THE MARBLES OF ITALY.' 147 



of the first quality are exclusively obtained from the Apuan Alps, and 

 may be referred to four types, which are as follows : — 



1st. The statuary marble of Monte Altissimo, superior to all others, 

 and universally preferred by sculptors, is the dearest. Of this class are 

 the marbles of Girardino, those of Tambura, and Ami, the large specimen 

 exhibited with the breccias of Massa, and a few others. 



2nd. Yellowish statuary marble of Carrara (or giallgnoeo), which is 

 principally obtained from Cressola. 



3rd. Bluish (statuario ceruelo) marble, having for type that of Poggio 

 Silvestro, near Carrara. 



4th. Snow white (bianco niveo) marble, which is represented by that 

 of Monte Corchia. The extreme whiteness of this variety is considered 

 objectionable by sculptors, as rendering it unfit to reproduce the effect 

 of flesh ; and a defective quality of the grain to which it is subject 

 renders it of inferior value to the preceding varieties. 



The presence, or complete absence of spots or veins, and the greater 

 or less homogeneity of the mass, are the essential elements which deter- 

 mine the price of statuary marbles. 



After the first class come the statuary marbles of the second class. 

 This term is generally applied to all marbles of a defective structure. 



Some of these may be grouped around well defined types, such as the 

 second quality of Monte Altissimo, and those of Massa and Seravezza. 



The marble of Betogli, among the specimens from Carrara, forms 

 another type belonging to this group, of which the principal characteris- 

 tic is the feeble cohesion of its particles, and consequently slight dura- 

 bility. It has, nevertheless, rather a fine appearance, and as it is easily 

 worked it commands a ready sale. This class of marbles, which are 

 known to artists as saloni, should be avoided as much as possible for all 

 works of sculpture. The well-known flexible marble of Carrara ap- 

 proach very nearly to this type. 



The varieties inlcuded in this division are very numerous, and with 

 the excejDtion of the saloni, all, or nearly all of them, are suited for the 

 sculptor's use. Many of these varieties are admirably adapted for large 

 monuments, especially for such as are intended to stand atmospheric 

 exposure, which rapidly alters the delicate grain of first-class marbles ; 

 many, however, are less suited for exposure, and the artist should be 

 careful to avoid using them for such a purpose. 



The most esteemed varieties of this class are the marbles of La Polla, 

 in Monte Altissimo, which are of a very close grain, and hard to the 

 chisel, and resist perfectly shock and pressure, and the variable action of 

 the atmosphere. Many of the marbles of Massa are of a similar character. 



The varieties of clear white marble extracted from the quarries of 

 Massa, Carrara, and Seravezza are extremely numerous, and are all 

 more or less adapted for the various purposes mentioned above, when 

 properly chosen. 



The series of Ravaccioni, so called from the marble of Ravaccione of 



M 2 



