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