Russ Vardy, of Basalt’s R&B Custom Painting, finishes work on the sanctuary arch. The celestial background, designed to evoke the heavens, is ornamented with gold-leaf stenciling—a technique used in churches and cathedrals since the Middle Ages.
2
Russ Vardy, of Basalt’s R&B Custom Painting, finishes work on the sanctuary arch. The celestial background, designed to evoke the heavens, is ornamented with gold-leaf stenciling—a technique used in churches and cathedrals since the Middle Ages.
3
Juan Dircio, of Balentine Collection International, creates a new tile floor for the altar.
4
Juan Dircio, of Balentine Collection International, creates a new tile floor for the altar.
5
In a makeshift studio created within the rectory garage, restoration artist Joe Bachelor, of Brooklyn-based EverGreene Architectural Arts, applies details to a statue of St. Joseph destined for a side altar. The statues, which date from the church’s 1892 construction, were repainted to match their original appearance, with the help of archived photographs and historical references.
6
In a makeshift studio created within the rectory garage, restoration artist Joe Bachelor, of Brooklyn-based EverGreene Architectural Arts, applies details to a statue of St. Joseph destined for a side altar. The statues, which date from the church’s 1892 construction, were repainted to match their original appearance, with the help of archived photographs and historical references.
7
A few of the many faces involved in the renovation. From top, first row: Miguel Hosta, Jose’s Carpentry; Donald Belshaw, Morel & Associates; John Catalanotto, EverGreene Architectural Arts; second row: Norm Chainey, EverGreene Architectural Arts; Jorge Antillon, Jose’s Carpentry; Phil Perry, Structural Associates; third row: Carlos Ramirez, R&A Enterprises; Jose Luis Galviz, Jose’s Carpentry; Adam Bargy, Division 10 Flooring
8
A few of the many faces involved in the renovation. From top, first row: Miguel Hosta, Jose’s Carpentry; Donald Belshaw, Morel & Associates; John Catalanotto, EverGreene Architectural Arts; second row: Norm Chainey, EverGreene Architectural Arts; Jorge Antillon, Jose’s Carpentry; Phil Perry, Structural Associates; third row: Carlos Ramirez, R&A Enterprises; Jose Luis Galviz, Jose’s Carpentry; Adam Bargy, Division 10 Flooring
9
Details uncovered during the initial construction process revealed what black-and-white photographs could not: the bold colors of the original interior. Period-derived stenciling was re-created from small pieces of painted plaster found during the reconstruction of the walls and ceiling, while a new hardwood floor has replaced the red carpeting installed during a 1960s remodel.
10
Details uncovered during the initial construction process revealed what black-and-white photographs could not: the bold colors of the original interior. Period-derived stenciling was re-created from small pieces of painted plaster found during the reconstruction of the walls and ceiling, while a new hardwood floor has replaced the red carpeting installed during a 1960s remodel.
11
A specialist in New Jersey restored the original walnut, oak, and chestnut pews—one of the few projects shipped elsewhere for completion.
12
A specialist in New Jersey restored the original walnut, oak, and chestnut pews—one of the few projects shipped elsewhere for completion.
13
Jack Shannon makes final adjustments to the sanctuary lamp
14
Jack Shannon makes final adjustments to the sanctuary lamp
15
The original stained-glass windows were meticulously refurbished locally, a three-year process that involved carefully removing and cataloging each piece.
16
The original stained-glass windows were meticulously refurbished locally, a three-year process that involved carefully removing and cataloging each piece.
17
Father John Hilton and architect Marina Skiles, of Charles Cunniffe Architects, discuss the final placement of elements in the sanctuary
18
Father John Hilton and architect Marina Skiles, of Charles Cunniffe Architects, discuss the final placement of elements in the sanctuary
19
An original carved relief of the Last Supper adorns the altar
20
An original carved relief of the Last Supper adorns the altar
21
A new curved staircase—an ode to craft, creativity, and the Aspen building code—ascends to the choir loft
22
In order to provide access for ceiling repairs while carpentry continued below, engineers designed a massive temporary wood structure, appropriately dubbed “the ark.”
23
Ceiling beams receive a faux-wood finish, which involved multiple layers of stain and paint
24
For all of the work that occurred within its walls, St. Mary’s classic exterior remains fundamentally unchanged. Newly painted wood trim highlights the iconic stained-glass windows, while a modified entryway now opens wide to Main Street and the Aspen community, welcoming the devout, the appreciative, and the curious for likely another hundred years.
25
In order to provide access for ceiling repairs while carpentry continued below, engineers designed a massive temporary wood structure, appropriately dubbed “the ark.”
26
Ceiling beams receive a faux-wood finish, which involved multiple layers of stain and paint
27
For all of the work that occurred within its walls, St. Mary’s classic exterior remains fundamentally unchanged. Newly painted wood trim highlights the iconic stained-glass windows, while a modified entryway now opens wide to Main Street and the Aspen community, welcoming the devout, the appreciative, and the curious for likely another hundred years.
28
A new curved staircase—an ode to craft, creativity, and the Aspen building code—ascends to the choir loft
Iconic buildings are defined not by their age, but by the depth of their roots. In Europe, an 800-year-old church might be the spiritual heart of its village, while in New England, chapels that date to the 17th or 18th centuries serve the same role. Aspen’s relatively young history, however, is still measured decade by decade. Here, a church built only 135 years ago anchors its community in place and time, providing a link to tradition and a path of continuity.
The congregation of Aspen’s St. Mary Catholic Church held its first mass last summer after an extensive restoration—overseen by local firm Charles Cunniffe Architects—that lasted almost five years. Though the handsome exterior remains largely unchanged, much of the interior’s original aesthetic has been restored; an Aspenite from the late 1800s would now recognize the space inside—but would do so in the comfort of reliable heat and air conditioning.
As I documented the final stages of the renovation, I expected to capture the evolving beauty of a sacred space. Yet as I visited the construction site, what interested me most was decidedly human in nature. There are few experiences more worthwhile than watching artists and artisans harness their talents in the service of a grand goal. A project that is public, appreciated, and historic just seems to heighten that effort. As the church was transformed, architects, carpenters, painters, and historical specialists of all stripes exuded pride from beneath hard hats or well-stained overalls.
Now, the construction trucks are long gone and the scaffolding removed. The bell rings again for Sunday services, and the refurbished organ sounds better than ever. The original pews have been returned to their places, gently refinished but still carrying stories from a century of use. From the valley floor and the surrounding hills, St. Mary’s steeple provides a central focus amid a growing cityscape.
Two things have become clear: It takes a church to make a village. And it takes a village to make a church.
