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Profiles in Stone

Remembering Ruben

Ruben Gibson rose through obsessively hard work from apprentice to stonecutter to carver to lead carver. Remembering Ruben, his contributions to the cathedral and his unique leadership role is important. The Cathedral Stoneyard Institute trained him to head the team of eight sculptors in the carving shed. There they transform rough hewn limestone into the intricately sculpted cornices, pinnacles, and capitals. The previous lead carver was an English master mason, Nicholas Fairplay.

Ruben Gibson grew up in a middle-class home in St. Albans, Queens, the son of a subway motorman. From his earliest days he drew and painted with astonishing skill and accuracy. After graduating from Richmond High School he studied English for three years at Long Island University. While In his 20’s. he lived in the Bronx, painting signs and becoming engrossed in sculpture, painting and theology. In 1979 he quit a job as an administrator at Mount Sinai Medical Center. Finally Ruben found the perfect marriage of his artistic talent and his spiritual quest – the building of a cathedral.

Ruben Springer
Ruben Gibson carving a springer. – Photo Robert F. Rodriguez

His associates said Ruben led a monastic, reclusive life completely devoted to stone carving. Most noteworthy it was said that he often found fault with large institutions like colleges and churches.

Remembering Ruben Early On

One of Ruben’s early jobs was being in charge of the machine shop. Steve Boyle, the master mason, was remembering Ruben in this job. “It entailed estimating which stones could be cut from the rough block and slabs. He would then oversee the sawing process ensuring that the overall dimensions of the stones were accurately cut to size. It was also important that the correct orientation of the natural beds were followed. In this way, when the stone was placed with the bed in a horizontal position it was in compression. This position required a good understanding of the fabrication process and a cool head. There was constant pressure to produce enough trade work pieces to keep the stonecutters going. Likewise there needed to be sufficient ashlars and quoins to maintain a respectable cube rate.

Ruben was well up to this task and was meticulous, painstaking and competent in his approach to everything. As a result he always produced work of a high standard in whatever capacity he was in. He demonstrated skill and talent at working with stone. Eventually these qualities led to him becoming the lead carver.”

“I wouldn’t hesitate to say he turned out the best carvings of all of us.”

-Joseph Kincannon
Remembering Ruben
Ruben Gibson carving a capital – Photo Robert F. Rodriguez

Remembering Ruben’s Humor and Leadership

As the de facto leader among the workers, he was the first to champion any workers’ issues with management. Therefore Ruben always pushed for the advancement of his co-workers for whom he was a courageous and eloquent spokesman. When he took the floor, he was formidable, direct and uncompromising. John Walsh was the master of the stoneyard who appointed Mr. Gibson lead carver. Walsh said he was sometimes difficult to work with because he had strong opinions. Mr. Walsh would occasionally hire a talented sculptor from out of town. Ruben objected and wanted more stone carvers recruited from Harlem and other inner city neighborhoods.

Ruben was quick to laugh and everyone wanted to be his friend. Furthermore he was a person of unwavering strong convictions. Even so, they never begrudged him his hard lined stances. The grotesque he carved for the tower demonstrates his skepticism of the church hierarchy. It depicts an impish face with a large nose and tongue sticking out. Hence the face looks directly at Dean Morton’s office, the source of some of the policies Ruben disagreed with.

Humorous Grotesque

Cathedral Grotesque
Cathedral Grotesque by Ruben Gibson – Photo by Robert F. Rodriguez

In August of 1988, Ruben Gibson’s work was cut short. He died of kidney failure at the age of 39. He passed away in the AIDS ward at St. Lukes-Roosevelt Hospital Center. His co-workers visited him often throughout this time. Remembering Ruben as a complex, talented and genuine person always.

His loss is a deep loss, it’s not just a matter of filling his slot, because he was totally dedicated to the enterprise. It was his life.

-Rev. James Parks Morton
Remembering Ruben
Lead carver Ruben Gibson poses next to his lion-esque carving on Oct. 16, 1986. – Photo Robert F. Rodriguez
  • New York Times, Jan 29,1989
  • New York Times, Feb 23, 2001
  • Los Angeles Times, Oct 31, 1987
  • Thank you to all his co-workers for their memories.

Categories
Divine Stone

Me and Momma and Big John

This touching fictional children’s story, by Mara Rockliff, takes an apprentice stone cutter through her journey as mother and proud worker on the magnificent cathedral. Me and Momma and Big John is gorgeously illustrated by William Low.

From the book jacket: “Momma comes home from work, tired and sore from a long day at her job. She’s a stonecutter now helping to build ‘Big John’ – the Cathedral of Saint John the Divine in New York City. She works for many weeks on just one stone, and her son John wonders how she does it. When at last Momma’s stone is finished, her son John can’t wait to see it. But when he arrives at the cathedral, he can’t believe it is just one plain stone – where is Momma’s name? How will all the people know this is Momma’s art?”

“One of the apprentices was a young mother, Carol Hazel, who inspired Me and Momma and Big John. ‘Stonecutting is in my blood’ she says today. ‘The cathedral is a beautiful thing. and beautiful people helped build it.'”

– Mara Rockliff

Images From Me and Momma and Big John

Page from Book Me and Momma and Big John
Image from “Me and Momma and Big John. Story by Mara Rockliff, Illustrated by William Low.
page from book Me and Momma and Big John
Image from “Me and Momma and Big John”. Story by Mara Rockliff, Illustrated by William Low.

A New York Times article, Feb. 23, 2001, reviewing the closure of the stoneyard and where the apprentices had gone, indicated this: “Carol Hazel, who raised four children as a single mother at the yard, plans to graduate this year from Mercy College with a degree in education”

Carol Hazel
Stonecutter Carol Hazel poses for a portrait on April 9, 1987. Hazel raised four children as a single mother while at the stoneyard. – Photo Robert F. Rodriguez
  • Our thanks to Mara Rockliff for letting us present her book. She is the author of many books for children. You can visit her online at www.mararockliff.com.
  • Thank you as well to William Low for permission to use images of his wonderful illustrations. He is an award winning illustrator, author and painter. You can see his work at www.williamlow.com.
  • This book is available HERE
Categories
Divine Stone

Moving and Raising the Columns

The columns arrived in New York aboard the barge towed by the ocean tug Clara Clarita. The short but complicated trip overland to the cathedral began. The tug made eight trips from the quarry at Vinalhaven in Penobscot Bay, Maine to the 135th street pier on the Hudson River. It was first intended to roll the columns onto a special truck and haul them using some 30 horses. It was later decided to haul the columns by means of a hoisting engine. The entire operation of moving and raising the columns is chronicled here.

The general contractor constructed the special wagon. The wheels are built-up of seven thicknesses of 3 inch oak plank. The steel axle bears directly on the ends of the wood fibers. Thus assuming an even distribution of weight of a 90 ton column, there should be a unit pressure of nearly 2,000 lbs. per sq. inch on the ends of the oak fibers. The wheels proved sufficiently strong. The weight of the truck without a load was about 8 tons.

Drawing of wagon for hauling columns
Drawing of wagon for hauling columns. – From Blueprint from General Contractor – John Pierce. Engineering News, December 3, 1903

The Hoisting Engine and Traction Engine

A hoisting engine pulls the wagon ahead by means of 3/4 inch wire cable reeved through two triple blocks. The wagon is hauled ahead about 90 ft. then a tail rope from the second drum of the engine is used to pull the movable triple block back 90 feet. There are two 100 ft. lengths 1 3/4 inch wire cable which can be coupled together so that the wagon can be moved ahead 270 ft. at one setting of the hoisting engine.

One of the lengths of 1 3/4 in. cable is unhooked and moved to one side after moving the first 90 ft. The movable triple-block is hooked on to the second length of cable. This in turn is thrown to one side when the wagon has been drawn ahead 90 ft. more. Finally the movable triple-block is hooked direct to the tongue of the wagon advancing the last 90 ft.

Column arriving across from cathedral at St Lukes
Column arriving across from cathedral at St. Lukes Hospital. Byron Company, From the Collection of the Museum of the City of New York

From Dock to Cathedral Completed

Most noteworthy, it was necessary to anchor the hoisting engine every 270 ft. of forward movement. as a result there were 26 separate operations along the way. Therefore it t00k about six days to make the trip with the load and to unload the column. In contrast it takes two hours for the empty wagon to return to the dock. In three or four hours the wagon has received a new column.

Certainly the number of men and equipment had an impact on the time frame. The crew consisted of four laborers, one engine man and one foreman. The equipment consisted of a 40-HP, Buffalo-Pitts traction engine and a 7.5 x 10 inch double-cylinder hoisting engine. They are fed with steam from the traction engine.

Raising the Columns

After the moving of the columns, the raising was ready to take place. The gallows frame used in raising the columns consists simply of two legs or masts 96 ft. long. It is furthermore well guyed from the top, and tackle blocks give 24 “parts” to the hoisting cable. The cable is 3/4-in. wire rope. This cable is reeved through the blocks and its two free ends pass to the drums of two hoisting engines. The longer column section weighs 90,000 lbs. As a result each leg of the gallows frame has to support this weight plus the weight of the guy lines. The timber is Washington fir. From Seattle it shipped overland; the diameter was approximately 24″.

Erection Derrick
Gallows Frame for Erection. From the Collection of the Museum of the City of New York

The Raising Sequence and Rigging

Fig. 1 shows the method of securing the necessary hold on the column. There was a 3 in. projecting ledge of rough granite left at the upper end of the column. A yoke consisting of 14 in. x 14 in. timbers securely bolted together at this end is provided with two large U-bolts. Short loops of wire cable fastened the yoke to three single blocks. Additionally, a lewis positioned in the center of the end of the column attaches to a single block.

Upper End at Beginning of Raising

Fig. 2 shows a runway of heavy timbers upon which the column rests before the lifting begins. The lower end of the column is provided with two large iron dowel pins which rest upon a rough carriage. A runway of rollers carries the carriage and column. By wrapping a rope around the lower end of the column it prevents it moving by jerks. As a result a hand winch controls the free end of the rope.

Column on Rollers
Column on Rollers
Column Base supported by Rollers

Fig. 3 shows the column in position to be lowered to its base. Workers remove the yokes and using plugs and feathers remove the rough top of the column. Finally they dress the area to receive the upper section of the column.

Lower section almost in Place

Similarly the process (shown below) to raise the upper section and seat it on top of the lower section is repeated. Jones Bros. of Boston, Mass. had the subcontract for delivering and erecting the granite columns. The work of moving and raising the columns was under the direction of Superintendent Willis F. Howland.

Raising upper section

It took over five years from the first order to the quarry, to the moving and raising of all the columns.

All Columns in Place

The lower section is 38 ft. long and six feet in diameter and weighs 90 tons. The upper section is 17 feet long, six feet in diameter and weighs 40 tons. As a result, the height is 55 feet between the pedestal and the capital which was sculpted by a Mr. Post. Furthermore, all support the dome, which is 125 feet above the floor of the ambulatory and 129 feet above the floor of the Crossing.

Block of Granite from Wharff Quarry, Vinalhaven,ME
Block of Granite quarried for the Cathedral St. John the Divine column. Merrithew Glass Plate Collection, Vinalhaven Historical Society
Domes in the Cathedral
The massive columns in the Cathedral of St. John the divine
  • Engineering News, Vol. 50, No. 23, December 3, 1903
  • Engineering News, Vol 51, No. 9, September 1, 1904

Categories
Divine Stone

Setting Out

As master builder, James Bambridge’s job is to plan and direct the overall project. He coordinates the production of working drawings from the architect’s plans with the delivery of stone from the quarry. He has to follow the stone’s progress through the yard and its final application to the southwest tower. Ordinarily, a specialist working under Bambridge would do the setting out. They would turn out half-inch scale working drawings from the architect’s one-eighth scale renderings. They would also produce the full scale templates in zinc. These cross sections of complicated stone units, such as colonetted columns, are laid out on a spacious floor. It would be similar to a full-scale lofting floor in a boatyard. Bambridge had space in the cathedral’s crypt for doing this.

The setting out process begins with the 1/8 scale drawing from Doran
1/8 scale drawing of tower. Cram’s original 1929 design, conveyed by John Doran. Drawing Courtesy of Steve Boyle

The interior was largely complete by the time construction ceased in 1941. The exterior, where the absence of any towers created a harsh, cut-off look was much more obviously unfinished. The original architectural firm of Ralph Adams Cram became Hoyle Doran and Berry Architects in the 1940’s. Cram left drawings for the front two towers, as well as for a still larger Central tower over the cathedral’s crossing. The latest revisions to the cathedral drawings were done by Cram before his death in 1942. It is these drawings that provide the basic outline for the work facing Bambridge and his crew. John Doran of the successor firm was one of only a few architects at the time that construction on the cathedral restarted in the 1980’s that could draw gothic structures.

Starting Where the Architect Left Off

The process is complex, however, since the designs Cram left were never detailed or made into working drawings. Since the size, shape and placement of each stone must be determined in advance, Mr. Bambridge’s role in design was as crucial as the architect’s. While initial preparations were underway in the stoneyard, Bambridge worked on the drawings from his home in Cornwall and in New York. He had an office in Diocesan House and an apartment in Synod House, both in the Cathedral Close.

the setting out process required working  drawings 1/2 inch = 1 foot drawing with stones numbered
1/2 inch scale working drawing with individual stones numbered. Drawing courtesy of Steve Boyle

The working drawing shows every stone in the face. In the center of each is a circled number. Each stone has its own number and each has a card in Bambridge’s file describing it and its position, in code. S would mean the south tower. D means it’s the fourth section up. The fraction numbers are its dimensions. The other number is its cubic volume. At year’s end, Bambridge totes up how much foot cubage is produced. He checks it against the foot-cubage the quarry has delivered and arrives at a waste factor. That factor is important in cost control. His nerve center is a room in the cathedral’s basement. Crouched on the floor, he turned the drawings into programs for stone cutting.

The Setting Out Uses Zinc Templates

Zinc Template for setting out
Zinc Template used for setting out process. Popular Mechanics, August 1983

Zinc is used in making the templates as it does not contract or expand based on the temperature in the stone cutting shed. It was necessary to create full size drawings of some sections in order to make the trade work templates. This was done by first sliding a sheet of zinc under the full size drawing. Holes were then pricked through the paper at relevant points onto the zinc below along the lines of the drawing creating a series of dots. The dots were then connected to form the lines of the template. The lines were created with a sharp scriber forming a thin groove on the surface of the zinc. The surface was then treated with a copper sulfate solution which reacted with the zinc to make black clear lines. The zinc was then snapped by repeating the scribing process or cut with tin snips.

In addition to cutting the template, the specialist would specify joints for the stonecutters, produce a job ticket on each stone to be cut and take care of production schedules. Since only Bambridge was in on the original planning and timetable decisions, he did both planning and directing. Bambridge later taught D’Ellis Kincannon this part of the process and turned it over to him. He became highly accomplished at the setting out process. Cynie Linton also learned to do the setting out. Over time, mylar replaced the traditional zinc which made an easier and less expensive process.

From Cutting Shed to Tower

Each card in Bambridge’s file becomes a job ticket that goes to the stoneyard. When a stone is produced from it, the master mason takes a crayon pencil and colors that numbered stone on his copy of the working drawing. This system means that no stone is duplicated. The stones are cut to millimeter accuracy, just like medieval stonework. The towers could be put up dry. Mortar is used to take up minute discrepancies in the stone, and to keep out the weather.

The yardstick used is to design and cut so that it would stay up there on its own with no mortar.

– James Bambridge

In a modern masonry building, once the second floor is designed, the same pattern repeats for the next 20 floors. Here, each stone is an individual piece to fit a given space. In the 12th century they would work the stone as it came from the quarry. The stone was cut to whatever it would make. To keep faith with that medieval system, Bambridge would deliberately throw in an off-length ashlar or quoin. Therefore when someone looks up at the building it would not look totally repetitive all the way up. The eye is forced to move around. This then replicates more of the old Gothic style.

Dean Morton liked to point out that the use of such 700-year-old techniques is what separates the work at St. John from other contemporary cathedral building projects, such as the National Cathedral in Washington, D.C. “Their ashlars are all cut and finished to standard sizes at the quarry. They’re delivered to the site ready to lay up like bricks.”

The setting our process may require a full size template for these stone types
Different stone types for the tower. Popular Mechanics, August, 1983

Thanks to Steve Boyle for all he contributed to this post

Categories
Cathedral Stone

Stoneyard Scrapbook

Thousands of hand cut stones are finished and stacked in the yard. Thus we take a look back at the stoneyard scrapbook to get a feel for the effort. Cutters and carvers in the early ’80’s were at work crafting the stones that will go up on the tower.

A unique template for each stone is created in the setting out shop. After it is cut to the exact shape, it is labeled according to its exact placement on the tower. Some stones will get additional work as ornamentation is specified for a certain stone. As a result this ornamentation is added at a later date. The volume of stone required for the ornamentation is left on the stone to accommodate the future work.

Stoneyard Scrapbook, Harold Doman forklift operator
Harold Doman, Forklift Operator

Harold Doman has the task of carefully moving thousands of stones from the cutting shed to the correct staging area for the tower. We will revisit the stoneyard scrapbook as work progresses through the mid and late eighties. It is a snapshot of daily life in the cathedral stoneyard.