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Project
St. Patrick's Cathedral
5th Ave. & 50th St., NYC |
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Architect
Peter Marino Associates |
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General Contractor
FJ Sciarne |
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Stone Types:
Costas Smeralda, Hautville, Giallo Sienna, Bianco P., Rosa Beige, Chassagne Montrachet, Rouge Royal, Papal Yellow, Rosso Levanto, Green Onyx, Royal Danby, Rosa Beige, Pa. Limestone |
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Stone Supplier
Santucci and Sons |
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Stone Fabricator
Santucci and Sons |
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Stone Installer
Port Morris |
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Completion Date
June 2003 |
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 St. Patrick's Cathedral, the seat of the Roman Catholic Archbishop of New York, is an example of the decorative and geometric style of gothic ecclesiastical architecture which prevailed in Europe from 1275 to 1400. Though Saint Patrick's was built in Gothic style, its design is original and distinct. The Cathedral is noted for its purity of style, originality of design, harmony of proportions, beauty of material, and workmanship. It is existing proof that American architects and American artisans can hold their own with the architects and artisans of the Old World and that Catholics of America can raise sacred structures that captivate and cultivate the admiration of those who see them.
St. Patrick's Cathedral, located at Fifth Avenue between 50th and 51st in New York City, is not unaccustomed to rebuilding and renovation. Its original design was planned by American architect James Renwick and Archbishop Hughes in 1853. Over the course of the following century, installation expanded beyond the original design, as did regular restorations, due to the fact that over three million people visit St. Patrick's Cathedral each year.
Port Morris' Tile and Marble's Restoration and Marble and Stone Division were hired by the architect to restore the Cathedral to its original state of grandeur. The VP of Port Morris' Restoration Department stated that it was one of "...our most premiere projects, a) because of the complexity of the design itself, and b) because of the innate uniqueness of the Cathedral." He further stated: "St. Patrick's Cathedral is a centerpiece in New York and in the country. Artistically and historically, it is one of the grandest cathedrals anywhere - it just happens to be in New York. Funerals, weddings, ceremonies take place there. The artwork is second to none." These two separate divisions of the company - the Marble and Stone division and the Restoration division - offer separate reports below.
Mock-Ups
The Restoration Division performed mock-ups in order to develop procedures for repairing and cleaning, using minimally invasive products and methods for optimum results in a relatively short time period. The objective was for Port Morris to work diligently but meticulously, using mild products which would not damage the old, antique aesthetic quality of the stone.
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| The original marble mosaic floor shown in the upper photo was replicated as closely as possible in both marble type and design.. |
Marble and Stone
Installation work was completed in the Lady's Chapel, where the objective was to replicate the marble mosaic floor as closely as possible in both marble type and design as the original - the greatest challenge faced in this project. The Giallo Sienna of an exact shade was particularly difficult to locate; the project manager took a sample from the Cathedral and visited many shops in Carrara, Italy, before finding a suitable match.
Layout and Field Dimensions
Coordinate lines were established based on the center of the Chapel lines and the Altar, and each individual floor piece was traced for actual size and shape. All data collected was entered into our computer to produce a complete set of shop drawings for fabrication and installation.
Installation
Each unit was individually set in a bed of sand and cement. The back of each unit was cleaned with a damp sponge, then parged with non-staining white cement prior to being tapped into the setting bed with a rubber mallet. The process entailed two mechanics, starting at the center of the Chapel; each using a tight line to guide them the full length of the area, measuring and checking for line and level as they installed. The joint size was 1/16", which was pointed with colored cement after installation. After completion, the floor was buffed to remove any film or scuffs. The installation in this 1200 SF area was completed in thirty working days.
Restoration
Port Morris' Restoration Department cleaned all marble and limestone surfaces (in addition to the paster ceilings) at The Lady Chapel, St. Michael's Altar, St. Elizabeth's Altar, The Pieta, and the ambulatories. In addition, extensive repairs were performed on the stone walls, benches, rails, columns, traceries, altars, window surrounds and statuaries. Altar steps and altar floors were polished thoroughly.
Execution of Work
Chemical cleaning was done by hand using a low ph, non-alkaline cleaner with soft bristle brushes and rinsing with cotton towels. A pure-filtered water system (the only piece of modern technology used in the project) was was attached to the interior water supply of the Cathedral so as to eliminate the potentially damaging iron content in regular tap water. The thorough cleaning of the elements was performed by hand. As the VP of Restoration states: "The surfaces were ornate and had a certain patina, and the Church didn't want to detract from that. They were fragile, and antique. We couldn't use some kind of aggressive whitewash - the Church wanted the original character to remain."
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| Port Morris furnished and installed the new marble Coat of Arms of Pope Leo XIII as well as a new marble Tabernacle stand. |
After cleaning, all the elements were checked for fissures and holes, which were epoxy patched with materials were mixed to match existing finishes. In some cases this required the replacement of a nose, a hand, spires, candelabra, or a piece of a bench; all such fabrication was performed on-site. The Pieta was cleaned and hand rubbed to renew its finish; the floors were polished using aluminum oxide and Tampico brushes.
The cleaning at the Lady Chapel window surrounds was coordinated with simlar work performed on the stained glass windows and frames - a true challenge due to the height and angle of the windows in addition to the scheduling of Mass and other trades.
In conclusion, this is a job that Port Morris' Restoration division is particularly proud of on several counts. The division had to work with previous repairs that were often faulty. The "Polishers," or "Doctors of the Marble Industry," as PM's James Hunt likes to call them, cleaned spires on tabernacles half an inch thick. These "doctors" often carefully worked in circles around deep three-dimensional spires on tabernacles stretching tall and covered in stone leaves. This challenge was met by creating scaffolding, vacuuming with soft hose brushes, and then using extensions to chemically clean and rinse. This is an example of tedious, creative, dedicated, artistic craftsmanship.
Both divisions of Port Morris Tile, Marble and Terrazzo Corporation have taken a thing of beauty that had deteriorated from age and restored it back to its original splendor. More often than not, the original aesthetic intent of a building is forgotten and once it is restored the beauty is uncovered once again. In the case of St. Patrick's Cathedral, there is also a sacred and a historical presence that is important to maintain throughout the ages. Port Morris has worked on numerous New York City landmarks and is extremely proud to have had the opportunity to contribute to this project. |
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