1964-1965 | Vatican Pavilion, New York World’s Fair

As monumental as the redwoods back home in his days as a kid carving bears, Don now had the opportunity to imagine, design, and carve the massive panels for the exterior of the Vatican Pavilion at the New York World’s Fair.

The Fair took place in Flushing Meadows–Corona Park, Queens, New York City and lasted from April through October in both 1964 and 1965. One of the largest exhibitions ever held in the United States, eighty nations participated and more than 27 million people visited during the course of the two seasons. Its theme was “Peace through Understanding.” The Vatican Pavilion focused on faith, peace, and the Catholic Church's role in the modern world.

Jonynas and Shepherd Art Studio, Inc. was selected to design a major portion of the Pavilion’s exterior, interior art, and furnishings. Don designed and executed ten high-relief concrete sculptures that were mounted on the exterior of the perimeter walls of the building. Each concrete and stone panel measured five by eleven feet and weighed 6,000 to 7,000 pounds.

“The Vatican Pavilion is constructed on an oval-shaped plot of land measuring 50,000 square feet and will cost approximately $3,000,000. Among the many works of art to be shown there will be the priceless marble sculpture Pieta by Michelangelo. This statue, completed in 1499, is the crowning achievement of the artist’s youth and is considered by many to be the supreme work of Christian art in any medium.

In sharp contrast to this art of the old world are 10 striking pieces of concrete sculpture design by Donald Shepherd. Each of these huge plaques measures 5 feet by 11 feet and is attached to the exterior walls of the building. Each panel symbolizes a specific aspect of the Church.”

Press Release, 1964

Click on images to enlarge relief panels A2-A11.

A-2 | THE CHURCH—PROMISE AND FULFILLMENT
The promise of the Church is symbolized in the Ten Commandments and Star of David in the Old Testament. The fulfillment is expressed in the symbols of the living church—a cross made up of a crozier and a key, with alpha and omega in the center.

A-3 | GOD—THE HOLY TRINITY
The three Persons of God are symbolized in the eye within the sunburst (God—The Father), the crucified Christ (God—The Son), and a descending dove (God—The Holy Spirit)

A-4 | THE PROPHECY OF THE THREE KINGS
The Christ Child is symbolized in a crib shaped in the form of the Greek letters, chi (C) and rho (R). The Three Kings are in a niche above. Surmounting the Three Kings is a crown with its points extending heavenward as if in fulfillment of the prophecy.

A-5 | THE BLESSED MOTHER (ROOT OF JESSE)
St. Ambrose's interpretation: The roots are the Jewish nation; the stem is Mary; the flower of Mary is Christ.

A-6 | THE ADORATION OF GOD
This sculpture represents the Church. It includes symbols of the Holy Spirit (the dove), the Sacrifice of the Mass (a priest with a Sacred Host), and the faithful (a kneeling family)

A-7 | THE HOLINESS OF MARRIAGE
The main symbol of this relief is a lily representing purity with superimposed intertwining rings representing the holiness of marriage.

A-8 | THE DIGNITY OF MAN
The human body is the Temple of God since the Holy Spirit dwells in it. This is expressed in this sculpture by the form of a man with a dove in his body.

A-9 | THE HOLY ORDERS
This relief is composed of symbols of the Host, the Chalice, and the Stole centered in rays of light—all three reminding the viewer of the priestly ministry.

A-10 | THE SACRAMENT OF BAPTISM
"The ark...wherein few, that is, eight souls were saved by water. The like figure whereunto even baptism doth also now save us..."

A-11 | THE HOLY MASS
The Sacrifice of the Mass is symbolized by the sacrificial lamb of the Old Testament and the Lamb of the Resurrection of the New Testament.

Installation of A-6 | THE ADORATION OF GOD

Although concrete sculpture is fairly common in architecture, the particular technique used in making the panels for the Vatican Pavilion is original. The designs were drawn to a one-inch scale and then enlarged photographically to full size.

The enlargements were then used to transfer the designs to a four-inch-thick foam blank glued to a plywood base. The blank was carved to a depth of three inches. Where additional carving depth was required, a secondary three-inch-thick piece of foam was added to become an integral part of the mold. This secondary piece was joined to the primary blank with glue, wooden pegs or imbedded toothpicks.

A wide variety of carving tools such as knives, sandpaper and gouging instruments are used in developing the mold. Many are improvised to fit the particular requirements.

Click on image grids to enlarge.

For added interest and detail, smooth natural quartz stones were placed in the raised portions of the molds. The concrete was poured carefully and slowly, so that each fine detail of the molds was picked up in the finished surfaces of the panels.

“The stones in the background were natural polished quartz from the beach at Stoney Brook, Long Island. The largest were about the size of grapefruit! I used a heavy wooden mallet and a heavy tree limb spike to drive in each stone.” –D.A.S.