Red Verona marble

The term Veronese marble (Italian Marmo rosso di Verona or Marmo di Sant'Ambrogio ), numerous color and structural sorts of Knollenkalkes called, which is obtained northwest in many quarries in Valpolicella Verona city. This limestone has in Italy and Europe over at least two millennia -lasting tradition as building and decorative stone. Are known from Verona marble red-brown, red-orange and yellow and yellowish green varieties. As a result, the Italian name supplements Rosso ( German: red) and Giallo ( German: yellow).

  • 4.2.1 Berlin
  • 4.3.1 Vienna
  • 5.1 Competing building stone

Geology

The varieties of the Veronese marble come from the regional sediments from the middle and upper Jurassic. Essentially, these are the steps Bajocian, Bathonian, Callovian and Oxfordian. The applied layer construction allows it to that in the quarries of the respective horizons of these different natural stone varieties can be obtained.

This is for all varieties to be polished nodular in petrographic sense, referred to in common parlance the stone processing, its cultural history and trade as marble. In contrast to the petrographically defined term marble, not applicable here, in this sense, it is expressly pointed out here.

The light and dark calcareous nodules are each in a nuanced matrix. Some banks in the quarries have stylolithische structures which are reflected in the polished surface. The Hämatitgehalt in the limestone benches gives the stone its color in differentiated reds. Yellow hues are due to limonite distribution.

A special awareness among paleontologists have the Veronese limes on the basis of their fossil deposits, particularly the ammonites obtained. From this optical characteristic derives its historical trading name Rosso Ammonitico, which sometimes was applied in a similar decoration rocks of the Alpine region and from other regions.

Mining and Processing

The main mining area of Verona marble is the Valpolicella region with the central for the quarrying village of Sant'Ambrogio di Valpolicella. Many quarries between Sant'Ambrogio and Monte win the limestone for further processing. The ingots arise in Abbohrverfahren or by working with the Helikoidalsäge. Ingots can be obtained in large or small dimensions according to the situation of the deposit. Sometimes the dense banks are separated by clay layers. Here you can only degrade flat blanks.

The sawing of boards and their surface processing occurs largely in factories nearby. In the resident holdings of different dimensions, there are large-scale capacity and atelier -like areas for artistic tasks. Ingots are also exported to customers on every continent.

Use

The Verona marble has enjoyed more than two thousand years an unusually versatile application. In Verona, the stone is included on Roman buildings in masonry. The biggest example is the Arena of Verona. The stone has also been found early widespread in northern Italy. Thus he has become in this region a distinctive building and decorative stone. A particularly intensive use epoch for the Italian foreign architecture represents the 14th and early 15th century dar. Unlike many other nodular components are from certain quarries or individual benches of the Veronese marble remarkably weather resistant. The typical aging appearance in the outer region is the fading of the red hue, which in progressive 15th century, among other things of Venetian buildings to overpainting, gilding and consequently led to substitution with other red limestones from Dalmatia. In the course of this development, the builder put a stone still for cornices and skirting areas, who exercised a concrete function in façade design through their red ribbons effect. In contrast, remained his vivid use continues unabated as flooring material in the interior.

From Verona marble sarcophagi and sepulchral tablets us survived. The Sarcophagus of Francesco Petrarca in Arquà has been made ​​of this rock.

In the Baroque era the colorful Veronese varieties experienced large-scale use. The intense red and yellow color of this limestone has challenged former builder to countless ornamental designs. Special certificates are numerous magnificent floors in northern Italian churches. They are characterized by their large-scale geometric and floral patterns and press today the joy of the figures. The Verona marble is often seen in combination with black, white, green, and blue-gray natural stone from Italy and adjacent areas. These fascinating ornament floors are the subject of several culture- geological research and publications.

Typical modern products for the natural stone varieties from Valpolicella are floor and wall coverings, paneling in bathrooms and other living areas, fireplace facades, door jambs, pillars, furniture panels, vases, sculptures and design objects.

Application Examples

The applications are so varied and extensive that in the following are a few selected representative examples may only be cited:

Italy

In the Middle Ages consisted in Venice a very great need for marble. To this end, we loaded up returning merchant ships with building stones of all kinds Nevertheless, these supplies were not enough and they won materials from derelict or underused buildings. In this way, arrived in 1458, and twelve pillars of white Veronese limestone of the Church of San Andrea in Ammiana to the monastery of San Zaccaria.

Venice

The red varieties of Veronese marble enjoyed in the 14th and early 15th century in Venice in great demand. The Doge's Palace is it one of the most prominent examples. On its facade to Piazzetta and Molo the use of the rock is good to study.

  • Cathedral of San Marco, floor elements and floor mosaics
  • Church of Santa Maria della Salute ( 2nd half of 17th century ), floor elements,
  • Church of San Salvatore ( 1641), floor elements

Verona

The historic city center of Verona has since 2000 the status of UNESCO World Heritage Site and is strongly influenced by varieties of the stone.

  • Roman Arena, masonry
  • Church of San Zeno Maggiore, masonry of the exterior facade, pillars of the cloister, interior, crypt
  • Sarcophagus of Cansignorio
  • Facade of City Hall
  • Courtyard of the Mercato Vecchio
  • Church of Santa Anastasia, ornament floor ( BIANCONE, Rosso Verona and others), columns, sculptures
  • Ponte di Pietra (latin Pons marmoreus )
  • Many town houses of the historic downtown, portals, architectural objects

Other cities

Germany

Berlin

  • Berlin Cathedral, column bases ( Nembro Giallo )
  • St. Hedwig's Cathedral, Senior Funeral Chapel in the lower church

Austria

Vienna

  • Gustav Palais Epstein, large fluted | fluted columns and Wandpilaster the main staircase
  • Haas House, interior design on the floors
  • Graben -Hof, monolithic columns on the facade
  • Residential building Max White of wave stone, columns in the stairwell
  • America House ( Friedrich Schmidt -Platz 2 ), columns on the facade
  • Sühnhaus, floor plates

Varieties and competing materials

The denominations have between domestic (Italian ) and foreign usage patterns on some differences and particularities. International are mainly the group names Rosso Verona for the reddish and Giallo Verona for the yellowish varieties accessible. In the Italian natural stone industry in addition to these main name other names are needed. These other variety names serve to differentiate available in color and texture nuances and to allow further processing natural stone companies and their customers professionally qualified advice. In this regard, for example, used sanguigno Rosso, Rosso brocato, Verdello Nembro Rosato or Gialetto. These names are assigned to specific and useful to each other, differing in color and texture images. By nature these common names embody a centuries-old experience of the stone fabricators from the versatile craft and artistic approach to their material. You can be seen as part of that heritage: a major pan-European natural stone region, which has been far beyond its borders decisive impulses for art, aesthetics and architecture.

A clear delineation of commercial varieties by stratigraphic point of view is difficult. These are mainly the yellow to red varieties of the Lower Ammonitico Rosso (meaning layers of the middle Jurassic are ) of the varieties of the Upper Rosso Ammonitico (Upper Jurassic and Lower Cretaceous in transition ) bright red tones with the final stage of BIANCONE ( very bright limestone) to differ. In the Upper Jurassic layers you also gain the Rosso Magnaboschi, which a good frost resistance is attested.

The varietal names have undergone a steady transformation over the centuries and left us with a melodious cultural richness. A full list is beyond the scope of an encyclopedia. A few examples will be mentioned brocatello rosso vivo, Nembro giallognolo, Palombino bianco, Ledge Mandorlata or Mandorlato di Verona. The name Mandorlata alludes to the apparent appearance, reminiscent of almonds by Knoll structures in the section against the bearing ( against the Stratifikationsebene ).

Competing building stone

In addition to the Valpolicella the regions around Asiago and Trento and Sicily are the sources of similar varieties. In addition, individual building stones have from the Salzburg area ( Adnet marble ), France, Hungary and Greece similar colors and textures.

In the German-speaking area are mostly the sorts Rosso Verona and Rosso Asiago in use, but completely wash subsume several red variants from each mining area.

Dimension stone Stylolite Petrarch San Zaccaria, Venice Basilica of San Zeno, Verona Cansignorio della Scala
551960
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