 The following statement was given by him on the 
 twenty-second of March, 1842, of what he calls his 
 invention : 
 
 " The Marble is first sawed to the desired thick- 
 ness, and to the form required for the dressing-case 
 or the work box to which it is to be applied. When 
 the pieces of Marble are thus sawed, the wood is pre- 
 pared, (usually white wood, oak or fir) by cutting 
 
VENEERING UPON WOOD AND STONE. 
 
 71 
 
 it in the same nianner, but a very little smaller than 
 the Marble which is to cover it. This wood is inter- 
 lined with a shaving of beech wood, in order to pre- 
 vent warping. This beech wood lining is only placed 
 on the side which is to receive the plating of Marble , 
 each piece of Marble is then applied to the corres- 
 ponding piece of wood, and the adhesion is effected 
 by lueans of glue or other mastic. When the Marble 
 has thus been applied, the opposite side of the wood 
 is thinly lined with rosewood or mahogany, in such a 
 nianner that this lining forms the inside of the box 
 or dressing-case, which is thus prepared for receiving 
 the necessary divisions and compartments. The four 
 parts are then dove-tailed together, and the top and 
 bottom parts fastened flatwise on the four sides with 
 glue or mastic. 
 
 The box being thus finished, the outside is pumiced 
 and polished, and any applications of gilding can be 
 made. 
 
 The chief point of this invention consists in the 
 idea, realized by me for the first time, of the applica- 
 tion of Marble to the manufacture of dressing-cases, 
 work-boxes, and articles of this nature, which have 
 previously been made only of wood, cardboard, and 
 leather." 
 
 There may be some little obscurity in this descrip- 
 tion, but it will be perfectly understood by all read- 
 ers who have any knowledge of the art, and they, 
 probably, ara the only ones whose attention will be 
 
72 OF MODERN MARBLES. 
 
 attracted by it. This veneering is so much in use, 
 and so valued, that we deem it unnecessary to enter 
 into farther details respecting this new art, which is 
 of so much importance, particularly in a commercial 
 point of view. 
 
 SECTION FIFTH 
 OF ORNAMENTAL MARBLE WORK. 
 
 OF THE SCULPTOR. 
 
 When we speak of sculpture in connection with 
 Marble working, it should be understood that this 
 only has reference to the sculpture of ornaments, of 
 which Marble is susceptible ; the sculptor, in this 
 sense, might be called an ornamentor. 
 
 This is a speciality, but it often happens that the 
 Marble worker who performs these functions, takes the 
 name of sculptor. "We shall not speak at much length 
 respecting the sculpture of Marble ornaments. 
 
 § 72, What we have said has been rather to point 
 out proper models to Marble workers and proprietors, 
 by which to form and develop their tastes, than to 
 impel them to devote themselves to sculpture. It is 
 necessary to understand sculpture sufficiently to appre- 
 ciate, if not to execute it. Medallions, capitals, 
 
OF THE SCULPTOR. 
 
 73 
 
 fricaes, flowers, rose work, acanthus leaves, the claws 
 of griflans, lions, dragons, and heads of different ani- 
 mals, are nearly all which the ornamentor needs; and 
 all these things are usually for chimney-pieces, or 
 costly works which are purchased ready made, and 
 are sculptured in the quarries, and are only ordered 
 from the Marble yard to accord with some other 
 ornament. This harmonizing depends as much on 
 the Marble as upon the style of ornamenting. 
 
 The price of sculptured works depends on the talent 
 of the artist, the delicacy and complication of the or- 
 naments, the material of which they are made ; for 
 some Marbles are much more difficult to work than 
 others ; and, most especially, on their scarcity or 
 abundance at the time of their execution. All these 
 circumstances afiect the price of sculpturing, and also 
 the profits which the dealer can lawfully make. Ano- 
 ther thing should also be taken into consideration, 
 namely : the nature of the design given as a model. — 
 An unusual design gives infinitely more trouble, and de- 
 mands more time of the artist, than one which he is ac- 
 customed to execute. 
 
 There are also additional labors which should be 
 taken into account, such as trials for the purpose of 
 judging of the effect, transportation of parts of the 
 work, the journeys of the workmen, the accidents 
 which may happen, and the alterations which may be 
 suggested by those giving the order. It often happens 
 when the artist and purchaser have agreed upon a 
 
THE MARKLE M'Or. KERs' MANUAL. 
 
 stipulated price, that they afterwards change the agree- 
 ment which they had settled on. 
 
 On the other hand, if there is a chance of augmenta- 
 tion from the causes which we have just enumerated, 
 there is also a risk of diminution, and even rejection, 
 if the stipulated conditions are not precisely executed ; 
 and though men in a position to order great works 
 would rarely wish to profit by such subterfuges, it is 
 prudent to take every precaution to protect one's self 
 from the chance of complaint. 
 
 There are also works which are so precious, by rea- 
 son of the care and talent they demand, or by the 
 name of the sculptor, that the same mantel, the same 
 vase, or the same piece of marble executed by one 
 aitist, would have ten times the value of another, 
 sculptured in the same style by an unknown or medi- 
 ocre genius. 
 
 This difference in the value of ornaments applies 
 also to the value of other works in Marble. It often 
 happens that purchasers who cannot appreciate the 
 difference, are astonished that of two mantels of the 
 same Marble, one is worth ten and the other fifty dol- 
 lars, or that of two vases of the same dimensions, one 
 is valued at one hundred and fifty, while its equal ap- 
 parently, is worth but fifteen dollars. 
 
 ^ 73. In order to guard against deceiving one's self 
 in valuations, whether in selling or in buying, it is 
 necessary to take account of the labor, the material, 
 and the perfection of the ornaments. It is impossible 
 
OF SCULPTURE BY ACIDS. 
 
 75 
 
 I o indicate probable prices, since the price of > >day 
 might be changed in a month or a year. Some usages 
 of commerce authorize the merchant to reckon, in his 
 valuation, the time which the article remains in his 
 workshop, but this is a bad system. These are the 
 chances of commerce to which we must submit, at the 
 risk of the loss of confidence, and, perhaps, of credit. 
 
 SECTION SIXTH. 
 OF SCULPTURE BY ACIDS. 
 
 ^ 74. There are secrets in every art, springing from 
 the reflections of men of genius and often from 
 chance, which render easy the execution of works 
 which would necessitate an exceedingly tedious amount 
 of manual labor, without the certainty of accomplish- 
 ing its end ; such are the fillets, the chords, and the 
 rows of glittering beads which are imprinted on metals 
 with a simple muUar, the guilloches which almost form 
 themselves by the perfection of the tools which are 
 used, as well as the beautiful carving upon softened 
 ivory and expanded shell, and the admirable designs 
 upon paper hangings. 
 
 The sculpture of Marble v>ithout mallet, chisel, or 
 burin, is still more wonderful, and not less easy of 
 execution ; for this it is only necessary to know how 
 to utilize acids. 
 
76 
 
 THE MARBLE WORKERS MANUAL. 
 
 Tables and chimney-pieces of white Mi»rble are 
 sometimes seen decorated with very delicate sculptures, 
 which seem to require an immense labor, and for 
 which it seems impossible that chisels or other ordi- 
 nary instruments, however delicate, could have been 
 used. The workmen, jealous of their secrets, con- 
 cealed them in order to increase the price of their 
 work, by causing it to be supposed that much time 
 and pains were necessary to execute these beautiful 
 masterpieces, whereas they were made with the great- 
 est facility. 
 
 M. Dufay, having perceived that these works were 
 too delicate to have been made with tools, soon dis- 
 covered that they had recourse to acids, but experi- 
 ments were necessary to specify them. Many acids 
 caused the Marble to turn yellow, and were, there- 
 fore, inapplicable. 
 
 He also experimented upon several varnishes, until 
 he discovered one which was easy to use, which dried 
 readily, and was impenetrable to acids. Such is the 
 course which one is always obliged to follow in the 
 arts, in the simplest researches. The following is his 
 process : 
 
 Prepare a varnish by simply pulverizing Spanish 
 sealing-wax, and dissolving it in spirits of wine. 
 
 Trace on the white Marble, with a crayon, the de- 
 sign which is to be formed n relief, and cover this 
 delicately with a brush dipped in the varnish ; in less 
 than two hours the varnish will be perfectly dry. — 
 
or SCULPTURE BY ACIDS. 
 
 Prepare a dissolvent formed of equal parts of spirits 
 of wine, spirits of salt, (hydrochloric acid,) and dis- 
 tilled vinegar ; pour this solution upon the Marble, 
 and it will dissolve those parts which are not covered 
 by the varnish. When the acid has ceased to fer- 
 ment, and, consequently, will no longer dissolve the 
 Marble, pour it on anew, which continue until the 
 ground is sufficiently grooved. 
 
 It should be observed that, when there are delicate 
 lines in the design which should not be grooved so 
 deeply, they should at first be covered with varnish, 
 to prevent the action of the acids upon them ; then, 
 when the reliefs have been made, the Marble should 
 be well washed, and the varnish removed from these 
 delicate lines with the point of a pin; then pour on 
 new acid, which will groove it as deeply as desired — ■ 
 care being taken to remove it at the proper time. 
 
 It is necessary to observe that, when the acid has 
 acted upon the Marble, it corrodes beneath the varnish, 
 and enlarges the lines in proportion to its depth ; care 
 should therefore be taken to draw the lines in relief 
 a little larger than it is desirable to leave them. 
 
 When the work is completed, remove the varnish 
 with spirits of wine, and, as the grounds will be very 
 difficult to polish, they may be dotted with ordinary 
 colors diluted with the varnish of gum lac. By col- 
 oring these grounds, or the reliefs which have been 
 thus engraved, a beautiful eifect will be produced, and 
 one which, if the secret of this art should ever be lost, 
 
78 
 
 THE MABBLE WORKERS' mANVAL. 
 
 would cause them to be regarded in future ages a& 
 chefs-d'auvre. 
 
 § 75. M. Osmond, by a similar process, grooves not 
 only Marble, but likewise copper and mother of pearl, 
 and produces with facility effects which are seemingly 
 dijfficult. For this purpose, he employs bitumen and 
 acids. 
 
 The Marble being grooved, he also fills up the cavi- 
 ties in inlaid work with gold, silver, tin, sealing-wax, 
 sulphur, crushed pearl shell reduced to powder, called 
 lithoide, etc. ; every design executed in this manner, 
 whatever may be its tenuity or delicacy, becomes in- 
 delible and indestructible by air or by the action of 
 time. Any design can thus be engraved in three or 
 four hours to whatever depth is desired, upon an arti- 
 cle which could not have been thus decorated in a 
 month's time by the chisel. 
 
 These designs can be made either in molding or in 
 relief, without changing or injuring the Marble ; every 
 sort of writing, however delicate it may be, can also 
 be thus traced ; and the execution is very rapid, whe- 
 ther in groovings inlaid with gold or silver, or in re- 
 lief which can also be gilded or silvered. It is by these 
 processes that Marble workers execute a large por- 
 tion of their work in the decoration of monuments 
 with ornaments; and nothing is more beautiful, or 
 more analogous to the destination of a tomb, than 
 these lapidary incrustations which Time cannot de- 
 
OF SCULPTURE BY ACIDS. 
 
 79 
 
 stroy or even impair, until, after repeated wnettiDgs 
 of his scythe. 
 
 Do you wish to inlay with leaves of mother of pearl ? 
 You no longer have need of the chisel to cut them ; 
 you make the grooves upon the Marble, and, with the 
 aid of the needle, in a few minutes they are cut and 
 the designs executed, of whatever nature they may 
 be. 
 
 We might here repeat all that we said at the close 
 of the article upon the veneering of Marble. There 
 IS some analogy between these two processes, both of 
 which tend to increase the use of Marble to a great 
 extent. 
 
 Without wishing to deprive any of the modern in- 
 ventors of their deserts, we will conclude by quoting 
 from a very interesting article found in the Diction- 
 naire Encyclopedique^ published in 1 785. In vol- 
 ume fourth, page 404, the following paragraph may 
 be found : 
 
 " Some have succeeded in sculpturing Marble in 
 very delicate designs by the aid of an acidulous liquor, 
 which is formed by a mixture of spirits of salts and 
 of distilled vinegar. Before the corrosion of the acids, 
 the parts to be preserved in relief are covered with 
 a varnish of gum lac dissolved in spirits of wine, or 
 simply of Spanish sealing-wax dissolved in the same 
 acid. The acid does not affect the varnish." 
 
 It would be diflScult to say more in fewer words. — 
 What do inventors deserve, when proofs are thus 
 
80 
 
 THE MARBLE WORKERS' MANUAL. 
 
 placed before their eyes that all their pretended dis- 
 coveries, with the exception of natural philosophy and 
 chemistry, which have made great progress, are but 
 reproductions of what was formerly practiced ? In ar^ 
 chit^cture, in joining, in locksmithry, in Marble 
 working, in painting, in sculpture, in gilding, there is 
 nothing valuable known to us, but what was used by 
 the ancients, and even in the Renaissance. If we 
 have, in respect to sciences, the right to call ourselves 
 glorious, in relation to the arts, it is our duty to be 
 uiodest. 
 
^iv^ JPart. 
 
 OF OPERATIONS TENDING TO FACILI 
 TATE LABOR. 
 
 SECTION FIRS'T 
 MACHINES FOR. THE RAISING AND REMOVAL OF BLOCKS. 
 
 If the workmen are to be believed, the old machines 
 which they are in the habit of using, are, and will con- 
 tinue to be, those best adapted to their wants. But as 
 generations pass away, new ideas take root, and, ere 
 long, the demand will be as great for new macliines as 
 it now is for the old ones. There are some, however, 
 that are so good that it would be difficult to replace 
 them with better ; among these are the screw-jacks, 
 the cranes for raising, and the carts, hand and wheel- 
 barrows for transportation. 
 
 § 76. Among the first rank in the raising of blocks 
 we find the windlass, and its improvement, the crane, 
 which are much used in the Marble qua.rries, but 
 rarely for manufactured articles, unless needed to 
 raise them, as in case of monuments or accessories to 
 
82 
 
 THE MARBLE WORKERS' MANUAL. 
 
 buildings. They are seldom used in the Marble 
 yards where they would occupy much room ; we shall 
 therefore give but a brief notice of them ; indeed a 
 detailed description would be unnecessary, as the 
 windlass and crane are familiar to every one. 
 
 ^ 77. It is well known that the windlass is composed 
 of a cylindrical shaft, of a diameter proportionate to 
 the use for which it is intended, which moves upon its 
 axle by the aid of gudgeons inserted into fixed rests, 
 sometimes in the form of an elongated X. and some- 
 times mounted upon an inverted T, and wedged upon 
 a sleeper of squared wood or upon strong joists. 
 Some windlasses are moved by cranks, some by wheels, 
 and others by levers. 
 
 This may be called the primitive windlass. A cord 
 or chain rolls upon it, and is firmly fixed in the shaft 
 of the windlass, a hook being fastened to the other 
 end, which is attached to the object to be raised. 
 
 This has been improved upon, and made more port- 
 able and solid, by the substitution of iron or brass for 
 wood, and of gear instead of levers. 
 
 For the movement of the windlass, different me- 
 chanical apparatus is used, which is usually terminated 
 by a wooden crank having an iron socket which crosses 
 the wooden handle, to which it is fastened by a screw 
 nut. This mechanism is more or less complicated, 
 according to the weight which is to be raised, and the 
 height to which it is necessary to raise it. The sim- 
 plest apparatus consists of a wheel of a much greater 
 
THE CRANE. 
 
 83 
 
 diameter than the cylinder, mounted upon the same 
 axle to which the force acting upon the circumference 
 is directly applied. In this case, the conditions of 
 equilibrium are those of a lever of which the arm of 
 force would be the radius of the large wheel, and the 
 arm of resistance the radius of the cylindrical shaft. 
 The advantage of the power over the resistance can 
 be augmented, by employing a set of windlasses joined 
 together by cords passing around the wheel of one 
 and the cylinder of the other. But instead of em- 
 ploying cords, another method is often used, which 
 makes no change in the conditions of equilibrium be- 
 tween the power and the resistance ; namely, notched 
 wheels which work into pinions representing the cylin- 
 ders. 
 
 The axles of these machmes may either be parallel 
 to each other, or alternately parallel and perpendicu- 
 lar, following the position of the teeth of the wheels; 
 this method will considerably augment the force of 
 the man, and will prevent many accidents j these, in- 
 deed, are almost always occasioned by the unskillful- 
 ness of one of the workmen employed ; the more the 
 number is limited, the nearer is the approach to unity, 
 and the less are the chances of misunderstanding, and 
 consequently, of the accidents which are the frequent 
 results of it. 
 
 THE CRANE. 
 
 ^ 78. This machine is constructed by the union of 
 seve-al simple ones; the lever, 'the cord, the pulley 
 
84 THE MARBLE WORKERS .MANUAL. 
 
 and the windlass. The principal piece is a lever of 
 from fifteen to twenty feet, according to the use for 
 which it is intended. It is suspended near the middle 
 on an axle or a vertical shaft, which revolves in a cir- 
 cular movement about the point of support. At one 
 end is a pulley or a cable, to which is attached the ar- 
 ticle to he moved. The same cable is then carried 
 back to the other extremity of the lever, and is com- 
 municated to the windlass by which the machine is 
 worked. The weight is not only raised at the pleas^ 
 ure of the workman, but he can also change its posi- 
 tion from one place to another, by the movement of 
 the vertical shaft, around which the machinery re- 
 volves. 
 
 The crane is one of the most ancient vehicles 
 known ; it is often improved upon by modifications of 
 the windlass, which is moved sometimes by bars, some- 
 times by gear, sometimes by horses, and sometimes 
 by steam, according to the demands of the manufac- 
 tories or quarries by which it is used to ensure the 
 facility of removal of the manufactured articles.— 
 There are many weights which can only be raised by 
 the aid of cranes ; its principal use is in extracting, 
 lifting, loading and exporting the blocks of Marble. 
 
 THE CRAB. 
 
 § 79 This is more in use among carpenters and ma- 
 sons than among Marble workers, but it is often 
 employed in the quarries, and we shall therefore 
 speak briefly of it. 
 
THE CRAB. 
 
 85 
 
 There are two species ; the simple crab is composed 
 of a triangle formed by joining pieces of wood, on the 
 top of which a pulley is placed. The two sides, or 
 arms, are crossed by the axle of a windlass at a cer- 
 tain distance from the base of the triangle, or ground. 
 When a weight is to be raised, the crab is placed in 
 an inclined position, and fastened with ropes attached 
 to the points of resistance. The rope by which the 
 weight is to be raised, is then passed into the groove 
 of the pulley, and rolls itself around the windlass in 
 proportion as the load is raised. 
 
 The double crab, which is employed in the lifting 
 of heavy masses, is simply the union of two such sets 
 as those of which we have just spoken. The crabs 
 are propped against each other like the two uprights 
 of a double ladder, when they are of equal force and 
 height. In some cases it is more advantageous to have 
 one shorter than the other; they are then joined at 
 the top of the shortest in such a manner that the 
 longest one projecting above, has the effect and sup- 
 plies the want of the crane. In either case, the power 
 of this machine is in direct proportion with the num- 
 ber of arms wliich are used and the length of the lever, 
 or the size of the notched wheels and the radius of 
 the windlass. 
 
 In heavy works of architecture, or of extraction of 
 stone and Marble, the crab is often replaced by four 
 similar posts, forming a perfect square, and running 
 up to the top of the building. This frame is termi- 
 
86 
 
 THE maryji!,:: workers' manual. 
 
 nated by two joists, or two stop planks, between which 
 a pulley turns, upon which a cord or chain continually 
 mounts and descends, by means of a windlass placed 
 upon the ground. This frame work has several props 
 upon which men can be placed to guide the movement 
 of the weight. By this means huge masses can be 
 raised and placed as may be wished, almost without 
 effort. 
 
 THE WINCH. 
 
 § 80. The winch is sin)ply a vertical windlass, hav- 
 ing a shaft or a conical cylinder, around which a rope 
 or cable rolls, to which the weight is attached which 
 is to be moved to the desired point. It is not used 
 in the workshops, but is an excellent means of ap- 
 proaching the blocks worked, thus avoiding blows 
 and wounds which are often given by the ordinary 
 levers which are used in placing the polished pieces 
 on rollers, or those to be polished in place, after being 
 worked in the yard. ^ 
 
 The vertical cylinder is surmounted by a head 
 pierced with holes, in which bars are placed which 
 cross it, and serve to put it in motion by the force of 
 the arm. 
 
 The winch varies in form and power, according to 
 the use for which it is designed. There are small 
 ones which, imbedded in the wall of the workshop, iu 
 the face of the boards, greatly facilitate the fixing in 
 place of large sized articles. 
 
THE WINCH. 
 
 87 
 
 They may also be used to bind together pieces 
 which are to be joined with mastic, and to keep them 
 in place in such a manner that they may be easily 
 worked, and the welding consolidated. They may 
 also serve as parallel vices, by means of two joists, 
 placed horizontally or vertically, as may be wished. 
 For this it is only necessary to lay down one of the 
 stationary joists. They should both have holes in the 
 two extremities, in which a strong cord is passed. 
 
 One of the end pieces, in which is a ring, is drawn 
 behind the movable joist by the aid of a pin which is 
 passed in the eye of the cord ; the other end is fas- 
 tened to the hook of the windlass. When the cylin- 
 der is put in motion, the movable joist approaches the 
 stationary one, and draws towards it the article, the 
 pieces of which are to be pressed. This is a much 
 better method than that of loading the welded pieces 
 with weights to secure their cohesion, and possesses 
 the great advantage of neither breaking or scaling 
 them. 
 
 We will suppose that a Marble worker wishes to 
 make a vase of a large size ; it is to be composed of 
 four, eight, or ten pieces, more or less, which are to 
 be joined by the aid of cement, or mastic, incapable 
 of sustaining the weight of each of these pieces; it is 
 evident that the use of the winch, by drawing to itself 
 tho two cords which surround the pieces of Marble, 
 will permit him to work them in place, internally as 
 well as externally, and to hoop them with iron with 
 great precision, if this seems necessary. 
 
83 
 
 rilE MARBLE AVORKERS' MANUAL. 
 
 THE TACKLE. 
 
 ^81. This machine, which is of prodigious force, 
 but extreme simplicity, is sometimes used in the shops 
 of Marble workers to raise or bring forward pieces 
 of great weight. For this, it must be fixed to a solid 
 post by a ring proportioned to the force of the hook 
 of the tackle, which is usually composed of three or 
 four pulleys in brass or copper, revolving upon the 
 same axle. A movable tackle is usually joined to a 
 stationary one, in such a manner that the same cord 
 may pass in the grooves of all the pulleys. The 
 power should equal the resistance. We find in 
 market tackles, such as weighing machines or steel- 
 yards, which are capable of raising six, ten, or twenty 
 thousand pounds. 
 
 They are often made to bear up still more. We 
 sometimes hear inexperienced workmen boast of rai- 
 sing blocks of twenty thousand pounds weight with a 
 tackle of twelve ; but these are often the victims of 
 accidents which they might have shunned, by not im- 
 posing upon their machinery a service for which it 
 was not constructed. 
 
 The tackle, when joined with the windlass or winch, 
 will be of the greatest utility in large establishments, 
 as it unites force to precision of movement. Stationed 
 near a machine for finishing large blocks, it greatly 
 facilitates the moving of them to try whether they 
 
THE JACK SCRKW. 
 
 89 
 
 are properly placed ; it is also the means if sparing 
 the strength of the workmen, and guarding them froui 
 many accidents. 
 
 THE JACK SCREW. 
 
 § 82. The screw is an instrument which is well 
 known in respect to its use, but which is often abused 
 by not proportioning its force to the weight that is to 
 be raised. 
 
 Why are they constructed of different sizes ? Pre- 
 cisely in order that the workmen may suit them to the 
 uses in which they are to be employed. If they made 
 better calculations as to the weight of the loads, less 
 of these instruments would be broken. 
 
 There are several kinds of screws. The simple screw 
 jack is formed of a cap or strong box of oak, hooped 
 with iron, in which a notched wheel moves up and 
 down. On the top of this box is a hole, from which 
 the head of the screw proceeds, which is turned with 
 a pinion notched with teeth, to raise the weight which 
 it is required to displace. 
 
 This works admirably when the screw can be placed 
 upon solid earth which will resist the pressure of the 
 weight of the mass ; when the ground yields to this 
 pressure, it is necessary to guard against accidents, to 
 place the screw upon a paving-stone, or aflat or square 
 piece of wood, capable of sustaining the resistance of 
 the screw and the weight that is rais d. 
 
 It is an admitted principle, that the power if this 
 
90 
 
 THE MARBLE WORKERS' MANUAL. 
 
 macliine is to the resistance, as the radius of the pi^ 
 ion is to that of the crank. The screw is furnished 
 with two important agents : one is a kind of iron shoul- 
 der in the form of a strong claw, by which the load is 
 taken almost from the earth and elevated to a certain 
 height ; the other is a catch which a bolt fixes after 
 the screw, in order to stop the notched shaft in which 
 it is placed when the weight is elevated to the point 
 at which it rests, which is according to the height of 
 the screw. This catch allows the workman to rest, 
 and gives his assistant time to wedge up either the 
 screw or the mass. When the mass is wedged, it can 
 be easily taken, up again, either with the aid of the 
 claw or the head of the screw. 
 
 The second species of screw has several toothed 
 wheels furnished with pinions, with the view of aug- 
 menting the power of the screw ; this is called a com- 
 pound screw. 
 
 The third is the common screw, for firmly fastening 
 trunks, bales, or packets for transportation. 
 
 There is still another kind called nut screw, which 
 is employed for the same, or analogous uses. 
 
 It is very important, that whoever may use it should 
 not employ it in works exceeding its power, for when 
 its teeth are once broken, bent, or warped, it is re- 
 paired with difficulty, and never possesses its original 
 strength. 
 
NEW MACHINE FOR lAISING MA!IBLES. 
 
 91 
 
 SECTION SECOND. 
 
 NEW MACHINE FOR RAISING MARBLES. 
 
 ^ 83. In reviewing all the machines intended for 
 raising and removing heavy weights, the most useful 
 and most portable are found to be the screw, the 
 crane, and the tackle. 
 
 The screw is more portable than the crane, but is 
 ineffectual in raising heavy blocks ; it can only separate 
 them from the ground. The crane, on the contrary, 
 can elevate them to any given height — this depending 
 on the length and force of the rope, chain, or leather 
 strap which rolls upon the windlass or wheel placed 
 at the bottom of the crane, and the number of men 
 who, being furnished with bars, put the machine in 
 action. 
 
 The tackle serves the same purpose as the crane, 
 but with more facility and less workmen ; this can b<? 
 adapted to a crane, thus augmenting its force. 
 
 An inconvenience of the screw is, its sinking into 
 the ground if it is moist or sandy. A machine would 
 be desirable in which these three might be united.— 
 Such a one M. David How claims to have invented, 
 the advantages of which he thus sums up : 
 
 Firstly. This machine is simple and portable. 
 
 Secondly. It not only moves the weight, but raises 
 "t above the ground. 
 
02 
 
 THE MARBLE WORKERS' MANUAf, 
 
 Thirdly. It so well supplies the pc wer of men, as 
 to cause the strength of four to be more powerful than 
 that of a hundred. 
 
 Of this machine, M. How gives the following de- 
 scription : 
 
 It is composed of three pieces of wood fifteen feet 
 long, pierced in the top with holes in which a strong 
 iron bar is passed, to which a tackle is hooked. The 
 stake of the hinder one is immovable, and is carefully 
 fixed in the ground ; those of the front should have 
 free play ; they must also be spread apart, and fixed 
 in the ground. 
 
 When the machine is placed, a rope is passed around 
 the wheels of the tackle. A pin of two inches in 
 length — the upper part of which is flat and the lower 
 part cylindrical — bears a ring in which the hook is in- 
 serted. This pin is about nine-tenths of an inch in 
 diameter at its lower extremity, and grows somewhat 
 larger towards the middle. 
 
 The end of the rope which passes over the pulleys, 
 rolls over a windlass of some six feet or more. A 
 workman then, with a chisel or burin, scoops out a 
 round hole of a little more than an inch in depth, and 
 as nearly perpendicular as possible, in the object to be 
 raised ; this hole should be somewhat smaller than the 
 pin, so that it can only bo inserted by driving in with 
 a mallet. When the pin is thus forced into tiie stone, 
 the hook of the tackle is passed in its ring, and the 
 ropes extended by means of the crank of the windlass; 
 
ISiEW MATHIiNE FOR RAISING MARBLES. 
 
 93 
 
 all that remains to be done is to place the persons 
 necessary to work it, and, strange as it may seem, the 
 heaviest mass, although only grasped by the pin, can 
 be torn from its bed despite all the obstacles which 
 niay oppose it, and raised in such a manner as to be 
 suspended in the air. 
 
 To explain this extraordinary fact, those who have 
 had experience think that the pin does not penetrate 
 the stone in the precise direction of the acting force 
 and that the mass is raised and suspended in the di- 
 rection pointed by the pins. M. How is not of this 
 opinion ; he is confident that it is to the elasticit}^ of 
 the stone, not the direction of the power, that the ef- 
 fects produced are attributable. The pin, being driven 
 by blows of the mallet into the orifice in which it 
 should rest, is retained there by the elastic power of 
 the stone, in the same manner that a similar pin 
 would be fastened in a block of wood if driven in it 
 by the same means ; yet with this difference, that the 
 power exercised by the stone upon the iron, is incom- 
 parably greater than that exercised by the wood upon 
 it. This explanation has been confirmed by experience, 
 as it has been found : First, that the force which lifts 
 the mass, acts exactly in the axle of the orifice in 
 which the pin is forced ; secondly, that when this mass 
 is raised from the ground, it can be made to take 
 every position without detaching itself from the pin ; 
 thirdly, that while no effort can draw out the pin, one 
 
D4 
 
 THE MARBLE WORKEIIs' MANUAL. 
 
 or two blows of the mallet will detach it with the 
 greatest facility. 
 
 The force which retains the iron, varies in propor- 
 tion to the greater or lesser elasticity of the stone ; 
 this force will be less in soft stones than in Marble, 
 granite, porphyry, etc., and it is the opinion of the 
 author that the trial can only be successfully made 
 upon these last. 
 
 We can also say that, although one can conceive 
 that to a certain point, and in certain cases, large 
 masses of stone can be suspended in the manner we 
 have indicated, it is much more difficult to explain 
 how these masses can be raised in a multitude of in- 
 clined and horizontal positions, and how, admitting 
 that it is to the direction in which the pin is enforced 
 that its adherence to the stone is attributable ; it is 
 found that, while a constant effort applied in every 
 direction to the stone does not detach it, a slight con- 
 cussion produces this effect at once. 
 
 To prove this, the following experiment will suf- 
 fice : 
 
 Take a pin of iron, force it into a block of granite 
 in the manner which we have described, then, without 
 arranging apparatus, try, by means of a cord attached 
 to the pin, to draw it Out in every direction, using the 
 greatest possible force — all your efforts will be use- 
 less. This clearly proves that it is the elastic force 
 of the stone, instead of the direction in which the cord 
 is drawn, which retains the pin in its place. 
 
TOOLS FOR ORNAMENTAL WORK. 
 
 95 
 
 It is even necessary, when apparatus is used, to 
 pierce the stone perpendicularly, because, if pierced 
 obliquely, there is reason to fear that the portion of 
 stone between the iron and the surface will not 
 yield. 
 
 It is surprising, in using this machine upon large 
 masses of granite, to see how little hold is necessary 
 to draw them from the ground ; sometimes, when the 
 pin is inserted but a third of an inch in the stone, it 
 will be immovable, and capable of sustaining a weight 
 of sevoral thousands of pounds. 
 
 This machine, so simple that it can be put up in the 
 quarries and fields as well as in Marble yards, de- 
 servcn to be practically used. It is necessary to fas- 
 ten the uprights strongly, and to proportion their 
 strength to the weight to be raised ; because if one of 
 them should bend or become displaced, a shock would 
 ensue which would stop the operation, and, probably, 
 cause some accident. 
 
 SECTION rilIRD 
 
 TOOLS FOR ORNAMENTAL WORK. 
 
 ^ 84. The carving-lathe and the wonderful results 
 produced by it, almost, we might say, without the aid 
 of the workman, has given rise to many ideas among 
 
D6 
 
 THE MARBLE WORKERS' MANUAL. 
 
 mechanics respecting machinery for flutings, mold- 
 ings, mortises, and guilloches. 
 
 Machinery is seen in metallurgic establishments, in 
 which steel, moved by water or steam, cuts, polishes, 
 and grooves iron as regularly as a chisel ; it is only 
 necessary for a workman to press a screw to cause the 
 tool to cut, while it removes at the same time the 
 chips from the article turned. It then planes down 
 and polishes flat surfaces of many feet in length, and 
 even grooves mortises of several feet, more easily and 
 more regularly than those of a few inches could be 
 executed by the hand. 
 
 It is time that stone and Marble take their turn ; 
 many h-appy attempts have been made, and a complete 
 succe^is cannot be doubted as soon as the spirit of in- 
 vention shall be turned in thi^ -irection. 
 
 This honor may be r^- ■ .ved for M. Beaumont of 
 Paris, who isearnestl} endeavoring to solve this prob- 
 lem. He took a patent for fifteen years, in February, 
 1846, for the invention of a machine for carving stone. 
 His patent having not yet expired, no one has the 
 right to extract from it ; but we can give the descrip- 
 tion which he has given of his machine in claiming his 
 patent. This is found in volume seventh, page 134, 
 of the collection of patents of invention published by 
 government. 
 
 Upon a strong table, by the aid of a cramp fixed 
 in the wall, M. Beaumont adjusts his machine, which 
 is ingenious, but difficult to be understood by tbos 
 
TOOLS FOR ORNAMEN'TAL WORK. 
 
 97 
 
 who have not studied the designs. We will only say 
 that it is composed of a drill-tool with a rotary move 
 ment, supported by an upper plate, dove tailed, and 
 pivoting, if necessary, to any inclination; of a lower 
 plate with circular furrows receiving the groover, the 
 pivoting drill-tool being able to take every inclination 
 necessary for the execution of all figures; straight, 
 convex, concave, irregular or ideal lines; (a bore in 
 front for wavy moldings upon a flat surface, or another 
 bore in the form of the shelf of a ehimney-piece, in- 
 tended for reliefs or hollows, can be substituted for 
 tl)is ; ) of a transverse screw at the end of which is a 
 pulley and crank, used- to draw the drill- tool to the 
 ri^hfcorleft; of a pin fastened to the drill-groover, 
 At the end of which is a handle for obtaining the piv- 
 oting necessary to the inclination of the bore ; of a 
 pultey with two grooves, which receives tlie leather 
 strap of the moving power; of a grooved calibre-box 
 fastened by a pressure screw in such a manner as to 
 serve as the point of support to this singular machine, 
 which follows every movement indicated by the mov- 
 ing power. 
 
 The exposition of M. Beaumont also contains many 
 D'her details which we will not repeat, as they 
 cannot be understood without plans and designs which 
 we have no right to give, they being the property of 
 the inventor. 
 
93 
 
 '•:he marble wokkkus' manual. 
 
 SECTION FOURTH 
 MACHINERY FOR MOLDINGS OF MARBLE. 
 
 § 85. Independently of machinery for sawing, bor- 
 ing, and fluting, machines are also used for straight or 
 circular moldings. This is a method of labor-saving 
 which deserves to be studied and perfected. 
 
 One of these machines, invented at Marseilles, has 
 been described by its author As we have never seen 
 it, we will only give the exposition made in order to 
 gain a patent of invention, which was taken on the 
 eleventh of April, 1845. 
 
 This machine is composed of a brass tray, furnished 
 with two, three, or four wings, which are also of brass, 
 in the form of a swallow-tail. Each of these wings 
 is formed by two bands of iron, spoke-shaped, which 
 divide the circumference of the tray and depart from 
 its centre. These two bands are joined at their ex- 
 tremity by a circular band resembling a felloe, and 
 thus form the swallow-tail. 
 
 The tray, with its four wings, resembles a Maltose 
 crDSs; the bottom of the tray, that of the bands 
 which form the wings, and of the felloe, forming a 
 
MACHINERY FOR MOLDINGS OF .M .RJLE. 
 
 99 
 
 single, flat surface; it might be styled a tray with 
 two, three or four branches. 
 
 The tray uiay be round, or any other shape which 
 raay be desirable ; (the length of the wings is suited 
 to the diameter of the largest moldings which are to 
 be made,) it is plaeed horizontally, and pierced in the 
 centre with a hole from which a vertical shaft proceeds, 
 which is fastened there, either with a bolt, pin, by 
 boring with a screw-tap in a contrary direction to the 
 rotary movement, or by any other means which may 
 be best suited to the work to be done. 
 
 The shaft is of an indefinite length ; it is furnished 
 with a pulley by which the rotary movement is com- 
 municated to it; its upper extremity turns in a socket 
 in which a rope is fixed, which, returning by the pul- 
 ley, is fastened to a balance weight, which it holds 
 suspended ; it is principally by means of this balance 
 weight that the apparatus is made to weigh in its ro- 
 tary movements. 
 
 The shaft is fastened by two iron wedges to two 
 frames fixed in the wall, or to two cross-pieces of oak 
 or iron, according to the locality, and the nature of 
 the work. 
 
 The bands forming the wings of the tray, are 
 pierced with holes at different distances from the cen- 
 tre. Plates of metal, bearing the impressions of the 
 moldings to be stamped, are then fixed to each of the 
 wings of the tray, by means of a bolt in each wing, 
 which crosses them, and which is fastened over the 
 
100 
 
 THE MARBLE WORKERS' M iNUAL. 
 
 bands forming the wing, by passing into two of thb 
 holes which have been made. 
 
 Each of these plates has two notches, in which ar& 
 concealed the heads of bolts, which rest against the 
 wing of the tray. 
 
 The holes which are for the stamped plates in which 
 the bolts pass, should be as far from the centre which 
 formed the said plate, as the corresponding hole, 
 which is on the wing of the tray, is from the centre 
 of the said plate ; that is to say, that all the holes 
 should have the same radius. 
 
 At the back of each of the engraved plates, two 
 grooves are made, which divide the greatest circum- 
 ference, and approach the centre of the swallow-tail ; 
 these are about the eighth of an inch in thickness, 
 and pass down the broad side of the plate, as may be 
 seen upon its back surface. 
 
 These grooves are in the place where Ihe bands 
 pass which form the wings of the tray ; they are made 
 to receive a hand saw with two claws which are firmly 
 fixed in them, whilst the bolts which fasten the 
 stamped plate are clasped upon the tray. Two hand 
 saws can be attached to each plate instead of one, if 
 desirable. 
 
 If it is necessary to strengthen the wings of the 
 tray, instead of cross pieces a third band may be 
 added, which must also be on a plane with the bottom 
 of the tray. 
 
 All being thus adjusted, a rotatory movement is 
 
MACHINERY FOR MOLDINGS OF MARBLE. iOl 
 
 given to the apparatus, by means of a leather strap 
 which is passed over a pulley ; for this, gear may be 
 substituted. 
 
 The apparatus being thus put in motion upon the 
 surface of the Marble, sand and water is passed be- 
 tween the wings of the tray; and in the rotatory 
 movement, the hand-saw cuts the Marble circularly ; 
 after which, the weight of the tray and that of the ap- 
 paratus being heavier than the balance weight, the 
 tray descends, and the stamped plates pass over the 
 Marble and retrace the moldings upon it. 
 
 When a round slab is to be partially molded, the 
 inside of the stamped plate should be slightly inclined 
 towards the centre of the tray ; if the slab is to be 
 fully molded, the surface has only to be left parallel 
 with -the bottom of the tray, placing a cross on it 
 formed by two bands passing from one stamped plate 
 tvj the other. The edges of the stamped plates are 
 cut sloping or somewhat rounded, that they may more 
 easily draw the sand with them instead of repelling 
 it ; this is also true of the cross. 
 
 If a circular form is required — that is, that the 
 middle of the round slab should be entirely removed 
 — it is on\v necessary to attach hand-saws to the inte- 
 rior circumference of the stamped plates like those on 
 the exterior circumference, only observing that the 
 handles of these saws should be attached to the con- 
 vex instead of the concave part. 
 
 Instead of ihe holes in the branches which form the 
 
10-2 
 
 MARBLE WORKERS MANUAL. 
 
 wings of the tray, these same branches can be cleft 
 longitudinally to the centre, so that the bolts of the 
 plates of all sizes can fasten themselves upon the bands 
 of the wings of the tray ; but this does not seem as 
 good a method as that of the holes. 
 
 Instead of hand-saws, an iron hoop may be used, 
 which, passing round the edges of the stamped plates, 
 should be fastened by notches or other means to the 
 iron bands which form the wings of the cross. 
 
 SECTION FIFTH. 
 
 MACHINERY FOR SAWING AND MOLDING 
 MARBLES. 
 
 § 86. An Englishman by the name of Tulloch took 
 out a patent of invention in 1826 for a machine for 
 sawing stone and Marble, and which was also suited 
 to the execution of moldings. The following de- 
 scription is given of it : 
 
 The principles of this invention consist — 
 First. That the movable frames which hold the 
 saws or molding tools employed for sawing or cut- 
 ting different moldings in Marble or in any other 
 kind of stone, descend in proportion as the saws or 
 tools move, in such a manner that these frames will 
 have a constant movement which will advance or re- 
 treat in a horizontal direction, and parallel, or nearly 
 
MACHJ.NEKY FOll SAWING & MOLDl.NG MARBLE. 103 
 
 SO, with the blocks of the saws or tools, and that, fur- 
 thermore, if the block of Marble or stone is softer on 
 one side than the other, the sawing or molding re- 
 sulting from the action of the saws or tools, will not 
 iidvance more rapidly on the softer than on the harder 
 side. 
 
 Secondly. That during the operation of sawing, the 
 end of the saw frames rise a little near the end of each 
 alternate movement in which they advance or recede, 
 in such a manner that, at the end of each movement, 
 all the saws fixed in the frames are alternately slightly 
 raised to permit the sand and water which are usually 
 employed in the sawing of Marble, to pass freely be 
 tween the grooving of the stone and the cutting press- 
 ure of the saw : this is impossible if the saws are not 
 mounted to rise in this manner. 
 
 § 87. Another French mechanician has proposed 
 the following method of sawing stone and Marble, 
 which he thus describes: 
 
 " I first place the Marbles and stones which are to 
 be sawed, upon the same plane, in such a manner that 
 every stroke of the saw may move in the same line. 
 
 " I use common saws, the handles of which are 
 united and joined together in such a manner that the 
 set may form a single, many-bladed saw. 
 
 " My large pulley, vertically placed, and furnished 
 with a crank, draws, with the aid of a movable bar, the 
 set of saws, which is carried back to its point of de- 
 parture, by the bar, or by a weight suspended to a 
 
104 
 
 THE MARBLE WORKERS' MANUAL. 
 
 chain passing over the pulley, and attached to the last 
 of the saws. 
 
 " To prevent the set of saws from turning aside at 
 the commencement of the work, it will be necessary to 
 guide it with the hand until the strokes of the saw 
 may be formed. 
 
 " Thirty or forty saws can thus be moved with a 
 small power, and two men will be enough to moisten 
 them, and to set the machine in motion in case of its 
 stoppage. 
 
 " General Application. — The natural effect of my 
 double apparatus is, to give to a roller a rotatory 
 movement in different directions; but as known me- 
 chanical means exist of converting one kind of a move- 
 ment into another and different kind, it follows, there- 
 fore, that my machine is, in truth, a universal moving 
 power, which can replace every known force in the 
 different needs of arts. This substitution will be 
 always advantageous, since the force pf the new mov- 
 ing power is enormous, and its establishment less ex- 
 pensive than that of any other moving power of an 
 equal force " 
 
 SECTION SIXTH 
 
 MACHINERY FOR SCULPTURING OR REDUCING. 
 
 88. Many artists have long been engaged in nu- 
 merous experiments, with a view to the discovery of 
 
MACHINERY FOR SCULPTURING. 
 
 105 
 
 mechanical means of sculpturing, and of reducing or 
 enlarging sculptured articles. 
 
 Tliey liave obtained successful results, at least for 
 boasting, and for executing with facility certain works 
 which, with the chisel, would have cost much time 
 and pains. 
 
 M. Sauvage, of Paris, took out, on the third of 
 iMay, 1836, a patent of invention for a machine de- 
 signed to reduce or enlarge statues, busts, alto and 
 basso-relievos, with all the figures comprised in basso- 
 relievos. This machine is composed of blades of iron 
 copper and wood, which are arranged and divided ac- 
 cording to the principles of the pantograph. 
 
 The machine is mounted upon a movable shaft, 
 which procures for it three circular movements direct- 
 ed by a common centre. 
 
 Upon the right blade is mounted a quadrantal hoop 
 adapted to a band, of which the lower end is fixed up- 
 on the extremity, bearing a tube which is intended to 
 receive a metal or wooden rod, or a roller which is 
 gently worked over the surfaces of the article to be 
 reduced. 
 
 The extremity also supports a tube which admits 
 burins, etching needles, or drills, for working upon any 
 material, whether Marble, stone, wood or metal. 
 
 This apparatus is fixed upon a hollow rest, in order 
 to be able to ascend, descend, advance or retreat, 
 according to the proportions of the work to be exe- 
 cuted. 
 
106 
 
 THE MARHT.K WORKERS' MANUAL. 
 
 Two vertical shafts rigged with notched wheels are 
 placed in an iron casing ; the upper extremities of 
 these shafts bear slabs intended to place the original, 
 and to receive the material for the reproduction of 
 the copy. 
 
 These shafts turn in the same direction by means 
 of an intermediate wheel, or by double leather straps. 
 
 § 89. M. Dutel also proposed another machine in 
 the same year, and has taken out several successive 
 patents of invention and improvement. 
 
 " To demonstrate in the clearest and most precise 
 manner, the plan of the machine of which I am the 
 inventor," says he, " I have thought it best to give 
 the designs separately, in respect to their different 
 applications and uses. 
 
 These designs number four, representing four ma- 
 chines. The first is intended to reprodnce, in any 
 kind of material, sculptures in the kind called basso- 
 relievo, and of dimensions equaling the model. 
 
 The second is designed to reproduce sculptures, as 
 ihe first, of dimensions equaling the model, but of 
 the kind called alto-relievo. 
 
 The third is suited to the reproduction of sculp- 
 tures in the kind called basso-relievo, but of greater 
 or lesser dimensions than the original model; that is, 
 it reduces or enlarges it a third, one-half, or three- 
 quarters. 
 
 The fourth'is designed for and suited to, the repro- 
 duction of sculptures in the kind called alto-relievo, 
 
MACHJNERY FOR SCULPTURING. 
 
 107 
 
 .>,uch as statues, busts, etc., but, like the preceding, of 
 greater or lesser dimensions than the original model ; 
 that is to say, it enlarges or reduces them one-third, 
 one-half, or three-quarters." 
 
 M. Dutel, after giving a detailed description of hia 
 machinery, conclades with the following important 
 observation : 
 
 " It is proper to say that the /raises of either of 
 these machines can be replaced by tools of the same 
 shape and size, but not cut out like the /raises^ and 
 not tempered; so that they maybe used with dia- 
 mond dust, in case that hard stones are to be worked." 
 
 § 90. A third Parisian, M. Duperrey, also took 
 out in 1846, a patent of invention for fifteen years 
 for a machine for sculpturing, which he improved up- 
 on sufficiently to take out a second patent on the twen- 
 ty-eighth of May, 1847, in which the following obser- 
 vations are found : 
 
 " The original description, submitted with the claim 
 for the patent, demonstrated that, by the aid of this 
 new machine, one could obtain at pleasure sculptures 
 in basso or alto-relievos, or even in guilloches, similar 
 to those produced by the carving lathe. This ma- 
 chine permits the sculpture of several pieces at the 
 same time, either exactly copying the model or en- 
 larging it; the proportions of course, being regulated 
 in order to obtain the relative proportions of the dif- 
 ferent parts of the articles which are to be repro- 
 duced. 
 
108 
 
 THE MARBLE WORKERS' MANUAL. 
 
 The original machine worked very well, but it did 
 not produce enough articles at one time, which in- 
 creased the cost of the copying too much. Further- 
 more, I have perfected several details which permit 
 me to modify the construction of the whole, with the 
 view of causing the tools to work during the going in 
 and out of the sliding puncheon. 
 
 In the first machine, all the tools could only repro 
 duce the same model, since they were all guided by a 
 single key. 
 
 In the new machine the improvement is, that each 
 tool can work upon one piece and reproduce a specific 
 model, which can also be done by all the tools of the 
 machine ; still more, all the tools can work at the exe- 
 cution of the same piece, and all can be directed, by 
 a single key, to work upon one model. 
 
 This new arrangement permits the manufacture, 
 either of a great number of pieces at the same time 
 after different models, or of a piece of large size in a 
 very short time ; as all the tools which the machine 
 possesses can assist in the execution of the piece." 
 
 We will briefly add that this machine is com- 
 posed — 
 
 Firstly. Of two parallel slides, placed horizontally 
 — one being designed to support the model to be 
 copied, and the other, the material necessary for its 
 reproduction. 
 
 Secondly. Of a support in which the keys and the 
 tools move ; this support is placed between the two 
 
OF MASTICS. 
 
 109 
 
 slides, and the upper part is rigged with keys which re- 
 ceive all the movements of relief of the models placed 
 above these keys, in order to communicate them to the 
 tools which are mounted oa the lower part of this support. 
 
 M. Duperrey concludes his exposition and the de- 
 scription of his machine by this observation : Flutings 
 for the feet of tables can also be made in the same 
 manner, by placing the molding tools into the tool 
 casings ; then, by making a line under the key, flutings 
 can also be made of the desired form, and in a num- 
 ber determined by the dividing plate which serves for 
 the guillochage. 
 
 These accounts are of a nature to interest amateur 
 artists greatly, but they exceed the practical ideas of 
 the Marble workers ; for which reason, we shall not 
 extend our remarks upon this subject, to which we 
 r^ust, however, direct their attention. 
 
 SECTION SEVENTH. 
 
 OF MASTICS. 
 
 ^91. Mastics for" stopping up holes, leakages, or 
 cracks in Marbles, must not be confounded with those 
 which serve to cement them together, or to consolidate 
 them perfectly ; these are used for veneering or pave- 
 ments. The first is made with gum lac, colored, as 
 
110 
 
 THE MARBLE WOfi-KERs' MANt AL. 
 
 nearly as possible, to imitate the Marble upon which 
 it is used. Sometimes the gum is mixed with Marble 
 dust passed through a silken sieve ; in other cases 
 little pieces are used, which are cut and adjusted in 
 the hole or fissure to be repaired, and glued there with 
 the gum mastic — the precaution being first taken to 
 heat the Marble and the pieces, and to take measures 
 for producing a perfect cohesion. The cementing 
 mastics merit the attention of proprietors as well as 
 workmen, because it is often on account of the use of 
 those of inferior quality, that works in cemented 
 pieces deteriorate and lose their value. 
 
 § 92. In the first rank should be placed the thick 
 mastic, composed of two parts wax, three of Bur- 
 gundy pitch, and eight of resin ; melt this, and then 
 throw it into spring water to solidify the paste, then 
 roll it into sticks, and, in using it, melt only such a 
 portion as is needed for your work ; this precaution 
 will preserve its strength, as the remainder becomes 
 more brittle by heating it anew. 
 
 § 93. The Corbel mastic, which is used in the seams 
 of the flagging of stairways and terraces, is easily com- 
 pounded. 
 
 Take six parts of the cement of good Burgundy tile 
 without any other mixture, pass it through a silken 
 sieve, add one part of pure white lead, and as much 
 litharge, steep the whole in three parts of linseed oil 
 and one of lard oil, and preserve it in cakes or rolls 
 as the preceding. All the materials used should be 
 
OF MASTICS. 
 
 11 
 
 thoroughly dry, in order that they may perfectly mix 
 with the oil which unites them. 
 
 ^94. Fountain mastic is compounded of the rub- 
 bish of stone ware or of Burgundy tile, amalgamated 
 with thick mastic in such a manner as to form a paste 
 proportioned to the use for which it is required ; this 
 is one of the easiest to prepare. 
 
 Mastic of filings is employed in the same uses as 
 the preceding, as well as in places which are usually 
 damp, or which constantly receive water, as curb-stones, 
 flaggings of kitchens, bath-rooms and water-closets, 
 and stone troughs composed of several pieces, either 
 separate or clasped. This mastic, which is very good 
 when properly used, is composed of a mixture of 
 twenty-six and a half pounds of iron filings, or of iron 
 and copper, such as are found among spur makers, but 
 which must not be rusty, four and a half pounds of 
 salt, and four garlics ; this is infused for twenty-four 
 hours into three and a half pints of good vinegar and 
 urine ; it is then poured ofi", and the thick paste which 
 is found at the bottom of the vessel is the mastic, 
 which should be immediately used. 
 
 These mastics should be used upon materials which 
 are perfectly dry, otherwise they «lo not incorporate 
 well, roll up, and are repelled by the moisture. There- 
 fore, in executing this kind of work, the precaution 
 should be taken to choo&e dry weather, and to open the 
 seams well wiiL a caA-ed, sha'-y instrument, finally 
 polishing them with v'.w.l 
 
112 THE MARBLE WORKERS' MANUAL. 
 
 Before laying' down tlie mastic, the dust must be 
 removed from the seam by blowing into it with a com- 
 mon bellows ; a long, straight, iron chafing dish, closed 
 at the bottom, with the grate elevated about an inch 
 to obtain a current of air, is then passed over the 
 eeam ; this chafing dish is filled with burning char- 
 coal, the caloric of which draws out the moisture from 
 the stone or Marble. 
 
 The slightest dust or the least dampness, hinders 
 the adherence of every mastic; water infiltrates, and 
 when it does not immediately afi"ect it, it will glide 
 through after the least frost, after which it is impos- 
 sible to remedy it. It is these infiltrations which 
 cause so many proprietors to object to flaggings aud 
 other works of this kind. 
 
 ^ 95. The Dilh mastic is, undoubtedly, the best that 
 is known, but its composition is yet a secret ; it is very 
 costly, and its uniform color of a dirty white, renders 
 it unsuitable for many works in Marble, for which 
 reasons it is not much used by Marble workers. 
 
 There are others which we do not strongly recom- 
 mend, because we do not consider them sufl&ciently 
 tested ; we shall point them Out, however, that they 
 may be experimented on. 
 
 MASTIC FOft CEMENTING MARBLES. 
 
 ^ 96. The Mastic used by Marble workers for glu- 
 ing and consolidating Marbles is of gum lac, colored. 
 But this mastic, which is applied hot, only produces 
 
masons' mastic Foil CISTERN?, \ "0. 
 
 113 
 
 a strong cohesion when the Marble is .'"•I'^o heatyd, 
 which it is not always easy to do. 
 
 No good cold mastic is known to Marble wOikerSjai <J 
 the discovery of one would render a very great .servir 
 to their art. The following recipe claims this merit 
 
 To compound this mastic, take — 
 
 Hydrochlorate of ammonia, 2 parts. 
 
 Flour of sulphur, 1 part. 
 
 Iron filings, 16 parts. 
 
 Reduce these substances to a powder, and preserve 
 the mixture in closely stopped vessels. When the 
 cement is used, take twenty parts- of very fine iron 
 filings, add one part of the above powder, mix them 
 together, adding sufficient water to form a manage- 
 able paste ; this paste, which is used for cementing, 
 solidifies in fifteen days or three weeks, in such a man- 
 ner as to become as hard as iron. 
 
 MASONS' MASTIC FOR COATING THE INSIDE OF 
 CISTERNS, BASINS, ETC. 
 
 § 97. Pulverized baked bricks, 2 parts. 
 
 Quick lime, 2 parts. 
 
 Wood ashes, 2 parts. 
 
 Mix these three substances thoroughly, and dilute 
 them with olive oil. This mastic hardens immediate- 
 ly in the air, and never cracks beneath the water. 
 
11-1 
 
 THE MARBLE WOllKERs' MANUAL. 
 
 SECTION EIGHTH, 
 
 ^ UNIVERSAL CEMENT. 
 
 ^ 98. To compound this, a quantity of mastic should 
 be dissolved in liighly rectified spirits of wine, only 
 enough of the spirits being used to effect tbe solution 
 of the mastic. 
 
 Then soak an equal quantity of isinglass or fish- 
 glue until it is thoroughly softened. Dissolve this in 
 a quantity of rum or brandy sufficient to form a strong 
 glue, to which add half the weight of gum ammoniac 
 finely pulverized. 
 
 Thus for thirty penny-weights of the mastic, thirty 
 penny-weights of isinglass and fifteen of gum ammo, 
 niac will be necessary. The quantity of spirits and 
 brandy depends on their quality ; the stronger the 
 liquors, the less of them is needed, and the better 
 will be the mixture. 
 
 Warm these two mixtures together over a slow fire, 
 and when they are well mixed, place them in bottles 
 which must be hermetically sealed. This cement b** 
 comes perfectly dry iu twelve oi* fifteen hoUfs. 
 
 When the mastic is to be used, the bottle shou? i 
 be heated in a water bath to liquefy it ; the fragments 
 
THE ATELTRR OF THIi: MAIJBLE WORKER. 115 
 
 should also be heated before sizing them, and the mr^ 
 faces well cleansed, as a matter of course. 
 
 Those who give this recipe, say that glass, crock- 
 ery, etc., when thus restored, are as solid as before 
 having been broken, and that the seams are hardly 
 visible; but experience proves that these seams, al- 
 though imperceptible at the time of the operation, 
 soon soil for want of the perfect polish of the remain- 
 der of the article ; this diminishes the advantages of 
 the cementing. 
 
 COMPOSITION OF THE ATELIER OF THE MARBLE 
 WORKER. 
 
 ^ 99. The Atelier of the Marble worker is thus 
 coniposed : 
 
 Of one or several benches, stronger and lower than 
 those used by joiners This is very necessary, as ar- 
 ticles of great weight are worked on these tables. (See 
 fig. 33.) 
 
 Of several saws of different sizes, (fig 59, 60, and 
 63.) 
 
 The last i« held by one or more screw nuts, one 
 being placed as in fig. 60, the other in the middle. — 
 The braces of this saw are often modified ; they are 
 formed here of a collar and screw nut; sometimes the 
 flat bar is bored and rigged with teeth entering into 
 these holes, to shorten or extend the framQ. This 
 icakes a strong draught, which lasts much longer 
 
116 
 
 THE MARBLE WORKERS' MANUAL. 
 
 than a rope, and is not susceptible to the changes of 
 the atmosphere. 
 
 ■ Of sebillas, or wooden bowls for holding the sand 
 and water which should be thrown under the saw. 
 i&r. 61.) 
 
 ■ Of wooden or metal ladles with long handles, to 
 take from the sebillas the sand and water necessary 
 for the sawers of the Marble, who can thus work the 
 saw with one hand, moistening it with the other, (fig. 
 56.) 
 
 Of handsaws without teeth, used in cutting stone 
 or Marble with the aid of sand and water. A skill- 
 ful workman often confines himself to making a deep 
 groove in the Marble or stone, and then by a quick 
 blow, separates the two pieces, (fig. 62.) 
 
 Of niartelines, a kind of iron mallets pointed at 
 one end, and diamond shaped at the other, which serve 
 to pierce and shell off the Marble without splintering 
 it. (fig 34.) 
 
 Of marteline chisels, used for the same purposes, 
 and worked with the aid of the sledge hammer or 
 mallet, (figs. 2, 4, 19, 20, and 64.) 
 
 Of puncheons, (fig. 5.) 
 
 Of a square etching needle, (fig. 1.) 
 
 Of etching needles called houguettes, partly flat- 
 tened, and sharp, (figs. 8, 9, 27 and 28.) 
 
 Of hooks for sinking and levelling cavities, (fig. 
 10.) 
 
THE ATELIER OF THE MARBLE WORKER. 117 
 
 Of round nosed chisels, used for the same pur- 
 pose, (fig 11.) 
 
 Of sharp edged and notched scrapers for sinking 
 flutings. (fig. 12.) 
 
 Of scrapers for the same purpose, (fig. 19.) 
 
 Of parting tools ; a kind of flattened files, bent 
 round and steeled at each end, to smooth those places 
 •most difficult to penetrate, (fig. 31.) 
 
 Of parting tools in round file, and half flattened in 
 rasps, used for the same object, (fig. 22.) 
 
 Of German files, flattened on one side, and partly 
 rounded on the other, (fig. 16.) 
 
 Of round files, (fig. 14.) 
 
 Of rasps, partly rounded on one side, and flattened 
 on the other, (fig. 13.) 
 
 Of rasps in round file. (fig. 23.) 
 Of gravers or burins, (fig. 27.) 
 Of clasps, (fig. 28.) 
 
 Of wimbles, upon which augurs are fixed for boring 
 the marble, (fig. 36.) 
 Of mallets, (fig. 64.) 
 
 Of iron sledge hammers, (figs. 65 and 66.) 
 
 Of hinged compasses, (figs. 68 and 71.) 
 
 Of compasses of depth, (figs. 53 and 54.) 
 
 Of iron squares, (fig. 43.) 
 
 Of levels, (fig. 77.) 
 
 Of rules, (figs. 47, 48, and 49.) 
 
 Of shifting bevels, or hinged squares, (fig. 46.) 
 
(18 
 
 THE MARBLE WORKERS' MANUAL. 
 
 This nomenclature is not complete, but it contains 
 all the essential tools. 
 
 We have not spoken of cushions, or chafing dishes, 
 or of pots for melting mastic, because the form of 
 these is immaterial. 
 
 The tools we have indicated are used by twos, threes, 
 or sometimes by dozens, according to the nature of 
 the work, and the number of workmen employed in 
 the establishment. It is neceesary to say, however 
 that the more one has, the more are lost, or even bro- 
 ken, because the workmen take much better care of 
 the tools when they are few, than when they can easily 
 conceal all traces of their carelessness. Notwith- 
 standing, one should have a great number of the 
 sharp and edged tools, else much time will be lost in 
 going to the forge or grindstone. 
 
 There is a simple method of avoiding the abuses 
 of which we have just spoken, and one that is in use 
 in some Marble yards ; namely, that of giving the 
 works by the piece, without furnishing the tools. 
 
Jourtl) part. 
 
 OF ARTIFICIAL MARBLES AND STUCCOS 
 
 SECTION FIRST. 
 OF THE IMITATION OF MARBLES IN GENERAL. 
 
 ^ 100- Artificial Marbles have one incontestable 
 advantage over the natural ones ; that of composing 
 surfaces of a great extent without seams or clasps, and 
 of adhering so closely to the mason work that, when 
 dry, they form part of the same body. Of all the 
 methods of imitating Marble, there is none better 
 than the composition of stuecos which has been long 
 in use; these produce a beautiful eflfect in buildings 
 We shall explain the manner of their composition and 
 application. We shall then speak of other artificial 
 Marbles, of painting upon and coloring Marble, and 
 shall conclude this part with interesting informatioa 
 relative to the manufacture of Venetian terraces. 
 
120 
 
 THE MARBLE WORKERS^ MANUAL. 
 
 SECTION SECOND. 
 
 OF STUCCOS. 
 
 ^101. Stucco is a composition of a mixture of slaked 
 lime, chalk, and pulverized -white Marble tempered 
 in water, designed to imitate diflferent Marbles used in 
 the interior of buildings or monuments. 
 
 Th ere are different species of it, which may also have 
 different bases. 
 
 Lime was formerly considered the only base of 
 stucco. Our ideas have become greatly modified in 
 this i-espect, but it is not yet proved that that which 
 we make is superior to that of former times. 
 
 However this may be, as the hardness which the 
 plaster may acquire is the most essential point in this 
 art, it is to this that the workmen should first apply 
 themselves. 
 
 This wholly depends upon the degree of calcination 
 which is given to the plaster ; and, as the stone which 
 produces it is susceptible of some slight difference in 
 its intrinsic quality, according to the locality in which 
 it was found, one must study the degree of cak.ina- 
 tion necessary to give the plaster the greatest possible 
 
OF STUCCOS. 
 
 121 
 
 degree of hardness. The ideas which we give hero 
 relate only to the plaster of Paris. 
 
 Break the plaster stones in pieces somewhat larger 
 than a large nut, put these in an oven heated as if 
 for baking bread, and close the mouth of the oven. 
 After some time has elapsed open the oven and take 
 out one or two of the pieces, break these with a ham- 
 mer, and if the calcination has penetrated to the cen- 
 tre of the piece so that a few bright points can be 
 seen there, it denotes that it has arrived at its point 
 of perfection ; then draw out all the plaster as quickly 
 as possible with a rake. If many of these brilliants 
 are seen in the breakage, or none at all are visible 
 there, it proves in the first case, that the stone is not 
 suflGiciently calcined, and, in the latter, that it is too 
 much so. 
 
 Although the plaster becomes very hard when pro- 
 perly calcined, the surface is filled with a multitude 
 of pores, and the grains are too easily detached from 
 it to admit the polishing of it as of Marble. To re- 
 medy this objection, the plaster is diluted with water 
 in which glue has been dissolved, which, filling the 
 pores and fastening the grains together, permits the 
 leveling and removing of the half of each grain, thus 
 forming the polish. 
 
 Flanders glue is commonly used ; some, however, 
 mix with it isinglass, and even gum Arabic. Hot 
 glue water is used for the solution of the plaster, as 
 the waut of solidity of the plaster, especially when it 
 
122 
 
 THE MARBLE WORKERS' MANUAL. 
 
 is not supported, demands that a certain thickness 
 should be given to the works ; to lessen the expense, 
 the body or core of the work is made of common 
 plaster, which is covered with the composition of which 
 we have just spoken, giving it about an inch in thick, 
 ness. 
 
 When the work is suflBciently dry, it is polished in 
 nearly the same manner as the veritable Marble. A 
 kind of stone is commonly used which is quite difficult 
 to procure. This is a species of cos or coticular stone, 
 which has finer grains than the sandstone, and which 
 are not so easily detached from it. Pumice stone may 
 also be used. 
 
 The work is rubbed by the stone in one hand, the 
 other holding a sponge filled with water, with which 
 the spot which has just been rubbed, is instantly 
 cleansed, in order to remove what had been left on the 
 surface of the 'work; the sponge should be frequently 
 washed and kept always filled with fresh water. It is 
 then rubbed with a linen cushion, with water, and 
 chalk or tripoli stone. Coals of willow, finely pulver- 
 ized and sifted, or even pieces of whole coals are sub- 
 Btituted for this to penetrate better to the bottom of the 
 moldings, water being always used with the sponge 
 which absorbs it. 
 
 The work is finished by rubbing it with a piece of 
 felt soaked with oil and finely powdered with tripoli 
 stone, and afterwards with the felt moistened with th 
 oil alone. 
 
OF STUCCOS. 
 
 123 
 
 When a color is wished in the ground, it is only 
 necessary to dilute it in the glue water, before making 
 use of it to temper the plaster. 
 
 The stones for polishing can be adjusted to pieces 
 of wood after the manner of jointers, or other joiner's 
 tools ; the surfaces of the work can thus be better 
 prepared and the moldings more exact ; it must not, 
 however, be forgotten to always wash it in proportion 
 to the rubbing. 
 
 When any particular Marble is to be imitated, di- 
 lute with warm glue water, in different small pots, the 
 colors which are found in the Marble ; with each of 
 these colors temper a little plaster, then make of each 
 a pebble nearly as large as the hand, place these peb- 
 bles alternately one above another, making those of 
 the prevailing color more numerous, or thicker. 
 
 Turn these pebbles, thus arranged, upon the side, 
 and cut them in slices in this direction, instantly 
 spreading them upon the core of the work, or upon 
 a flat surface. 
 
 By this means, the fantastical design of the various 
 colors with which the Marble is penetrated, will be 
 represented. If it is desired to imitate the Breccian 
 Marbles, mix in the compositioa of these pebbles, when 
 spread upon the core, pieces of plaster of different 
 sizes tempered with the color of the Breccia, and 
 these pieces, being flattened down, represent it very 
 well. It should be remarked that in all these opera- 
 tions the glue water should be warm, without which 
 
124 
 
 THE MARBLE WORKERs' MANUAL 
 
 the plaster will set too quickly, without giving tiine 
 to work. 
 
 ^ 102. When objects are to be represeuted on a colored 
 ground — such as forests, landscapes, rocks, and vases of 
 fruit and flowers — design them upon paper. Then punc- 
 ture the outlines of the designed figures, place them on 
 the ground work when the polishing is nearly finished, 
 and pounce them with a color diff"ering from that of the 
 ground ; that is, of a black or red if the ground is 
 white, and of white if the ground is black. Preserve 
 the outlines marked by the pounce by sinking them 
 deeply with the point of a shoemaker's awl, after 
 which, with several awls converted into small chisels 
 by breaking off the points and sharpening them upon 
 a grind-stone, remove all the ground which is included 
 in the outlines of the ground which has been traced, 
 thus forming cavities on the ground of about the third 
 of an inch in depth, 
 
 § 1 03. When all that is contained within the outlines 
 has been thus removed, procure several little pots or 
 cups holding sand from the fire or hot ashes, upon 
 which pour glue water mixed with different colors; take 
 a little of the plaster in the palm of the hand, color 
 it more .or less by carefully mixing it with the colored 
 water, stir up the whole upon the palm of the hand 
 with a painter's coloring knife, until the plaster be- 
 gins to acquire some consistency, then take with the 
 knife a quantity deemed sufficient, which place on one 
 side of the interior of the cavity of the figure to be 
 
OF STUCCOS. 
 
 represented, pressing it with the knife, and smoothing 
 the surface of the colored plaster which has just been 
 placed, and which joins the outlines of the figure. 
 
 Then mix immediately in the hand another colored 
 plaster, but of a lighter shade than the first, which 
 place in the same cavity, by the side of the first ; pre- 
 pare four or five needles, by thrusting them parallelly 
 by the head into a small stick like the teeth of a 
 comb, with which mix the last color slightly with the 
 first, so that the passage from one shade to the other 
 may not be perceptible, and that the degradation may 
 be visible. 
 
 Continue thus to place the brighter shades on the 
 side of the light, until the excavation of the figure to 
 be represented shall be wholly filled. Finally, flatten 
 the whole lightly with the knife, aud leave it to dry. 
 
 If, after the polishing, it is perceived that the shades 
 are not distinct in any place, hatchings may be made 
 in this place with an etching needle, and a darker col- 
 ored and very liquid plaster inserted ; these hatchings 
 must be quite deep, that they may not be destroyed 
 by the polishing which must afterwards be given to 
 the whole work. This last method is used for cutting 
 out the leaves of trees, plants, etc. 
 
 Undecided figures — as ruins, rocks, caverns, etc. — 
 generally unite much better in this kind of painting 
 than figures which demand exactness in the shading 
 and correctness of design. 
 
 The paintings are polished in the same manner as 
 
126 
 
 THE MARBLE WORKERS' MANUAL. 
 
 the grounds, and if any little holes are discovered 
 while polishing, fill them with plaster thinly diluted 
 with glue water, and of the same color. It is even 
 common, before using the oil for the polish, to pass a 
 general tint of colored plaster and very clear water 
 over the whole surface, in order to stop these small 
 holes. 
 
 For all these operations the best and finest plaster 
 should bo chosen ; that which is transparent seems to 
 merit the preference. 
 
 For the colors, says the author of this process, all 
 are suitable which are employed in fresco painting. 
 
 As it may seem strange that, in this manner of 
 painting, we should have directed the use of the palm 
 of the hand as a palette, we will give the reason for 
 it. When a person dilutes the plaster with the col- 
 ored water, he is obliged to use a certain quantity of 
 water which would run oif if placed upon a palette ; 
 by making a hollow in tlie palm of his hand, he re- 
 tains it, and, by extending his fingers in proportion to 
 the setting of the plaster, this singular palette, which 
 was at first hollow, becomes flat when necessary. In 
 addition to this, the heat of the hand prevents tho 
 plaster from setting too quickly. 
 
 Stucco is used either for ornaments, or for facings 
 upon coats of impression: those last are composed, 
 according to the methods described by VitruviuSj of 
 several layers of uiortar made with lime and pozzo- 
 laira. The stucco which was called by the ancients 
 
OF STUCCOS. 
 
 127 
 
 typus albartum, on account of its wliiteness, or mar- 
 momtum, because it imitated Marble, which was also 
 included in its composition, was placed upon the last 
 layer of the coat ; this is of a finer and thinner paste. 
 It seems to have been made with a species of foliated 
 gypsum, calcined and pulverized, which produced a 
 beautiful plaster. When using it, the workmen mixed 
 with it the same stone pulverized, but not calcined; 
 in order, doubtless, to replace the Marble dust, they 
 compressed this last coating to give it more consis- 
 tency and lustre. Some visible traces of pressure 
 which have been found in several places, perfectly ac- 
 cord with what VitrUvius has Said, and have evefl 
 given reason for the conjecture that the instrument 
 used in this operation, called by him baculi, was a 
 kind of metal rule, light enough for the ends to sup- 
 port the prepared bands which serve as regulators to 
 the workman. 
 
 § 104. Such were the methods of our ancestors, and 
 in practicing them they made in stucco the panels, 
 columns, and pilasters which excite the admiration 
 of men to whom ornament in architecture is a pleas* 
 ure, and a means of satisfying a noble pride— since ifc 
 cultivates a taste for the beautiful, and encourages 
 the development of the arts. 
 
 It has long been observed that the palaces, ohateauK> 
 and houses in which stucco was employed for peris- 
 tyles, stairways, and banquet halls, were always em- 
 bellished with paintings, columns, and vases, either 
 
/28 
 
 THE MARBLE WORKERS MANUAL. 
 
 in concurrence with the stucco, or in the neighboring 
 apartments. We have never seen anything more 
 beautiful than the chateau de Mereville, on the beau- 
 tiful estate of that name, in which M. de la Borde haa 
 collected all the choicest productions of the arts. 
 
 This hall was adorned with columns of white stucco, 
 between which were panels of the same style, in which 
 was hung four beautiful marine pieces of Vernet. 
 
 One can easily imagine that, entering in such a 
 room as the peristyle of the apartments, they would 
 penetrate into saloons of the greatest magnificence. 
 
 The use which has just been made of stuccos in the 
 Palace of Foreign Affairs, on the banks of the Seine, 
 also supports what we have just said. Thus stuccos 
 are not enemies of Marble ; on the contrary, they in- 
 crease the demand for it. 
 
 It is not advisable the: to neglect them ; we should, 
 on the contrary, encourage all essays tending to dimin- 
 ish their price, and to render them popular. 
 
 We will speak, then, of processes indicated in 1836, 
 by a Mr. Burrows, an Englishman, who imported 
 among us methods of manufacturing stuccos and ce- 
 inents in hard stones. 
 
 " In the first place," says he, " for a plaster cement, 
 I take a certain quantity of this material, which I 
 reduce to a fine powder by the means ordinarily used 
 for the manufacture of plaster of Paris ; or else I take 
 a certain quantity of casts of other articles which 
 have been made of plaster of Paris, and reduce them 
 
OF STUCCOS. 
 
 to 11 fine dust by the action of fire, or by pulverizing 
 tliem with a pestle. 
 
 " I then mix a solution of the following materials : 
 Nine ounces of alkali (of the best American potash.) 
 in six quarts of water ; this solution should be neu- 
 tralized with some acid, sulphuric acid is the best for 
 this purpose. The solutioti must be stirred up, add- 
 ing the acid gradually until the effervescence ceases • 
 then add nine gallons and a half of water, making 
 about eleven gallons of water in the whole. If any 
 other alkali is employed, the quantity of water should 
 be varied in proportion to its force; the water thus 
 saturated, should be mixed with a suflScient quantity 
 of the powder to acquire a consistency, or a condition 
 suitable to be used or molded, whether in slabs, 
 bricks, or in any other forms, which are then left to 
 dry, and afterward subjected in reverbatories, ovens, 
 brass crucibles of the kind used in gas works, or by 
 some other means, to a sufficient degree of heat to 
 bring them entirely to a red heat. If these articles are 
 not heated entirely red, the parts which are not suffi- 
 ciently calcined will be softer and less durable than 
 the cement which has attained a proper degree of cal- 
 cination. 
 
 • " The quantity of the solution necessary for the mix- 
 ture is about half of that of the prepared powder. 
 
 ^105. " Secondly, for a limestone or chalk cement, 
 I take a quantity of limestone or chalk, which I crush, 
 a ,d submit to the usual process for burning or calcin- 
 
130 
 
 MARBLE WOIIKIUIS' MANUAL. 
 
 iiig lime. If I use the last process, I then reduce the 
 lime to powder, either by exposing it to air, or by 
 diluting it with water in the ordinary manner, (the 
 dissolution by air is the best,) and treat it with a solu- 
 tion of alkali and sulphuric acid, as has been described 
 for the mortar of Paris. 
 
 "But as less water is necessary for the mixture, the 
 solution should be proportionably stronger. I dis- 
 solve nine ounces of alkali, of the best quality, in six 
 quarts of water, to neutralize with the sulphuric acid 
 in the manner explained for the Paris cement. I then 
 add six and a half gallons of water, or perhaps a tri- 
 fle more, and manipulate the solution to form slabs, 
 which, when dry, I calcine in the manner described for 
 the plaster cement. The solution necessary for the 
 mixture is about a third part of that of the prepared 
 lime. If the powder of plaster, chalk, or lime is used 
 without being calcined, the calcination should be made 
 in regard to the force of the liquid, and in proportion 
 to the smallest quantity necessary to that object. 
 
 " The solution of alkali without the addition of 
 the acid, can be employed for the composition of a 
 cement of the powder of plaster, provided that it is 
 afterwards calcined, but such a cement will not be as 
 good as those made according to the methods which 
 have been described. 
 
 " Cements of the powder of lime and chalk can also 
 be made with a solution of acid ; namely, two ounces, 
 Troy weight, of sulphuric acid, dissolved in six gal- 
 
OF STUCCOS. 
 
 131 
 
 loiiK of water, and tlien calcined as before ex;plained. 
 JJut tlie cements made in this manner will not be as 
 good us those made by the other methods indicated. 
 The processes of incorporation and of calcination for 
 these cements, ar/d for the cement of plaster with al- 
 kali, are the same as those 'before explained." 
 
 After having described the methods or processes for 
 the composition of hard cements by a mixture of alkali 
 and sulphuric acid with the powder of plaster, chalk 
 or lime, and their subsequent calcination, by means of 
 which the desired results with their advantageous 
 qualities are obtained, Mr. Burrows adds: I shall 
 now proceed to explain the manner of using them, 
 and, as the cements made of the powder of caleiaed 
 plaster, and those made of the powder of lime, ipos- 
 sess dilFerent qualities, it will be necessary to establish 
 a distinction between them. 
 
 ^ 105. " I shall first speak of the cement made with 
 the powder of plaster. 
 
 " The bricks or slabs before described, having been 
 first reduced to powder and passed through a sieve in 
 the manner used for hard cements, should be mixed 
 with sand or gravel, and as the cement should pro- 
 duce no sensible heat while solidifying, it is desirable 
 that the sand employed in the mixture should proceed 
 from mineral or vegetable substances ; for this reason, 
 well calcined or vitrified sands are the best .for this 
 use, and for any mortar or stucco that can be mixed 
 or applied in the same manner as the cements of lime 
 
132 
 
 THE MARBLE WORKERS' MANUAL. 
 
 and other calcareous cements. As this plaster can be 
 employed for coats of impression or other uses in 
 which a slight absorption is desired, care should be 
 taken not to put too much water in the mixture. It 
 will generally be sufiicient to put in a fifth or sixth 
 part of the quantity of the materials. But it must 
 be observed that, in this case, the success will still de- 
 pend much upon the nature of those of which it is 
 made. The same rule will serve for the application 
 of cement without sand, whether employed alone, or 
 as a light coating upon a stucco with sand. 
 
 " If a particular Marble is to be imitated, the paste 
 should be applied to a very smooth surface. It is 
 afterwards polished, and the colors can then be varied 
 if they have not been amalgamated during the appli- 
 cation." 
 
 § 107. " I shall now describe the manner of using 
 the cements made with the powder of lime and chalk. 
 
 " These cements, when fresh, produce much licat in 
 solidifying. There is, therefore, less danger of their 
 after deterioration when they are mixed with common 
 sand, which should be vitrified, or calcined, as has 
 been already said. The chalks having been pulver- 
 ized, should be mixed with sand and employed in the 
 same manner as the calcareous cements. 
 
 "From this, it is evident that the sands which have 
 been described as being used in the application of my 
 invention for stucco and other objects, can be mixed 
 with the powdered plaster, lime, and chalk when the 
 
PEItFECTED CEMENTS. 
 
 133 
 
 acids and alkalies are added, and that they are then 
 subjected, with the other ingredients, to the action of 
 heat or calcination, in which case it will not be neces- 
 eary to add any sand when using them ; and also that 
 other alkalies or acids than those before mentioned 
 can be employed, although, as none which I have ex- 
 perimented upon have succeeded as well, I give them 
 the preference." 
 
 PERFECTED CEMENTS 
 
 ^ 108. Madame Bex of Paris, not finding the pro- 
 cesses of which we have just spoken sufficient, claims to 
 have discovered a method of less limited application, 
 and which can particularly be extended to guard 
 against dampness. 
 
 Ill pavements, flagging, and application upon the 
 walls of ground floors, she has obtained, she says, the 
 most successful results. This cement, which is as hard 
 uud compact as Marble, thus possesses those qujilitics 
 of impei Mieability termed waterproof. 
 
 Stucco, on the contrary, being porous by the nature 
 of its composition, is therefore easily accessible to damp- 
 ness, which not only destroys its lustre but is a rapid 
 cause of its deterioration. On this account it has not 
 been employed for pavements and other uses before 
 mentioned. 
 
 In order to obviate these inconveniences, Madame 
 Bex has sought to ally stucco, as well as all other ana' 
 
134 
 
 THE MARBLE WOrKEIJs' MA^UAL. 
 
 logous compositions, and even soft, and poi'ous stone, 
 with bitumens and natural vegetable, mineral and 
 other bituminous mastics; that is, to line, in some 
 sort, the stucco with these bitumens in such a man- 
 ner as to thus preserve it from all humidity. 
 
 " When pavement or flooring is to be made, it is 
 commenced by pouring the bitumen in molds of va- 
 rious shapes and sizes; before it cools, fragments of 
 bricks, tiles, stones of all kinds, and even of wood, 
 iron, brass, copper, lead, zinc, or any other material, 
 are thrown into it. 
 
 " Before placing the stucco upon tlie bitumen, what 
 is technically called a gopte is made upon the mate- 
 rials which have been put in it; the stucco is then 
 tampered upon a table, and glue water and the colors 
 necessary to the Marble to be imitated, mixed in it. 
 
 " The stucco being thus compounded, a cake of it 
 is made upon the table; this cake is cut into slices of 
 four-fifths of an inch in thickness, more or less. These 
 slices are forcibly pressed into the mold in such a 
 manner as to unite with the substances iucrusted in the 
 bitumen as well as with the bitumen itself, after which 
 the stucco is polished by passing sandstone over it 
 with ^ Tiuirtin, (a brass plate mounted upon stone.) The 
 pores which are found in it are then stopped, and it 
 is rubbed again with pumi( e to smooth it. Stones 
 for polishing co[per are us^ d in the commencement 
 of the polishing, then clear stones, and it is finally 
 finished with touchstones. 
 
PKRFECTED CEMENTS. 
 
 135 
 
 " Floorings may be made of a single piece, in couvL^es, 
 or in squares as may be judged must proper. 
 
 'Applications of stuccos against walls are mad-c- by 
 the same processes as those used for floorings or pave- 
 ments. 
 
 " This useful application will give a considerable 
 increase to the use of stucco." 
 
 ^ 109. It is doubtful whether this process of Ma- 
 dame Bex will perfectly apply to the proper stiioco. 
 The omission of indicating the quantity and quality 
 of bitumen and other ingredients which she employs, 
 will probably somewhat hinder the use of it by work- 
 men. 
 
 But the following recipe is simpler and easier, and 
 is much used. Take the best plaster that can be pro- 
 cured, crush it, bake it as much as possible, crush, 
 sift, and temper it in a solution of Flander's glue in 
 water, let it dry, polish it with pumice and tripoli 
 stone, and add a lustre with soapsuds and oil. 
 
 In the " Lime Burner's Manual," we have described 
 several other processes for the composition of stuccos, 
 analogous to those of which we have just spoken. 
 
 Among other processes for coloring stuccos and 
 giving them tlie appearance of Marbles, baked clay 
 and metallic oxydes are used. These are the most 
 solid. Oxyd of lead, ochre scorched and calcined, 
 red ochre, and Roman vitriol baked in an oven, are 
 also used. 
 
 One can also employ the oxyde or carbonate of cop- 
 
156 
 
 THE MARBLK WOTJKERP' MANUAL. 
 
 j>er, powdered green enamel, drops of forges, powder- 
 ed scales of iron, etc., etc. The artist who is to make 
 the imitation, must calculate the effects of the mixtures 
 and the quantities to mix in order to produce the col- 
 ors which he wishes to obtain, without losing sight of 
 the fact that these s'ubstances produce very different 
 results by the action of heat. 
 
 No book can point out the means of giving to the 
 polishing of stuccos what is called a coujo de main. 
 This must depend on the practice and the skill of the 
 workman. The Marble worker who polishes well cal- 
 careous stones, will also polish stuccos well. The 
 rules for success are the same in both operations. — • 
 Above all, it is important tr do nothing roughly, and 
 to always keep the work perfectly clean with a sponge 
 dipped in clear water. The cushion which is used 
 should contain tripoli and chalk finely sifted, and 
 when the surface is perfectly smooth, the lustre is 
 given by rubbing it lightly with a piece of grey felt, 
 sprinkled with finely powdered tripoli, and then, in 
 the last place, with another piece of felt moistened 
 only with oil. We cannot recommend too much care 
 that, when a polishing operation is to be performed, 
 the piece to be polished should be perfectly freed from 
 all the humidity contained in itself or acquired from 
 the atmosphere. 
 
 ^110. When ihe stucco was used among the an- 
 cients to form ornaments, it was worked, says Vitru- 
 vius, in two ways, either with the boasting tools, or 
 
MOLDINGS JN STUCCO, 
 
 137 
 
 in the mold. When they wished to make, we sup 
 Dose, a bas relief or large ornaments, the workman 
 designed upon the coat of impression, with the point 
 of the boasting tool, the outlines of the figures which 
 he wished to represent, and then modeled them of the 
 paste of the stucco as our modelers do with clay. — 
 The material dried too quickly in the hand of the 
 workman to permit of any alterations. Thus a great 
 facility of execution was necessary to succeed in this 
 work, which fact renders the beautiful compositions 
 of this kind found at Herculaneum and Pompeii still 
 more worthy of admiration. 
 
 ^111. The second method was employed for small 
 successive works, such as ornametits for cornices, fra- 
 mings and ceilings. When the coat of impression 
 was set in the necessary place, a mold was applied 
 which left upon the fresh surface the desired imprint; 
 the chipped edges were then adroitly raised, and the 
 ornament remained simply and immovably fixed. The 
 seams of the mold can be plainly observed in all 
 parts ; besides, it would be difl&cult to imagine that 
 these difi'ereut ornaments were first prepared, and 
 that they applied them like the pieces of facings, oi 
 bas reliefs ; the extreme tenuity of some of the de- 
 tails would render this impossible. 
 
 MOLDINGS IN STUCCO. 
 
 ^112. When moldings are made in stucco, tliey can 
 be jutted out with bores as in mason work, or if these 
 
138 
 
 THE MARBLE WORKERS' MANUAL 
 
 bores are small, they may be fitted to a wooden joint- 
 ing plane. To give a polish to all the indented angu- 
 lar parts, iu&tead of a cushion of linen or felt, a piece 
 of willow coal, or even of common coal is used, still 
 raoisteni^og it with a sponge. 
 
 When a Marble veined with several colors is to be 
 imitated, the different colors of the Marble are sepa- 
 rately diluted in weak, warm glue ; pastes are made 
 of each of these shades; they are then flattened down 
 and placed one above another, putting those of the 
 prevailing color of the Marble to be represented, in 
 the greatest number. All of these little cakes are 
 then turned upon the side and cut in slices, which are 
 immediately spread upon the trowel, care being taken 
 to direct this trowel, and consequently the colored 
 materials, in the same direction as that of the Marble 
 to be imitated. When the Breccias are copied, pieces 
 of soft Marbles, such as white and colored alabasters, 
 are incrusted; these Marbles being rubbed down and 
 their apparent surfaces polished, present, by reason 
 of their forms, the usual pebbles of the Breccias, 
 
 In general, these coats of impression, which should 
 be always at least one-fifth of an inch in thickness, 
 demand much attention and particular pains; for in- 
 stance, the colors for the surface should be properly 
 arranged, the glue water should be always warm in 
 order that the plaster may not set too quickly and 
 that the rough cast above may be well prepared, etc. 
 If Etruscan, or other figures are to be made upon 
 
MOLDINGS IN STUCCO. 
 
 139 
 
 any ground, a pounce is applied when the ground is 
 partly polished ; then all the parts which are to re- 
 ceive the incrustations are removed with small chisels, 
 gouges, and other tools suitable for this purpose, and 
 cavities thus formed of from one-fifth to one-eighth of 
 an inch in thickness, according to the outlines desig- 
 nated by the pounce. Small pots are prepared which 
 are filled with the different colors necessary, and of 
 which a paste is made with fine plaster in the palm 
 of the hand, warm glue water being mixed with it; 
 this paste is then introduced in the prepared cavities 
 with a spatula or flexible knife and compactly pressed, 
 the surface being t-moothed down as much as possible. 
 If there are several tints, or fillets of light and dark 
 shades, the two edges are scooped out anew in the de- 
 sired crockets, and the light tints of the reflex and 
 the darker ones forming the shade projected, are ap- 
 plied in the same manner. All the colors suited to 
 this work can be found in commerce. 
 
 If, after the termination of the work, any parts ot 
 it have not the desired shade, those requiring altera- 
 tion are pierced again with the etching needle or chise'. 
 and paste inserted of the shade which is wished, care 
 being taken to make these punctures so deep that they 
 will not be rubbed down, and, consequently, eff"acea 
 by the polish and the lustre. 
 
 Some stucco workers put no plaster in their stuecos, 
 but compound them simply of one part of quick-lime 
 and two parts of pulverized Marble ; others mix the 
 
140 
 
 MARBLE workers' MANUAL. 
 
 quick-lime, powder, and plaster together in equal 
 quantities, and dilute the whole in a glue prepared as 
 for painting upon Marble, but more transparent. 
 
 In general, stuccos should be executed in works 
 which are not exposed to dampness, and upon very 
 dry rough-casts of mortar, or plaster, otherwise this 
 humidity repels them, and produces black spots upon 
 the surface of the stucco, or the saltpetre w'nich intro- 
 duces itself cracks them and cau.ses them to fall. 
 
 SECTION THIRD 
 
 OF THE PAINTING UPON, AND THE COLORING OF 
 MARBLES. 
 
 OF PAINTING UPON MARBLES. 
 
 § 113. We may be able, by new processes, to facili- 
 tate the painting or the coloring of Marbles, but we 
 shall probably never surpass the effects which the an- 
 cients obtained, by methods which are now unknown 
 to us. 
 
 Upon this point, our tastes differ widely from those 
 of former times, and this is probably owing to the en- 
 franchisement of the people. When the kings held 
 immense numbers of slaves, they could easily under- 
 
Of PAIiNTlNG UPON MARBLES. 
 
 141 
 
 take those difficult and tedious works, which they 
 could not have imposed upon freemen. The great 
 aim of the slaves was to obey their masters and to 
 satisfy them — the time they counted as little. The 
 great aim of the workmen of the present day is, to 
 provide for their own wants and those of their fami- 
 lies j time is every thing to them, and the less of it 
 tiiey employ in the execution of a work, the more they 
 gain thereby. 
 
 The painting of the ancients upon Marbles was exe- 
 cuted by the same means as the mosaics, in which 
 they employed cubes after having dipped them in 
 colors. 
 
 The following process is now in use, according tc 
 M. Lisbonne : 
 
 " Take a slab of Marble of dimensions analogous to 
 the painting to be made. Commence by properly lay- 
 ing out your design, and, when it is finished, use a 
 sheet of vegetable paper for reversing the tracing ; but 
 in order that it may be more clearly reproduced upon 
 the Marble, rub the under part of this paper with 
 red or black crayon ; then press upon the lines of 
 the drawing as forcibly as possible with a spatula, and 
 the Marble which is to represent the painting will thus 
 receive a good impression You then, with a brush, 
 surround this design with any wax in a fluid state, but 
 which, when placed on the Marble, will soon solidify. 
 This hinders the acids from spreading over the Marble 
 and defacing it; it also preserves the natural color 
 
142 
 
 THE MARBLE WORKERS' MANUAL. 
 
 and polish of those parts of the M'arble which bear no 
 design. 
 
 ^ 114. " Yet, although this process can be used f(ir 
 Marbles which are polished in advance, experience has 
 demonstrated that it is a much better plan to work 
 upon Marbles which have only been rubbed with the 
 pumice-stone, and to which the polish and lustre are 
 not given until the painting has been entirely fin- 
 ished. 
 
 " The outline upon the Marble being surrounded 
 with wax, as has just been explained, it is then neces- 
 sary — in order to complete the cares demanded in this 
 operation, and to give to the design, and, consequent- 
 ly, to the painting, all the necessary distinctness — to 
 rectify the interior ; that is, to free it from any wax 
 which may have lodged there, and to cover over any 
 parts, however small, which may need it. This wax 
 would hinder the acid from taking effect, and would 
 render the painting defective. 
 
 ^ 115. "When these preliminary operations are fin- 
 ished, the acid is poured over the whole surface of the 
 design ; the more body required for the painting 
 — that is, the greater the depth of the incrustation 
 which receives it should be — the more acid should be 
 poured on, at intervals calculated according to the ef- 
 fect produced. 
 
 " Though there is no general rule given for the depth 
 of the incrustations, this depending upon taste or ca- 
 
or PAINTING UPON MARBLES. 
 
 143 
 
 price, tbey are usually of about the hundredtli part of 
 an inch in depth. 
 
 ^116. " In order to pour the acid conveniently upon 
 the design, it should be placed in little cans, specially 
 adapted to dropping it upon every place, whether 
 large or small, which admits the dilFerent parts of the 
 design. 
 
 "When you have carefully poured over the surface 
 of the design as much acid as is needed to obtain the 
 incrustations, leaving it there for about three minutes 
 in order to produce this effect, you then remove it in 
 the following manner : 
 
 " Place the slab of Marble over some vessel, and then, 
 with a sponge filled with clear water, wash the im- 
 prints which have received the acid. After this, you 
 remove the wax which had been applied to both 
 the interior and exterior, with a metallic blade, or, 
 which is the better way, by placing the slab of Marble 
 near the fire, which thus receiving a gentle heat, but 
 strong enough to restore the wax to a fluid state, be- 
 comes readily cleansed. 
 
 " The Marble and the design being thus properly 
 cleansed, the impression of the picture is formed, and 
 you can then proceed to apply the composition, or the 
 different colors suited to give, to the details as well as 
 the whole, a greater or less brilliancy, or an appear- 
 ance more or less striking, according to the subject to 
 be represented. 
 
 "This application of colors can be made either with 
 
144 THE MARBLE WORKERS' MANUAL,. 
 
 the clarified essence of turpentine, the oil of pinks, 
 thick oil, or gummed water, and is executed with the 
 different brushes and pencils ordinarily used by 
 painters. ■ 
 
 " When the colors have been tastefully distributed 
 and artistically placed, place the slab of Marble in an 
 ordinary dryer, so arranged as to receive but a tem- 
 perate heat, but sufficient to properly dry the varied 
 composition with which it has been ornamented ; wKen 
 it has become sufficiently dry, give the picture several 
 coats of varnish. 
 
 " After applying the first coat of varnish, leave it to 
 dry, in order that the second coat may penetrate it 
 better, then give the second and third coats with the 
 proper intervals. 
 
 " When the leveling of the painting and Marble ia 
 exact and complete, rub the picture with a cushion of 
 wool or cotton wadding, covered with silk or any other 
 smooth and soft tissue. The first rubbing should be 
 forcible, but regular. It is then lightly rubbed over 
 again several times. This operation, which lasts near- 
 ly an hour, restores to the painting all the brilliancy 
 which the pumice-stone had destroyed. 
 
 " The processes for gilding or silvering the pictures, 
 are analogous to those used in the painting itself. — 
 This additional operation is commenced by forming in- 
 crustations with the acid, which may either be made 
 upon certain parts of tlie picture, or excavated in dif- 
 ferent portions of the Marble. 
 
OF lAINTlNG UPON MARBLES, 
 
 145 
 
 These new incrustations permit the attainment of 
 a subdued or burnished gilding, according to tLc sub- 
 stances and processes employed. 
 
 " In the first case, for a subdued gilding, fill the in- 
 crustations with a paste composed of calcined white 
 lead and thick oil ; then pass over the parts to be 
 gilded or silvered a varnish, composed of gum lac and 
 spirits of wine ; apply a coating of oil called mixture, 
 composed of old oils and gum resin, dry it, as has 
 been already explained, and when this coating has at- 
 tained the proper degree of dryness, apply to it the 
 gold or silver leaf, smooth down the metallic leaf upon 
 the mixture, and give to the leaf the coats of varnish 
 necessary to its preservation. 
 
 " In the second case, for the burnished gilding, fill 
 the incrustations which have been made upon the 
 painting or Marble, with a red tincture known by the 
 name of assiette d dorer, a paste composed of Spanish 
 whiting and strong skin glue or glue for gilding 
 wood. 
 
 " Grive the incrustations three coats of this red tinc- 
 ture, smooth these down properly, then simply moist- 
 en that part of the painting which has been thus cov- 
 ered, with water before applying to it the gold or sil- 
 ver leaf; when this metallic leaf has also been leveled 
 and dried, burnish it with a suitable stone, and give 
 it several coats of varnish. 
 
 " In respect to the nature and composition of the acid, 
 colors, and varnish, the best acid is the nitric acid ft 
 
THE MARBLE WORKERS' MAN TAL. 
 
 th^ ty-six degrees. The colors are those which are 
 usually employed in painting upon wood or cauvas, 
 and the varnish used is that of gum copal." 
 
 Should we rejoice at, or regret such inventions ? — 
 Are these really works of art, or methods of deceiving 
 the public ? Experience mast answer these questions. 
 The use w^hich may be made of these means of vary- 
 ing the public enjoyments will soon determine their 
 value. 
 
 If these paintings are employed upon articles of 
 furniture in common use, they will meet with great 
 success, but wealthy people will always prefer the 
 genuine beauties of Marble, and men of good taste 
 will choose simple ornaments, delicate lines, and de- 
 signs in harmony with the decorations of their apart- 
 ments and the ornamental pieces hanging therein. 
 
 ANOTHER PAINTING UPON MARBLE. 
 
 ^1 17. Amateurs of mosaics have often been deceived, 
 by showing them paintings imitating mosaic work so 
 closely as to be mistaken for it when not carefully 
 examined. This kind of painting may be made very 
 useful in the ornamenting of certain edifices, stair- 
 ways, peristyles, dining-rooms, baths, and temples for 
 gardens. Marble workers may not often have occa- 
 sion to employ themselves in works of this nature, but 
 they prepare the Marbles on which these paintings 
 are made, and, on this account, we think it advisable 
 to give here the processes for which M. Ciceri, of 
 
ANOTHER. TAINTJNG UPO.N MARBLE. 
 
 147 
 
 Paris, took out a patent of invention for ten years, ii 
 September, 1837. 
 
 " These new processes," says he, " are designed to 
 replace the use of oil, glue, or of wax, in all kinds of 
 paintings executed upon stone. Marble, stucco, plaster 
 wood, cartoons, and all porous substances in general. 
 
 " The object is to facilitate the execution of orna- 
 mental paintings, and to secure their preservation by 
 remedying the inseparable inconvenience of the projec- 
 tion formed upon the marble by the paintings in oil 
 and glue, which will finally grow obscure, because they 
 are not incorporated with the material upon which 
 they are spread." 
 
 § 118. " Before speaking of the different methods 
 of execution upon Marble and other materials," say? 
 M. Ciceri, "we will give here the principles of our 
 invention, which consists in the idea of applying to 
 porous substances in order to paint and ornament 
 them, acids^ alkalies, alcohols, ethers, etc., containing 
 simple or composite coloring matters in solution oi 
 suspension. We will add that these matters, which 
 can be used simply, or mixed with the substances per- 
 forming the functions of a mordant, act in such a man- 
 ner as to incorporate themselves with the body, the 
 surface of which is painted ; and that this substance 
 can afterwards be rubbed and polished without effect- 
 ing the painting. It can also receive a coat of varnish 
 which forms an imperceptible thickness upon the body 
 thus painted. 
 
148 
 
 THE MAUBLE WORKERs' xMANUAL. 
 
 " To demoustrate better the novelty, advantages 
 and nature of our process, we will give an example of 
 its application. 
 
 " Take a piece of Marble pumiced and softened, 
 either upon its sawed front or a cut surface, and stopped 
 up and coated as if for polishing or painting ; then 
 take black ink (tannate of iron,) red ink, (Brazil wood,) 
 rose ink, (cochineal,) and blue ink, (sulphate of indigo,) 
 paint the marble with a common brush, dry it, and 
 then polish it in the usual manner. 
 
 " The polishing Ci-n be replaced by a varnish upon 
 a sizing put on after "he painting, or by a coating of 
 oil applied either colO or warm. 
 
 " In both these metiKX^'s, these coatings of oil, sizing 
 and varnish will deterioirte, as will every preparation 
 of this kind when applied to Marble ; while the paint- 
 ing executed by our process ^'ill always remain the 
 same by reason of its iudeHbA-'w, and can never be 
 destroyed since it is absorbed I) the Marble into the 
 pores of which it has been iutrod. g^.X 
 
 " This example will sufi&ce to sbcM- the conditions 
 of preparation necessary to the coloi \ which we em- 
 ploy, because, if, on one hand, it is r^cessary that 
 their fluidity should be such as to enalk iHm to pen- 
 etrate into the pores of the material; on .he other, 
 it must not be so great as to allow them v 1 spread 
 like a drop of oil falling upon a porous body ; iu which 
 sase they would no longer be subject to the gPxdancc 
 of the brush. 
 
COLOraNG BY ABSOnPTION 
 
 149 
 
 " These colors should have a suflficient degree of 
 tenuity to prevent the occurrence of these inconve- 
 niences ; these^ inks which we employ offer to us this 
 normal condition. 
 
 " It should also be observed that, the materials 
 upon which this kind of painting is executed being more 
 or less porous, the coloring substances should possess 
 a degree of tenuity relative to the same degree of poro- 
 sity." 
 
 While leaving to M. Ciceri the entire responsibility 
 of his statements, we cannot but applaud his experi- 
 ments and the results obtained, and we recommend to 
 Marble workers to endeavor to improve the art and to 
 popularize the use of paintings upon Marble and stone. 
 This may become a new branch of art which will be 
 in great demand in our commerce with foreign coud 
 tries, as well as for home consumption. 
 
 COLORING BY ABSORPTION. 
 
 § 1 19. The coloring of Marbles by the absorption 
 of colors, which some inventors have recommended as 
 a novelty, has long been successfully practised in Italy, 
 and the following re8ults obtained. 
 
 It has been discovered that the solution of nitrate 
 of silver penetrates Marble, giving it a deep red color. 
 
 That the solution of nitrate of gold produces a vio- 
 let color, shading upon purple. 
 
 That the solution of verdigris penetrates the Marble 
 deeply, communicating to it a bright green color. 
 
150 
 
 THE MARBLE WORKERS MANUAL. 
 
 That tliose of dragon's blood and gatiiboge also pen- 
 3trate it; the first producing a beautiful red, and th^ 
 other, a yellow color. 
 
 That the absorptions may be complete in the above 
 instances it is first necessary, the Marble being wel' 
 polished, to dissolve the gums and resins in warm 
 alcohol. All the dyes obtained by alcohol from Bra- 
 zil and Campeachy wood and others, also penetrate 
 the Marble deeply. 
 
 It has also been discovered that the tincture of 
 cochineal, prepared in this manner with the addition 
 of a little alum, gives to the Marble a most beautiful 
 scarlet color, penetrating nearly the eighth of an inch. 
 This strongly resembles the African Marble. 
 
 The artificial orpiraent, or sulphuret of arsenic, 
 dissolve^ in ammonia, will communicate to the Mar- 
 ble a yellow color in a few moments, which will grow 
 more vivid by exposure to the air. 
 
 To all the substances employed for this purpose we 
 should add white wax, mixed with the coloring mat- 
 ters and melted together. 
 
 If verdigris is boiled in wax and the mixture laid 
 upon the Marble with an instrument, and afterwards 
 removed from the surface when cold, it will be found 
 that the design has penetrated one-third of an inch, 
 producing a fine emerald color. 
 
 We shall enter into some details respecting the ex- 
 ecution of this work. When several colors are to be 
 used in succession without confounding them or affect- 
 
COLOR I \G BY ABSORPTION, 
 
 151 
 
 ing the clearness of the design, it is necessary to pro- 
 ceed in the following manner. 
 
 The tinctures obtained by the spirits of wine and 
 oil of turpentine should be employed upon the Marble 
 while it is hot, particularly when delicate designs arc 
 executed ; but the dragons' blood and gamboge should 
 be applied to the cold Marble ; for this they must be 
 dissolved in alcohol, and the solution of gamboge first 
 used. 
 
 This, which is quite clear, grows turbid in a short 
 time, and produces a yellow precipitate, which is used 
 for obtaining a more vivid color; the parts sketched 
 are then heated by passing a plate of red hot iron — 
 or, which is better, a saucepan filled with burning coals 
 — over the surface of the Marble, at the distance of 
 three-fourths of an inch from it. It is then left to 
 cool, after which the parts which the color has not 
 penetrated are heated in the same manner. When the 
 yellow coloring is finished, the solution of dragons' 
 blood is applied in the same manner, and while the 
 Marble is hot, the other vegetable tinctures that do 
 not require a great heat in order to penetrate the Mar- 
 ble, may also be applied. The design is finally com- 
 pleted w ith the colors mixed with wax ; much care is 
 necessary in the application of these, since the least 
 degree of heat beyond the proper point will cause them 
 to spread, for which reason they are less suitable for 
 delicate designs. 
 
 These colors should only be applied to the places 
 
152 
 
 THE MARBLE WOKKERS' MANUAL. 
 
 where they are designed to remain. Fresh water 
 should be thrown on them from time to time during the 
 operation. 
 
 These colors do not impair that of the Marble, whicd 
 should be well polished before subjecting it to these 
 operations ; it is better to use but few colors. Two 
 or three will generally be found suflBcient. 
 
 We made the assertion at the beginning of this es- 
 say, that this art of coloring Marble was not a new 
 invention. Indeed, the ancients understood the incor- 
 poration of colors into calcareous substances. Zosi- 
 mus thus expresses himself on the subject: 
 
 " The Marbles are polished to render them more 
 susceptible to the reception and absorption of colors 
 which are then applied. The operation is finished by 
 placing a mordant upon these colors, which preserves 
 the painting, and attaches it so closely to the Marble 
 that both form a part of the same body." 
 
 There is also found — 
 
 First, in the Nouvelles Economiques, vol. xxx., p. 
 146, published in 1759, an extract from a paper read 
 by the Count de Caylus, in the public session of the 
 Royal Academy of Belles Lettres, on the twenty-fourth 
 of April of the same year, which contains interesting 
 details respecting A new method of incorporating colors 
 mto Marble, and of fixing the sketch. 
 
 Second, in the Journal Economigue, 1758, p. 169, 
 A method for -penetrating the interior of Marble in 
 
or ARTIFICIAL m.\t;blk?. 153 
 
 $uch a manner as to be able to paint, upcn the surface 
 things seeming to be within. 
 
 Thanks to the progress of chemistry, we may be 
 able to find means of simplifying, and, perhaps, of per- 
 fecting this work, but we should not regard as an in- 
 vention what is often merely an improvement. We 
 can easily infer from all that we have said, that a Mar- 
 ble worker who will study all that has been said upon 
 Marble, and will occupy himself with the application 
 of the processes described, will be able to imitate the 
 finest Marbles, and to enrich this art, which has so 
 long been neglected. 
 
 SECTION FOURTH. 
 OF ARTIFICIAL MARBLES. 
 
 ^120. Should we commend the efi'orts which are made 
 to give us counterfeit productions, or ought we to op- 
 pose all such products as encouraging fraud, and in- 
 juring honorable artists ? This is a delicate question 
 when asked respecting jewelry, cloths, furniture, and 
 many other articles. It also affects Marble working, 
 for it is very evident that the artificial Marbles injure 
 the Marble workers, as much as the manufacture of 
 paste jewels injures the diamond merchants. 
 
 Notwithstanding this, if the artificial Marble should 
 
154 
 
 THE MARBLE WORKERS' MANUAL. 
 
 become a principal article of commerce, the Marbie 
 workers would be better able than any speculators to 
 manufacture Marble, and convert it iuto a branch of 
 their art. For this reason, we deem it advisable to 
 occupy some time with these artificial Marbles, the 
 success of which is somewhat problematical. 
 
 The Marble composed by man has long been known 
 by the name of stucco. Will the artificial Marble be 
 preferable to this ? This is doubtful. Will it be 
 more valuable than the plated Marble ? Experience 
 must demonstrate it. While waiting for the decision, 
 we will examine the different methods which have 
 been proposed in the course of a few years, and view 
 their respective advantages. 
 
 § 121. In 1823, the first patent of invention was 
 taken out for fifteen years, by Madame Dutillet, for 
 processes relating to the formation of artificial Marble, 
 The following statement was made by her of the dis- 
 covery which she claimed to have made : 
 
 " The artificial Marble which is composed by the 
 aid of calcareous substances, has all the ductility, pol- 
 ish, frigidity, etc., of the natural Marble. 
 
 " It can be used for basins, floorings of bath-rooms, 
 vestibules, etc. ; in short, in all places which are ex- 
 posed to drought or humidity. It can also be em- 
 ployed in the construction of churches and other pub- 
 lic buildings which dampness defaces, and frescoes 
 can be applied to it with great facility, as the colors 
 do not fade, and retain all their brilliancy." 
 
COMPOSITION OF ARTIFICIAL MARBLE. 155 
 
 COMPOSITION OF ARTIFICIAL MARBLE. 
 
 ^ 122. "To one hundred and ten pounds avoirdu- 
 pois of pulverized Marble which has been sifted, add 
 thirty-nine pounds of crushed and sifted bricks, and 
 twenty-two pounds of glass, also pounded and sifted. 
 Add to this five times the quantity of hydraulic lime, 
 and carefully stir it with water to form a paste sus- 
 ceptible of being worked with the trowel." 
 
 When a smooth layer has been applied to the sur- 
 face to be coated, draw with a brush the veins and the 
 color of the Marble which you wish to imitate. Then 
 put one pound of Venice talc in a linen cloth, thus 
 forming a packet, and sprinkle the surface that has 
 just been coated and painted. After this gloss it, 
 by rubbing it with the trowel, until the polish and 
 frigidity shall be attained. 
 
 " You can give to the paste the color which is to be 
 communicated to the ground of the Marble. For this, 
 add the color at the moment of mixing the paste, tak- 
 ing care only to employ mineral colors. Vegetable 
 colors must never be used. 
 
 " A powder may be made of crushed porcelain, si- 
 lex, sandstone, and other hard stones, or even with clay, 
 (taking care to extract all vegetable matter.) which will 
 amalgamate well with the composition of artificial 
 Marble." 
 
 Madame Dutillet seems to have been successful, as 
 
156 THE MARBLE WORKERS' MANUAL. 
 
 she sold her patent, and the purchaser took out, in 
 1824, a patent of improvement, in which the follow- 
 ing modifications are found : 
 
 § 123. The materials employed, as has been said 
 before, must be freed from all vegetable and animal 
 matter which they may contain, that they may form 
 an indestructible composition. After the substances 
 have been pulverized, they are baked long enough to 
 destroy any vegetable or animal parts, and this powder 
 is mixed with thick lime, or hydraulic lime, according 
 to the dampness or nitrifying of the localities. All 
 the colors employed are also purified by fire. 
 
 Before applying the material upon the stone, the 
 surface of it should be washed with water, and scraped 
 if necessary ; after which, any vegetable matter which 
 may exist upon the stone is destroyed by the means 
 of acids, applied with a brush of amianthus, or moun- 
 tain flax. Ornaments, and even figures, may be 
 painted by the aid of an economical process, consist- 
 ing in the use of plates of copper, or of waxed car- 
 toons, which are cut out to form the necessary holes. 
 
 H'hen the coatings are finished, and the painting is 
 applied to the Marble or the ornaments, it is polished 
 in the ordinary manner. But, to obtain a greater 
 brilliancy, a composition of the essence of turpentine 
 and white wax melted by the fire, may be used. 
 
 This composition is laid upon the surface with a 
 brush, and then rubbed ^'ith a skin ; and in this way, 
 the essence having consumed all foreign substances 
 
COMPOSITION OF ARTIFICIAL MARBLE. 
 
 157 
 
 which may have 1 >dged on the surface, the wax unites 
 with the material by the action of the lime, and a 
 most beautiful polish is attained. 
 
 This new material can also be molded into all kinds 
 of ornaments in relief, busts, statues, chimney-pieces, 
 etc. 
 
 § 124. The matter did not rest here. On the 28th 
 of January, 1825, the patentees of Madame Datillet 
 took out a new patent of addition, in which it is stated 
 that calcareous matters, oyster shells, marl, and talc, 
 should be calcined in a crucible or oven, and then re- 
 duced to powder, to which is added an equal part of 
 hydraulic lime, slaked by immersion or otherwise. — 
 The whole should be passed through a silken sieve; 
 and when the composition is to be molded, it should 
 be tempered like plaster. The inventor adds that the 
 polish is obtained by means of Venice talc, and that 
 the coloring can also be laid on the paste. 
 
 § 125. Another process was described in June, 1840, 
 by M. Chenard, of Paris, for which he took out a pa- 
 tent for five years. We will let him speak in his own 
 behalf: 
 
 1. " I make a preparation, composed of good linseed 
 oil reduced and the essence of turpentine, which I mix 
 with litharge and umber when the oil is of an inferior 
 quality. 
 
 2. " I spread this preparation upon the surface to 
 be marbled, either with a brush or with a metal 
 scraper. 
 
158 
 
 THK MARBLE WOEKCRS' MANUAL. 
 
 3. " I then dry the article thus coated. 
 
 4. " I give it a second coat of the said preparation, 
 and even a third if the body which I wish to Marble 
 IS not sufficiently covered by the first and second ; a 
 thing which may be easily known if the surface of the 
 body can yet be seen in spite of the coatings already 
 applied. The true ground of the Marble is placed 
 upon these preparatory coatings, the color of which it 
 is to be formed being mixed with it. 
 
 5. " I have a trough filled with water, and larger 
 than the object to be marbled, on which T throw the 
 color ground up with the varnish of linseed oil, weaker 
 than that used in the preparation, to which the essence 
 of turpentine and a little table oil is added. 
 
 6. " With the breath and a small stick, I arrange 
 this thick substance upon the water in such a manner 
 as to give to the foreign body which I afterwards dip 
 in it, all the different shades, designs, and peculiari- 
 ties which are found in nature. 
 
 7. " I then dip the foreign body, coated with the 
 first preparation, and well dried, in the trough, and 
 draw it forth again ornamented with veins and shades, 
 naturally arranged, which the most skillful painter 
 could not reproduce, since this is a simple elfect of 
 nature, while his would be but an incorrect copy. 
 
 8. " I then give it a coat of fine varnish, or two if 
 necessary — it being understood that it should be thor- 
 oughly dried after each operation, before commencing 
 the following one. 
 
C0MP0S1TI0>1 OF ARTIFrCIAL MAIIBLE. 
 
 159 
 
 9. " Finally, to obtain the sraootliness and appear- 
 ance of genuine Marble, I give a polishing stroke to 
 the whole, which neither impairs the brilliancy of the 
 colors, or aifects the surface to which the composition 
 has been applied." 
 
 § 126. Three years later, M. Riotet made farther 
 discoveries in this art. His idea was to veneer with 
 artificial Marble as a substitute for ros.'wood, ma- 
 hogany, and citron wood, both for the inside of boxes, 
 dressing and night tables, and the top of various arti- 
 cles of furniture ; besides which, he composed an arti- 
 ficial mosaic, which he calls Parisian mosaic. He 
 makes the following statement of a process which he 
 claims to be both simple and economical : 
 
 " Substitute for slabs of natural Marble, those of 
 the artificial Marble, of equal solidity and somewhat 
 less weight. Increase the beauty of the article manu- 
 factured by the variety of colors which this artificial 
 Marble may be made to assume, and, above all, by the 
 application of a genuine mosaic, designed with all the 
 art which is used in the composition of mosaics upon 
 stone. This is the object which I have had in view, 
 and which I have finally been permitted to attain. 
 
 " The composition which I use for the manufacture 
 of artificial Marble designed for veneering, and for the 
 fabrication of the mosaic, is a mixture. The two sub- 
 stances, when united, acquire a great solidity ; the 
 gum arable diminishes the excessive draught of the 
 gelatine during the drying process and the cabinet 
 
160 
 
 THE MARBLE WORKERS' MANUAL. 
 
 work ; in a word, by the uuion of these two substances, 
 a complete substitute for Marble is obtained in all its 
 applications to veneering, and also to the fabrication of 
 articles of furniture, dressing-cases, ornamental clocks, 
 etc." 
 
 COMPOSITION OF THE SLABS OF MARBLE. 
 
 Weigh equal quantities of gum arabic and gelatine, 
 hydrate each separately, only softening the gelatine 
 enough to render it entirely flexible. 
 
 Place the gum arabic entirely in solution in the 
 smallest possible quantity of water; when it is dis- 
 solved, strain it through a coarse cloth in order to 
 separate all foreign substances. 
 
 When both are thus prepared, melt the gelatine in 
 a porcelain vessel placed in a water-bath, leave it to 
 boil until a species of skin produced by the scum which 
 the gelatine always contains is formed upon the sur- 
 face of the liquid. 
 
 During the boiling of the gelatine, prepare the dif- 
 ferent colors which are to shade and to form the veins 
 and coloring of the Marble. 
 
 These colors should be fine, and ground in water ; 
 those most used are silver leaf, white lead, chrome yel- 
 low, carmine lake, English green, and all the colors 
 which are generally found in commerce — the gum and 
 gelatine receiving them all. 
 
 These different colors are ground in water, and 
 placed separately in vessels designed for this purpose. 
 
CASTING THE SLABS. 
 
 161 
 
 PREPARATION FOR CASTING THE SLABS. 
 
 § 127. The slabs of Marble are cast upon a polished 
 Marble of an inch and a half in thickness and about 
 thirty-five inches square, which is placed upon a strong 
 wooden frame resembling a table; care being taken to 
 place this Marble upon a perfect level, so that the ma- 
 terial in running, may be of an equal thickness. 
 
 Spread a little suet over the Marble to prevent the 
 adhesion of the material. 
 
 The Marble being thus prepared, place a wooden 
 frame of about one-third of an inch in thickness upon 
 it, to receive and retain the material when it is cast. 
 
 As regards the size of this frame, supposing that 
 slabs of twenty-five inches square are wished, it will 
 only be necessary to cast them twenty-one or two 
 inches, for, in the succeeding operation of tanning, 
 the slabs will expand three or four inches which will 
 give them the desired size. 
 
 As so slender a frame will not rest well upon the 
 Marble, it should bo supported by thick wooden wedges, 
 clasped with a cabinet maker's hand screw. 
 
 CASTING. 
 
 ^ 128. When a slab of Marble of four colors, yel- 
 low, green, black and white, is to be made; after the 
 gi4atine is boiled and the gum is well dissolved, take 
 
162 THE MARBLE \V01:KERi' JMANUaL. 
 
 a sufficient quantity of each of these colors to color a 
 quart in the whole of the gum and gelatine used in 
 the operation, place these separately in small' earthen 
 pans, take the solution of gum, and pour an equal 
 quantity in each of these pans in order to dilute the 
 colors, (care being tak.en that every particle of color 
 is diluted,) then take the gelatiue, which must be 
 strained through a cloth to make it clear, and pour 
 the same quantity into the pans in which the colors 
 have been diluted with the gum. Stir the whole well 
 with a brush, that the mass may be well mixed and 
 the color uniformly distributed through the liquid, Icu 
 it rest for a few moments in order to give the bubbles 
 of air which have formed during the agitation, time 
 to come to the surface; then remove those with a 
 skimmer until the liquid is entirely free from them. 
 This is very important in obtaining smooih slabs of 
 Marble. When this has been done, pour these four 
 diiferent colors into a vessel especially dc signed for 
 this purpose, and which may be described as resem- 
 bling four funnels joined together, the tulies resting 
 against each other. 
 
 It can be easily understood that, on leaving the 
 orifice of each of these tubes, the colors mix and unite 
 in spreading over the Marble, thus foruiing the rich 
 and varied shades of the finest Marbles, lapis, por- 
 phyry, etc. 
 
 This may be done in a diiferent matmer when imi- 
 tationij of ribbotted stones are wished. For this, pour 
 
TANNAGE OF THE SLABS OF MARBLE. iGo 
 
 each of the colors separately upon the Marble, taking 
 care to spread them in small pools over the whole sur- 
 face ; thea, with a wooden spatula, form the ribboned 
 shades which are wished, by lightly moving the mix- 
 ture. 
 
 In both these operations, the last in particular, it 
 is impossible to prevent the formation of bubbles of 
 air in the agitation. The best method of destroying 
 them is, after the material has congealed, to take a 
 fine wet sponge, and burst these bubbles by gently 
 striking them, When this has been done, take a thin 
 plate of sheet iron about twelve inches square, with 
 the edges raised in such a manner as to hold burning 
 coals ; pass this over the surface, as near to it as pos- 
 sible without touching the material. 
 
 This intense heat will melt the surface of the slab, 
 and close the vacuum formed by the bubbles of air. 
 
 TANNAGE OF THE SLABS OF MARBLE. 
 
 § 129. The most important operation in the com- 
 position of artificial Marbles is that of tannage, with* 
 out which it would be impossible for the cabinet ma- 
 ker to scrape and polish the material. It would be 
 too malleable for any use. 
 
 It is very evident that a soluble matter like the 
 gelatine and gum would mc'Jt by the heat caused by 
 the scraper and cling to it in particles, in which case 
 instead of smoothing them, the tool would produce a 
 ' contrary effect. 
 
164 
 
 THE MARBLE WORKERS MANUAL. 
 
 The result of this tannage is, to render the gum and 
 gelatine insoluble, even in boiling water, and to trans- 
 tor m it into a substance resembling horn. In this 
 state, indeed, the material is scraped and polished in 
 the same manner as horn. 
 
 ^ 130. For this operation, a tank lined with lead 
 of about twenty-seven inches in length, and fifty in 
 breadth is required, as room is necessary to change 
 the place of the slabs which are placed in it. 
 
 This tank is designed for the reception of the liquid 
 possessing the property of tanning. 
 
 This liquid is composed of one part of the sulphate 
 of alumina based on potash, and twenty parts of 
 water. 
 
 Pour this liquid into the tank, and place the slabs 
 in it, leaving thera until their entire thickness is 
 thoroughly penetrated by the liquid. To be sure of 
 this, by cutting off a small corner it can be seen how 
 far it has penetrated, that part which has absorbed 
 the liquid will present a shining appearance, vrhile that 
 which is not penetrated will be of a dull color. 
 
 When the liquid has entirely penetrated the slabs, 
 draw them from the tank, wash them in clear water and 
 wipe them carefully ; then fix them on strong wooden 
 frames by the aid of zery strong plaits of thread 
 coated with glue. Glue a light cloth upon the frame 
 m such a manner as to sustain the weight of the slabs 
 during the drying process, and then expose them to 
 
FABRICATION OF MOSAICS, 
 
 165 
 
 the open air upon benches, leaving space enough be- 
 tween them to permit the air to circulate freely. 
 
 When the drying is complete, moisten the cloth and 
 plaits that hold the slab in the frame, carefully, in 
 order to avoid breaking the slabs. 
 
 FABRICATION OF MOSAICS. 
 
 § 131. This composition of gum and gelatine can 
 not only be made to assume the form and appearance 
 of Marble, but with small fillets of various colors, 
 ornamental work, such as mosaic, may also be ob- 
 tained. 
 
 The different experiments which I have made con- 
 vince me that one could, by my process, attain the 
 perfection of the ancient mosaics; this would be of 
 great importance to many of the arts, such as jewelry, 
 bronze, and cabinet work in particular, in which noth- 
 ing of the kind has ever been known. 
 
 It is easy to imagine the effect which a mosaic of 
 flowers or any other design would produce upon an 
 article of furniture. 
 
 Until the present time, mosaic work has kept many 
 amateurs at a distance by its high price. By my pro- 
 cess it can be easily used in various arts, since a dnni- 
 nution of at least four-fifths of its price is procured. 
 
 To make a boquet of flowers, or a rose, for instance, 
 the design must first be executed in water colors by a 
 skillful "artist. This design is then divided into 
 b(|uares like the patterns for needle-work. By this 
 
IGG THE MAKBLE AVORKERs' MANUAL. 
 
 means this rose will be divided into at least a tliou- 
 sand little squares containing all the shades. Thes8 
 squares traced on the design show the number of fil- 
 lets necessary to the formation of the rose, these be- 
 ing shaded precisely like the design. 
 
 By joining these square fillets together, the model 
 will be exactly reproduced. 
 
 For the fabrication' of these fillets, slabs of plain 
 colors should be made by the process which I have 
 just described for the Marble. 
 
 132. In executing a design, it is important to 
 study carefully the shades of each flower. It is evi- 
 dent that at least six shades are needed to form the 
 rose ; namely, white, which forms the light, light rose, 
 rose, deep rose, red, and dark red which gives the 
 shade. 
 
 Proceed in the same manner for all other flowers o? 
 different colors. 
 
 When the different colored slabs which are needed 
 in the composition of the mosaic are dry, remove 
 them from the frames in the manner which I have 
 just described for the Marble. Soak them in the 
 trough in pure water for about aquarterofan hour 
 until they are flexible, then place the slab thus mois- 
 tened between two blocks of wood so that the surface 
 may be entirely covered, leave it thus for twelve hours 
 in order to give the water time to penetrate it thor- 
 oughly and then proceed to the cutting of the fillets. 
 
 For this operation in which the fillets should all 
 
UNCHANGEABLE CIIIXESK PAINTINGS. 
 
 167 
 
 be of the same size, this regularity can only be ob- 
 tained by a fillet-cutter, formed with precision. 
 
 GLUEING OF THE FILLETS TO FORM THE DESIGN. 
 
 § 133. When the design is to be formed by the col- 
 lection of the fillets, the design which is divided into 
 squares must be used. 
 
 We will suppose this design to be divided in one 
 direction in fifty lines, which are themselves crossed 
 by fifty others, thus giving a total of two thousand 
 five hundred fillets; these fillets should be glued in 
 straight lines of fifty fillets each, calculating the shades 
 which should compose them from the pattern, with the 
 aid of a tool designed to keep the fillets in place while 
 they are being glued. 
 
 When the rows have been thus glued and carefully 
 numbered, they should be placed upon each other, ac- 
 cording to their numbers, in such a manner as to form 
 a block, which should be surrounded with strong pa- 
 per or thin wood in order that the fillets may not be 
 unglued in cutting this block in slices. 
 
 UNCHANGEABLE CHINESE PAINTINGS. 
 
 § 131. These paintings are executed upon paper, 
 and covered over with a very transparent and well 
 tanned sheet of gum and gelatine, prepared by the 
 same process as the slabs of artificial Marble. 
 
 When the drying process is complete, scrape ono 
 side of the sheet with a cabinet maker'.< scranor until 
 
168 
 
 THE MARBLE WORKERS' MANUAL. 
 
 it is perfectly smooth. Then detach it from the frame 
 and cut it in the shape and size of the articles which 
 it is to cover. 
 
 Use gum arable dissolved in water for the applica- 
 tion of the designs ; spread a coating of it over the 
 transparent sheet, lay on the design and glue it by 
 means of a strong pressure under a press. 
 
 One important precaution should be taken in order 
 that the glue used by the cabinet maker in veneer- 
 ing, may not penetrate through the paper; namely, to 
 spread a coating of strong glue upon the side which 
 is to be veneered, afterwards sprinkling it with well 
 dried Bougival white by means of a silken sieve. This 
 operation should be repeated twice at least; it is then 
 left to dry, and afterwards inlaid in veneerings and 
 cuttings. 
 
 ^ 13,3. The provinces also endeavored in 1842, to 
 produce artificial Marbles. M. Mondon, of Vienna, 
 claimed to have found amateiial suitable for this pur- 
 pose in the department of Charente. He calls it 
 gypseous alabaster — a soft substance which must first 
 be hardened in the following manner : 
 
 Put the pieces to be worked in a furnace, placed 
 upon sheets of zinc, which are formed in such a man- 
 ner as to hold water. This furnace should be built so 
 that the pieces may not come in contact with the fire; 
 leave them for an hour exposed to the action of a heat 
 not strong enough to bake them, for this substance bc- 
 niggypseous, they would thus be redu^^cd to baked i il.-is- 
 
UNCHANGEABLE CHINESE PAINTINGS, 
 
 169 
 
 ter and would have no solidity. When the material is 
 well heated and freed from all humidity, the pieces 
 should be sprinkled with tepid water in which a quanti- 
 ty of alum, proportioned to the number of pieces, has 
 been dissolved ; they may even be soaked in it for a 
 moment. The tepid water which has not been absorbed 
 by the material is then removed, and cold water is 
 placed in them. 
 
 By this means they attain such a degree of hard- 
 ness, that the final polish can only be given after suc- 
 cessively using the sand-stone, pumice-stone, and 
 shave-grass ; care being taken to constantly sprinkle 
 the piece, as it will otherwise be impossible to polish 
 it ; lastly, a little white wax is spread upon a linen 
 cloth, and, by rubbing with this, the finest white Mar- 
 ble is obtained. 
 
 The colored Marbles are made in the same manner, 
 with the exception of the dissolution of the color 
 wished for the Marble in the water which is used to 
 harden it, using Campeacliy wood for the red, indigo 
 for the blue and white Marble, etc. 
 
 ^ 136. M. Buisson of Bordeaux, also took out a 
 patent on the. 14th of December, 1842. He gives the 
 following recipe. 
 
 A block of eighty inches in length and twenty-five 
 in width, should be placed in a sheet iron basin about 
 three feet in deptii, and somewhat longer and broader 
 than the block. Place this basin in a kiln heated to 
 
170 
 
 THE MAKBLE WOEKERS' MANUAL. 
 
 twenly-eiglit degrees, and maintain the same degree 
 of heat for five hours. 
 
 At the end of this time, fill the basin with boiling 
 water in which a solution of two and one-fifth pounds 
 of common alum in twelve quarts of water has first 
 been poured. 
 
 The basin should be kept filled with the same wa- 
 ter for seventy-two hours, a gentle heat being main- 
 tained in the kiln, in order that the block of Marble 
 may become thoroughly impregnated, and acquire the 
 hardness of Marble. 
 
 The Cognac plaster produces statuary Marble of 
 the greatest purity. 
 
 The Rouen plaster produces the same, but with less 
 whiteness. 
 
 For Marbles of two and a half inches in thickness 
 for fronts of buildings, mantels of chimney pieces, 
 pavements, etc., the same process is used, but the 
 plaster stones must first be sawed to the required di- 
 mensions and placed in the basin at the distance of 
 two inches apart, and baked for five hours in the 
 kiln heated to the degree we have mentioned, aftei 
 which, water prepared in the manner before described 
 is poured upon them, and the whole is left undisturbed 
 for twenty-four hours. 
 
 ^ 137. In order to obtain different tints, the fol- 
 lowing drugs are dissolved in the alum water. 
 
 For black; four-fifths of a grain, Troy weight, of 
 bulaque, three-tenths of a grain of verdigris, and as 
 
OF TERRACES. 
 
 171 
 
 much copperas, in twelve quarts of water and two and 
 one-fifth pounds of alum, avoirdupois. 
 
 For rose ; three and a half pints of the decoction 
 of old Brazil wood, in twelve quarts of water, and two 
 and one-fifth pounds of alum. 
 
 For yellow; two and one-fifth pounds avoirdupois 
 of woad or dyers' weed, in the above quantity of 
 alum water. 
 
 SECTION FIFTH. 
 
 OF TERRACES. 
 
 ^ 138. If Marble workers confined themselves to 
 working upon Marble alone, we should deem it unne- 
 cessary to give practical instructions concerning the 
 construction of antique areas, or pavements of terraces. 
 But they often have to execute works which properly 
 belong to the province of stone cutters, in which they 
 do not succeed, either for want of proper foundations 
 on which to work, or because they have not good ma- 
 terials, or for want of mastics solid enough to resist the 
 inclemency of the seasons. It is therefore of the great- 
 est importance, that they should be placed in posses- 
 sion of information which may enable them to' over- 
 come the obstacles with which they have to contend. 
 
172 
 
 THE MARBLE WORKERS' MANUAL. 
 
 Vitruvius, after having spoken of the stuccos of his 
 time and described their composition, said that they 
 made use of similar methods to form areas upon ter- 
 races iu courtyards and apartments. Before the com- 
 position had dried, they incrusted small pieces of 
 colored Marble in it to ornament it. Sometimes they 
 only mixed crushed tile with the coating, which gave 
 it the appearance of a kind of red granite, and also in- 
 creased its solidity. This last composition was called 
 opus signinum, from the city of Signia, celebrated for 
 the excellence of its tiles. 
 
 § 1S9. The art of constructing areas of the pave- 
 ments of terraces, says M. Hericart de Thury, being 
 now nearly lost or forgotten, it is very desirable to 
 find some one sufficiently versed in the theory and 
 practice of this art to draw up some elementary instruc- 
 tions, designed to enlighten workmen in respect to the 
 principles of the ancients in relation to the construc- 
 tion of antique areas. 
 
 ^140. M. Laudier, former chief of the engineering 
 batallion, in his campaigns had closely studied the 
 antique areas and the pavements of Venetian terraces, 
 and has employed his leisure in preparing an elemen- 
 tary treatise upon this subject. We shall extract 
 from this whatever information may be useful to 
 Marble workers, masons, and stone cutters. 
 
PREPARATIO-N OF THE AREA. 
 
 173 
 
 CHAPTER FIRST. 
 
 PREPARATION OF THE AREA. 
 
 OF THE FIRST COATING. 
 
 ^ 141. Pavements and Venetian terraces are built 
 in apartments, ground floors, over vaults, and apon 
 frame work covered with boards, not only in covered 
 places but also in the open air. In all cases the man- 
 ner of constructing them is precisely the same; care 
 must be taken, however, in laying the first coating 
 upon a ground floor, that the plane surface should be 
 dry and the earth well trod down and perfectly level. 
 
 When this is done, the overseer of the work draws 
 marks in the angles of the apartment, two inches from 
 the ground, and then, with a rule, connects these 
 marks by a thick, black line. This ground is then 
 covered with the first coating, consisting of old plaster, 
 work and bricks, which is spread over it smoothly and 
 pressed down to the height of the black mark. This 
 is then again compressed with the beetle, and is moist- 
 ened with lime water during this operation by means 
 of small brooms. 
 
 To level this mass, the rule and level are used. 
 
174 
 
 THE MARBLE WORKERS' MANUAL. 
 
 OF THE SECOND COATING. 
 
 § 142. Another black line is drawn around the 
 apartment, about three inches above the first. This 
 line determines the thickness of the second coating, 
 which is also composed of plaster work and old bricks, 
 prepared in the following manner : the plaster work 
 and bricks are first pounded together, and then mixed 
 with lime and sand, thus forming a thick mortar. 
 
 When a sufficient quantity of the niortar has been 
 prepared, it is laid on the first coating to the thickness 
 of three inches, this mass is then spread over the sur- 
 face and harrowed with an iron rake, and is then 
 smoothed with a lath, the level being used. It is then 
 moistened with lime water and compressed again with 
 the beetle; pounded with an iron rammer until the 
 coating resembles a wall freshly plastered, and finally 
 pressed down again with the beetle. When this sec- 
 ond coating is nearly dry, the third, called the red 
 coating, is applied. 
 
 COMPOSITION OF THE RED COATING. 
 
 ^ 143. For this purpose, old or new tiles are pound- 
 ed, and then passed through a coarse sieve ; when a 
 sufficient quantity has thus been prepared, it is put iri 
 heaps, after first separating any pieces that may have 
 mixed with it. 
 
 To make the mixture, two heaps are formed, ono 
 
MANNKR OF APPLYING THE RED COATING. 175 
 
 containing two-thirds of the crushed bricks, and the 
 other one-third of lime; these are thrown by alternato 
 shovelfuUs into a third heap, thus amalgamating the 
 bricks and lime; this dry mass is then turned over 
 with an iron rake until it is thoroughly mixed. 
 
 When this has been turned several times, it is sprin- 
 kled with water, and then stirred again with the rake, 
 until it has acquired the consistency of partially com- 
 pact mortar ; which it will soon do if the tiles were 
 well dried when mixed. 
 
 MANNER OF APPLYING THE RED COATING. 
 
 ^ 144. The mortar is spread over the surface in the 
 manner before described. This coating should be 
 fronj two to two and a half inches in thickness. If 
 the second coating is found too dry to yield to the 
 red mortar and to properly unite with it, the whole 
 floor must be sprinkled, and when the surface is suffi- 
 ciently moistened, the mortar is thrown on it in heaps, 
 and then evenly spread over with the iron rake. 
 
 In ordinary cases, the rule and level are applied to 
 every part of the room, and the whole is carefully lev- 
 eled. The whole thickness of the three coatings, par- 
 ticularly in rooms upon the ground floor where damp- 
 ness is to be feared, should be from seven to eight 
 inches; it is a good plan to arrange little trenches by 
 which the water can run off. 
 
 "When the leveling is finished, the whole surface 
 
176 
 
 THE MARBLE WORKERS' MANUAL. 
 
 should be consolidated and made perfectly smooth 
 with the iron beetle. 
 
 The leveling, in this part of the work, is made iu 
 the following manner : 
 
 When the red mass is spread out, a well planed lath, 
 which should be as long as the width of the room, is 
 laid upon the ground. Two workmen, each in the 
 corner of the apartment, place this lath lengthwise, 
 and then, by drawing it along, always keeping it on 
 the same level, they remove the surface of Uie mortar, 
 constantly applying the level in order to secure a per- 
 fect leveling. 
 
 The coating of mortar being thus perfectly leveled, 
 it is beaten with the iron rammer and the beetle. The 
 red mortar iu the corners of the room should be beat- 
 en as soon as spread on, as it dries much sooner than 
 that in the middle. 
 
 OF THE FOURTH COATING 
 . ^ 145. A white coating is spread over the red coat 
 which is called lo stabilido or il bianco ; this coating 
 is prepared in the following manner : 
 
 A quantity of white or greyish marble is pounded 
 into small fragments, or rather grains, which are then 
 passed through a sieve of iron wire, fine enough to 
 only permit the passage of that resembling coarse 
 sand Two parts of this coarse sand is then mixed 
 with one part lime, and the whole is amalgamated un- 
 til it acquires the consistency of a stiff mortar, which 
 is called by the workmen, il bianco. 
 
APPMCATION OF THE MARBLE MORTAR 177 
 
 OF THE APPLICATION OF THE MARBLE MORTAR. 
 
 ^ 146. When a sufficient quantity of the Marble 
 mortar has been prepared, it is placed in a trough and 
 carried into the room in which the pavement is made, 
 and then spread over the red coating in the following 
 manner : 
 
 A workman with a mason's trowel throws the mor- 
 tar in small heaps in straight lines, about three inches 
 apart ; a second workman then spreads them evenly 
 over the whole surface of the floor with a round steel 
 trowel. 
 
 The thickness of this coating of Marble mortar 
 should be from three to three and a half inches. 
 
 Any color that may be wished may be given to this 
 mortar, by using yellow, green, or any other colored 
 Marble ; but white Marble is usually preferred, as the 
 designs appear to better advantage on it, as well as 
 the pieces of Marble. 
 
 When the coating of white mortar begins to dry, 
 the design should be lightly traced upon it ; after 
 which the second part of the process begins, which 
 consists in applyin^( the different colored Marbles 
 lj«*v/'/ to ncvj^ne ''le design which has been traced. 
 
178 THE MARBLE WoRKERS' MANUAL, 
 
 CHAPTER SECOND. 
 
 WORKING OF THE MARBLE. 
 
 METHOD OF BREAKING THE MARBLE. 
 
 § 147. While part of the workmen are employed ir. 
 laying down the first, second, third, and fourth coat-, 
 jugs, another workman sorts the different colors of 
 Marble suitable to the design. Fragments of old, 
 broken Marbles, which are no longer of use, will serve 
 for this purpose. Indeed they are those best suited 
 to this kind of work, since one side of them is polished. 
 In respect to those used for the mortar, their form is 
 indifferent, since they are only used after having been 
 crushed. ' 
 
 The different sorts of Marbles are broken witli a 
 mallet into small pieces, the largest of which should 
 not exceed two and a half or three inches in length 
 and as many in width, and with no regularity of form ; 
 these are then thrown in heaps according to their 
 colors. 
 
 These heaps are next passed through a large iron 
 sieve, in order to separate the large and small pieces 
 thus forming two distinct portions. 
 
OF THE APPr.tCATIOM OF l lIE MARBLE. 
 
 179 
 
 When all the outlines of the design have been traced 
 on the floor, and the color of each of them has been 
 decided, the workmen commence by making framings 
 of small pieces of Marble of a suitable color, which 
 they fit in the niass with as much regularity as possi- 
 ble, taking care always to place their largest side on 
 the line of the design, and the irregular sides within 
 the framing. 
 
 When these little pieces are properly placed, the 
 workman presses them down with his thumb, continu- 
 ing through the lines in this manner before proceeding 
 to the inside of the framing, which does not demand 
 the same regularity. 
 
 OF THE APPLICATION OF THE MARBLE. 
 
 ^ 148. For this process, the workman fills his apron 
 pockets with pieces of the diflFerent colored Marbles 
 needed in the design ; he then kneels, and, following 
 the outline of the design, presses the small pieces of 
 Marble with his thumb exactly side by side, in the 
 partially softened mass which forms the fourth coating. 
 
 The fran)ing of the design being formed with these 
 pieces, which should be as nearly as possible of the 
 same size, he proceeds to the inlaying of the centre 
 ground, commonly called the mirror. 
 
 When tlie mirror contains no design, he simply takes 
 pieces of Marble of what should be the prevailing 
 color ; or, what is better, he uses Marbles of different 
 colors, which produces a beautiful efi"ect. 
 
(80 * THE MARBLE VVOllKERS' MANUAL. 
 
 MANNER OF PAVING THE MIRROR. 
 
 ^ 149. The pieces of the kind and color of Marbles 
 which should prevail in the mirror should be larger 
 than the others, and also as flat as possible ; the 
 workman spreads them over the floor, leaviug them 
 
 be arranged by chance, only taking care that they 
 shall not be too close together. 
 
 The mirror being covered, all those pieces should 
 be laid flat which, in falling, took some other position, 
 or turned their polished side downwards. To place 
 them in this manner the workmen use several planks, 
 upon which they kneel and thus advance, working di- 
 rectly before them. 
 
 These large fragments, flatly placed at a proper 
 distance from each other, give the prevailing color to 
 the mirror. After this, all the spaces between the 
 large fragments are filled up with smaller pieces of 
 difi"erent colored Marbles ; such as white, red, yellow 
 black, reddish, greenish, etc., thus forming a mixture 
 of colors beautifully shaded. 
 
 To ascertain whether the colors produce a good ef- 
 fect, the part which is finished is sprinkled with a 
 broom dipped in water; this draws forth all the bril- 
 liancy of the colors. 
 
 The floor being paved in the manner described, the 
 pressure by the stone cylinder next succeeds. 
 
USE OF HIE STONE .YLINDER. 
 
 181 
 
 USE OF THE STONE CYLINDER. 
 
 § 150. Before using this cylinder, the whole floor 
 should be well sprinkled with water, so that not only 
 the white coating may be softened, but also the red 
 mortar which is beneath it. This being done, the 
 cylinder should be carefully placed, so as not to dis- 
 arrange the small pieces of Marble, and first rolled 
 over the edge of the mirror nearest the door. The 
 work should always commence at this point, in order 
 to avoid the effacing of the drawing in going in and 
 out. 
 
 The cylinder rolls forward and backward, and the 
 place over which it passes should be well sprinkled 
 frequently with water. 
 
 The corners of the casements, and all places which 
 cannot be reached with the cylinder, should be pressed 
 with the beetle, and beaten down with the iron 
 rammer. 
 
 When the cylinder has been rolled long enough to 
 force the small pieces of Marble deeply into the red 
 coating, so that it can be perceived that the white mass 
 begins to form a kind of coat, and that the whole is 
 sufficiently incrusted, it is again pressed down with 
 the beetle, and smootlied over with the iron rammer. 
 
 USE OF THE SMALL POLISHER. 
 
 ^151. The coating of Marble having been well 
 rolled by the cylinder, pressed down and beaten, and 
 
182 
 
 THE MARBLE WORKERS' MANUAL. 
 
 sunk to the red mass, leaving only the coat of white 
 mortar visible upon the surface ; the workmen com- 
 mence polishing in every direction with the small 
 polisher. 
 
 For the recesses of the windows and all other places 
 in which the small polisher cannot be used, the work- 
 man uses a piece of hone or coticular stone largo 
 enough to be grasped with both hands, with which he 
 polishes all the corners of the apartment, also filling 
 up all interstices which may have formed. 
 
 In proportion as the surface is polished, a workman 
 supplied with a trowel, a hod filled with white Marble 
 mortar, and various small pieces of Marbles, fills up 
 the empty spaces, and sinks new pieces where they are 
 wanting ; he then sprinkles the place, and passes the 
 polisher over it. The Marble mortar which is forced 
 out by the sprinkling and polishing, is in a liquid 
 state ; this the workman removes with a steel trowel, 
 forcibly scraping the part until nothing more remains 
 on the surface. 
 
 FORCING DOWN THE LARGE PIECES OF MARBLE. 
 
 § 152. When the mirror is entirely inlaid with large 
 pieces of Marble, some of which are found to rise above 
 the others, or to be detached from them, they are 
 forced down again with a quadrangular wooden prism, 
 This prism is placed upon the piece of Marble, and 
 the opposite side lightly struck, to sink it 
 
USE or THE LARGE POLISHER. 
 
 183 
 
 This coating of natural Marble being smoothed dowii 
 f?ith the small polisher, leveled and worked with the 
 steel trowel, and a slight degree of polish attained, the 
 large polisher or large grindstone is then used. 
 
 USE OF THE LARGE POLISHER. 
 
 ^ 153. The large polisher consists of a grindstone 
 of twenty inches in diameter, with a part of its cylin- 
 drical form removed ; it then rests on a flat surface 
 of about two inches, with which the instrument rest? 
 upon the pavement ; this gives it more effect when set 
 in motion. 
 
 This grindstone, being very heavy, should be worked 
 by two men, one holding the polisher very near the 
 head, and the other the middle of the handle. 
 
 During this operation the pavement is carefully 
 pprinkled, and the empty spaces which may have 
 formed are filled up with the Marble mortar. 
 
 When a very large polisher is used, two men will 
 not be sufficient to work it; a rope is then attached 
 to the front of the grindstone, with which the third 
 workman draws it towards him, while the other two 
 shove it from their side. 
 
 When the pavement is sufficiently smoothed by the 
 action of the large polisher, (for the polish is not yet 
 begun,) the work is again commenced in divisions not 
 exceeding twelve superficial feet. Each of these must 
 be worked in every direction for an hour and a half, 
 after which a workman kneeling, with a piece of hone or 
 
184 
 
 THE MARBLE WORKERS' MANUAL, 
 
 coticular stone, placed flatly, passes over the part ■which 
 has just been worked, rubbing it with a circular move- 
 ment. 
 
 The operation of polishing draws out upon the sur- 
 face of the pavement a liquid matter, arising from the 
 sprinkling and the diluted mortars. When the work- 
 man has rubbed sufiiciently with the hone, he removes 
 this liquid with the blade of the steel trowel, passing 
 it circularly until the Marble appears to be already 
 half polished. 
 
 USE OF THE IRON RAMMER. 
 
 ^ 154. The preceding work being finished, a workman 
 takes an iron rammer, with which he gently beats the 
 surface, in order that the pieces of Marbles may be 
 forced still deeper into the white and red masses, 
 which are softened by the frequent snrinkling, and 
 unite themselves with the entire mass. 
 
 In this operation, as in the preceding one, if any of 
 the small stones have become deranged by the rubbing 
 or pressing down, they should be replaced with the 
 Marble mortar, and forced down with the wooden 
 prism. 
 
 The Marble coating of the mirror having been well 
 polished the first time, as has bee?i said before, the 
 same is repeated, using the small polisher for polishing 
 the borders made of the small stones ; these are more 
 easily worked than the middle, which requires the use 
 of the large polisher, and more time. 
 
THIRD AND FOURTH POLISHING. 185 
 
 After a second working, a piece of hone is again 
 used for removing the liquid mass drawn out by the 
 polislni g, and the surface is scraped with the round 
 trowel. As this mass has become very thin by fre- 
 quent sprinklings and is no longer of use, it is re- 
 moved in a bucket, and the pavement is finally beaten 
 with the iron rammer. 
 
 THIRD POLISHING. 
 
 ^155. When the pavement is somewhat dry, it is 
 polished again, as in the first and second polishing 
 and the whole is worked anew with the large grind- 
 stone. 
 
 FOURTH POLISHING. 
 
 ^ 156. The same process is repeated for the fourth 
 time, always observing to polish the corners and bor- 
 ders with the small, and the mirror with the large 
 polisher. Not as much time, however, is required for 
 this. The half of that demanded by the previous op- 
 erations will be sufficient. 
 
 This work being finished, the whole pavement is 
 rubbed with wheat bran on a cushion of wool. When 
 this has been sufficiently rubbed, it is swept with a 
 horse hair brush, after which the borders are marked 
 with a black crayon, in order that they may not be 
 passed in applying the color. 
 
186 
 
 THE MARBLE WORKERS MANUAL. 
 
 PREPARATION OF COLORS AND THEIR USES. 
 
 ^ 157. The red is simply diluted with water and 
 then applied to the coating of red Marble. 
 
 The yellow and green are prepared in the following 
 manner : 
 
 Bruise a quantit}" of juniper berries, and boil them 
 in a few pints of water, then pour off the water from 
 the residuum ; this water is used in grinding the green 
 or yellow, which is mixed well with the white mass of 
 the Marble. 
 
 The colors thus prepared are laid on the green and 
 yellow borders with a large brush, serving only to col- 
 or those parts of the mortar visible between the seams 
 of the pieces of Marble forming the last coating; this 
 gives to these mortars the color of the Marbles which 
 are encrusted with them. 
 
 In a few days, the colors being well dried, the whole 
 apartment is again cleansed with the bran and a 
 woolen cushion. This final operation produces an 
 apartment wholly paved with perfectly polished Mar- 
 ble, and resembling a most beautiful mosaic. 
 
 SUBSEQUENT OPERATION NECESSARY TO PRE- 
 SERV'E AND PERFECT THE PAVEMENT. 
 
 ^ 158, The entire mass having acquired a perfect 
 dryness and solidity, which takes place in three 
 months, another mortar of fine white Marble is pre- 
 
CPEUAXrON TO PRESERVE THE PAVE.MKNT. 187 
 
 pared, with which the whole pavement is again cov- 
 ered. This mortar should not be too thick. It is 
 spread with a steel trowel, and the cavities are filled up 
 which have formed during the drying of the pave- 
 nient. The superfluous mortar is then removed, and, 
 after the whole is well dried, linseed oil is passed over 
 the whole by means of woolen cushions, which produces 
 a fine gloss, and increases the perfection of the work; 
 this operation should be repeated every year. 
 
THE MARBLE WORKERS* MANUAf 
 
 188 
 
 CHAPTEK THIRD. 
 
 LESS COSTLY VENITIAN PAVEMENTS. 
 FIRST METHOD. 
 
 § 159. We offer the following less costly method 
 of constructing pavements, to those who do not wish 
 to incur the expense of those executed in Marble 
 
 The floor of the apartment is first prepared with 
 the first, second, and third coatings, as has been de- 
 scribed. Then, instead of spreading upon the red 
 joating, which is the third, the coating of white mor- 
 tar ; after having provided small round and flat peb- 
 bles, or any other kinds of broken stones that may bo 
 wished, they are spread at hazard over the whole sur- 
 face of the red coating, taking care that they may be 
 near enough each other. 
 
 They are then rolled with the stone cylinder in the 
 same manner as the Marble pavements, until the stones 
 are forced down into the red coating so as not to ap- 
 pear on the surface. 
 
 When, after a few hours, the work commences to 
 
LESS EXPENSIVE METHOD. 
 
 189 
 
 dry, the lines are drawn, necessary to encircle the de- 
 sign which is to be given to the following coating : 
 
 This upper coating, which is laid on according to 
 the design, is the same as that designated in the se- 
 cond chapter, under the name of the mortar of white 
 Marble, and consists of Marble, pounded and re- 
 duced to sand and mixed with lime ; but with the dif- 
 ference that this mass is not white like the first, but 
 of the different colors which have been delineated on 
 the design. 
 
 These colored mortars are composed like the white 
 mortars, of green, yellow, red and other marbles, 
 reduced to a kind of coarse sand, and afterwards mix- 
 ed with lime. They are spread with the steel trowel 
 over the different divisions of the design, according 
 to the colors to- be given them ; this coating is then 
 pounded with the iron rammer and leveled with the 
 trowel. This coating of colored mortar should be 
 from an inch to an inch and a half in thickness. 
 
 When the floor begins to dry, a coating of its re- 
 spective color is spread over each division of the de- 
 sign, after which it is cleansed and polished with a 
 woolen cushion. At the end of a few months, the 
 floor is again covered witli colored mortars, thinner 
 than the first ; these are spread and carefully smooth- 
 ed, after which linseed oil is passed over it, and it is 
 polished with bran. 
 
!90 
 
 THE MARBLE WORKr.RS MANUAL. 
 
 SECOND METHOD. 
 
 § 160. In hotels, restaurants, warehouses, galleries, 
 cellars, and all other places in which a dry and solid 
 floor without ornament is required, the fourth coating 
 of colored Marble is useless; it is sufficient to force 
 down repeatedly the gravel or stone which has been 
 used with the stone cylinder, afterwards consolidating 
 and leveling it with the iron rammer. 
 
 THIRD METHOD. 
 
 §161. Ordinary pavements can also be made by 
 taking common stones and pounding and reducing 
 them to coarse sand, which is then mixed with lime 
 and old plaster stuff. When this mass- is well mixed, 
 and has acquired the consistency of a thick mortar, it 
 is spread upon the third or red coating; .this layer 
 should be from an inch and a half to two inches in 
 thickness. It is then smoothed and leveled with the 
 cylinder, and pounded with the iron rammer. A stony 
 mass is thus formed, which is solid and impenetrable, 
 and is not impaired by time or temperature. 
 
 This pavement may be used in the open air, and 
 upon frame-work as well as terraces, as it is perfectly 
 impervious to water. 
 
 In this complicated work, everything depends upon 
 the manner in which the described operations are exe- 
 <?uted. They have already been sufficiently tested, 
 
THIRD METHOD. 
 
 191 
 
 aud, if tlie work does not succeed, it should be attri- 
 buted to unskillfulness, and not to the defect of the 
 process. We see daily, bitumen terraces, which are 
 perfectly solid, and others which are imperfect; nev- 
 ertheless, this rule is \3 old as civilization, and we owe 
 to it the works which centuries have not been able to 
 destroy. But to this rule, another should succeed, 
 namely : — that work which is well done should be well 
 paid for 
 
liftl) JJart. 
 
 MANUFACTURE OF TOY MARBLKd, 
 
 WAX VARNISH, MOSAIC BY ABSORPTION OF COLORS; 
 ARTIFICIAL MOSAICS, LETTERS FOR INSCRIPTIONS, 
 PAINTINGS FIGURES IN RELIEF. 
 
 This part of our Manual is rather a complement of 
 details affecting Marble working than a branch of the 
 art of the Marble worker, 3 et we have thought it ad- 
 visable to give it place, lest the public should deem 
 our work incomplete. It treats of the manufacture 
 of toy marbles, of mosaics by absorption of colors, of 
 artificial mosaics, of letters for inscriptions, of paint- 
 ings upon Marble, of figures in relief, and of the color- 
 ing of Marbles. All of these details possess a certain 
 interest, if not for Marble workers, for professional 
 builders, and fur amateurs who like to inform them- 
 selves concerning certain processes, by which results 
 are obtained which seem to present many more diffi 
 oulties than tbey really possess. We will begin with 
 tcconnts relating to the manufacture of toy marbles. 
 
MANUFACTURE OF TOY MARBLES. 
 
 SECTION FIRST 
 
 MANUFACTURE OF TOY MARBLES. 
 
 ^ 162. Every manufacture which supplies the wanw 
 of numerous purchasers is always sure of finding & 
 rapid sale, and, if the manufactured article is apt to 
 be broken or lost, it is evident that this sale will De 
 greatly increased. This is true respecting the manu 
 facture of toy marbles. It does not properly belong 
 to the special province of the Marble worker, but it is 
 one of the products of the art of Marble working, ana 
 is therefore entitled to a place in this little treatise 
 upon the use and manufacture of articles in Marble. 
 We give the following extract from a statement made 
 by a manufacturer of Strasbourg. 
 
 Tlie first operation consists in breaking the calca- 
 reous mineral into fimall pieces, proportioned to the 
 size of the marbles which are to be made. This may 
 be done in the quarry, by meyns of mallets resembling 
 those used by road laborers. These pieces are then 
 sorted and matched in equal sizes. 
 
 Tiie second operation consists in removing the 
 rouiihesL asperities of the prepared pieces, thus begm- 
 niug to give tlieni a round form. During the time m 
 which the a[)paraLus for rounding prepares one hun- 
 dred pounds, the apparatus for rough-newing furnisiics 
 
^94 
 
 THE MAUBLE WOUKEJ, s' MANUAL. 
 
 one thousand, and the millstone for scraping, two 
 thousand pounds. 
 
 ^ 163. The operation of scraping is performed by 
 a millstone, set in motion by some moving power; it? 
 arrangement does not differ much from those com- 
 monly used in flour mills. 
 
 The upper or moving millstone is commonly of 
 about one-third less weight than that of ordinary 
 millstones, in order that the pressure may not act too 
 violently uj)on the asperities of the Marble, and that 
 this millstone may present greater facilities for being 
 raised or lowered at pleasure. For this purpose, the 
 vertical shaft of the millstone should turn in a brass 
 socket. 
 
 § 164. The most convenient dimensions of the 
 millstones are the following : 
 
 The stationary millstone should be of twenty-five 
 inches in diameter, and from eight to ten inches in 
 thickness. 
 
 The turning millstone, which moves with great ve- 
 locity, requires nearly or quite the power of two men 
 for ordinary work. 
 
 The drum of the millstones is formed by a wooden 
 hoop, four and one-third inches in width, and placed 
 on a level with the upper edge of the stationary mill- 
 stone which it includes in its circumference : this hoop 
 ifi itself surrounded with a rim of six and a half 
 inches in height, and is designed to keep back the cal- 
 
MANUFACTURE OF TOY MARBLES. 
 
 195 
 
 careOus matter whicli the movement of the millstono 
 may throw towards the edges, 
 
 § 165. The third operation (rough-hewing), con 
 sists in commencing to round the calcareous matters 
 by means of friction against each other, and also 
 against the cylinders of hard stone : this is done by 
 an apparatus which is composed of a hollow cylinder 
 of hard stone of 3-28 inches in length, and 21-65 
 inches in diameter ; the rim of the cylinder should be 
 3-14 inches in thickness. 
 
 Another cylinder of hard stone of 35-43 inches in 
 length and 6-61 in diameter, having a groove in the 
 middle to admit an iron shaft of 2-16 square inches, 
 also aids in this operation. 
 
 The brass trays forming the cylinder are each fur- 
 nished with a hinge, and have a flange extending into 
 the inside of the cylinder ; these trays are attached to 
 the cylinder by two pins and by wooden wedges. 
 
 The calcareous materials are introduced into the 
 cylinder through the openings, and the cylinder is 
 moved by a pulley. 
 
 ^ 166. To obtain the greatest effect the quantity 
 of calcareous matter introduced into the cylinder 
 should not exceed two-thirds of the space between the 
 cylinders. 
 
 The proper degree of velocity is from forty to forty- 
 five turns per minute, a greater volocity than this pro 
 duces the effect of a fly wheel, which makes the sub- 
 stances immoveable, thus depriving them of friction. 
 
196 
 
 THE MARBLE WORKERS' MANUAL. 
 
 The calcareous dust should be thrown out Trom 
 time to time, as this diminishes the action of the fric- 
 tion if it accumulates in the cylinder. 
 
 § 167. The fourth operation consists in complete- 
 ly rounding the calcareous materials by the use of 
 another apparatus, composed of a wooden cylinder or 
 cask with r. double bottom of 65 inches in length and 
 52 in diameter. 
 
 Also, a cylinder of hard stone, or several cylinders 
 of a total length of 49-21 inches and a diameter of 
 6-49, with a groove of 2-16 inches in the middle to 
 admit an iron shaft. 
 
 The staves of the interior compartment are held 
 back to the trays by a grooving, and those of the outer 
 compartment are confined with pins. 
 
 The calcareous matters are passed through the 
 openings into the first and second compartment of the 
 tray, the velocity of which should equal from forty to 
 forty-five turns per minute. 
 
 ^ 168. The following process is employed in pro- 
 portion to the degree of dead polish wished, and ac- 
 cording to the facility of rounding the materials ; this, 
 however, is sufficient only for common marbles. 
 
 The rounding is obtained solely by friction; all the 
 dust arising from the calcareous matter is then eX' 
 tracted from the cask, and a small quantity of emery 
 in pieces of the size of a bean is mixed with it; thig 
 quickly completes the rounding and gives the desired 
 polish. 
 
MANUFACTURE OF TOY MARBLES. 
 
 197 
 
 After the manufactured Marbles are takeu from the 
 apparatus, the remainder of the emery may be ex- 
 tracted by the sifting of the dust, for a second use. 
 
 About two-tliirds of the Marbles have a dead polish 
 which is attained by the use of these first four pro- 
 cesses ; the remaining third, which are of white or 
 colored Marbles, have a shining polish, obtained by 
 an additional process. 
 
 § 169. This shining polish is obtained by the pro- 
 cess of the friction of the calcareous matters, and by 
 the use of the second apparatus, ai raiiged in the fol- 
 lowing manner : 
 
 The stone cylinder is rejected. In its place, a 
 wooden cylinder covered with zinc, with its compart- 
 ments also lined with zinc, is used. 
 
 After having obtained the perfect roundness and 
 the dead polish described in the fourth operation, the 
 Marbles are placed again in an apparatus not lined 
 with zinc, a small quantity of emery is introduced, and 
 about twc- hundred turns are given it. 
 
 The globes are then taken from this apparatus, and 
 placed again in that lined with zinc. If they are of 
 white Marble, a small quantity of emery dust is mixed 
 witli them to complete the polishing. 
 
 ^ 170. If the globes to be polished .ire of other 
 Marble, or of sliaded, calcareous stone, a small quan- 
 tity of the powder of calcined tin is introduced into 
 the apparatus. A part of the common Marbles with 
 
198 
 
 THK MARBLE WORKERs' MANUAL 
 
 a dead polish, aleo consists of colored globes, which 
 take a shining polish by coloring. 
 
 ^171. This sixth procesa is executed thus : 
 
 When the fourth operation is finished, the globes 
 arc placed in the apparatus lined with zinc, and the 
 preparations for coloring arc poured upon thein — not 
 all at once, but from time to time in small quantities, 
 and after having turned the apparatus several times. 
 
 When the coloring preparations have adhered to the 
 globes, they are Snished by giving theui a final pol- 
 ish, which is quickly obtained by introducing a small 
 quantity of the dust of calcined tin into the apparatus. 
 
 Despite the difficulty of coloring compact, calcare- 
 ous substances durably, without heating them, this 
 coloring may be executed both cold and dry, by the 
 use of the following preparations : 
 
 For red, take dragons' blood in drops, reduce this 
 gum to powder, and grind it in a glass mortar with 
 spirits of wine or a urinous lixivium 
 
 For the manufacture of common globes, the dragons' 
 blood may be used alone without any preparation. 
 
 For vermilion, dissolve a quantity of vermilion in 
 urine and quick-lime 
 
 For brown, take pitch mixed with turpentine. 
 
 For yellow, use the gum of ganiboge, reduced to 
 powder, and ground with spirits of wine in a glass 
 mortar. 
 
 For yellow, the extract of saffron, dissolved in uvme 
 and quick-lime, may also be used. 
 
MANUFACTURE OF T( Y MARBLKS. 
 
 199 
 
 For golden yellow, take equal quantities of crude 
 salts of ammonia, white vitriol, and verdigris; grind 
 them together, and when they are reduced to a fine 
 powder, dissolve them in spirits of wine or a urinous 
 lixivium. 
 
 For green, use green wax dissolved in a urinous 
 lixivium. 
 
 ^172. Although these processes have been found 
 very successful, the following improvements have late- 
 ly been eifected : 
 
 The pieces are roughly rounded by groovings made 
 in the turning millstone. A wooden tray descends 
 until the calcareous pieces just rest in the groovings 
 with which its under surface is furnished, and which 
 correspond exactly with the groovings of the upper 
 surface of the turning millstone. 
 
 The depth of the groovings in the turning millstone 
 forms half the diameter of the globes which are to be 
 made; that of the groovings in the wooden tray form- 
 ing the other half. 
 
 The wooden tray is penetrated by a vertical shaft, 
 passing through an aperture arranged in the middle 
 in such a manner that the shaft can turn without 
 touching the tray. This tray can be raised or lowered 
 at will, by a small gear adjusted to a little shaft, 
 which raises the tray by means of two leathern straps 
 rolling round this shaft. 
 
 The wooden tray is prevented from turning by 
 means of brass sockets fixed by screws upon the upper 
 
200 
 
 THE MARBLn WORKERS' MANUAL. 
 
 part of the tray ; these sockets slide in grooves ar- 
 rauged in the uprights of the framework. 
 
 A stream of water is constantly poured on the cal- 
 careous matter through the aperture which is arranged 
 in the tray. 
 
 In proportion as the rounding process advances, the 
 volume of the material diminishes, and the wooden 
 tray descends, constantly touching, though lightly, the 
 calcareous matters, which thus obtain a round form 
 more speedily. 
 
 When the globes are well rounded, they are again 
 placed between two millstones, arranged in the same 
 manner as those for rounding with the exception that 
 the stone tray is replaced by a wooden one ; the globes 
 thus turn between two wooden trays until the polish 
 is obtained. This process seems to merit the prefer 
 ence. 
 
 ^ 173. To color the Marbles which are of a light 
 and single shade, the following method is adopted : 
 
 The colors generally used are blue, red, and green : 
 these mineral colors are reduced to a fine powder.— 
 The globes are placed in the millstone used in polish- 
 ing, upon which a few pinches of the color are thrown, 
 several turns are then given to the millstone ; after 
 which, the color being thus evenly spread over the 
 surface of the globes, a few pinches of sulphur, finely 
 crushed and sifted, are thrown upon them; the null- 
 stone is then turned more rapidly, iind, as the globes 
 become heated, the sulphur burns the color, and thus 
 
VARIOUS RECIPES. 
 
 201 
 
 gives to the globes a finer lustre. In the manufacture 
 of Marbles of serpentine, or other hard material, a 
 grindstone with groovings is substituted for the mill- 
 stone of which we have just spoken, or, which is bet- 
 ter, one in brass, also grooved. For this, much more 
 water '(S neceesary, but the same result is obtained as 
 in the- i./j.a.ry Marbles. 
 
 SECTION SECOND. 
 VARIOUS RECIPES. 
 
 peCl'^F QF A WAX VARNISH FOR THE PRESERVATION 
 ur STATUES AND MARBLES EXPOSED TO THE ACTION 
 OF THE AIR. 
 
 ^ 174. This varnish is obtained by melting two parts 
 Tjf wax, in eight parts of very pure essence of turpentine. 
 
 When the statues are removed from the ateHer of 
 the sculptor, this varnish should be carefully applied, 
 neating it and spreading it so that it may not be of. 
 sufficient thickness to destroy the harmony of the 
 figures. 
 
 This varnish may be used upon statues wliich have 
 been cleansed with water dashed with hydrochloric 
 acid, but they must be perfectly dry when the applica- 
 tion is made. 
 
202 TKn; jiarbf.e workers'' manual. * 
 
 A similar operation upon busts, statues, vases, cups, 
 or any other ornauients in plaster, will preserve them 
 from injury. 
 
 SECTION THIRD. 
 
 MOSAIC UPON MARBLE BY ABSORPTION OF 
 COLORS. 
 
 § 175. It is difficult to resolve the problem of the 
 effect of the absorption of colors, both in respect to 
 their lustre and durability, and also of the use which 
 should be made of them. Many of the secrets of the 
 ancients, when discovered, benefit us but little at the 
 present time, since our tastes differ widely from theirs, 
 as well as our fortunes, and the style of our houses. 
 
 Few of our buildings are rich enough to warrant 
 the decoration of their pavements with the veritable 
 mosaics ; the painted mosaic seems hardly suitable to 
 fill its place, yet this decoration may be employed in 
 objects of less importance ; and what we have already 
 said in respect to the utility of paintings upon Marble, 
 may be also applicable to the mosaics of which we are 
 speaking, and which are, in truth, but a species of 
 painting. 
 
 The art of making mosaics in Marble by the absorp- 
 tion of colors, was first discovered in Italy. 
 
mosaic' by absorption of colors. 
 
 203 
 
 This process has been expcriiiiented upon by two 
 English chemists who have obtained the following re- 
 sults : 
 
 1. The solution of nitrate of silver penetrates the 
 Marble deeply, communicating to it a deep red color. 
 
 2. The solution of nitro muriate of gold does not 
 penetrate it as deeply, but produces a very fine violet 
 color. 
 
 3. The solution of verdigris penetrates the Marble 
 tiie twelfth of an inch, giving to the surface a fine 
 light green color. 
 
 4. The solutions of gum dragon and of gamboge 
 also penetrate it; the first producing a fine red, and 
 the second a yellow color. 
 
 To cause these two substances to deeply penetrate 
 it, the Marble should be first well polished with pum- 
 ice stone, after which the substances should be dis- 
 solved in warm alcohol, and applied with a small 
 brush. 
 
 All the dyes of wood, those of Brazil, Campeachy, 
 etc., made with alcohol, penetrate the Marble deeply. 
 
 5. The tincture of cochineal, prepared in this man- 
 ner with the addition of a little alum, gives a fine 
 scarlet color to the Marble, penetrating it one-fifth of 
 an inch. This Marble resembles the African closely. 
 
 6. The artificial orpiment, dissolved in ammonia 
 and laid on the Marble with a brush, produces a yel- 
 low color in a few moments, which becomes more bril 
 liant when exposed to the air. 
 
THE MARBLE WORKERS' MANUAL. 
 
 7. To all the other substances employed in this use, 
 we should add white wax mixed with coloring matters ; 
 this when placed on the marble, in a melted state, 
 soon penetrates it. 
 
 8. If the verdigris is boiled in the wax and then 
 laid melted upon the marble with an instrument, it 
 will be seen on its removal when cold, that the design 
 has penetrated the surface to the depth of from one- 
 third to half an inch ; the color is a very pure green, 
 resembling that of the emerald. 
 
 ^ 176. To facilitate this work, we shall enter into 
 a few details respecting it. Thus, when several colors 
 are to be successively used without blending them and 
 destroying the clearness of the design, it is necessary 
 to proceed in the following manner. 
 
 9. The dyes obtained by spirits of wine and the oil 
 of turpentine should be laid on the marble when it is 
 heated, particularly in the execution of delicate de- 
 signs, but the dragons' blood and gamboge may be 
 used on the marble when cold. For this they must be 
 dissolved in alcohol, and the gamboge used first ; the 
 solution of this gum is quite clear, but soon becomes 
 troubled and gives a yellow precipitate, which is used 
 to obtain a brighter color. The lines drawn by this 
 solution are then heated by passing a plate of iron or 
 a chafing dish filled with lighted charcoal, over the 
 surface of the marble, at the distance of half or two- 
 thirds of an inch from it. It is then left to cool, after 
 which the lines which have not been penetrated by the 
 
IMITATIONS OF MOSAICS. 
 
 205 
 
 color are heated in the same manner. When tl\e yel 
 low coloring has been applied, the solution of dragons- 
 blood, which should be concentrated as much as pos- 
 sible, is employed in the same manner as that of the 
 gamboge; and while the Marble is warm, the other 
 vegetable tints which do not require so strong a de- 
 gree of heat in order to penetrate the Marble, may 
 also be applied. The design is finally completed by 
 the colors mixed with wax, which should be applied 
 with the utmost care, as the slightest excess of the 
 proper degree of heat will cause them to spread, for 
 which reason they are less suited to delicate designs. 
 
 IMITATIONS OF MOSAICS. 
 
 § 177. If the new mosaics are not admired, the 
 imitations can scarcely be expected to meet with more 
 favor. 
 
 However, they are sometimes demanded of Marble 
 workers, and, when the price of the genuine mosaics 
 is objected to, they endeavor ' to make the imitations 
 in the best possible manner; if one can give the name 
 of mosaic to those medleys of indiscriminate colors 
 which have been attempted in some buildings; L'' Ho- 
 tel des Finances. Hue de Rivoli, for instance. 
 
 The desire for the production of novelties has given 
 rise to several processes, which are announced as invon 
 tions, but which are often only the reproduction of 
 abortive attempts, or abandoned methods. 
 
•206 
 
 THE MARBLE WORKERS' MANUAL. 
 
 We do not say that the process of M. Dubreuil 
 should be classed among these, but we give it as pub- 
 lished by the government, without guaranteeing it. — 
 His design is, to make imitations of mosaics, by the 
 incorporation of colors in all kinds of calcareous 
 stones, or gypseous matter, either smooth or sculp- 
 tured. He gives the following method of proceed- 
 ure : 
 
 Select calcareous or other stones ; those which are 
 fine grained and white, are best suited to mosaics, 
 arrange these and smooth tliera as much as possible. 
 These stones should be perfectly dry before the execu- 
 tion of the proposed designs. 
 
 The penetrating colors suited to dyeing, as well as 
 inks (without gum,) are preferable ; the artist should 
 study these in order to prepare the tones best suited 
 to this work. For this purpose, he can make trials 
 upon pieces, to obtain the effects of the Marble which 
 he wishes to produce, as well as the purity of the 
 touch. 
 
 After the tracing of the design, you put in the col- 
 ors which you deem suitable with a brush, leave them 
 to dry, and then pour vitriol diluted with water, over 
 the work. 
 
 With pumice and the same water, you then carefully 
 smooth and unite the pieces, taking care to remove 
 the mud which is formed. 
 
 The whole being washed and wiped by means of a 
 soft stone and the same water, you polish and dry it 
 
IMITATIONS OF MOSAICS. 
 
 207 
 
 H second time, and, in order to give it more vigor, voti 
 pass oil lightly over the colors with a brush, after 
 which you again leave it to dry. You then obtain a 
 tine polish by rubbing it with a dry linen cloth, which 
 completes the operation. 
 
 To execute mosaic and other paintings upon gypse- 
 ous stones and alabaster, after having selected the lay- 
 er, coating, or block, which you deem suitable, you 
 arrange your stone according to the demand, sculp- 
 tured, or with a plane surface. 
 
 You then expose it to a heat sufficiently intense to 
 calcine to the state of plaster, all the surfaces which 
 you wish to paint and harden, to the depth of one-fifth 
 or sixth of an inch ; you then cool it, and pass a file 
 or sand paper lightly over the surface, to cleanse any 
 parts which may have been soiled by fire. 
 
 You then trace the design, and put in, with the 
 brush, the colors which have already been described, 
 taking care to use a sufficient quantity to enable them 
 to penetrate deeply enough. 
 
 The small pieces, which do not crack like the larger 
 ones in hardening, may be entirely calcined. 
 
 Your design being executed, you pour alum water 
 over the whole work, steeping the stone in it until it 
 rejects it. 
 
 When you judge it to be entirely hardened, you 
 wash the piece well in order to remove the refuse of 
 the color remaining on the surface, and finish this 
 stone in the same manner as the preceding ones, with 
 
208 
 
 THE MARBLE WORKERS' MANUAL. 
 
 the sole difference of using alum, in preference to the 
 vitriolic acids 
 
 You can give any forms you choose to the stones, 
 whether in plane surfaces, or in reliefs, statues, vases, 
 tables, chimney-pieces, and other articles. 
 
 ^ 178. To obtain from gypseous materials, molded 
 articles resembling Marble, after having first calcined 
 the gypsum, reduce it to a very fine powder. The 
 molding is executed in the following manner : 
 
 Take a mold of great solidity, and place the gyp- 
 sum in it in thin layers, taking care to compress each 
 layer in order to strengthen it. 
 
 The desired thickness being obtained, place several 
 folds of linen or cloth upon it, moistened with com- 
 mon water, or with a solution of alum, which is pre- 
 ferable; and submit the mold in this state, to a strong, 
 quick pressure, which instantly causes the moisture 
 to penetrate to the bottom of the mold through the 
 gypseous powder, thus giving it the proper consist- 
 ency. The article is then taken from the mold and 
 left to dry, after which it is set up and polished. If 
 common water is used in the operation, the surface of 
 the piere must be washed with a solution of alum when 
 taken from the mold. 
 
 ^179. In order to obtain the accidental shades 
 which the difi"erent kinds of Marble naturally present, 
 coloring matters (the mineral ones are better,) should 
 be mixed with the gypseous powder. This mixture 
 thrown at hazard into the material which is to fill the 
 
IMITATIONS OF MOSAICS. 
 
 209 
 
 mold, produces, by employing the methods before de- 
 scribed, solid musses, imitating the natural Marbles. 
 
 To obtain mosaics, fill up the mold a little way with 
 pulverized gypsum, either colored or white, then dex- 
 ♦^^erously remove a portion of this coating, which has 
 been sunk in such a manner as to leave the design lo 
 be produced upon the bottom of the mold, and is thus 
 hollowed out; fill up these cavities with a colored 
 eypseous powder, sunk in proportion, and finally fill 
 the mold to the desired thickness with the gypseous 
 powder, always compressing the layers, and proceeding 
 as before described ; a mass of great purity, bearing 
 upon its surface the design in mosaic, is thus obtained. 
 
 If the pieces demand a greater thickness, fill up the 
 mold with plaster tempered with pure water, place 
 this upon the prepared materials when it begins to 
 set, and place it under a strong pressure ; this produ- 
 ces the same effect as the linen, and gives to the arti- 
 cle the desired thickness by its inseparable adhesion 
 to it. 
 
 When taken from the mold, the surface of the 
 piece should be moistened with alum water. This 
 method may always be employed when colored mate- 
 rials are to be worked. 
 
 The same results are also obtained in the execution 
 of all kinds of relief, whether alto or basso, these may 
 also serve, if necessary, by reason of 'Jieir Larduess, 
 IS molds for works of art. 
 
210 
 
 THE MARBLE WOLKERs' MANUAL. 
 
 All of these articles are polished with pumice and 
 polishing stone. 
 
 Stuccos and other moist materials, when prepared, 
 placed in a mold and covered over with dry, powdered 
 plaster, and subjected to these operations, also acquire 
 great degree of hardness. 
 
 ANOTHER IMITATION OF MOSAIC. 
 
 §180. M. Simon, of Strasbourg, describes a simple 
 method of giving to stone the appearance of Marble. 
 Upon a stone covered with thick varnish, he says, 
 trace the design which you wish to obtain in mosaic ; 
 pour acid upon the stone after having fiist surrounded 
 the sketch with a waxen border, the lines are thus 
 acted upon, and a greater or less depth, as may be 
 wished, obtained; then wash it well with water, and 
 fill the hollow lines with different colored stuccoa, 
 which soon harden ; after this, polish the surface, acd 
 you have the designs in mosaic. 
 
 SECTION FOURTH. 
 
 CLEANSING OF MARBLES. 
 
 § 181. The scraping of Marbles, which have been 
 blackened or turned green by the air and dampness, 
 has long been considered inexpedient, since, whatever 
 
CLEANSING OF MARBLE?, 
 
 precautions may be taken, the work which is to \>o 
 restored is always scratched more or less, and it is 
 impossible to practice it in the excavated parts with- 
 out breaking the delicate sculptures, or causing sad 
 incongruities between the designs in relief and thofe 
 which are sculptured. It is therefore very desirable 
 to find a wash that may be substituted for this de- 
 structive process. Several persons have described 
 powders and waters, with which experiments have 
 been made at the Luxembourg and other places, but 
 none seem to be satisfactory. Alkalized water, pre- 
 pared with potash, has also been proposed, as well as 
 water dashed with hydrochloric acid. 
 
 In respect to soiled articles, which Ifave not been 
 tarnished by exposure to the open air; to restore their 
 original color, it is sufficient to use the potash water, 
 then to wash them in pure water, and finally, to finish 
 them with the chlorureted water. Soap and water is 
 often sufficient in such cases ; it is spread on with a 
 brush, and introduced into the sculptured parts by a 
 somewhat stiff pencil, 
 
 I have heard a kind of varnish made of white wax 
 hicfhly extolled as a preservative; this is laid on by 
 means of heat, and is afterwards rubbed with a cushion; 
 it is said that this varnish was used by the ancients, 
 and that the preservation of their chefs d' ouvre may 
 be attributed to this; but proof has never been given 
 of the efficacy of this method, which seems, like the 
 rest, to be difficult of application. 
 
212 
 
 THE MAP.BLE WORKER 5' MANUAL. 
 
 The water and hydrocbloric acid have been success- 
 fully tried in the Place de la Concorde^ upon the 
 statues and stone balustrades which ornament it, and 
 the architect who superintended its use, considered it 
 the most economical and expedient method known. 
 The essential point in this operation is, to always use 
 water which is perfectly clean, and in an abundant 
 quantity. Showering by a garden pump, or a syringe 
 with several holes, appears to me to be the best me- 
 thod of removing the chlorureted water from all the 
 places in which it may rest despite the washing with 
 the brush. 
 
 SECTION FIFTH 
 OF POZZOLANA. 
 
 § 182. Poezolana may be classed among the num- 
 ber of natural cements which arc often needed by the 
 Marble-worker, but which are rarely used on account 
 of the difficulty of procuring them. This is a natural 
 cement, formed by volcanic scorias and lavas. It was 
 much used by the Ronians for aqueducts, reservoirs, 
 and all works exposed to a constant moisture. Poz- 
 zolana, when mixed with the requisite proportions of 
 good lime, sets in the water, and forms a mortar so 
 
PUMICE STONE. 
 
 213 
 
 adhetiive and compactly united, that it can resist the 
 action of the waves without suffering the least change. 
 
 There are several varieties of pozzolaua, namely : 
 First, The gravelly and compact, and the basaltic poz 
 zolaua. The compact lava and basalt, reduced to 
 small splinters or gravelly fragments, either by nature 
 or by pulverization in the mills used by the Dutch for 
 crushing a softer lava, known by the name of tras or 
 Andernach stone, also furnishes an excellent pozzo- 
 lana, which may be used either in or out of the water. 
 
 Second. The porous pozzolana, formed by spongy 
 lavas, which are crumbly, and reduced to powder or 
 small irregular grains. This is the common pozzolana 
 which abounds in the suburbs of Bayes, Pozzuoli, Na- 
 ples, Rome, and in many parts of the Vivarais, etc. The 
 ferruginous origin of these lavas having passed through 
 different modifications, varieties in the colors of those 
 volcanic earths have been produced ; there are red, 
 black, reddish, grey, brown, violet, and other colors. 
 All of these, when mixed with lime, possess the pro- 
 perty of acquiring a great solidity in water. 
 
 PUMICE STONE. 
 
 § 183. This stone, so light, porous, and useful in 
 almost all the arts, in Marble working most especially, 
 is used for polishing, either in powder or in fragments • 
 it removes the asperities, and prepares the material 
 for receiving the last polish. 
 
•>I4 
 
 THE MARBLE \VORKEns' MANUAL, 
 
 M. Daubenton was the first to observe and remark 
 that the pumice stones were composed of particles of 
 an almost perfect glass, and M. Dolomieu has also 
 made many reliable observations respecting the origin 
 and nature of this volcanic production ; he has ob- 
 served in his Voyages, that the island of Lipari is the 
 immense warehouse which furnishes pumice stones to 
 all Europe, and that several mountains on tliis island 
 are entirely composed of it; he also says that he has 
 found isolated fragments in a white, mealy powder, 
 which was itself but a pulverable pumice. 
 
 The substance of these stones, particularly of the 
 lighter ones, is in a state of /nY, closely resembling a 
 perfect glass ; their texture is fibrous, their grain 
 rough and dry, they look shining and silky, and ar^ 
 much lighter than either the porous, or cellular lavas. 
 This distinguished traveler points out four species uf 
 pumice, which diff'er from each other in the closeness 
 of the grain, the weight, the texture, and the arrange- 
 ment of the pores. 
 
 " The pumice stones," says he, appear to have 
 flowed in the same manner as the lavas, forming like 
 them, broad currents, which have been discovered, 
 lying at different depths above each other, around the 
 
 mountains of Lipari The heavier pumice stones 
 
 occupy the lower part of the currents or masses, the 
 lighter stones being above uhem ; the same is also true 
 of the lavas, the lighter and more porous always oc- 
 cupying the upper part." 
 
njFFEREiNT DESIGNS — EXECUTION OF M'ORKS. 2lS 
 
 SECTION SIXTH. 
 
 DIFFERENT DESIGNS AND CONDITIONS OF THE 
 EXECUTION OF WORKS. 
 
 § 1 84. The execution of funereal monuments, either 
 in stone, marble, or in stone mixed with ornaments of 
 marble, is one of the branches of this art which affords 
 most employment to Marble workers. By visiting the 
 various cemeteries, an idea can be formed of the diver- 
 sity of the tastes, and of the intellectual or pecuniary 
 abilities of those who erect them. One likes to fancy 
 on seeing the expression of sorrow happily rendered, 
 that these mourning monuments betoken less of the 
 pride than of the sorrow of the survivors. TTie artists 
 are strangers to the inscriptions which they engrave 
 upon the marble. These being dictated by relatives 
 and friends, they do not incur the responsibility of 
 them; notwithstanding they have the right to give 
 thei* opinion, and it would be rendering an important 
 service to families to counsel them to make these as 
 simple as possible. What we say respecting inscrip- 
 tions will also apply to the monuments themselves 
 When they are large and costly, they are often under 
 the direction of an architect, and in this case, the 
 Marble worker has only to follow the design that is 
 given him. 
 
2JG 
 
 TliE MARBLE WORKERS' MANUAL. 
 
 When the family address themselves exclusively to 
 the Marble worker, he makes his estimate, and when 
 if. is accepted, contracts with the mason to determine 
 the part of each in the stipulated price, or to fix the 
 price of the mason, who stands in the same relation to 
 the Marble worker as he, in the preceding hypothesis, 
 stood in respect to the architect. 
 
 As to the various forms of funereal monuments, 
 although their general forms are similar, there are 
 many shades of distinction which should be ob- 
 served, in respect to good taste and social propriety; 
 thus, the tomb of a woman or a young girl should not 
 resemble that of a scholar, a warrior, a great artist, an 
 orator, or a man of letters. There should always be 
 some distinguishing point, though the form may be 
 the same. 
 
 Let us take, for example, a simple form ; this may 
 be applicable to the whole world if no inscription is 
 placed upon it. The grief which has erected it will 
 admit no one in its confidence. The tomb will neither 
 attract admiration or criticism from any. 
 
 But if there is an inscription, an exterior ornament 
 should harmonize with the idea it expresses ; some- 
 times, a lily cut off near its bloom will mutely tell of 
 a young girl ; sometimes, a wreath of falling roses will 
 speak of a young female ; sometimes, a crown of 
 laurel will remind us of the modest and lamented 
 warrior ; sometimes, the page of a book, the image of 
 lyre, indicate an author, a musician, etc. 
 
DIFFERENT DESIGNS EXECUTION OF WORKS. 217 
 
 When the monument is a large one, the ornaments 
 are of a higher order; these demand the liand of the 
 sculptor, and should consist of emblems suited to re- 
 call the memory of the life of the dead. 
 
 There are some tombs which only suit the pride of 
 a rich heir. They have a sort of coquetry, which 
 would be ridiculous on the tomb of an old man or a 
 warrior. 
 
 Others, on the contrary, by their magisterial grav- 
 ity, by seulpture, or the execution of palms, a crown, 
 a broken sword, or some other ornament, are suited 
 to the station in society which the man filled during 
 bis life. 
 
 We shall limit our remarks respecting the construc- 
 tion of costly monuments, as the direction of these 
 works does not properly belong to Marble workers 
 but to architects. All monuments, whether small o'- 
 great, are generally modified copies of some few espe- 
 cial styles, and these modifications may be infinitely 
 reproduced and varied. Besides which, the beauty of 
 the Marbles creates more real difference thau the di- 
 versity of form. 
 
 As to the price which these monuments should 
 command, this depends entirely upon the name of 
 the artist, the materials, and the style of the worli- 
 manship, which also includes the ornaments, wnich 
 often require more time than the work itself, 
 
 Theie are head-stones,- tombs, monuments, and 
 family sepulchres, for two hundred dollars; ttiey can 
 
218 THE MARBLE WORKERs' MANUAL 
 
 also be purchased for twenty thousand ; the time 
 necessary for their execution differs as widely as the 
 price. 
 
 The best method of not deceiving one's self or being 
 deceived is, to demand an estimate, arrange a plan 
 and make no change in its execution without inserting 
 a supplementary article in the contract. 
 
 Besides, the Marble workers are willing to contract 
 at the most reasonable prices. A reasonable profit 
 belongs to them, and the interest of the purchaser, as 
 well as that of the Marble worker, demands that they 
 shall have this ; as to do his work well, the artijit should 
 have the hope of being compensated for his labor. 
 
 SECTION SEVENTH. 
 
 CHIMNEY-PIECE IN MALACHITE. 
 
 § 185. Although works executed in malachite do 
 not properly belong to the art of the Marble worker, 
 we wish to speak of a very remarkable work of this 
 kind. 
 
 This is a chimney-piece which is executed in what is 
 termed the style of Louis Quatorze, and is truly 
 admirable. 
 
 It is five feet in height, and more than six and a 
 
CHIMNEY-riECE IM MALAOIIITK. 
 
 219 
 
 half feet in width. The frame supports three slopings 
 at the base of a spherical cornice in the coin ; this cor- 
 nice enters by the shaft and rounds towards the capital, 
 and is terminated by a chimera supporting the upper 
 cornice ; these chimeras, as well as the fantastical 
 figure in the centre of the mantel, are surrounded with 
 arabesques and garlands in ormolu. Upon each side 
 of the hearth, a Venus is half reclining upon orna- 
 ments, also in ormolu. The inside of the chimney- 
 piece is of brass, and is also ornamented. This chim- 
 ney-piece is valued at $7,500 ; this demonstrates suf- 
 ficiently that the materials and ornaments which com- 
 pose and decorate it are very costly. We shall now 
 speak further of the malachite. 
 
 The malachite, traces of which are found in copper 
 mines, is a mineral of irregular formation, which is 
 only found in small masses, and is extremely rare — 
 It is only in Siberia that this carbonate of copper is 
 found in blocks of greater or less size. 
 
 Prince Demidoff possesses estates in Siberia upon 
 which large blocks have been found within a few years. 
 
 The extreme density of malachite, the fineness of 
 its grain, and its hardness, render it susceptible of a 
 very fine polish ; the wavy reflections which show from 
 the ground, with the shade which it presents, give 
 it a sort of green color, full of lustre and harmony. 
 
 It is very difficult to work, and somewhat re- 
 sembles those magnificent mosaics of the Vatican, 
 which represent the admirable productions of Ra- 
 
tZO THE MARHLE WORKERS' MANUAL. 
 
 phael and Michael Angelo ; we do not make this 
 comparison without design, as it explains the high 
 price of the works composed of this material. 
 
 The museum of the mines, at St. Petersburg, con- 
 tains a block weighing 317,592 pounds; this block 
 was the most remarkable one known, previous to the 
 discovery which was made in 1835, on the western 
 side of the Ural Mountains, of a block weighing about 
 13,233 pounds. It is probably this, which haa beeu 
 cut to form a magnificent portal, and a vase of the 
 greatest beauty, the value of which is estimated at 
 nearly $82,000. These chefs cfceuvre excite the ad- 
 miration of scholars and artists, but they will never 
 become popular. 
 
 Malachite, in truth, can never be employed except 
 for ornament, until some quarry easily worked shall 
 have been discovered. But there is nothing to pre- 
 vent the reproduction in fine Marble, or in porphyry, 
 of the works which M. DemidofF has caused to be exe- 
 cuted in malachite. It is with this view that we have 
 described this magnificent chimney-piece, whose beau- 
 tiful design is equally applicable to all other on amental 
 chimney-pieces. 
 
ANCIENT PROCESS FOR PAINTING ON MARBLES. 22 1 
 
 SECTION EIGHTH. 
 
 ANCIENT AND MODERN PROCESSES FOR PAINT1N(} OR 
 COLORING MARBLES. 
 
 ANCIENT PROCESS FOR PAINTING ON MARBLES 
 
 § 186. We have already said and proved several 
 times, that many of the new inventions are merely 
 the reproductions of ancient methods, which have been 
 abandoned for some unknown cause. We find a new 
 proof of this in the Dictionnaire de V Industrie, pub- 
 lished in 1785, and it is somewhat remarkable that, 
 even at that period, this invention was not given as a 
 new one. 
 
 We make the following extract from page 408, vol. 
 4, of the Encyclopedie de Diderot, where the article 
 may be found : 
 
 " In order to prepare a liquor which will penetrate 
 into the interior of Marble in such a manner that one 
 can paint on the surface, designs which seem to be 
 within the material, it is necessary to proceed in the 
 following manner : 
 
 " Take of aqua fortis and aqua regia, each two 
 ounces, one ounce of salts of ammonia, two drachms 
 of the best spirits of wine, as much gold as can be 
 
222 TBE MARBLE WORKERS' MANUAL. 
 
 bought for a hundred pence, and two drachms of pure 
 silver. When you are furnished with these materials 
 and have calcined the silver, put it in a vial, and hav- 
 ing poured upon it the two ounces of aqua fortis, leave 
 it to evaporate; you will thus have a water which will 
 at first give a blue color, and finally a black. Calcine 
 the gold in the same manner, put it in the vial, and, 
 pouring the aqua regia upon it, leave it to evaporate. 
 Finally pour your spirits of wine upon the salts of 
 ammonia, leaving it also to evaporate; you will 
 thus have a golden colored water which will furnish 
 different colors. 
 
 " In this manner you can make many dyes of vari- 
 ous colors, by the use of other metals. This being 
 done, by the aid of the two others you can paint 
 whatever you may wish upon the softest kind of white 
 Marble, repeating the operation every day for some 
 time by adding new liquor to the same figures; you 
 will then find that the painting has penetrated the 
 Marble in such a manner that, in cutting it in any 
 manner you may please, it will always present the same 
 figure on both sides." 
 
 MODERN PROCESSES FOR DEEPLY COLORING 
 MARBLES. 
 
 § 1 87. We will not repeat here what we have al- 
 ready said several times, particularly at the head of 
 tlie preceding paragraph ; yet we find it curious and 
 useful to compare the ancient methods with the mod- 
 
MODERN PROCESS FOR COLORING MARBLES. 22r 
 
 ern ones, and we confine ourselves to the remark that 
 the first have the advantage of experience. We may 
 add that if they have been abandoned, it is because 
 this experience has demonstrated their defects, and, 
 consequently, that new inventions must be accepted 
 cautiously, and with reserve. 
 
 To succeed in the coloring of Marbles, the pieces 
 of Marbles upon which the experiments are made 
 should be well polished, and free from any spots oi 
 veins. The harder the Marble, the better it supports 
 the heat necessary to the operation ; on this aocouot 
 alabaster and the common soft white Marble are not 
 suitable for the purpose which we propose. Heat is 
 always necessary, to open the pores of the Marble and 
 thus to prepare it for the reception of colors, but it 
 never should be heated to a red heat, as the fire then 
 alters the contexture of the Marble, burns the colors, 
 and destroys their beauty. 
 
 Too slio'ht a degree of heat is as bad as oii^ too 
 great, for in this case, though the Marble takes the 
 color, it does not retain it well and is not penccrated 
 deeply enough. There are some colors which it will 
 even take when cold, but these never fix as .veil as 
 when a proper degree of heat is employed. 
 
 The proper degree of h'eat is that which, without 
 reddening the Marble, is intense enough to cause the 
 liquor which is on its surface to boil. The menstru- 
 ums which are used to incorporate the colcn-s, should 
 be varied according to the nature of the color em 
 
224 
 
 THE MARBLE VOKKLRS MANUAL. 
 
 ployed; a lixivium tiiade with the urine of the horse 
 or dog, mixed with four parts of quick-lime and one 
 of potash, is excellent for certain colors, the common 
 ley of wood ashes is good for others ; for some, the 
 spirits of wine is better, some others require oily 
 liquors, or common white wine. 
 
 The colors which succeed best with the different 
 menstruums are the following: blue-stone dissolved 
 in six times its quantity of spirits of wine or a uri- 
 nous lixivium, and the color called litnus by the 
 painters, dissolved in common lixivium of wood ; the 
 e.^tract of saffron and the color made from the fruit 
 >f the buck thorn, called sap green by the painters, 
 ^)oth succeed very well when dissolved in urine or 
 i[uick-lime, and tolerably in the spirits of wine. 
 
 Vermilion, and the fine powder of cochineal, also 
 dissolve well in the same liquids. 
 
 Dragons' blood succeeds very well in the spirits of 
 wine, which is also used for the dye of Campeachy 
 wood. 
 
 The root of the alkanet gives a very fine color, but 
 the only menstruum suited to it is turpentine, as nei- 
 ther the spirits of wine or any lixivium has the power 
 to dissolve it. 
 
 There is still another kind of dragons' blood, called 
 drngon's blood in tears, which gives a beautiful color 
 when mixed with urine alone. 
 
 ^ 188. Besides these mixtures of colors and men 
 
MODERN PROCESS FOR COLORING MARBLES. 225 
 
 Mruums, certain colors can be put on dry and unmix- 
 ed ; such as the purest dragons' blood for the red. 
 the gamboge for the yellow, the green wax for a kind 
 of green, the common sulphur, pitch and turpentine 
 for a brown color. 
 
 For all these experiments, the Marble must be con- 
 siderably heated, and the dry colors then rubbed upon 
 the block. 
 
 Some of these colors, properly applied, remain im- 
 movable, some are changed and finally effaced by 
 others; thus, the red color produced by dragon's 
 blood or the decoction of Campeachy wood, is entirely 
 effaced by the oil of tartar, without the polish of the 
 Marble receiving any injury. 
 
 A beautiful golden color is produced in the follow- 
 ing manner : Take equal quantities of the crude salts 
 of ammonia, of vitriol, and of verdigris, the white 
 vitriol is the best for this purpose ; grind these to- 
 gether, and reduce them all to a very fine powder. 
 
 All the shades of red and yellow may be given to 
 the Marble with the solutions of dragons' blood and 
 gamboge, by reducing these gums to powder and grind- 
 ing them with spirits of wine in a glass mortar. 
 
 But, when little is required, the best method is to 
 mix one of these powders with spirits of wine in a sil- 
 ver spoon, and hold it over a heated brasier ; this ex- 
 tracts a fine color, and, by dipping a small brush in 
 it, the finest veins may be made upon the cold 
 Marble. 
 
226 
 
 THE MARBLE WORKERS' MANITAL. 
 
 When this is afterwards heated over sand from the 
 fire, or in a baker's oven, the coloring will be absorbed 
 and will remain perfectly distinct upon the stone. 
 
 It is very easy, by the same means, to give a ground 
 of a red or a yellow color to Marble, leaving white 
 veins upon it. 
 
 This is done by covering the parts designed to re* 
 tain their whiteness with white paint, or even with 
 two or three folds of paper; either of these will pre- 
 vent the penetration of the color in this part. 
 
 All the shades of red may be given to Marble sim- 
 ply with the aid of this gum. A weak coloring, ap- 
 plied without the assistance of heat, will produce a 
 pale flesh color, but the stronger the coloring is made 
 the deeper will the color be ; to this the action of heat 
 contributes much. By adding a little pitch to the 
 coloring, a black shade, or all the varieties of dark 
 red, can be given. 
 
 The archil of the Canary Islands, a species of moss, 
 simply diluted in water and applied when cold to the 
 Marble, communicates to it a beautiful blue color, 
 which is more precious, as this color is rarely found 
 in Marbles; by putting on the coloring in proportion 
 as it dries, it becomes very fine in less than twenty- 
 four hours, and penetrates deeply. 
 
 If the paste of archil is used, which is a prepara- 
 tion of the plant with lime and fermented urine, the 
 color obtained will be more of a violet than blue ; to 
 obtain a perfect blue it must be diluted in lemon 
 
rrCTURKS IN STUCCO. 
 
 227 
 
 juice ; this acid will not injure the Marble, as it has 
 been weakened by its action upon the archil. 
 
 Large blue veins may thus be formed upon the 
 cold, white Marble, which produces a beautiful effect, 
 but as this color is apt to spread, it will not be pure 
 or exact unless the colored parts are instantly touched 
 with dragons' blood or gamboge, which checks it. 
 
 It may also be checked with wax, either colored, if 
 colored veins are required, or white, if they are to re- 
 main white. 
 
 This blue color, which penetrates the Marble more 
 than an inch, also renders it softer; this, however, is 
 but a slight objection, as it is absorbed in but few 
 places, and also possesses sufficient solidity to last 
 many years without suffering any material change. 
 
 FIGURES IN RELIEF UPON MARBLE. 
 
 ^ 189. A method has also been discovered for tra- 
 cing figures in relief upon Marble with great facility. 
 For this purpose, the desired figures are first traced 
 upon the Marble with chalk, they are then covered 
 with a coat of varnish, made of common Spanish 
 sealing-wax, dissolved in spirits of wine ; after 
 which a mixture of equal parts of acid of salts and 
 distilled vinegar is poured upon the Marble, which 
 corrodes the ground while the figures remain in relief 
 as if engraved at the cost of much time and expense. 
 
228 THr-: marble workers' manual. 
 
 PICTURES IN STUCCO. 
 
 § 190. We have already described the composition 
 and working of stucco at the present day, but we find 
 some things more perfect in the ancient methods than 
 in the modern. 
 
 The following extract was written in 1781. 
 
 " There is still another method of working lu stuc- 
 co which is superior to t,his, as by it pieces are so 
 beautifully executed as to resemble the finest paint- 
 ings. Landscapes are made of this stucco, and we 
 have seen at one of the exhibitions of the Gallery, a 
 flower picture of the greatest beauty, in which all the 
 colors were shaded as if they had been laid on with a 
 brush. Indeed the manner in which these pieces are 
 executed may be regarded as a species of painting in 
 stucco, as may be seen from the process. 
 
 " The stucco, or artificial Marble, of which these 
 beautiful works are made, is a composition of which 
 plaster forms the entire base; the hardness that .may 
 be given it, the difi'erent colors with which it may be 
 mixed, and the polish of which it is susceptible, ren- 
 ders it suitable to imitate, with almost perfect exact- 
 ness, the most costly Marbles. 
 
 COLORING OF ARTIFICIAL MARBLES. 
 
 §191. This coloring, which is now given us as a 
 novelty, was clearly described in some very ancient 
 
COLORING OF ARTIFICIAL MARBLES. 
 
 229 
 
 works, which were copied by the authors of the Ency- 
 clopedia, published in 1780, in the following words : 
 
 " When any Marble i-s to be imitated, soak the colors 
 which are found in this Marble in warm glue water, in 
 different small pots ; temper a little plaster with each 
 of these colors, then make a cake of each color, a little 
 larger than the hand, place all these cakes alternately 
 upon each other, placing those of the prevailing color 
 in the greatest number, or thicker. 
 
 " Then turn these cakes, thus flatly arranged, upon 
 the side; cut them and place thcni (inickly upon the 
 core of the work, after\\ards flatten uig them down. 
 
 " By this means, the fantastical design of the dif- 
 ferent colors of the Marble can be perfectly repre- 
 sented. 
 
 " If the Marbles termed Breccias are to be imitated, 
 mix in the composition of these cakes, when spread 
 upon the core, different sized pieces of the plaster 
 tempered with the color of the Breccia ; these pieces, 
 when flattened down, form very good imitations of 
 Breccias. 
 
 " It should be observed that in all these operations, 
 the glue water should be warm, without which the 
 plaster will set too quickly, without giving time to 
 work it." 
 
230 THE MARBLE WORKERS' MANUAL. 
 
 SECTION NINTH 
 
 TURNED MARBLE. 
 
 ORNAMENTAL CLOCKS, CUPS, CANDLES I ICKS. 
 
 ^ 192. Cylindrical articles, such as colmuns of clocks 
 oliimney-pieces, cups, vases, candle'^ticks, basins, etc.. 
 are made in the lathe by professional workincn ; and 
 oven those vases resting upon square or octasonal pe- 
 destals, may also be worked by the turner. This is 
 also true of the torso columns of temples and churches. 
 
 The turning-lathe is far more expeditious and surer 
 than the chisel; it must be an extraordinary event to 
 cause the failure of an article in the turner's hand; 
 but this is not the case when it is worked with the 
 mallet and chisel. 
 
 There are many articles which cannot be executed 
 with the chisel, such as delicate parts of some clocks, 
 candelabras, and candlesticks which are partly in Mar- 
 ble and partly in bioiizc. 
 
 All the fine Marbles unite perfectly with green or 
 gilded bronze. This is true respecting the pedestals 
 of clocks, and the stems, more or less ornamented, 
 which support vases and cups. 
 
 It is not an uncommon thing to see workmen under- 
 standing the art of the Marble worker, eagerly desire 
 
urnamf.xticd clocks, curs candlesticks. 231 
 
 to be able to turn the articles which they apply as or. 
 naments to works which they execute in the atelier. 
 
 This is expensive, owing to the room and the tools 
 required; yet it would be very convenient, especially 
 in the provinces, where it is not easy to find turners 
 lapable of making the vases, urns, columns, and rose- 
 vork which are needed. 
 
 These workmen would have many advantages over 
 Nhe ordinary turners, as they would understand the 
 nature of Marble, the mode of polishing, and the man- 
 ler of cementing the defective parts. 
 
 It would be an excellent plan for a Marble yard to 
 have a turning lathe for the use of those workmen who 
 have a taste for the art of the turner. 
 
VOCABULARY 
 A. 
 
 A.LABASTER.— A species of white Marbtr,, very transpa- 
 rent, and easily worked, which is especiallv used for chicks 
 and mantel vases. There are several varieties of colored 
 alabaster, besides a kind called agate, which is greenish, 
 mixed with a clear bister. 
 
 Antique Marble. — The beautiful white Marble taken 
 from the ancient quarries of Greece, specimens of which 
 still exist in superb statues and magnificent bas-reliefs. 
 
 Alkanet. — A plant, a species of anchusa, the root of 
 which affords a reddish purple dye. 
 
 Archil.— A lichen, which grows on rocks in the Cana- 
 ry and Cape de Verd Islands, and which yields a rich 
 purple color. It is bruised between stones, and moisten- 
 ed with strong spirits of wine mixed with quick-lime. — 
 It first takes a purplish red color, and then turns to blue. 
 In the first state it is called archd, in the second, litmus. 
 
 Arris.— Edges formed by the meeting of two surfaces ; 
 applied particularly to the edges of mouldings, and the 
 raised edges which separate the flutings in a Doric col- 
 umn. 
 
 B. 
 
 Blru TuRauiN. — Marble taken from the coasts of Ge- 
 noa and several other quarries. It is of a deep blue upon 
 a white ground, mixed with grey spots and large veins. 
 
 Block of Marelk.— A piece, rough from the quarry. 
 
234 
 
 THE MARBLE WORKERS' MANUAL. 
 
 Breccia — A species of Marble composed of a mass of 
 small pebbles, closel}' cemented together in such a man- 
 ner that, when broken, they form breches, or notches ; 
 whence its name. 
 
 Brocatelle. — A Marble of which the color is a mix- 
 ture of grey, yellow, red, and dove shades. It is very 
 costl}'^, and is scarcely ever used except for ornaments. 
 
 Burin. — A steel blade, nearly square, and often squar- 
 ed and sharpened at one end in the form of a grain of 
 barley. 
 
 Boasting Tool. — A kind of chisel with a handle, used 
 by sculptors who work in stucco and plaster, to boast 
 their works. 
 
 Boastkd Marble. — That which is worked with the 
 double etching needle, or chisel. The best are made of 
 cast steel. 
 
 C. 
 
 Chkval de Terre. — The spaces filled with clay which 
 arc sometimes discovered in the blocks of Marble, and 
 which would spoil the finest works. These accidents 
 tend to increase the price of Marble working, as they may 
 result in great injury to the Marble worker 
 
 Cement. — This is both natural and artificial ; the first 
 is that which acts in the formation of the Marble, joining 
 together the different parts ; the second is composed by 
 the Marble workers for uniting and gluing the Marbles 
 when worked, and for filling the cavities which are found 
 in some stones and Marbles. 
 
 Chisel in Marteline. — A tool of the Marble worker; 
 it is steeled on one end and furnished with small points 
 to shell off and boast the Marble. 
 
VOCABULARY. 
 
 235 
 
 Chisels. — Small steel tools which are used to aid the 
 sledge hammer or mallet in working Marble or stone. — 
 Every Marble worker has a collection of them. The finest 
 are of oast steel. 
 
 Compartment of Marble Pavements. — The symme- 
 trical arrangement of blocks or tiles of different colored 
 Marbles, or of Marbles and lias stone. 
 
 Compass. — A hinged tool with two pointed branches, 
 used in all the arts and trades for measuring Imes, and 
 tracing discs, ovals and circles of all kinds upon wood, 
 minerals or metals. There is a kind with a hinge and 
 pencil case in one of its branches, but this is not gene- 
 rally used by Marble workers. 
 
 Compass of thk Fioure Eight. — This is to measure 
 on one side, giving the measure on the other ; it is prin- 
 cipally used in the turning lathe. 
 
 Compass of Depth. — This compass is designed to find 
 the depth of a diameter. The branches are bent, so that 
 the article to be measured can pass between them. The 
 best have the arc of a circle fixed at one branch and pass- 
 ing through the other, under a thumb screw which fastens 
 them open as long as may be wished. 
 
 Callosities of Marble. — These defects are to Marble 
 what knots are to wood. 
 
 Crumbly Marble —That which, when worked, does 
 not retain its sharp arris, but crumbles and falls oflf. 
 
 D. 
 
 Dog's tooth. A kind of puncheon used by Marble 
 workers. 
 
 Drill. A pointed instrument, used for boring holes. 
 
236 
 
 THE MARBLE WORKERS' MANUAL, 
 
 E. 
 
 Emery dust. A species of powdered corundrum, taken 
 from under the wheels upon which lapidaries polish 
 stones. It is used by the Marble worker? for polishing 
 Marble. 
 
 F. 
 
 Feld Spar. A vitreous substance, which is one of the 
 essential constituents of granite, mica, and porph3'ry, and 
 enters into the constitution of nearly all the volcanic 
 rocks. 
 
 Fraise. a tool used to enlarge the holes which are 
 made in the Marble with a drill or common auger. It ia 
 of a slightly conical form, and is grooved roughly to aid 
 its effect upon the Marble. 
 
 G. 
 
 Gradine. a kind of puncheon used by the Marble 
 worker. 
 
 Granite. A verj' hard Marble, marked with small, 
 condensed spots. The most common colors are grej'. 
 greyish white, and flesh red ; some are green, violet 
 etc. 
 
 Gypsum. A calcareous matter, impregnated with too 
 great a quantity of vitriolic acid to permit it to be aftected 
 by any other acid. 
 
 H. 
 
 HououETTE. An etching needle, flat and steeled. 
 Hooked tool. — A kind of sharp chisel which is wholly 
 of steol, or of iron steeled on one end, wliich is half bent 
 
VOCABULARY. 
 
 237 
 
 in a hooked shape ; this chisel is used where the square 
 chisel cannot penetrate and where the etching needle would 
 not be sufficient. 
 
 Hearths.— Pieces of Marble, from three to five feet in 
 length, and from twenty to twenty-three inches in width, 
 which are placed before chimney-pieces for ornament, and 
 to preserve floorings and carpets from accidents from fire. 
 They are both simple and composite. The simple ones 
 are formed of a s ngle piece without ornaments ; the com- 
 posite are those composed of several pieces of different Mar. 
 bles, thus resembling a sort of mosaic. 
 
 J. 
 
 Jasper— Marble of a greenish color, mixed with small 
 red spots. There is an antique jasper with small spots 
 of black and white. 
 
 A variety of quartz, penetrated with metallic particles. 
 
 .Tasper Marble. — A Marble resembling the antique 
 jasper. 
 
 L. 
 
 I^APis.— An antique Marble of a deep blue, spotted with 
 a deeper blue, and intermixed with a few veins of gold.— 
 It is one of the richest, but is very rare. 
 
 Lixivium.— Lye ; chemical solutions ; extracts and 
 
 washes. 
 
 M. 
 
 Mallet.— Wooden hammers, used for beating or driv- 
 ing other tools employed in Marble working. The best 
 
238 
 
 THE MARBLE WORKERS MANTjAL. 
 
 have knobs of boxwood, alder, or horn beam. Those of 
 iron are called sledge-hammers. 
 
 Marble. — A hard, calcareous stone, somewhat transi)a 
 rent, black or white, or veined and spotted with different 
 colors. 
 
 Marble: artificial. — A composition of gypsum, mixed 
 with various colors in imitation of Marble. This compo- 
 sition is hard and susceptible of polish, but is apt to scale 
 off. 
 
 Marble painting. — Painting which imitates ihe dif- 
 ferent colors, veins, and peculiarities of Marbles. 
 
 Makble workino. — This not only comprises the use 
 of Marble, but also the art of sawing, cutting, and polish- 
 ing it, and of restoring and repolishing it when it is old. 
 
 Marble workeu.--A workman who hews, cuts, and 
 polishes Marble. 
 
 Martin. — A tool which is very essential to all ateliers. 
 It is a brass plate glued to a stone, with a handle attached 
 to facilitate its movement. An aperture of an inch and a 
 half or two inches is made in the centre of this plate and 
 its lining, through which sand and water is passed upon 
 the Marble to polish it. There are several sizes, some of 
 which may be worked by an apprentice, while some re- 
 quire one or two workmen, according to the size of the 
 piece to be polished and the weight of the martin. 
 
 Mastic. — A composition of oil and different gummy 
 substances. It is used to fill up the cavities in Marble, 
 and to cement the pieces together after having been 
 worked. There are mastics, also, especially for stone. 
 
 Mica. — A mineral of the same nature as quartz and 
 jasper, and capable of being cleaved into exceedingly thin 
 plates ; one of the primitive glasses. 
 
VOCABULARY. 
 
 239 
 
 Madrepore. — A species of coral of tlie class of Zoo- 
 phytes. The species usually branch like trees or shrubs. 
 The surface is covered with small prominences, each con- 
 taining a cell. 
 
 Menstruum. — A solvent ; any fluid or subtilized sub- 
 stance which dissolves a solid body. 
 
 0. 
 
 Ormolu. — Brass, which by a chemical process is made 
 to assume the appearance of being gilt. 
 
 P. 
 
 Palette or conscience. — A kind of drill plate, corr> 
 posed of an iron plate perforated with several holes, in 
 which the head of the drill is placed, and which is rested 
 upon the breast of the workman to augment its force and 
 diminish his labor. Drills fastened in a rod which is 
 mounted upon a flattened knob, are sometimes substituted 
 for this. 
 
 Paros Marble. — An antique Marble which was quar- 
 ried from an island of the Archipelago. It is white with 
 a yellowish tint, and transparent. 
 
 Paper stone. — A round, oval, or square piece of Mar- 
 ble, to which a knob of Rfarble is attached ; used to keep 
 paper in its place upon the desk. These are made from 
 the cuttings of slabs and other articles of Marble. 
 
 Pumice stone. — A substance which is frequently ejected 
 from volcanoes ; supposed to be produced by the disen- 
 gagement of gas, in which the lava is in a plastic state.— 
 It is used for polishing Marbles, either powdered or )u 
 pieces. 
 
•240 
 
 THE MARBLE WORKERS' MANT'AL. 
 
 Pt.aster stone. — A calcareous substance, wliicli is caV 
 cinedj pulverized, and tempered with cold water to form 
 coats of impression, and even stuccos. 
 
 Puncheon. — One of the tools of the Marble worker; 
 an iron instrument, with a sharp, steeled point. 
 
 Polished Marble. — That which has been rubbed and 
 glossed with a linen cushion, or with emery dust or pew- 
 ter. There are two kinds of polish ; the common, wh'vh 
 is given to simple articles ; the lustrous, which is given to 
 articles requiring moi-e pains, such as costly chimney- 
 pieces, Marble furniture, clocks, candtlabras, bas reliefs, 
 hearths, vases, and other articles of the same nature. 
 
 Porphyry. — The hardest of the antique Marbles, and 
 the finest, after the Lapis. There are red, green, and 
 grey porphyries. 
 
 Pewter. — The ashes which results from the calcina- 
 tion of tin. It is much used in the arts, and also by 
 Marble workers in polishing their woi^ks. 
 
 Pudding-stones. — All stones which are composed of 
 fragments of other stones, united by a natural cement. — 
 The Breccias are pudding-stones ; yet all pudding-stones 
 are not Breccias, as some of them are not composed of 
 calcareous matter. 
 
 PozzoLANA. — Natural cement produced from the scoride 
 of volcanic substances. 
 
 Q- 
 
 Quartz.— The first of the glasses ; the essential con- 
 stituent of granite and porphyry. 
 
 R. 
 
 Rabat.— Marble workers give this name to the potter s 
 
VOCAUDLARY. 
 
 241 
 
 clay which has failed in baking, and which they use to 
 smooth down the roughness of the Marble. ' 
 
 Rabot. — A piece of hard wood, used in rubbing the 
 Marble, and preparing it to receive the pohsh. 
 
 Kasp.— A species of file, upon which the cutting prom 
 inences are distinct, being raised by punching with a 
 point, instead of cutting with a chisel. They are flat, 
 half rounded, and round. 
 
 Rough hewn Marble.— That which is cut up with the 
 saw, or squared with the mallet. 
 
 Round Nosed Chisel.— A tool used by the Marble 
 worker for sinking the Marble, and leveling the cavities. 
 
 Round File.- A kind of file, or round and pointed 
 rasp, used by Marble workers. 
 
 Rough Marble.— That which is yet iu the block. 
 
 S. 
 
 Saw, of the Marble Worker. — It is without teeth 5 
 with a different frame from common saws, and propor- 
 tioned to the pieces to be cut up. The blade of this saw 
 is large, and strong enough to saw the Marble slowly, 
 with the aid of sand and water which the sawer pours 
 into the cleft. There are also two kinds of hand saws, 
 one of which is notched, and the other smooth. 
 
 Scraper.— A toothed and steeled instrument, designed 
 for sinking flutings ; also a tool used by stucco workers. 
 
 Shave Grass.— A kind of rough aquatic plant, some- 
 times called Dutch rush, or scouring rush. 
 
 Sebilla.— A wooden bowl, designed to hold the sand 
 and water used in sawing the Marble. 
 
 Serpentine.— A calcareous stone or very hard Marble 
 which takes a very fine polish ; it derives its name '"roic 
 
242 
 
 THE MARBLE WORKERS' MANUAL. 
 
 the resemblance of its grains to the spots upon the skin 
 of a serpent. 
 
 Simple Compartment. — The plan of a pavement, com- 
 posed of tiles of black and white Marble, or two other 
 colors, arranged in squares or lozenges. 
 
 Spar. — An earthy nlinerai that breaks with regular 
 surfaces, and has some degree of lustre ; a crystallized 
 earthy mineral of a shining lustre. 
 
 Stucco. — An artificial stone, with which all kinds of 
 Marbles may be imitated. In England this style of build- 
 ing is very common, and many brick edifices are found 
 covered with it, sometimes in a highly ornamental man- 
 ner. In the United States it has been little used. 
 T. 
 
 Talc. — A kind of soft, unctuous stone ; one of the con- 
 stituents of Marble. 
 
 Terrases. — Defects in Marble which are remedied by 
 filling them with Marble powder mixed with mastic of 
 the same color; first cleaning out the hole, filled with a 
 foreign substance which is neither clay. Marble or gra- 
 nite. 
 
 Trepan. — A tool used for boring and drilling Marbles 
 and hard stones. It is rarely used since the invention of 
 the wimble, which is much better suited to the purposes 
 for which it was used. 
 
 W. 
 
 Wimble. — An instrument for boring holes, turned by 
 a handle. 
 
 Z. 
 
 Zinc. — A metal brilliantly white, with a shade of blue, 
 which is used, either in powder or in pieces, for polishing 
 Marbles, most especially toy Marbles. 
 
APPENDIX 
 
 CONCERNING 
 
 AMERICAN MARBLES. 
 
 To make this Manual complete for the use of Ameri- 
 can Marble-workers, it only remains for us to givf 
 some account of the Marbles of the United States. 
 
 Our country is rich in Marbles, but it is only in 
 the older States that quarries have been opened or 
 worked to any great extent. The few explorations 
 that have been made, however, leave no doubt that 
 inexhaustible stores of the finest qualities are packed 
 away within the mountains and in ledges that are easily 
 accessible. The wise policy of most of our States has 
 caused early geological surveys to be made, and it is 
 through their medium that the discovery of new va- 
 rieties and abundant supplies will doubtless be made 
 quite as fast as there is a demand for them. 
 
 But while none doubt the plentiful quantity of our 
 native Marbles, there has been mucb skepticism as to 
 their quality. We sent no specimens, good or bad, 
 to the Great London Exhibition, and the world has 
 been obliged to judge of our resources in this respect 
 entirely by our buildings. Any bad impression that 
 has gone forth is due not so much to the bad quality 
 
244 
 
 THE MARBLE WORKERS' MANUAL 
 
 of the material itself, as to the neglect of care on the 
 part of builders and of those entrusted with the duty 
 of selecting Marble for our public edifices. The ex- 
 traordinary representations of interested parties have 
 foisted many miserable specimens into use. The haste 
 of contractors has put into buildings a good many 
 very unworthy blocks from quarries that easily might 
 have furnished plenty of unexceptionable ones. The 
 elementary principle very often has been neglected — 
 that regard should be had in laying up stones, that 
 are to bear mucli pressure, to the original bedding of 
 the stone. Hence blocks which, if placed different- 
 ly, would have lasted for centuries, already, after 
 standing at right angles to their natural position but 
 a few years, are scaling off and crumbling on their 
 surfaces. Then it would seem as if some who have 
 chosen the materials for our marble fronts were color- 
 blind. Certainly nothing can look more slovenly than 
 some patchwork fronts we are obliged to endure the 
 sight of— first a snowy white block, next a bluish one, 
 then one of a creamy yellow, and then one so full of 
 fissures that the dirt lodged in it gives an appearance 
 of some very undesirable veined variety. A slight 
 knowledge of the geological habits of Marble would 
 have saved many public blunders and prevented many 
 costly mistakes. The limestone ledges which rise in 
 smooth bleached perpendicular walls, that give no hold 
 to lichens, and are not discolored by the solution of 
 any of their component parts, must furnish the Mar- 
 
APPENDIX. 
 
 245 
 
 bles that will bear the weather well. While those into 
 which rivers have cut deep channels, or which stand- 
 ing inland bear deep s:>ams across their face, or which 
 have to be dug from under the original surface of the 
 Garth, and over which much soil has accumulated, give 
 in their very position the strongest evidence that they 
 cannot long endure. 
 
 As we have said, few of the States or territories 
 have been thoroughly or even casually surveyed with 
 reference to their wealth in building materials. Yet 
 new as our country is, and busy as our geologists have 
 been in indicating the enterprizes which would more 
 immediately reward industry and capital, we have al- 
 ready a long list of localities prolific in available 
 Marbles. 
 
 Maine abounds as no other State does in limestones. 
 Some from the vicinity of Thomaston admit a fine 
 polish. They are the blue, the clouded, the veined, 
 and an elegant white dolomite for monuments. About 
 Union and Machias some breccias are obtained. 
 
 Vermont is the Marble State, and this material will 
 prove one of its most fruitful sources of wealth. Fine 
 white Marble, which can be obtained in large cakes, is 
 found along the base of the Grreen Mountains, for fifty 
 miles above and below Rutland. At West Rutland 
 statuary Marble is quarried that is surpassed by none 
 in the world Our own sculptors have availed them- 
 selves of it to some extent, and some orders for it from 
 Italian sculptors a^' Rome have been filled. It is 
 
246 
 
 THE MARBLl WORKERS' MANUAL. 
 
 said to be of a finer grain, to work more easily than 
 the foreign, and not to crumble so badly under the 
 chisel. At this same locality is a spotted grey Mar- 
 ble, much used for mantels. A beautiful dark-colored 
 article is got at Pittsford. From Shoreham and other 
 points along Lake Champlain, black Marble is ob- 
 tained. At our New York Crystal Palace Exhibition 
 a shell Marble from Vermont, with bright red spots, 
 attracted much attention — but it has not been worked. 
 A serpentine recently discovered in Roxbury promises 
 to replace the exhausted quarries of Europe. It very 
 closely resembles the European verd antique, but 
 where the latter has carbonate of lime, the former has 
 carbonate of magnesia. According to Dr." Jackson, 
 ours has a superior out-of-door durability, and longer 
 resists decomposition from the atmosphere, from fire, 
 and from acids. It offers no hold to moss. It cuts 
 hard, but is sawn more easily. When polished it ia 
 of a rich and beautiful green, veined with white and 
 mottled. The quarries of this one State produce over 
 a million dollars annually. 
 
 Massachusetts abounds in limestones, free enough 
 from fissure, and compact enough to admit a medium 
 polish. Berkshire County is especially rich in such — 
 so much so indeed that scarcely an effort has been 
 made to obtain them elsewhere in the State. It was 
 hoped that the bed in Stoneham, (Middlesex County,) 
 would furnish even the rare variety used in statuary, 
 and small specimens of it compare favorably with the 
 
APPENDIX. 
 
 247 
 
 (Jarrara. But it is so full of fissures that blocks can 
 seldom be obtained. The best Berkshires are of a 
 Biiowy white, free from magnesia, and for a primary 
 Marble are elegant. Occasionally, however, they are 
 clouded and frequently are grey. The North Adams 
 Marble is white and pure, but a little too crystaline. 
 That of New Ashford is of a finer grain. The New 
 York City Hail was built of the West.Stockbridge 
 Marble, and a part of the Boston State House is 
 from the same locality. From Shefiield came the 
 G-irard College pillars. The Lee Marble is just now 
 most prominently before the public — it being the ma- 
 terial employed in building the extension of the Capi- 
 tol at Washington. At G-reat Barriugton is a beau- 
 tiful clouded Marble, well adapted for mantels and 
 jambs, but owing to its 40 per cent, of magnesia, is 
 very liable to break. Prof. Hitchcock finds in this 
 vicinity a flexible Marble — which, if properly wet, 
 bends like a lath — a singular property, but not quite 
 unknown abroad ; as several tables of elastic Marble 
 were preserved and exhibited in the house of Prince 
 Borghese, of Rome, as great curiosities. There is a 
 beautiful serpentine found at Lynnfield, but it is too 
 soft. Beds of steatite, hardened by quartz or serpen- 
 tine, are common too in Massachusetts. Several 
 houses with steatite fronts have lately been erected in 
 New York and Brooklyn — all which were furnished, 
 however, from Middlefield, Vt. This hardened stea- 
 tite will very possibly come into common use hereafter 
 
248 
 
 THE MARBLE U )RKERS' MANUAL, 
 
 Rhode Island has some Marbles, but the quarries 
 are little worked. 
 
 Connecticut forty years ago furnished the rarest 
 and most beautiful of verd antiques. For in-door 
 work it was admirably fitted ; but exposed, as for 
 grave-stones and monuments, it soon parted with its 
 polish and grew dull. Though inexhaustible, the in- 
 creasing expense of working it has caused it to be ne- 
 glected. 
 
 Of the abundance of Marble in New York, some 
 idea may be gained when it is stated that the State 
 geologists announce it as present in twenty -five coun- 
 ties of the State. Mosi of the white variety is like 
 that of Massachusetts^ — too highly granular and too 
 slightly coherent to sustain heavy pressure or to en- 
 dure our variable climate. 
 
 In Clinton County, near Plattsburg, a jet black 
 Marble is found. Columbia County produces a Do- 
 lomite, which is much esteemed. Prof Hitchcock 
 thinks that if worked it might yield as fair results as 
 the beds of Egremont. Near Hudson, in Becraft't 
 Mountain, a beautiful grey with a tint of red is found, 
 which resembles the Peak of Derbyshire Marble. It 
 has been worked a little. 
 
 Dutchess produces a fine wliite like the Lee; and 
 also a clouded Marble which is reported durable. 
 Essex has a verd antique — a limestone through w-hich 
 green serpentine is difi"used. i^mw/l7m County abounds 
 in the wliite primitive. Jefferson and S,t. Lawrence, 
 
APPENDIX. 
 
 249 
 
 though very little explored, show some. In Lewis a 
 dark serpentine, valuable for ornamental purposes, is 
 found. The New York (Kingsbridge) limestone 
 crumbles too easily for building purposes. Niagara 
 has, near Lockport, a variegated, reddish-brown Mar- 
 ble, which is full of organic remains, and is of great 
 beauty. It has been used somewhat for interiors — 
 Oneida has the Trenton limestone, which finishes 
 black and also some greys. Onondaga has a grey 
 criuoidal limestone, which affords a Marble scarcely 
 excelled by any of the sort in the country for dura- 
 bility, beauty, and the fineness of its polish. None 
 of the several localities found in Orange County are 
 worked. Putnam has both white and colored Mar- 
 bles, and a serpentine that takes a good polish. Of 
 the black Marble, rare in Europe, yet of which some 
 old Spanish palaces were built, Mather says there is 
 enough sound and free from cracks in Clinton Cuui.t}- 
 to supply the world. Rockland has a dove-colnreti 
 and a verd antique that takes a high polish. Ulster 
 has, in the vicinity of Rondout and Kingston, several 
 beds of a limestone which is susceptible of a higli pol- 
 ish, that will some day turn out valuable black and 
 dark colored Marbles. But the black Marbles of 
 Glen Falls, Warren County, extensively in use for 
 mantels, take an unrivalled polish. Though the supply 
 is inexhaustible, this article grows more and more 
 costly in the market, owing to the increased difficulty 
 of getting it out. There are, however, two hundred 
 
250 
 
 THE MARBLE WORKERS' MANUAL. 
 
 and seventy-five saws now running in the mills of that 
 village. Warren, County possesses, too, some verd 
 antique, some fine grey Marble, and some veined like 
 the Egyptian; except that the veins are white and 
 grey where the Egyptian is yellow. It is, perhaps, 
 more difficult to work than the imported. Washing- 
 ion County has a good clouded article. Westchester 
 abounds in the Dolomite. Fair specimens may be 
 seen in the New York Custom House, the Brooklyn 
 Exchange, the front of Stewart's store, of the St. 
 Nicholas Hotel, and of the store on the southwest cor- 
 ner of Broadway and Warren streets in New York. 
 Marbles of inferior importance are found (grey) in 
 Albany, (black) in Schoharie, and in Otsego, Sara- 
 toga, Seneca, and Wayne. 
 
 Pennsylvania has many quarries. The Marble so 
 much used in Philadelphia is from Chester County. 
 
 Maryland produces a white from her " Alum 
 Limestone;" and at the foot of the Blue Bidge and 
 on the Potomac banks a beautiful pudding-stone pel 
 ished specimens of which may be found in the pillars 
 of the House of Bepresentatives at Washington. The 
 colors are very striking. 
 
 There is a good deal of Marble in Virginia, but it 
 has been little quarried. 
 
 Marble is found in Laurens and Spartanburg Dis 
 iricts of South Carolina. 
 
 Some quarries have been worked in Cherokee Co., 
 Georgia. 
 
APPENDIX. 
 
 251 
 
 Beautiful varieties exist in Alabama, near the heads 
 of the rivers, and particularly on the Cahawba and 
 in Talladega County. Some of these are buff colored 
 and filled with organic remains ; some are white and 
 crystalline, and some black. In Coosa County fine 
 statuary Marble is said to be found. From this lo- 
 cality most of the tombstones and furniture Marble 
 used in the Southern part of the State are brought. 
 
 In Ohio, Indiana, and Illinois little pains have 
 yet been taken to develope the mineral building ma- 
 terials. 
 
 Kentucky ^rod^nces an inferior Marble, which, though 
 susceptible of a high polish, is too brittle for heavy 
 use. 
 
 Tennessee contains several beautiful varieties. A 
 variegated one found near Nashville, lately brought 
 to light, is likely to come into the New York market. 
 
 Wisconsin, in its northern part, has Marbles whose 
 prevailing color is light pink, traversed by veins of 
 deep red. It has others of blue and dove color hand- 
 somely veined ; but none of them are worked to any 
 great extent. 
 
 Veined and crystalline Marbles are found in Mis- 
 souri. Arkansas is well supplied. Iowa is not desti- 
 tute of the less valuable variety. Marble has been 
 found in Marin County, and in some other parts of 
 California. In several States which we have not 
 named the native Marbles have been employed for 
 b'liilding purposes, for tombstones, &c. ; but in our 
 
252 
 
 THE MARBLE WORKERS' MANUAL. 
 
 list we have embraced the more important localities 
 and the varieties best known. 
 
 But notwithstanding the abundance of our home 
 supply, very much of that used for interior ornamen- 
 tation is imported. According to the Report of 
 Secretary Guthrie, the value of the unmanufactured 
 Marble of foreign production imported to this country 
 during the year ending June, 1855, was $232,385. — 
 From this item we have only to deduct $944, the 
 palue of the foreign unmanufactured Marble exported 
 by us during the same time, to discover just how great 
 vas our consumption of the foreign Marbles. How 
 much of our own Marble has gone abroad we cannot, 
 say — the item not having been separately reported. 
 
 This large importation of the article may be owing 
 to three causes. For some purposes the foreign may 
 be a better article, Or if not better, it is better known. 
 Then there is still some prejudice, perhaps, in favor of 
 an imported material, on the part of the uninformed, to 
 which dealers must cater. But there is a stronger 
 reason than all in the fact that the lower rates of 
 wages abroad enable the imported article to be fur- 
 nished far cheaper than that of equal excellence which 
 lies at our very doors. Thus when the Italian statuary 
 Marble was selling in New York at $2.50 to $3.00 
 per cubic foot, that from Rutland, Vt., cost $4.50. — 
 It is, more than anything else, a question of expense, 
 whether foreign or domestic Marbles shall be used. — 
 We get none finer abroad than we have at ho'UG. Wo 
 
APPENDIX. 
 
 253 
 
 have no need to send to Carrara for the capitals to 
 our columns, nor to Ireland for black Marble, if we 
 can afford to buy the best. And when capital and 
 the inventive arts are more directed to the business 
 of geHing out and manufacturing Marble, it will 
 doubtless seem as simple to send abroad for it as it 
 would to imitate our fathers, and bring tomb-stones 
 ready made from Wales, and brick from Holland. 
 
 Our variable climate is very hard upon poor Mar- 
 bles. Our hard rains and severe frosts are sure to 
 search out their fissures and flaws, and from them be- 
 gin their slow work of disintegration. Many Marbles, 
 indeed, when properly polished, will answer for slabs 
 to face or veneer brick houses with, which in the block 
 would not answer at all. 
 
 In a late number of Silliman's Jmrnal, Walter 
 K. Johnson, Esq., details some suggestive observa- 
 tions upon the ability of different building material^ 
 to endure pressure, founded on experiments that have 
 been recorded. Noticing that the Washington Monu- 
 ment at Baltimore, which was begun only in 1815, 
 already exhibited fractures across whole blocks in it, 
 he directs his special attention to the "Alum Lime- 
 stone" of which it is built,, and which is nearly allied 
 to the Sing Sing Marble of which Grace Church in 
 New York City is constructed. In conclusion, for 
 purposes of comparison, he arranges the materials 
 experimented on in the order of their relative value, 
 as determined by their power to resist crushing — 
 
254 
 
 THE MARBLE WORKERS' MANUAL. 
 
 The " Alum Limestone" standing at 100 
 " Stockbridge Marble stood at 96 
 " Italian " " 135 
 
 " East Chester (N. Y.) " 171 
 " White Statuary " 199 
 
 " Its true position," he says, "in the scale of strength 
 among building stones, as proved both by Dr. Page 
 and Mr. Wyatt, is among the sandstones, not among 
 granites, marbles, or compact limestones." Yet this is 
 the material out of which the Washington National 
 Monument is building, and of it, or of a still feebler 
 Marble, as marked in the table, very many edifices have 
 been erected, which their authors and architects flat- 
 tered themselves were their endurine monuments. 
 
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6 HENRY CAREY BAIRD & CO.'S CATALOGUE. 
 
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HENRY CAREY BAIRD & CO.'S CATALOGUE. f 
 
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IIENRV CAREY BAIRD & CO.'S CATALOGlJe,. 
 
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HENRY CAREY BAIRD & CO.'S CATALOGUE. it 
 
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12 HENRY CAREY BAIRD & CO.'S CATALOGUE. 
 
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HENRY CAREY BAIRD & CO.'S CATALOGUE. 13 
 
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14 HENRY CAREY BAIRD & CO.'S CATALOGUE 
 
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HENRY CAREY BAIRD & CO.'S CATALOGUE. 15 
 
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HENRY CAREY BAIRD & CO.'S CATALOGUE. 21 
 
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24 HENRY CAREY BAIRD & CO.'S CATALOGUE. 
 
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26 HENRY CAREY BAlRu & CO.'S CATALOGUE. 
 
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HENRY CAREY BAIRD & CO.'S CATALOGUE. 29 
 
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IP HENRY CAREY BAIRD & CO.'S CATALOGUE. 
 
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HENRY CAREY BAIRD & CO.'S CATALOGUE. 31 
 
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32 HENRY CAREY BAIRD & OO.'S CATALOGUE. 
 
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