Mouldings should be specially designed for different marbles.  I should say mainly on the principle of sudden contrasts; that is, large members with very little curve bound with members very small in detail, thus obtaining sharp lines, having little surface to be influenced or distorted by the veined markings, and serving to sharpen up and give form to the broader members (which show the color qualities of the marble), much as you sharpen up an ink drawing by underlining.  These small members serve the architect’s purpose for the expression of vertical and horizontal lines, and where decisive and cutting shadows are required in the composition of his work.

If delicate carving forms part of your design, I should say statuary is the best, as you have no veins to distort your detail.  I need hardly add that economy should be studied in using precious marbles, without injuring the durability of the work.  Contours may be built up in thin sections.

Intazzio is a beautiful form of treating marble on an inexpensive ground.  Gem-like effects may be obtained by inlaying with smaller pieces, following such ornamental forms as your inventive brains shall dictate.  Perhaps the pockets of your clients will be the chief dictator.

Heraldic emblazonings, inlaid in marble, are highly effective.  The conditions of the heraldry necessitate the use of many varieties, but in such small quantities that on a large simple field they are rarely out of harmony.  In addition they map out a large and interesting variety that will save the worry of creation of designs coming entirely from your own brain, and you know the worry of an architect’s life makes him hail with pleasure at times a rest from the strain of creation.  This heraldic work may be seen to perfection in the chapel of the tombs of the Medici at Florence.

At the Pitti Palace are some tables which you may know where marble intazzio can no further go.  Alabaster does not appeal to me, it is somewhat sugary in results.  If you are fortunate enough to have a sculptor who is a sort of nineteenth century Donatello, let him work his will on statuary or such restful marble.

The celebrated monument in the church of S. Giovanni Paulo, at Venice, which Ruskin says is the finest monument in the world, if my recollection serves me correctly, is in white marble, and its beauty comes entirely from the sculptor’s art.  Such monuments give you much better than any words of mine ample suggestions for marble treatment.  I may quote such names as Nicolo Pisano and Verocchio.

Photos of some of their work I have brought.  Note Pisano’s beautiful white altar at Bologna, and Mina de Fiesole’s work in Florence.  They all show the sculptor as supreme.  Why should not we encourage individual young sculptors more?  Give them portions of your work in which they can put all the fervor and enthusiasm of young manhood.  Their powers may not be ripe, but they possess a verve