Categories
Divine Stone

Letters To Jose

Letters to Jose
photo by Robert F. Rodriguez.

Jose Tapia, friend and co-worker of so many at the stoneyard of the Cathedral of St. John the Divine is in hospice care. His family is close by. Many of his associates at the Cathedral have posted their memories and appreciation to their friend, Jose, in these “Letters to Jose” along with photos supplied by Robert Rodriguez.

Letters to Jose
Eddie Pizzaro, Angel Escobar and Jose Tapia, kneeling, pose next to a pinnacle under construction on July 11, 1988. – Photo Robert F. Rodriguez

Back in The Day …

Jose always stood out as a genuine person. There was an innocent earnestness about him that would quickly put people at ease. He was generally an easy going individual, but would let you know when you were out of line. He was charismatic and friendly, but direct in his instruction.

When he was cutting stone his concentration level was all-consuming. He was a hard worker who would lose himself in the stone work. Naturally gifted at working with his hands, people often stood and watched Jose’s skillful chiseling technique. He was a no-nonsense stone cutter. He cut stone with an unhurried ease, and his finished work stood apart in its quality and grace.

Jose was also generous with his knowledge, and on hand to instruct those willing to work hard and learn. He was very patient which was a gift in this arduous trade, and his general knowledge of the workings of the stone yard was valued, and depended upon. Jose would often give helpful advice to the new sawyers, or anyone who needed guidance.

Aside from his stone cutting skills, he also had a steady hand in the construction of the tower:

Letters to Jose
Master Builder James Bambridge keeps an eye on Jose Tapia’s progress on March 17, 1981. – Photo Robert F. Rodriquez

Jose,

You were probably the most productive out of all of us at the Stone Yard, not only in cutting stones but setting them too. From the first day up on the tower you were all business and it was soon clear that fixing as many stones as quickly as possible was your aim and you were most successful in accomplishing that. You took great pride in your work at the Cathedral and rightly so.

One of my favorite memories is when you boasted that gablet springer with your 1/2″ chisel. That stone stood boldly apart from the others which had the standard 2″ tool marks and it looked fantastic though I was unsure how the master builder would receive it: as it turned out, his eyebrows were indeed raised but the stone made its way up to its place on the tower. You certainly left your mark on the cathedral and your colleagues, and your contributions to the Stone Yard and Tower are invaluable.

-Steve Boyle

Letters to Jose
Jose Tapia poses next to a tracery stone on April 24, 1986. He joined the Cathedral program when he was 19. – Photo Robert F. Rodriguez

Jose,

If it wasn’t for you, I don’t think I would have stayed that long at the yard.

It was with your help that I was able to build up my confidence and perseverance. Remember Jose when I purchased that Dodge Dart with a slant 6 engine? My very first car. I think at the time you had the LeMans, the mistress on the street you would say.

One day Betsy (my Dodge) wouldn’t start but I remembered what you told me to do in that case. Place the screwdriver against the firewall and the poquito to start old Betsy up. And I have to say that my friends were all very impressed. Funny though now I know it’s called the starter. You have always been a kind and gentle person, always the first to reach out to help someone with anything.

-Poni Baptiste

Letters to Jose
All Rivera, Jose Tapia and James Jamerson laugh over a tracery stone on April 24, 1986 – Photo Robert F. Rodriguez

Jose,

When I came off of the saw and first started cutting, with mallet and chisel, you took me under your wing and showed me how to use the pneumatic hammer (gun). You were generous with your tools and really pushed me forward. I had struggled mightily up to that point and, because of your encouragement, finally felt that I was moving forward as a stone cutter, part of the team.  You pulled me out of a rut.  Later, Bambridge took me off the gun and put a mallet back in my hand, so I went back to struggling, but at least I had the much needed self- confidence to forge ahead – due to your patient guidance.  I’ll always appreciate the ladder you lowered down to me.

-Joseph Kincannon

Letters to Jose
Jose Tapia poses with his wife Doris Torres on a stack of stones following the apprentice ceremony at the Cathedral on June 8, 1983. Jose, James Jamerson and Tim Smith represent the first class of stonecutters to complete the four-year apprenticeship program. – Photo Robert F. Rodriguez

My Uncle Jose

I can’t remember how old exactly, maybe around 6. He was a very young child, along with his brother. They came from P.R. to NYC to live with their aunt (my dad’s mother) because his parents had died from a car accident, 

 My dad said that my uncle was into a lot of things in his younger years: 

He was a good swimmer. He was really into baseball. He has a passion for music and loved DJing at special events. He passed it onto his son. He also loved flying birds ever since he was a young boy. He would go up to the roof and fly and train pigeons.

He was always good with his hands and always loved construction and building homes, building whatever he could be handy with.

Jose has always been into having and maintains his huge fish tanks. He would love to watch them for hours. He had all types of fish. Especially, his piranhas. He loved those things.”

-Angela Garcia (Daughter of Angel Escobar) 

Apprentice Graduation
Jose Tapia’s Guild Certificate

Hello Jose,

I have been thinking so often of the Stoneyard group at the Cathedral. Such a wonderful company of men and women with wonderful skills which Jim Morton admired so much.  He was devoted to you and the Work you did from the very beginning.
Here we all are these many years later and how great it is that all of you keep in touch. I am honored that I am included in the group!  And I am sending you many wishes for good days in North Carolina and all my affectionate greetings,    

-Pamela Morton

Job Ticket
Apprentice Jose Tapia’s First Stone

Dear Jose,

We so recently got back in touch, it was wonderful to have contact again and know that some relationships endure. You were a leader at the stone yard. I admired you and felt that you had my back, for whatever reason. With love.

-Amy Brier

A proud James Bambridge discusses this stone with the cutter Jose Tapia – Image Robert F. Rodriguez

For Jose

When I was accepted as an apprentice, Jose was the first person to embrace me. He was like a little brother. I was extremely nervous but he kept telling me I would do well.
If I wasn’t certain about something he was there to guide me. I would observe how he cut stones, and I tell you, it was like magic! One minute there was a giant piece of stone, and the next minute, it was like a beautiful figure had formed. 
He is one of the best people I know. He is also a great family man. The love Jose showed for his wife and son was that of a proud man. He used to bring them to work from time to time. 
Now Jose was not without laughter. Sometimes if I became frustrated, he would laugh but then he would help me out because there was no room for errors, in the Stone Yard. 

-Carol Hazel

Group Shot
Group Shot

For Jose,

When Dean Morton set out to build the tower, 
he was also building a community; 
Jose rose to the challenge on both counts. 
He was the keystone of the stone yard,
without his dedication, hard work and generosity, 
that arch would have failed. 
He was the rock that we all leaned on.
In our innocence, we were all brothers building a Cathedral; 
and I was happy to call him – FRIEND. 

— Nick Fairplay

Stonecutters Jose Tapia, Tim Smith and James Jamerson pose by cut stones in May, 1983. The three are the first to complete the four-year apprentice program and were honored in June with a ceremony in the Cathedral

For Jose,

You get what you give. So I always wished that Jose’s kindness, patience, and respect that he showed to all his apprentices would come back to him tenfold. God bless you, man

-Joe Chiffriller

The Divine Stone Project has had occasion over the last two years to post several times about Jose and his work. We also have been the grateful recipient of his efforts to bring his colleagues in touch with us. Thank you Jose for all your contributions. Below are some links to other posts involving Jose.

Categories
Cathedral Stone

“With Companions For The Journey”

With Companioons For The Journey

“An annotated memoir of the life and work of James Parks Morton for his family, friends and colleagues.”

-Pamela Morton and Polly Barton

The multifaceted Dean Morton takes us on an inspirational journey recounting his extraordinary life and many causes. The memoir is available for download HERE. And yes…there is a chapter on the stoneyard.

Of the many passages and stories to be enjoyed is the one where he saves the great Guastavino Dome. A committee had deemed the dome unsafe after mortar began falling to the floor of the Crossing. Their vote to tear down the dome and build a tower was imminent. Dean Morton, very early in his position, asked Bishop Moore to stall the decision. He had an engineer friend in Chicago who he called in to evaluate the situation. The engineer concluded that the problem was the difference in contraction and expansion between dissimilar materials – the clay tiles in the dome and the granite columns and arches. The solution was simple insulation for the roof of the dome and netting below for extra insurance. The 3 million dollars saved could then go to the future Stoneyard Institute.

Gazing at the Dome

“I looked up at the dome again. Amazing. I thought back in 1909, it was supposed to be temporary, and it had stood all this time. I marveled at the craftsmanship of Guastavino tile. It had been laid without scaffold or support. The architect in me rebelled at the idea of tearing it down.

But something else began to happen in me as well. Later I would learn that it happened to many of the men and women who became my colleagues. None of us is really able to describe the experience. It isn’t exactly awe, and it isn’t that the place talked to any of us. Maybe it was that the place seemed charged with an energy that was calling out to be used before it was lost for good.

Whatever it was, I knew after a few minutes gazing, that I would never permit that dome to be torn down. Furthermore, I vowed to start building the Cathedral again and to fill it with activity, life, and light. White elephant, nothing. We would use its vast scale to move even a city as big as New York to action, healing and communion.”

– James Parks Morton, 1972, from the book, With Companions for the Journey

Before the memoir, I wished I had known him. After the memoir, I regret I had not.

  • A special thanks to Pamela Morton and Polly Barton making the memoir accessible.
Categories
Divine Stone

The Compass Rose

Compass Rose
Compass Rose – Image courtesy John Barton

The Compass Rose is located on the pavement of the Choir. It is the official emblem of the Worldwide Anglican Communion. This iteration of the emblem in stone and brass was designed by John Barton in the late 1980’s. John was an architect at the Cathedral and received his Masters in Religion from Yale University.

Various similar Compass Roses are installed in many churches including the Cathedral Church of Christ Canterbury, England and in the Cathedral Church of Saint Peter and Paul (National Cathedral) in Washington, D.C. The center of the Compass Rose contains the cross of St. George. The text surrounding the central cross is in Greek. It translates as: “The truth will set you free.” The points of a compass reflect the spread of the Anglican Christianity throughout the world. The mitre at the top indicates the role of Episcopacy and Anglican Order that is the heart of the traditions of the Churches of the Communion. The emblem was originally designed by Canon Edward West of the Cathedral of St. John the Divine, New York.

Canon Edward West

Canon Edward West
Canon Edward West

The Rev. Dr. Edward Nason West (1909-1990) was a theologian, an author, an internationally known iconographer, an expert in the design of church furnishings, and an authority on liturgical art. As Canon Sacrist he presided over and organized all ceremonies large and small for more than 40 years. His ashes lie below the Compass Rose. The Archbishop of Canterbury dedicated the Compass Rose on September 20, 1992.

“At the service, Dean Morton told a story about the time he asked Canon West where he’d like his final resting place to be. West, who served under five different bishops at the cathedral, replied ‘Just put me where the bishops can still walk all over me.’ So there he lies where the grand liturgical processions he was so skilled at orchestrating do, in fact, walk all over him.”

– Tom Fedorek, Senior Guide

The Pavement

Choir Pavement
Choir Pavement – Compass Rose now in center

Unique stones from around the world make up the Choir pavement. The risers of the steps leading from the Crossing to the Choir are of yellow Numidian marble (Algiers and Tunis) and the treads of green Pennsylvanian marble. The style of the pavement of the Choir is Romanesque and Byzantine. It contains inlays with Numidian, Swiss and other marbles and Grueby Faience tiles. The steps to the Presbytery are marble from Hauteville, France.

In the center of the floor of the Presbytery is a beautiful mosaic “rug” of tiles and stones. It is 32 1/2 feet long and 10 feet wide with smaller patterns at the ends. Black Belgian marble surrounded by Italian violet marble created the central oval. This is now the placement for the Compass Rose. Grueby tiles of many colors and Grecian, red Numidian and other marbles form the rest of the design.

  • John Barton, AIA
  • New York Times, Jan 5, 1990, Edward West, Retired Canon And Author, 80
  • Guide to the Cathedral, Hall, 1928
  • Tom Fedorek, Senior Guide, Cathedral of St. John the Divine.
Categories
Divine Stone

John Evans & Company

John Evans and crew in St. Paul, MN
Evans & Tombs crew on location in St.Paul, MN, Circa 1889. John Evans can be seen in background, seated at a small table.

John Evans (1847-1923) was born in Caernarvon, Wales. He trained as a stone carver under his father in England before arriving in New York in 1872. After a year in Chicago after the big fire he returned to the East. He settled in Boston in 1873. Initially Evans worked out of his house and studio near Copley Square. In 1880 he moved to a studio/shop on Huntington Avenue and joined in business with carpenter and wood carver Richard J. Tombs. The company initially known as Evans and Tombs became the John Evans & Company in 1890. Later the firm became John Evans & Son. His reputation as the finest carver of his time was widespread. Evans became one of the country’s leading wood and stone carvers and modelers. As a result, the firm specialized in ecclesiastical commissions. His services were in demand by the most prominent architectural firms of the day.

The architect Ralph Adams Cram knew well of Evans’ firm. Evans had a professional partnership with Henry Hobson Richardson from 1873 until Richardson’s death in 1886. Richardson’s successor firm continued to use the John Evans Company. Cram valued craftsmen who could carry out his designs whether in stained glass, stone, wood or textiles.

Synod House

The firm of Cram, Goodhue & Ferguson finished the design for Synod Hall in 1912. This was to be the first of the Cathedral’s auxiliary buildings. Furthermore, the building’s site had a prominent position facing Amsterdam Avenue like the Cathedral itself. The auditorium would provide seating for over 1,000 and the building would house committee and conference rooms as well as Bishop’s offices.

Synod Hall Proposed

The Gothic Revival style Synod House is clad in a unique quartzite from Kingwood, West Virginia. It also features a steeply pitched roof covered in slate. Buttresses flank inset arches pierced by doors and windows, lancet-arched windows, turrets, label lintels, and a central gabled section having monumental arches. Cram indicated he…

” wanted to make this Hall the most beautiful thing in New York…with a color combination that would be unique, and at the same time strikingly beautiful.”

– Ralph Adams Cram

Train loaded with Kingwood Quartzite
A train load of the Kingwood Antique Yellow Quartzite for the new Synod House of the Cathedral of St. John the Divine – Image Stone Magazine, 1912
Kingwood Stone Quarry Ad

Evans’ Carvings

The Synod House front facade is elaborate and highly ornamented. The projecting Gothic arched entrance portal’s carvings are the work of the John Evans & Company.

Synod House Facade Carved by John Evans & Company
Synod House Entrance

The archivolts contain three ranges of 36 figures that illustrate the progress of civilization and Christianity. Accordingly, the Apostles of Christianity, the arts and sciences, and crafts and industries are portrayed. In the tympanum are relief figures of Christ sending his disciples to preach. Flanking the entrance doors are seven figures of famous Christian rulers, including George Washington in the center.

John Evans & Company
Synod House Entrance Figures Explaned
Cram as the Architect on archivolt of Synod House
The “Architecture” archivolt uses Ralph Adams Cram as the model.

The official completion of Synod house was May of 1914.

The Potter Memorial Pulpit

The pulpit, designed by Henry Vaughn, is near the entrance to the Choir on the Crossing. The dedication took place on Sunday, September 10, 1916. The John Evans Company carved the marble as well as the quarter sawn oak canopy. The stone is Tennessee Marble, “an uncrystalline limestone favorable for very fine work”.

Bishop PotterMemorial Pulpit
The Potter Memorial Pulpit Carved by John Evans and Company – Image courtesy Wayne Kempton, Cathedral Archives

This description is from STONE, Sept. 1916…

“The structure has six sides, and is eleven feet high and fifteen feet long and six and one-half wide. On the upper part are carved these scenes from the life of Christ, enclosed in Gothic portals: The Nativity, Christ questioning the doctors, The Crucifiction, The Resurrection and The Supper at Emmaus. The backgrounds are in bas-relief and depth and space are given to the subjects. Single figures of saints and ecclesiastics stand in small niches at the angles.

On the base between the slender flowered pillars are the symbols of the Evangelists: The angel, the lion, the ox and the eagle. The central column is formed by five flat Gothic portals. The shield of the church and the sacred flowers ornament the lowest part of the base. Statues of St. John the Baptist and Isaiah stand on the posts of the balustrade of pierced tracery. The faces of all of the figures have an animation which is not often found in modern church sculpture. The sounding board is carved in exquisite Gothic ornaments.

Amidst the grandeur of the Cathedral, this intricately carved pulpit is worth a close-up look.

The Historical Parapet

The Historical Parapet or Choir Parapet is at the entrance to the Choir. John Evans & Co. carved the figures. Symbolically, it represents outstanding characters of the 20 centuries of the Christian Era. Cram & Ferguson designed the Parapet. Installation occurred in 1923.

Febo Ferrari (1865-1949) modeled the first 19 figures. Ferrari was born in Italy and later studied at the Royal Academy of Art in Turin. He worked in Paris and Buenos Aires until he came to America in 1903. He had a studio in New Haven, Conn.

It is in two sections, one on each side of the steps leading from the Crossing to the Choir. Each section of the Parapet is 18 1/2 feet long and 4 feet high. The main stone used is Champville marble from France. The overall style is French Gothic.

Choir Parapet South Half
Columbia University Libraries
Choir Parapet North Half
Columbia University Libraries

The 20th stone remained uncarved until the end of the Twentieth Century. Eventually, the committee chose four individuals to represent the most recent century. Chris Pellettieri was to do that carving.

The Open Air Pulpit

The Open Air Pulpit stands in the midst of the Cathedral Close. Specifically it is an open work Gothic spire 40 feet high. The pulpit carving is of Daytona Stone. The usual symbols of the four evangelists appear on its four sides. It is purported to be a work of the John Evans Company. No installation date is available.

Open Air Pulpit Carved by The John Evans Company
Open Air Pulpit Carved by the John Evans Company

John Evans – Carver, Modeler, Teacher

Evans’ architectural sculptures in stone are numerous, including many in granite. He worked in wood as well as being one of the very few names associated with carved brick. By the mid 1880’s his time was eventually spent in modeling works that would be executed by others in his employ.

Over his career Evans employed a large number of young craftsmen in his studio. Without doubt he was a strong supporter of the apprenticeship system. He worked to spread his craft outside the studio as well. In 1877 he became director of the School of Modeling and Sculpture at Boston’s Museum of Fine Art, teaching both men and women. Twenty years later he would go on to oversee a system of workshops for the first Society of Arts and Crafts in America. He and his partner Richard Tombs were both founding members.

For nearly five decades, Evans engaged in stonework on hundreds of buildings in the East and Midwest. Those of national importance are, of course, St. John The Divine as well as Washington Cathedral and Trinity Church, Boston. Upon his passing, many acts of personal kindness were noted by the local union’s Corresponding Secretary. This is recorded in the Stone Cutters Journal.

  • Stone Cutters Journal, Vol. 37, No. 1
  • STONE magazine, Sept. 1916
  • American Architect, Dec. 17, 1913; April 3, 1912
  • Architecture and Building, Synod Hall, Nov., 1913
  • Cathedral Church of Saint John the Divine and the Cathedral Close, Designation Report, NYC Landmarks Preservation Commission, Feb 21, 2017
  • Charitably Speaking, Massachusetts Charitable Mechanic Association, MCMA History – John Evans, Author-John Moriarty, December, 2013
  • John Evans (1847-1923) and Architectural Sculpture in Boston, Ann Clifford, 1992
  • Architectural Record, July 1, 1896
  • Lincoln Financial Foundation Collection
  • Columbia University Libraries
Categories
Profiles in Stone

“Jeep” Kincannon

"Jeep" Kincannon
Jeep Kincannon Carving a Grotesque – Photo Robert F Rodriguez

(This is an encore post following Robert F. Rodriguez’ article on the Kincannon brothers. – The original post appeared December 22, 2021 and was written by Joseph Kincannon.-RM)

Jeep, or rather D’Ellis Kincannon, started his apprenticeship in the stoneyard in 1980 after working in the Cathedral mail room for a year. He came to NYC to go to art school, but found it wasn’t for him. When the stone yard program started up it seemed a perfect fit, and it was.

He excelled as a banker mason. I think it’s fair to say that he and Jose (Tapia) were the top stone cutters. The Cathedral showcased their work for fundraising purposes. They were featured in multiple magazines and news publications.

Dean Morton reminisces about the Stoneyard
Dean James Parks Morton reminiscing about the stunning pinnacle carved by D’Ellis Kincannon during a video inerview on Nov. 19, 2015 at the Interchurch Center in New York City. – Image Robert F. Rodriguez

The Banker Mason

Jeep was also one of the first few to apprentice under Chris Hannaway. He had the highest regard for Chris and was disappointed to see him return to England. He often made reference to Chris’ mastery in banker masonry and anything stone related. Jeep’s prize possession was an old mallet that Chris had given him from his early days in Liverpool.

"Jeep" Kincannon
D’Ellis “Jeep” Kincannon carves a sill skeleton bed mould base on April 13, 1981 – Photo Robert F. Rodriguez
Chris Hannaway's Mallet
Jeep Kincannon’s mallet, from Chris Hannaway -Photo Joseph Kincannon

Master Builder James Bambridge was impressed enough with D’Ellis’ work to once state that “his masonry is as perfect as if it had been poured into a mold”. It was obvious that this discipline was one that Jeep immediately embraced. He also had a gift for drafting and setting out. He was a natural at perceiving 3-dimensional intersections.

"Jeep" Kincannon
Jeep’s Pinnacle Carving, Image – Robert F. Rodriguez

To advance Jeep’s skills even further, the Cathedral sent him to the Bath School for Architectural Trades in England. This was very rewarding for Jeep as he completely immersed himself in the trade. Aside from the school, he was taken aback at finding himself in a city that the Romans had built, in part. He was also astounded that one of the local pubs had been in operation since the “Black Death”. This place became a regular haunt for Jeep and many of the other students.

After a year, Jeep returned to NYC and continued working as a banker mason. By this time, Alan Bird had replaced Chris Hannaway and the yard was humming along. Later Jeep advanced into the setting-out shop with fellow apprentice, Cynie Linton. He had real misgivings about leaving banker masonry. I remember him grumbling despite the promotion.

The Setting-Out Shop

Jeep and Cynie worked directly with James Bambridge transferring the original architect’s drawings into full-scale tower drawings that would later be numbered and patterned into various zinc templates for the banker masons’ shop. The masons used to laugh when he would step in to help an apprentice understand the complex templates. “Uh oh, Jeep’s got that look on his face!” This is not a look you wanted to see, as it usually meant an irretrievable mistake had been made in the stone work. If you had trouble understanding the templates he and Cynie were the ones to see.

"Jeep" Kincannon
Jeep Kincannon Setting-out templates for an Ornate Gablet. Image Smithsonian Magazine

As things slowed down in the setting-out shop, a new opportunity arose; a competition for the new carving apprenticeship under the tutelage of Nick Fairplay. Jeep scored in the top five. He served his three years and was later appointed as head carver. During this period, he contributed many celebrated carvings to the tower. Jeep continued on in that position for a year until he was positioned as the head of the drafting and setting-out department.

As Chief Draftsman, Jeep also worked on the tower with Master Mason Steve Boyle, for whom he had the greatest respect. Boyle was not one to embrace the limelight and Jeep ofter commented on how he was the unsung hero who quietly puzzled together the massive stones on the tower, a truly monumental task.

Working on the Tower

"Jeep" Kincannon with Angel Escobar
Jeep Kincannon with Angel Escobar up on the Southwest Tower. – Photo courtesy Joseph Kincannon

Steve relayed a story about how instrumental Jeep was in the setting of the first course of stonework:

“It should be mentioned that Jeep deserves credit for the tower actually fitting on the building. Delays in scaffold erection meant that the first stones that we laid were rather hurriedly positioned. The deadline for the installation of the Jerusalem Stone rapidly approached. The setting of this historic cornerstone included a well-publicized ceremony featuring high wire aerialist, Philippe Petit delivering a silver trowel to the Bishop of New York for the official blessing. Since the scaffolding was only partially in place, it hadn’t been possible to lay out all of the building lines as planned before Bambridge had to return to the UK.

This was alarming to me at the time as it meant this task might fall to me. Sure enough, as we began to set more stone it was clear that the first stones had been set too far over to the North resulting in the new stone overhanging by about a half inch. I called Bambridge in the U.K. and he told me I would have to do the setting out. He understood my uneasiness, but told me I could always rely on Jeep for help with this and he was right. Jeep had a thorough understanding of the whole project by this time and knew exactly what to do. Great thanks to him; everything ended up where it was supposed to be”

-Master Mason Stephen Boyle

Cathedral Stoneworks

In 1989, he stepped away from drafting to join the carving team working on the West Front. Work on the Central Portal statuary had recently resumed under the direction of Simon Verity. For Jeep, the carving ended too soon. The Jewish Museum awarded a major contract to the stoneyard. It was an early 20th Century Gothic Revival building on 5th Avenue. The drafting department was about to become a very busy place.

This was the beginning of a new era. A commercial venture was underway with the goal of replenishing the depleted Cathedral coffers by taking on independent projects. It was a good effort, but the partnership with Cathedral Stoneworks ultimately marked the end of the tower project and any dream of completing the Cathedral. Jeep continued working as Chief Draftsman until he left in 1993.

He Wore Many Hats

He was one of the few who wore most of the hats available in the Cathedral stone yard. Those hats included sawyer, estimator, banker mason, setting-out, stone carver and fixer mason (on the tower). He would laugh and say that the only job he didn’t do was to run the planer. That position belonged to Nelson Otero, and to only Nelson Otero.

D’Ellis often expressed his admiration for other modest people who produced great stone work for the tower. He often referred to Yves Pierre and Angel Escobar. He once said that “The very first time Angel picked up a chisel, he knew what to do with it. And, it was a little unnerving.” These guys were natural stone cutters, but not inclined to talk in front of the T.V. cameras.

Beyond the Cathedral, he would spend the next eight years teaching, designing, cutting and carving stone on large public and private projects with Kincannon Studios in Texas until his death in 2001. I can say that throughout this period, as busy as we were, he was ready to drop everything and return to NYC if the team reunited to finish the tower. There’s no doubt about that.

Jeep Kincannon
Dragon by D’Ellis Kincannon – Photo by Robert F. Rodriguez

  • The author of this post, Joseph Kincannon, is the younger brother of D’Ellis “Jeep” Kincannon. Joseph is a teacher and architectural sculptor. Professor Kincannon is the Chair of Stone Carving at the American College of Building Arts.