Boasting – Shadows on the Stones

(Boasting – Shadows on the Stones is the second installment in Robert F. Rodriguez’s Stories Behind The Stones)

The early afternoon sun casts oblique shadows on many of the stacked stones by the Biblical Garden, allowing the boasting patterns on the ashlar blocks to stand out. The boasting pattern, a series of broad chisel cuts on the stone’s exterior face, allows the surface to weather better over the years. The boasting is also decorative and adds depth and texture to the smooth external faces of finished stones. 

From my years photographing the stonecutters at the Cathedral Stoneyard I could tell the blocks were cut by a variety of cutters. The boasting on one stone was neat and tight in a diagonal angle, the chisel marks clear and well defined. Another stone was boasted in a much tighter pattern while a third ashlar was cut almost straight up and down on the stone’s face.

Traditional and Individual

Master Mason Chris Hannaway brought his considerable stonecutting knowledge to the Stoneyard and the original five apprentices. He came from Liverpool Cathedral, where he worked restoring the church that was damaged by German bombings during World War II. Boasting was one of the first things taught by Hannaway – something that linked every cutter and every stone from then on.

Years ago in the Cathedral’s stonecutting shed apprentices like Timothy Smith, Arlene “Poni” Baptiste, Eddie Pizarro, Niles Poole, Angel Escobar, José Tapia and many others used broad steel chisels with apple wood mallets to cut their distinctive pattern into the limestone blocks. Each mason had an individual style and rhythm and the trained eye could tell which cutter boasted which stone.

Eddie Pizzaro on Boasting

Former stonecutter Eddie Pizarro, 63, who started at the Stoneyard around 1982, says “boasting is the signature of a stonecutter’s work – every mason has his own style. But the pattern for us was the same diagonal angle.”

Eddie adds “every stonecutter learned this as an apprentice and (eventually) you develop your own comfort zone. Over time you feel how much pressure to apply to the chisel with your mallet – the harder the strike, the deeper the boasting pattern looks. After many months of practice you develop your signature boasting pattern – which you apply to every finished stone you cut.”

The apprentices also learned from each other.

Timothy Smith, 77, one of the original apprentices, says “I got good at boasting but learned from José (Tapia) and Eddie (Pizarro).”

Timothy also remembers José (who passed away two years ago) as “by far the best stonecutter. He could cut the most complicated templates way before any of us early apprentices.”

Treese Robb, 66, a stonecutter who spent five years at the Stoneyard, agrees with Timothy Smith’s assessment. “I think José Tapia had the most distinctive (boasting) pattern. His style was rhythmic and identifiable with an even pattern.”  She also calls tower supervisor Stephen Boyle a “master” (boaster).

As far as boasting styles, Eddie felt that “Angel Escobar had the best boasting pattern – very neat – all his finished stones looked the same. He always had a steady hand for boasting the stone.”

Angel Escobar, 63, who arrived at the Stoneyard in 1980, says his boasting pattern was inspired by Ruben Gibson’s work. Ruben worked almost every job in the Stoneyard from sawyer to cutter and later became lead carver in the carving shed until his death in 1988.

“Ruben had the neatest pattern on the face of the stone,” says Angel. “Though everybody had their own unique style, Ruben’s stood out the most.” Angel preferred a wide 2-inch chisel because it was easier to control and allowed him to complete the boasting faster.

Stonecutter Joseph Chifriller, 69, credits two colleagues for his boasting skills.

“It was José Tapia how taught us all how to boast a stone,” says Joseph. “And while he introduced us to the technical aspects (‘don’t get too close to the edge or you’ll chip it’!), it turned out that his cousin Angel (Escobar) was the one to watch!)” Joseph recalls that Angel had an “effortless move-and-strike motion” as he went across the face of the stone. He also mentions that Angel, “quietly led by example.”

“In any setting, they would have made great instructors,” says Joseph. “It was only years later, looking back, that I fully appreciated their patience, grace and style.”

The sun has shifted in the time I have spent studying the stacks of stones on the south side of the Cathedral, and a comment from Eddie Pizarro comes to mind.

“Boasting on the stones,” Eddie says, “also plays a role with sunlight. These shadows on the stones reflect different shades throughout the day.

How true, as I watch the boasting patterns fade as the sun passes behind the brick wall.

But the beauty of the stones and the play of light can be seen by anyone passing by.

■