106 Sentences With "marbleized" | Random Sentence Generator

At first glance, the packaging looks like a marbleized lipstick case.

Their marbleized cinder blocks pose a great opportunity for exposed architectural foundations.

Fried Spam, a marbleized egg, Sriracha mayo, a soft-as-hell bun—perfection.

It yields an ultra-sophisticated cake, like this complex, marbleized glaze from Sydney bakery es.

Or, at the very least, they are marbleized with money and charged with market oversight.

Another ceiling medallion, another Tiffany lamp, another marble fireplace (this one curiously "marbleized" with paint).

Related: Patterns of Life Emerge in Petri Dish Macro Videography A Marbleized World of Shimmering Liquid?

For the marbleized eggs, in a pan over medium heat, melt one tablespoon of the butter.

Related: Watch a Colorful Short Film Made from Paint, Milk, and Honey A Marbleized World of Shimmering Liquid?

Citizen scientist Roman Tkachenko colorized the image, bringing close attention to the mesmerizing clouds that look almost marbleized.

Lee Savage's set consists mostly of marbleized plywood scaffolding; the band, sitting atop that scaffolding, numbers just five.

Most videos present a perfectly symmetrical image which blends itself from carefully-placed dots to marbleized wonders to fully blended shades.

But if one suggests a unique marbleized wall finish over the real thing, most shudder and beetle back to boring calacatta.

Swirling visuals of marbleized cat eyes and galaxy tableaus dazzle inside hard candies that dissolve into new patterns with a few licks.

But, if we're going on looks, the new Green Tea Yogurt Frappuccino, with its marbleized appearance, is the one we'd try first.

I gradually transitioned through a gateway where I emerged completely marbleized, resembling a ritual or religious experience and becoming one with the color.

Coffee-splashed artwork twists and turns across the page, ranging from weak to strong, light to dark roasts in blown-out marbleized tableaus.

Marbleized, striated, puddled, encrusted and spattered paint adorns differently colored and patterned fabric rectangles, which are pinned to the walls unstretched and unframed.

The marbleized powder mixes matte and shimmery powders, and reminds me of my all-time favorite powder blush from Hourglass, but way cheaper.

Not only is the result Instagram-ready, the marbleized appearance makes slicing into these cakes look like a Sword and the Stone-style magic trick.

The Beata Heuman-designed interiors — featuring rustic wood floors, marbleized wallpaper and a few millennial-pink tables — have only served to amplify its Instagram appeal.

The Impossible has a slightly slippery texture, while raw Beyond feels more marbleized, with clearer (and to some, more alarming) flecks of white among the red.

"The Aquaria Pasadena Pool Float has a fun marbleized design, luxuriously soft, durable and Made in the USA," reads the description for the float on Sam's Club.

Performances by MillionYoung, Virgo, Rat Bastard, Komakozie, and more were all illuminated in the strange colors Aileen Quintana later danced under, marbleized and aglow, in a mesmerizing trip.

Installation artist and sculptor Adam Parker Smith slyly incorporates mylar balloons into many of his works, including his marbleized foam piece Blowout and other three-dimensional wall works.

According to Instagram posts from baristas around the country, the Crystal Ball Frappuccino has a marbleized blue appearance that looks like the swirling clouds inside a crystal ball.

Entertaining essentials, including a dual-tone take on cheeseboard utensils, marbleized bowls and a metal-and-wood bar cart, are good examples of the on-trend items fans can expect.

The company re-created the chair, now named the S-1500, with a marbleized shell made entirely from recycled plastic fishing nets, ropes and pipes reclaimed from area fish farms.

While you might not feel the same kind of energy from these marbleized handles — sorry, they're not real rose quartz — playing with the soft bristle brushes will make up for it.

Riding the Harvey on a recent July afternoon, it was enjoyable to spend time immersed in the exuberant design, which included everything from the lifeboats to the prow where custom marbleized flags fly.

Many are prints from old instructional books, but there's also a fragment of a 19th-century envelope with a Chicago postmark, violet marbleized endpapers and a bug drawn circa 1820 by an amateur entomologist.

All six volumes of Edward Gibbon's "The Decline and Fall of the Roman Empire"; an autographed copy of F. Scott Fitzgerald's "Tender Is the Night" in a marbleized case; and Edith Wharton's "The Decoration of Houses" (all first editions).

Other dials showcase marbleized effects or glitter detailing, while the steel-plated Case Cuff line with lace-patterned dials ($195) has a bough of sculptural metal flowers that can be added or removed from the side of the case.

From leaf-shaped coasters and marbleized tea cups to shimmering silverware and leather-wrapped glass pitchers, the collection has everything we'll ever need for a picturesque outdoor celebration that could even put one of Mr. Bate's precisely planned parties to shame.

The first thing you notice when flying into the Caribbean is the land; the swirls of mildly differing blue hues of the ocean merge by the shore like a marbleized portrait, topped with wisps of cloud leading to green mountains.

This is the godfather of breakfast sandwiches, and it's from Eggslut in LA. It's got everything: fried Spam, marbleized eggs, sriracha mayonnaise, and, most importantly, it's on a King's Hawaiian roll, which, as everyone knows, is the best kind of roll.

Since it was first staged on Broadway in 1993, "Angels in America: A Gay Fantasia on National Themes" (to use its full, colon-toting title) has acquired the marbleized patina of something stately and grand, a work to be approached with reverence and a dictionary.

The product range — available today in Walmart stores — features a few items we've long coveted (like lip balms that change with your pH and rainbow highlighter), plus a few we didn't know we needed until now, including marbleized lipstick and a full-spectrum palette of hair chalk.

The decorator used a swirling paper she calls "marbleized" for Notting Hill's Farm Girl cafe and its just-opened Chelsea outpost and textiles from her line for her West London townhouse, where the sink skirt, among other things, is made from her rich velvet peacock pattern.

Weirdly timeless meditations on death, they simultaneously evoke cutting-edge Photoshop effects and rococo wallpaper, with tiled and overlapping imagery that includes skulls from the Parisian catacombs; toy army men in marbleized silhouette; and delicate, color-graded pigeon feathers modeled on one blackening example the artist found in her garden.

"People tend to think that interior design is just choosing the right cushions," says Heuman from her desk, where a ceramic lamp with a marbleized shade sits beside a well-thumbed Fabriano Artist's Journal and a resin sample created for a client during the nine years she worked with the British decorator Nicky Haslam.

The multisensory show opens on that printed Buzzcocks figure — with its Morphy Richards iron head and smiling mouths for nipples — and traces the evolution of Sterling's photomontages up to the present day, with recent works such as "Superautomatisme Ballets Russes I, 2015," for which she distorted and marbleized a magazine page using enamel paint to mesmerizing effect.

Prep: 25 minutesTotal: 25 minutes for the Sriracha mayo:22 teaspoon Sriracha sauce22 tablespoons mayonnaise (I use Hellman's) for the marbleized eggs:23 tablespoons butter21 free-range eggssalt, to taste24 tablespoons sliced chives for the pork:2375 can Spam or 53 25-ounce pork loin chops24 quarts canola oil24/4 cup cornstarch2/3 teaspoon Kosher salt to assemble:1 handful sliced scallions1 pack King's Hawaiian dinner rolls 1.

There was no particular difficulty in gauging what he's been looking at lately from the outsize coats he made in British checks and Scottish tartans, the shirts with exaggerated Western wear fringe, the Punk half-kilts he stitched over trousers, the embroidery on the backs of jackets, the eyelet he used to pierce coats and jackets and trousers, and the marbleized paper — whether Indian or Venetian — whose patterns were printed on lightweight smock coats that drifted behind the skinny boy models in a final theatrical parade around the loading bays.

The interior houses most of the original furnishings and household implements. The ceilings are plaster and there is a marbleized slate fireplace inside.

The pews have never been painted, the marbleized pulpit and pillars supporting the galleries still feature their original paint, and the building still contains its original hardware.

Facing the entrance at the first landing are three original curved stained glass windows with heraldic monograms (the initial N). The two fireplaces, which face one another, are high, wide, and deep. The construction is wood, marbleized to match the color of the walls. The two marbleized staircases curve slightly and extend from the lobby to the first floor. Each is headed by a finial in the form of an obelisk tall, containing six marble steps, and six unusually shaped balusters.

The transom over the door is in the form of an arc and is decorated with an impressive marbleized border. The lobby of the Northumberland is distinguished by a wealth of decorative ornamentation associated with European architectural embellishments derived from classical, medieval, gothic, and renaissance motifs. Its great size ( and height () allowed the architect and builder great freedom in designing the motifs that make up the decoration. The marbleized walls, columns, side staircases, and fireplaces provide an elegant background for the ornamentation.

Redwall Limestone is bleached, brecciated and marbleized. Grandview is the type locality for grandviewite, a copper aluminium silicate.Grandview Mine data at Mindat.org Grandview produced exceptionally fine mineral specimens of cyanotrichite, brochantite, chalcoalumite, and many other copper and uranium minerals.

It has a particularly fine vernacular staircase which descends into a formal Federal style parlor, and a grained and marbleized classical entrance hall. The earlier kitchen wing, now a dining room, is reminiscent of older English examples of the 17th century.

Decorative arches and diamond pendants run between them. The windows have plain surrounds with flat shutters and drip-mold friezes. A pilastered and recessed double-paneled glazed doorway in the center of the first floor leads to the central hall. The stairway is marbleized.

It opens on a side entrance hall. The house's original floor plan remains, although the functions of the rooms have changed. Original finishes include the pine flooring, wall plaster, marbleized door knobs, a marble mantel, molded wooden window trim and the turned newel post and balusters on the staircase.

It boasts two huge fireplaces and four columns with ornamental capitals. The staircase and lighting fixtures exhibit fine handwrought iron work. The central staircase, with white-grey marble steps, branches at the landing with separate marbleized staircases leading to each wing of the building. The three stairways are well related visually.

One of the upper chambers has a rare example of wood paneling painted with a marbleized finish. The house was moved to its present location (likely a short distance from its original site) sometime in the 1970s. The house was listed on the National Register of Historic Places in 1990.

Marbleized plaster, scagliola, panels complete the walls. The building's ceilings are decorated with plaster cornices and molded leaf and rosette complements. The Honduras mahogany doors have a rail and panel design and beveled glass is used for decorative side lights and panels.This postcard from the early 20th century shows the McLean County Courthouse.

An iron fence encloses the small churchyard, and a chapel has been added to the south wing. The tower forms a vaulted narthex at the main entrance in front. All walls there and within the chancel are white plaster, except around the altar. Its recess features marbleized Corinthian columns and gold paint.

According to Butler, the removal of pigment exposed underlying paint in "amazingly good condition".Butler (1997), 37 The Turin panel has suffered heavy overpainting and cracking along the vertical join. The marbleized reddish-brown paint on its reverse is heavily worn. In the 20th century the panel underwent three restorations and extensive technical analyses.

The interior retains some of its original box pews, and its pulpit, portions of which retain original marbleized paint finish. Other surviving interior elements include some rare period music supports in the gallery. The property also includes a 19th- century hearse house. The town of Fremont was incorporated as Poplin in 1764, out of Brentwood.

The roof was covered in Pennsylvania slate. The interior has three naves and is separated by columns which were originally marbleized. The central nave rises to , while the side naves are . The ornate wood altars from the old church were moved to the new church and the three bells were placed in the tower.

Small classrooms are off to the sides on both levels. In the center of the ceiling is a large recessed circular light glazed with stained glass. The windows are done in marbleized glass in shades of amber or green in the classrooms and clear glass in the offices. The hyphen has entrances on the east and west.

The Bevier House is located on Bevier Road in Gardiner, New York, United States. It is a frame house built in the mid-19th century. It is one of the few remaining intact farmhouses in Gardiner from before the Civil War, with a decorative front facade and marbleized main staircase. In 1983 it was listed on the National Register of Historic Places.

A contemporaneous 1-1/2 story brick ell extends to the right from the rear corner. The interior retains original Federal woodwork, including fireplace mantels, doors, and trim. The main hall's trim has been given a marbleized finish, and its walls are painted with scenes of the Erie Canal. This artwork is the work of Albert Sterner, the second occupant of the house.

The original baseboard and some window trim remains. In the north end of the wing are two rooms. The larger one, in the northeast corner, has its black marbleized mantel on its fireplace on the north wall, as well as its original architrave and window moldings. The smaller room, in the northwest, no longer has its mantel but its chimney cupboards remain.

The mantelpiece in the dining room is made from marbleized slate and has an original pier mirror, located between the two windows on the dining room's north wall. Paired doors with glass panels lead to the polygonal room in the eastern wing which was once used as a library. The conservatory features original scalloped wooden shelves below the arched windows. The kitchen contains modern appliances.

The Roman (round) arch predominates in the interior decor. It is found prominently in the chancel arch, the blind arches where the side altars are located, the reredos of the high altar, the stained glass windows, and the Stations of the Cross. The altars are carved wood with marbleized painted surfaces. Statues of St. Peter and St. Paul flank a central crucifix in the reredos.

Mason–Tillett House, also known as Rock Hill, Mason's, Long's Farm, and Brunswick Plantation, is a historic plantation house located at Valentines, Brunswick County, Virginia. It was built about 1780, and is a T-shaped, two- story frame structure with a 1 1/2-story addition added about 1832. The front facade features a two-story pedimented porch. The interior features exceptional surviving grained and marbleized woodwork.

It is laid out in a traditional Orthodox plan, with many of its surfaces heavily marbleized. The bimah at the center, pews surrounding it on three sides facing the ark in the rear and a separate gallery for women. The windows are set in molded wooden trim with keystones. The vaulted ceiling is finished in pressed metal with a decorative frieze, and the stained glass windows feature Hebrew motifs.

The interior layout of both stories remains unchanged, as do many of the finishes. Both the adult rooms downstairs and the children's rooms upstairs have fireplaces with galzed brick, marbleized tile floors, carved mantels and beveled mirrors. The central stair has oak wainscoting, ash banisters, and newel posts topped with carved urns. The flooring, moldings and plaster walls are all original, as are the bookshelves and most other furniture.

The porch columns are the original woodwork, tapered and turned; a simple balustrade connects them. Much of the interior is also original, including the oak staircase in the entrance hall and a marbleized mantelpiece in the parlor. The upper floor and attic are finished, and were used as bedrooms and servants' quarters originally. There are several outbuildings, all considered contributing resources to the historic character of the property.

The Stephen Collins Foster sketchbook kept in a safe at the archives The sketchbook measures and contains 113 leaves of half-bound paper. The papers are of the same material and contained in a cover of thick paper boards, covered in red and blue marbleized paper and brown leather. Eight pages are missing. One page had been cut out by the composer's granddaughter but was restored to its original place in the sketchbook.

The buildings on the south side also feature a marbleized transom. Other National Register historic districts immediately to the south of the village center include the Putnam Street Historic District and the West Newton Hill Historic District . Both were developed as West Newton grew as a commercial, transport and intellectual center in the late 19th century and feature an unusual level of integrity of the original residential architecture from that period. Robinson's Block (1875).

A number of Jotter barrels have a marbleized appearance. They are the result of cleaning the injection molding machines and known as "lunch room" or "end of the day" specials. Some color variations are quite attractive and others are simply strange. If a production run called for blue and the staff had been running gray barrels, the last of the gray material would blend with the blue, producing a blended color barrel.

The choice of paint color on the walls in Victorian homes was said to be based on the use of the room. Hallways that were in the entry hall and the stair halls were painted a somber gray so as not to compete with the surrounding rooms. Most people marbleized the walls or the woodwork. Also on walls it was common to score into wet plaster to make it resemble blocks of stone.

Self-striping variegated yarn is frequently used in sock knitting Variegated yarn is yarn dyed with more than one colour. It can produce effects that vary depending on the technique of the crafter, the pattern used, and the frequency of colour change. These effects include "flashing" (lightning-bolt effects) and "pooling" (patchy or marbleized effects). Some yarns (known as "self- striping yarns") are designed to produce stripes when used to knit small items such as socks or mittens.

George Washington greeted local townspeople in this meeting house on his northward journey in 1789. By the 1840s, regular religious services had come to an end. Historic New England acquired the meeting house in 1941. Its interior has remained virtually unchanged since it was constructed, with the original high pulpit, pentagonal sounding board, deacon's desk, marbleized columns, box pews (complete with graffiti and foot warmers), unfinished stairs to the gallery, and sloping gallery on three sides.

The interior has many well-preserved period features, including doors with original hardware, wooden panels, early 19th-century wallpaper, and even instances of marbleized paint on some surfaces. Differences in construction material (principally nails) suggest that the interior was not completely finished until the early 19th century. A brick ell, dating to the early 1800s extends to the north of the main block. The house has never been fitted with modern utilities such as plumbing or electricity.

Inside, the house reflects changing tastes as well. The interior's rooms are less grand than most earlier Victorian homes, suggesting a space meant for living as opposed to entertaining, and the more open placement of the kitchen and other backrooms suggest a more egalitarian attitude than a strictly Victorian home would. The contrast between the values of the Queen Anne style and the Colonial Revival is also represented by the marbleized mantelpiece and unpainted oak stair respectively.

Although, according to biographer Cristina Morozzi, Gardella took the recognition for projects that Ferrieri worked on because he wanted to be the master of his own studio. In 1982, she created the first table to be made of entirely injection molded plastic. In 1988, she created arm lounge chair that had a “marbleized” injection blend of plastic. Anna Ferrieri won numerous awards, including the prestigious Compasso d’Oro, an industrial design award given by ADI to acknowledge and promote high quality designs.

The glories of this house, after repairs had been effected, were concentrated in the long Gallery, one of two in the house, which was richly painted and marbleized, no doubt by Francis Cleyn, who was responsible also for the exterior that was painted en camaieu in tones of yellow and burnt ochre.Horace Walpole, Anecdotes of Painting in England, vol. ii, p. 128; John Aubrey, The Natural History and Antiquities of the County of Surrey, posthumously published ms, noted by Lysons 1792.

Pulpit The pulpit is part of the solid Baroque interior decoration that was commissioned by Bishop László Ádám Erdődy in the first decades of the 18th century. It was built by the left pillar of the triumphal arch with a stone stairway leading up from the chancel. Its red, green and white marbleized surface and gilt stucco decoration matches the walls and the altars. The iconography is fairly simple with three white cherubs on the abat-voix and the Eye of Providence between clouds.

The HABS analysis observed that the interior details of the house were of particularly high quality. Noteworthy features mentioned included "delicate and almost elaborately carved" fireplace mantels and chamfered joints in the wood paneling on the walls. HABS also saw indications that Sabine Hill's design might have been influenced by architecture in Williamsburg, Virginia, particularly the design features of the Capitol Building there. One design detail noted as similar to features seen in Williamsburg was the use of "marbleized" wood for wainscoting along the stairway.

The interior of the house follows a center hall plan with four rooms on each floor, two on either side of the central hall and stairwell. Two rooms on the north side of the house have wood panels with bolection molding and a marbleized finish, some of which was reproduced after fire damage sustained in 1976. The main block of the house originally had two internal chimneys, but the one on the north side was removed at an unknown date. The original south chimney was replaced c.

It is a dressed cut stone monument tall, at its base and at its top. The monument was repaired in 1892 by the Barlow-Blanco Commission, and again in 1929 by the International Boundary Commission. It was repainted in 1933 and in 1959, the latter time by the International Boundary and Water Commission (IBWC). It was refurbished in 1966 by both sections of the IBWC, which stripped its old plaster coating down to the original masonry monument and re-faced it with white marbleized concrete.

The interior of the rooms display late Victorian details, with the front parlor having a carved marble mantlepiece, a molded central ceiling medallion and a painted ceiling with scroll-work. The back parlor has a marbleized slate mantlepiece with an over-mounted mirror in a Renaissance Revival frame. On the back edge of the lot is a two-story clapboarded carriagehouse with a Victorian cupola. This structure was not described in the NRHP nomination, but a photo from 2013 shows the cupola has been damaged.

Finishes that were either marbleized or grained were frequently found on doors and woodwork. "Graining" was meant to imitate woods of higher quality that were more difficult to work. There were specific rules for interior color choice and placement. The theory of “harmony by analogy” was to use the colors that lay next to each other on the color wheel. And the second was the “harmony by contrast” that was to use the colors that were opposite of one another on the color wheel.

Balabushka used a distinguishing reddish-brown bumper, and employed Cortland Irish linen for many of his wraps, with the highly sought after leather wrap a rare departure for him and a distinct value enhancer. Unless a different length was specified, Balabushka made all his cues to a standard 57½ inches in length. In addition to Bushka rings, various other decorative rings were commonly incorporated, including various colored plastics (often marbleized), and silver and contrasting wooden rings. For decoration, Balabushka often inlaid small mother-of-pearl dots and notched diamonds.

The house is a two-and-a-half-story five-bay stone building on a raised basement with a shallow hipped roof with small cupola and identical chimneys on the north and south. It is sided in a locally quarried granite with an unusual natural marbleized appearance in a smooth-faced ashlar pattern with quoins on the front (reverting to random ashlar on the rear and sides). The roofline has a plain frieze, simple cornice and is set off by a stringcourse. The east (front) facade has a central entrance portico featuring classical ornamentation.

Ross Bay Villa front porch The house appears small from the outside, but measures approximately 1,650 square feet, all on one floor. The main house has 12-foot ceilings; the original rear kitchen annex is much more compact. Other significant design elements include: A split-flue chimney; an angled front bay with hipped roof; recessed porch with sidelights and transom and original front door, all originally finished in faux oak; an unusual double-ridged roof; six-over-six windows; an original cast-iron fireplace, a marbleized mantle; a plaster ceiling medallion.

Marbleized faience, resulting from the working of different colored faience bodies together, so as to produce a uniform adherent body, also appears in this period. Towards the end of the Middle Kingdom, incising, inlaying and resisting techniques appear: these were bound to become progressively popular towards the New Kingdom. In the New Kingdom, beads, amulets and finger rings are produced by a combination of modeling and molding techniques. In this period, sculptural detail is created using inlays of different colored faience or by scraping the body to reveal the white intermediate layer in relief.

It displays in original condition a corner shell cupboard with sun-burst decoration; marbleized fluted pilasters at either side of the fireplace opening, and fine overmantel painting. The woodwork in this room is in its original condition and excellently preserved. Although the builder of this house is unknown, it is evident that he was a master joiner. A house recorded in a Colonial Dames monograph (William Cooper House, destroyed 1930d) bears such marked similarities to this house that it is likely they were built by the same man.

The Sears Video Arcade sports aluminium trim, the brand "Tele-Games" printed in green capital letters above the cartridge slot, the brand "Video Arcade" printed in chrome letters on the front right hand corner, and faux marbleized wood, but is otherwise identical to the Atari-branded console. These models can also be identified by the white paper label located underneath the console itself, which identifies the unit as being manufactured by Atari for "Sears Roebuck and Co." Sears also sold their own "Sears" branded paddle controllers for the Heavy Sixer.

Similar details are also found on the western entrance, while the eastern one has a modest surround. The doors all enter the single main chamber, where the ground floor is dominated by a series of box pews and the elevated pulpit on the north wall, backed by a large wooden soundboard supported by fluted wooden pilasters that have a marbleized paint finish. Stairs to the gallery are located in the front corners. with The meetinghouse in 2018 The meetinghouse was built in 1772, and originally housed a predominantly Presbyterian congregation of Scottish immigrants.

The McDaniel-Tichenor House, located in Monroe, Georgia, United States was built in 1887 for retiring Governor Henry McDaniel. Originally designed by Athens, Georgia architect William Winstead Thomas (1848-1904) in the then- popular Victorian Italianate Villa style, the house was extensively remodeled in the 1930s by Nashville architect, and son-in-law of Edgar and Gipsy Tichenor, Francis Boddie Warfield. Remade in the Neoclassical style popular with prominent southerners at the time, the Tichenors also added modern indoor plumbing, electricity and heating systems. Though the interior was reconfigured as well, much of the original woodwork, doors and inlaid marbleized mantels are original.

The inventory of Samuel Harrison's estate (1733) lists thirteen rooms, including a kitchen as well as a library of 195 books. Harrison's "store" or storeroom contained abundant supplies of everything from cooper's tools to tobacco boxes to India silk. Interesting features of the house include original brick vaulting in the cellar, fine paneling and moldings, ancient glass panes, batten doors with original hardware, a wall of rare marbleized paneling; and three eighteenth—century paintings on wood. In 1825, the will of Benjamin Harrison bequeathed half of the household furniture and three African-American slaves to his daughter Ann Tongue.

The building's ground floor features pillars faced with gray Italian marble framing 28 large plate glass windows. The lobby and banking hall were originally finished in gray and cream-colored marble with walnut and aluminum trim, while "a dark green Grecian marbleized vinyl covering" was used on the upper floors. The elevator lobbies were decorated with fifteen murals by Alice Garver depicting various aspects of New Mexico history, including indigenous peoples (second floor), covered wagons (10th floor), the Atomic Age (16th floor), and the Duke of Alburquerque (17th floor). Like much of Garver's work, the murals were fragile and have not survived.

As electrical recording and amplification improved there was increased demand for coin-operated phonographs. The word "jukebox" came into use in the United States beginning in 1940, apparently derived from the familiar usage "juke joint", derived from the Gullah word "juke" or "joog", meaning disorderly, rowdy, or wicked. As it applies to the 'use of a jukebox', the terms juking (verb) and juker (noun) are the correct expressions. Styling progressed from the plain wooden boxes in the early thirties to beautiful light shows with marbleized plastic and color animation in the Wurlitzer 850 Peacock of 1941.

Projecting from the center of the main facade is an unusual stair tower, whose ground level is fronted by a brick wall with stone headers, and is open at the sides, allowing a wagon to pass underneath the second level. A large entrance is set in a granite frame on the second level, and was originally accessed by stairs that have been removed. The interior of the stair tower includes trap doors to facilitate the movement of goods to the building's third level. The interior of the building has a number of high-style Greek Revival features, including a double-spiral staircase and marbleized columns.

Solid surface is available in hundreds of colors and visual textures, ranging from solid colors to sparkling, marbleized, or granite effect. Dozens of multinational companies manufacture solid surface sheet goods and sinks for the world market; and hundreds of smaller, regional manufacturers produce for local markets. Although solid surface faces competition from natural stone and engineered stone/quartz surfacing, the material is popular in Asia, particularly in residential new construction. An emerging market for solid surface is in commercial and industrial settings, where its non-porous characteristics, combined with durability, renewability and formability make it the material of choice for many designers and architects.

Indian Grinding Rock State Historic Park is a California State Park, preserving an outcropping of marbleized limestone with some 1,185 mortar holes—the largest collection of bedrock mortars in North America. It is located in the Sierra Nevada foothills, east of Jackson. The park is nestled in a little valley above sea level, with open meadows and large specimens of valley oak that once provided the Miwok peoples of this area with an ample supply of acorns. The park was established in 1962 and listed on the National Register of Historic Places in 1971. The native name for the site is "Chaw’se", the Miwok word for "grinding rock".

The Japanese art of making paper from the mulberry plant called washi (和紙) is thought to have begun in the 6th century. Dyeing paper with a wide variety of hues and decorating it with designs became a major preoccupation of the Heian court, and the enjoyment of beautiful paper and its use has continued thereafter, with some modern adaptations. The traditionally made paper called Izumo (after the shrine area where it is made) was especially desired for fusuma (sliding panels) decoration, artists' papers, and elegant letter paper. Some printmakers have their own logo made into their papers, and since the Meiji period, another special application has been western marbleized end papers (made by the Atelier Miura in Tokyo).

The holotype MSNTUP I-15459 of Aegyptocetus tarfa Aegyptocetus is known from the articulated holotype MSNTUP I-15459, an almost complete cranium, lower jaws (with teeth) and a partial postcranial skeleton (cervical and thoracic vertebrae and ribs). The specimen was recovered when marbleized limestone was imported commercially to Italy. It was collected in the Khashm el-Raqaba limestone quarry (, paleocoordinates ) from the Gebel Hof Formation on the northern flank of Wadi Tarfa in the Eastern Desert of Egypt, dating to the late Mokattamian age of the middle Eocene, about . Its cause of death may have been an attack by a large shark as pattern of shark tooth marks preserved on the ribs.

Orelia Key Bell was born in Atlanta, Georgia, on April 8, 1864, to Colonel Marcus Aurelius Bell (1828–1885) and Mary Jane Hulsey (1837–1901), in the Bell mansion, a stately Southern home in the heart of the city built in 1860. The house became historic soon after Bell's birth, as the headquarters of General William Tecumseh Sherman's engineering corps led by Captain Orlando M. Poe, and the room in which she was born and spent the first three months of her life was that used by General Sherman as a stable for his favorite colt. The house was made of "plaster-covered stone marbleized in shades of blue, yellow, and red" and thus nicknamed the "Calico House". The house was demolished in 1925.

Upon its sale, Poli remodeled the theatre, renamed it The Grand, and continued to show silent movies. In 1926 he hired renowned theatre designer Thomas W. Lamb, doubled the theatre's seating capacity to 3,500 and transformed the building into a palatial showcase, including a two-story lobby with mirrored walls, marbleized columns, an ornate grand staircase, and an immense chandelier in the main auditorium, just in time for the beginning of sound film, or the talkies in 1927. In 1928, Poli sold his theatre holdings to William Fox who then renamed it the Loew's Poli. After another change of ownership, Sumner Redstone and Redstone Theaters purchased the building in 1967 opening it as Showcase Cinemas and continued operations as a multiscreen movie house until 1998 when Redstone's National Amusements closed the theatre.

Upon admission into the Order of Newfoundland and Labrador, usually in a ceremony held at Government House in St. John's, new Members are presented with the order's insignia. The main badge consists of a gold medallion in the form of a stylized sarracenia purpurea (or purple pitcher plant)—the official provincial flower—with the obverse in marbleized green enamel with gold edging, and bearing at its centre the escutcheon of the arms of Newfoundland and Labrador, all surmounted by a St. Edward's Crown symbolizing the Canadian monarch's role as the fount of honour. The ribbon is patterned with vertical stripes in blue, white, and two shades of green; men wear the medallion suspended from this ribbon at the collar, while women carry theirs on a ribbon bow at the left chest. Members also receive a lapel pin that can be worn during less formal occasions.

Owen's early professional work is built upon the gestural abstraction of Jackson Pollock, using acrylic paint partially mixed with vivid pigments and poured on paper or canvas from buckets, bottles or caps, then manipulated to create a marbled effect. In 1973 the critic Peter Schjeldahl described this early work as having a "particular dialectic... between an overall 'marbleized' look that is essentially impersonal — it is hard to imagine that a mere human hand could have performed anything so intricately gorgeous — and subtle, intelligently directed exertions of drawing and composition that become apparent on closer scrutiny." The most prominent technique in Owen's work is a distinctive process known as "painting in verso". Owen adopted this method in the 1970s at the prompting of his friend Art Schade, initially using large beds of modelling clay, carved and cut to create spaces into which paint could be poured.

With limited specimens in existence at the time and most owned by Pauw, his refusal to sell any flowers, despite wildly escalating offers, is believed by some to have sparked the mania. By contrast to other flowers such as the coneflower or lotus, tulips have historically been capable of genetically reinventing themselves to suit changes in aesthetic values. In his 1597 herbal, John Gerard says of the tulip that “nature seems to play more with this flower than with any other that I do know.” When in the Netherlands, beauty was defined by marbleized swirls of vivid contrasting colours, the petals of tulips were able to become "feathered" and "flamed." However, in the 19th century, when the English desired tulips for carpet bedding and massing, the tulips were able to once again accommodate this by evolving into “paint filled boxes with the brightest, fattest dabs of pure pigment.” This inherent mutability of the tulip even led the Ottoman Turks to believe that nature cherished this flower above all others. The Tulip is also viewed prominently in a number of the Major Arcana cards of the Oswald Wirth Tarot deck.