were cracked while being turned. The columns were then transported using a specially constructed barge towed by the large steam tug Clara Clarita. When the columns arrived at Manhattan in July and August 1903, they were rolled onto flatbed trucks and brought to the cathedral's site. Since the builders did not have a derrick that was strong enough to lift the column pieces, they placed another order for wood to build a strong-enough derrick. The columns were finally lifted in July 1904, more than a year after the initial announcement. The walls could not be placed until after the columns had been installed. Work also began in 1903 on the crossing ceiling, which was to contain "Guastavino tiles" designed by Spanish architect Rafael Guastavino. The board of trustees implemented a new charter in early 1904, which provided for greater representation of laypeople on the board. By 1905, with $800,000 available for construction, the trustees anticipated that the cathedral would be completed within a decade. The church's great organ was ordered from Skinner the following year at a cost of $50,000, following a gift by the Morton family. It was almost completed by 1911 with nearly 7,000 pipes; the cost of the organ had risen to $70,000. Work also continued on the exterior walls of the choir and the seven surrounding chapels in the apse, which required of granite. Builders estimated that of stone would have been used for the walls once work was completed. Gutzon Borglum was commissioned for some of the initial sculptural elements on St. John's, though his relation with the trustees was strained: he destroyed two angels after criticism of his work and threatened to quit in 1906. Because of the delays in construction, members of the public began to question the necessity of constructing such a large cathedral. With little progress to show for, public sentiment began to turn against the cathedral. Even the trustees started to have doubts about certain aspects of the plan, criticizing Heins & LaFarge's small staff, their simultaneous involvement in many other projects, slow construction, and cost overruns. Crossing opening and change in design Although Heins died in 1907, LaFarge continued to design the crossing, choir, and apse of St. John's. By then, the architectural preferences of the public were shifting away from the original design. Additionally, communication between LaFarge and the trustees were deteriorating, with several trustees calling for LaFarge's