Calacatta isn’t one stone — it’s a family. Gold, Borghini, Oro, Monet, Monet Verde, Viola, Viola Brecciato, Viola Rosso Extra, Viola Rosenoir Paonazzo, Green Picasso, Taupe. Quarried in the Apuan Alps, selected slab by slab in Verona, and stocked on the floor in Los Angeles. This is the field guide: what each cut looks like, when designers reach for it, and where to find the slab in the yard.
A Note on the Family
No. 001
Calacatta is the name for a class of white marbles from the Apuan Alps where the field reads cleaner and the veining bolder than Carrara. Within the family, the slabs separate by character.
Gold runs warm and amber. Viola turns aubergine, plum and ink-black. Green Picasso paints in forest passages. The Monet grades soften the whole language to watercolor. The Paonazzo cuts flip the ground from white to peach-pink. Every type below shares the same Apuan origin; what changes is colour, vein language, finish, and what room the slab is asking to live in.
All of these are stocked at the Royal Stone yard in Los Angeles. We select Calacatta blocks ourselves in Italy, carry six to ten variants on the floor at any given time, and pull anything from the rack for a side-by-side review. A fifteen-minute walk through the yard saves a week of debate on a fabrication call.
For the three most-asked-about lots, read the deep side-by-side: Calacatta Borghini vs Viola vs Monet.
01 · The Classic Whites
The quiet end of the family. Bright Apuan grounds with soft grey, gold or warm-cream veining — the Calacattas designers choose when the architecture is doing the talking and the stone should hum, not shout.
Fluted · 68″ × 108″ · 2cm
Bright white field, soft grey-gold veining, cut into fine vertical relief.
A top-grade Borghini white finished in fluting. The vertical relief turns the slab into a piece of architecture on its own — for a feature wall, a vanity face, or a kitchen island front where the stone itself carries the geometry.
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Honed · Lot dimensions vary · 2cm
Bright white field with painterly grey and faint gold veining — between Arabescato and Calacatta.
A Carrara cut that sits on the boundary between the Arabescato and Calacatta families. Cleaner than a typical Arabescato, looser than a textbook Calacatta — the Select grade designers choose when they want movement without committing to the Gold or Viola registers.
See the slab02 · Calacatta Gold
White grounds with warm amber, ochre, and honey-gold veining. The classical reference — what most clients picture when they say the word "Calacatta." Honed for working surfaces, polished for fireplaces and bath walls, fluted when the wall itself is the stone.
Honed · Top Grade · Lot YG575 · 2cm
Thick, painterly gold veining on a clean white field — Top Grade from the Borghini quarry.
The reference Calacatta Gold. Borghini-quarry stone at Top Grade, with the kind of confident amber veining that built the category in the first place. Honed reads chalk-quiet and forgives daily etching; the same lot is available polished by request.
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Honed · 64″ × 112″ · 2cm
Warm gold veining on a cream-to-ivory field — Carrara, painterly, working scale.
A Carrara Calacatta cut between the classical Gold and the Monet painterly grades. Cream-to-ivory ground, warm gold veining that drifts rather than fractures. Honed for kitchens, vanities, and feature surrounds.
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Fluted · 72″ × 127″ · 2cm
Warm gold veining over a white field, finished with a fine vertical relief.
Antolini’s Flute Texture line applied to a Calacatta Oro field. Where the standard Oro reads as drawing, the fluted version turns the slab into a relief surface — gold passages glinting along the vertical ridges. Built for the single architectural moment in a room.
See the slab03 · Monet · Painterly
Watercolor Calacattas. Antolini’s Monet grades — chalk-white fields washed with cinnamon, gold, pale green, taupe and soft violet. Vein networks that read more as drawing than fracture. The cuts designers reach for when a kitchen should feel painted, not engineered.
Honed · 78″ × 121″ · 2cm
Chalk-white field threaded with cinnamon, gold, and pale grey-green veining.
The painterly cut of Calacatta Oro at Antolini’s Monet grade — bookmatched pairs available. The veining moves like watercolor rather than stone fracture, which is exactly why the Monet line earned its name. Specify for primary baths and library walls where the stone should read soft from across the room.
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Honed · Lot EC802 · 2cm
Soft white field, pale green and gold passages — the verdant Monet.
The green-tinted Monet. The same painterly vein language as Monet Oro, but the warm passages tip into pale gold and soft mineral green. A quieter alternative to Calacatta Green Picasso when the room wants a hint of green rather than a forest.
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Honed · WOW · 64″ × 125″ · 2cm
Soft violet undertones, flowing grey veining, clean white field — Antolini’s WOW grade.
A WOW-grade Monet that crosses the Viola family. Soft violet undertones drift behind grey veining, with the painterly Monet hand rather than the structural fracture of a classic Viola. Honed at 64″ × 125″ — sized for a single feature wall.
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Honed · Extra · Lot dimensions vary · 2cm
Soft cream field, taupe ribbons, grey webbing — the warm Calacatta.
A Calacatta cut warmer than the standard whites. The taupe ribbons pull the slab into a soft, almost limestone register — the right call when a white marble would read cold next to oak, plaster, or warm brass. Honed, on the floor at Royal Stone.
See the slab04 · Calacatta Viola
The dramatic side of the family. White grounds shattered by aubergine, plum, oxblood and storm-grey veining — sometimes structural, sometimes brecciated. Specified for single, theatrical applications: a primary bath, a fireplace mass, a powder room envelope.
Honed · Lot DS431 · 2cm
White ground with dramatic dark veining — the classical Viola reference.
The reference Calacatta Viola. White Apuan ground crossed by structural aubergine, plum, and ink-black veining. Honed reads quieter; polished pushes the dark veining into oil-on-water saturation. Either way, the room gives the rest of itself over to the stone.
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Honed · 74″ × 112″ · 2cm
Clean white field shattered by bold aubergine and plum veining.
A textbook Viola at full architectural scale — 74″ × 112″ honed. The veining is more aggressive than the Classic cut, with darker plum passages clustering into structural shards. Specified for primary baths and feature fireplaces.
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Honed · WOW · Lot dimensions vary · 2cm
Angular burgundy shards suspended in a clean white field — the brecciated Viola.
A brecciated Viola at Antolini’s WOW grade. Instead of flowing veining, the slab reads as angular burgundy fragments locked into a white matrix — geology made visible. The cut to specify when a single feature wall has to behave like a single, intentional object.
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Leathered · 68″ × 116″ · 2cm
White marble fragments suspended in a deep rosso matrix — at jumbo, leathered.
The inverted Viola. Rosso matrix carrying white marble fragments rather than the other way around — and finished leathered, which kills the glare and lets the matrix read as material rather than picture. Jumbo at 68″ × 116″. The single-slab kitchen play.
See the slabHoned · Paonazzo · 54″ × 115″ · 2cm
Peach-pink field shattered by storm-grey and black veining — Paonazzo-grade Viola.
A rare Paonazzo grade of the Viola Rosenoir lot. The base reads as warm peach-pink rather than white, with storm-grey and ink-black veining clustering into structural fractures. The slab to specify when a primary bath wants to be the most photographed room in the house.
See the slab05 · Color & Brecciated
Where the Calacatta family leaves the classical palette. Forest greens, paonazzo pinks, leathered red matrices. Rare lots, often selected one slab at a time, that turn a single surface into the room’s subject.
Honed · 78″ × 119″ · 2cm
Sweeping forest-green veining over an ivory field — the green Calacatta.
The green Calacatta. Forest passages move across the ivory ground with the same painterly hand as a Monet, but in a register no other Calacatta carries. Honed at 78″ × 119″ — sized for primary baths, library walls, and the kind of kitchen where the stone is the design.
See the slabA Note on Finish
No. 010
The slab decides which finish suits it — not the type name, not the spec sheet.
Honed reads chalk-quiet, lets the vein network read as drawing, and forgives the daily etching that comes with cooking, citrus, and stemware. Polished saturates the same veining into oil-on-water depth — the right call for fireplaces, bath walls, and feature pieces that won’t be working surfaces. Leathered kills glare entirely, useful on red and viola lots where polish would push the matrix into picture-frame territory. Antolini’s fluted line goes further, turning the slab itself into a piece of architecture.
We’d rather pull the candidate slab and show you under both daylight and tungsten than describe it. A working-bay review is the right way to specify Calacatta for a primary kitchen or bath — the finish decision should follow the slab, not lead it.
Book a Calacatta Walk-ThroughContinue
Variety
Calacatta, in stock
The live Calacatta gallery — every slab from the family currently on the floor.
Variety
Viola
The full Viola family — beyond Calacatta Viola, including Viola Brecciato, Rosso Extra and Rosenoir Paonazzo.
Material
All Marble
The full marble catalogue — every slab on the yard floor, with finish, origin, and dimensions.
Program
The Antolini Program
How the Calacatta lots arrive in Los Angeles — and why we’ve been named Antolini Dealer of the Year.