Martin Luther King, Jr., Albert Einstein, Susan B. Anthony, Mahatma Ghandi. Carving by Chris Pellettieri
The Historical Parapet at the entrance to the Choir is designed to represent outstanding characters of 20 centuries of christianity. First of all, it is in two sections, one on each side of the steps leading from the Crossing to the Choir. Each section is 18.5 feet long and 4 feet high. It is built mainly of Champville (France) marble, in modified French Gothic Style. The twelve marble columns are alternately green, red and yellow. Furthermore they are of Alps Green from Italy, Rouge de Rance from Italy, and Numidian from Africa, respectively.
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The representative character of the nineteen men was the basis for selection. As well, the selectors reviewed their contribution to the development of Christian civilization. The Architects Cram and Ferguson designed the Parapet, Ferrari modeled them. Finally, John Evans Company of Boston carved the figures.
The Evans company reserved the uncarved block for the figure selected at the end of the 20th century. Most noteworthy the front runners in 1922 were Theodore Roosevelt, Woodrow Wilson, Lloyd George, and Charles Evans Hughes.
20th Century stone blank next to 19th Century represented by Abraham Lincoln. – Lincoln Financial Foundation Collection
Time to add the 20th Century Carving
When the 20th century ended, the cathedral selected four individuals-unlike the previous centuries, and not all men. Chosen were Martin Luther King, Jr., Albert Einstein, Susan B. Anthony, and Mahatma Ghandi. As a result the task of carving the group from the stone that had been waiting for 78 years, came to Chris Pellettieri. At the time, Pellettieri was an Artist in Residence at the Cathedral and continues that relationship today.
Stoneyard Apprentice Chris Pellettieri. – Photo Joseph Kincannon
Chris grew up in the neighborhood and attended the Cathedral School and sang in the choir. He remembers walking by the uncarved stone at the parapet as a youngster. After college and some contruction work, he found his way to the apprentice program. Some 30 years later, he remains an accomplished sculptor and carver.
“I was honored when the Cathedral chose me to make a sculpture of some of the most revered people of the 20th Century to stand alongside their existing sculptures. The surrounding carvings were all done in the 1920’s and it was a challenge to meet the high standards of that period as well as to squeeze four figures into the same sized niche as the others.” – Chris Pelletteri
In 1979 Jim Bambridge was starting to establish an apprentice program and a working stoneyard. He knew he needed a few good machines. Machinery had to be acquired to handle the giant blocks of stone arriving on a flatbed from the Indiana quarry. 20th century time and money saving technology supplemented the medieval crafts.
The 67-year-old giant planer removes excess stone from complex pieces. It had been lying beside an abandoned railroad track at the quarry for years. The planer was a rusty hulk with bushes and weeds growing through it. In a nearby pasture they found the big 60-inch circular saw.
60-inch circular saw
Al Rivera keeps a stone aligned as it is sawed on April 24, 1986. Photo Robert F. Rodriguez
“Such machines are hard to find anywhere today, so we salvaged them, had them steam cleaned and rebuilt with parts cannibalized from similar old wrecks we found here and there”
-James Bambridge
The 8-foot diamond toothed reciprocating saw is the only new item. It slices the huge quarry blocks. Bambridge had the saw made to his specifications in Scotland.
Newest Machine – Reciprocating Saw
Using The Machines
How these devices fit in the scheme of things becomes clear when a flatbed from the quarry arrives. There a two 8-10 ton blocks measuring about 4’x4’x12′. An overhead crane unloads and moves a block to a tracked dolly under the reciprocating saw. The long diamond toothed blade rocks back and forth across the stone, cooled by water pouring through the kerf.
As each slab is freed, one every three to four hours, it is moved to the nearby circular saw. The whirling diamond blade cuts rough building block sizes. If it is to be a moulded column base or section, it goes ahead to the planer. At the planer, it rides a platform that carries it under specially forged blades. These blades peel away excess stone between the high contours. They remove a quarter of an inch per five-second run.
Once these few good machines have finished their work, the blocks are ready for the stonecutters. They and their tools then face and shape them. These tools include everything from the wide boaster to oddly shaped devices with names like waster, punch, cockscomb, quirk and point. There are some 60 weird tools, many handed down from the Middle Ages through generations of stonemen.
Ruben Gibson checks that his lion-esque carving is even by using calipers to check for accuracy on Dec. 12, 1985. - Photo Robert F. Rodriguez
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 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
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 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
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.
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
Illustration by William Low
Carol Hazel lets stone chips fly as she works on a stone block on June 2, 1986. – Photo Robert F. Rodriguez
Images From Me and Momma and Big John
Image from “Me and Momma and Big John. Story by Mara Rockliff, Illustrated by William Low.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”
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.
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. – 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 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″.
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.
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
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.
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.
It took over five years from the first order to the quarry, to the moving and raising of all the columns.
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 quarried for the Cathedral St. John the Divine column. Merrithew Glass Plate Collection, Vinalhaven Historical Society
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
