Culture of Baltimore - Marble Steps

Marble Steps

Marble steps found along the streets of Baltimore are as much a part of the city's culture as crabs and baseball games. The use of marble for steps is due to the presence of high quality white marble in Cockeysville, a town 17 miles north of Baltimore's inner harbor by highway. Indeed, the marble found there is so attractive, stone was hauled all the way from this northern Maryland town to the nation’s new capital, instead of local Potomac marble quarries, for use in decorative construction around Washington, D.C., including the Washington Monument, and 108 columns of the capitol building. During the construction phase of the Washington Monument, that is through the middle of the 19th century, the marble gained in popularity as a decorative stone and was used omnipresently for the steps of rowhouses surrounding Baltimore's inner harbor and in Fells Point. Baltimoreans take pride in the fact that their mundane doorsteps are made from the same beautiful white marble used for the construction of the famous Washington Monument. Scrubbing marble steps has become a tradition in Baltimore. The ritual includes scrubbing the marble with Bon Ami powder and a pumice stone.

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Famous quotes containing the words marble steps, marble and/or steps:

    See how the sacred old flamingoes come,
    Painting with shadow all the marble steps:
    Aged and wise, they seek their wonted perches
    Within the temple, devious walking, made
    To wander by their melancholy minds.
    William Butler Yeats (1865–1939)

    Our minds can go no further. The human imagination is capable of no further expression of beauty than the carved owl of Athene, the archaic, marble serpent, the arrogant selfish head of the Acropolis Apollo.
    Hilda Doolittle (1886–1961)

    Surely it is one of the requisites of a tasteful garb that the expression of effort to please shall be wanting in it; that the mysteries of the toilet shall not be suggested by it; that the steps to its completion shall be knocked away like the sculptor’s ladder from the statue, and the mental force expended upon it be swept away out of sight like the chips on the studio floor.
    Elizabeth Stuart Phelps (1844–1911)