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This conjecture is supported by the example of alabaster or stalactites, with which he compares the section of those mountains; for, in the example of implicated figures of the stalactite marble, similar to those of the present distorted strata, crystallization has nothing to do with that part of the figure which corresponds to the case now under consideration; it forms indeed certain figures of crystals in the mass by which also the configuration of some minute parts, affected by those crystals, is determined; but the figure of those alabasters, which is to be compared with the present subject, arises solely from the current of petrifying water along the surface of the mass.
Now, what the Apostle says is that these builders were, some of them, laying valuable things like gold and silver and costly stones by which he does not mean jewels, but marbles, alabasters, polished porphyry or granite, and the like; sumptuous building materials, which were employed in great palaces or temples and that some of them were bringing timber, hay, stubble, reeds gathered from the marshes or the like, and filling in with such trash as that.
The European alabasters are accumulated masses of stalactite and stalagmite, formed by the slow dropping of water charged with sulphate of lime, to which circumstance they owe the parallel stripes or concentric circles with which they are marked, while the rich and delicate varieties of colouring are produced by the oxides of iron which the water carries with it in its infiltration through the intervening strata.
With these are combined delightful stiff peacocks, and curious bunches of grapes, rosettes, and animal forms of quaint grotesqueness. Such work exemplifies specially what has been said regarding the use of flat thin slabs for sculptural purposes in the South of Europe. Nearly all these carvings are executed in fine marbles and alabasters.
The transparent alabasters of San Miniato and the mosaics of Saint Mark's are more warmly filled and more brightly touched by every return of morning and evening, while the hues of the Gothic cathedrals have died like the iris out of the cloud, and the temples, whose azure and purple once flamed above the Grecian promontory, stand in their faded whiteness like snows which the sunset has left cold. Ruskin, SEVEN LAMPS OF ARCHITECTURE, II.
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