San Antonio de Padua lacks the terraced towers and the pierced

campanile. San Gabriel and Santa Ines also have no towers, though both
have the pierced campanile. And so, on analysis, will all the Missions
be found to be defective in one or more points and therefore not
entitled to rank as "type" structures.

As an offshoot from the Mission style has come the now world-famed and
popular California bungalow style, which appropriates to itself every
architectural style and no-style known.

But California has also utilized to a remarkable degree in greater or
lesser purity the distinctive features of the Mission style, as I have
above enumerated them, in modern churches, hospitals, school-houses,
railway depots, warehouses, private residences, court-houses,
libraries, etc.

[Illustration: HIGH SCHOOL, RIVERSIDE, CALIF. In modern Mission
architecture.]

[Illustration: WALL DECORATIONS ON OLD MISSION CHAPEL OF SAN ANTONIO DE
PALA.]

[Illustration: ARCHES AT GLENWOOD MISSION INN, RIVERSIDE, CALIF.]

Of greater importance, however, than the development of what I regard
as a distinct style of architecture, is the development of the Mission
_spirit_ in architecture. Copying of past styles is never a proof of
originality or power. The same spirit that led to the creation of the
Mission Style,--the creative impulse, the originality, the vision, the
free, imaginative power, the virility that desires expression and
demands objective manifestation,--_this_ was fostered by the Franciscan
architects. This spirit is in the California atmosphere. A considerable
number of architects have caught it. Without slavish adherence to any
style, without copying anything, they are creating, expressing, even as
did the Franciscan padres, beautiful thoughts in stone, brick, wood and
reinforced concrete. In my _magnum opus_ on _Mission Architecture_,
which has long been in preparation, I hope clearly to present not only
the full details of what the padres accomplished, but what these later
creative artists, impelled by the same spirit, have given to the world.



CHAPTER XXXIV

THE GLENWOOD MISSION INN

It is an incontrovertible fact that no great idea ever rests in its own
accomplishment. There are offshoots from it, ideas generated in other
minds entirely different from the original, yet dependent upon it for
life. For instance, which of the Mission fathers had the faintest
conception that in erecting their structures under the adverse
conditions then existing in California, they were practically
originating a new style of architecture; or that in making their crude
and simple chairs, benches and tables they were starting a revolution in
furniture making; or that in caring for and entertaining the few
travelers who happened to pass over _El Camino Real_ they were to
suggest a name, an architectural style, a method of management for the
most unique, and in many respects the most attractive hotel in the
world. For such indeed is the Glenwood Mission Inn, at Riverside,
California, at this present time.

This inn is an honest and just tribute to the influence of the Old
Mission Fathers of California, as necessary to a complete understanding
of the far-reaching power of their work as is _El Camino Real_, the
Mission Play, or the Mission Style of architecture. After listening to
lectures on the work of the Franciscan padres and visiting the Missions
themselves, its owners, Mr. and Mrs. Frank Miller, humanely interested
in the welfare of the Mission Indians, collectors of the handicrafts of
these artistic aborigines, and students of what history tells us of
them, began, some twenty-five years ago, to realize that in the Mission
idea was an ideal for a modern hotel. Slowly the suggestion grew, and as
they discussed it with those whose knowledge enabled them to appreciate
it, the clearer was it formulated, until some ten or a dozen years ago
time seemed ripe for its realization. Arthur B. Benton, one of the
leading architects of Southern California, formulated plans, and the
hotel was erected. Its architecture conforms remarkably to that of the
Missions. On Seventh Street are the arched corridors of San Fernando,
San Juan Capistrano, San Miguel and San Antonio de Padua; inside is an
extensive patio and the automobiles stop close to the Campanile
reproducing the curved pediments of San Gabriel. On the Sixth Street
side is the _fachada_ of Santa Barbara Mission, and over the corner of
Sixth and Orange Streets is the imposing dome of San Carlos Borromeo in
the Carmelo Valley, flanked by buttresses of solid concrete, copies of
those of San Gabriel.

The walls throughout are massive and unbroken by any other lines than
those of doors, windows and eaves, and the roofs are covered with red
tiles. In the Bell Tower a fine chime of bells is placed the playing of
which at noon and sunset recalls the matins and vespers of the
Mission days.

Within the building, the old Mission atmosphere is wonderfully
preserved. In the Cloister Music Room the windows are of rare and
exquisite stained glass, showing St. Cecilia, the seats are cathedral
stalls of carved oak; the rafters are replicas of the wooden beams of
San Miguel, and the balcony is copied from the chancel rail of the same
Mission. Mission sconces, candelabra, paintings, banners, etc., add to
the effect, while the floor is made in squares of oak with mahogany
parquetry to remind the visitor of the square tile pavements found in
several of the old Missions.

Daily--three times--music is called forth from the cathedral organ and
harp, and one may hear music of every type, from the solemn, stately
harmonies of the German choral, the crashing thunders of Bach's fugues
and Passion music, to the light oratorios, and duets and solos of
Pergolesi.

By the side of the Music Room is the Cloistered Walk, divided into
sections, in each of which some distinctive epoch or feature of Mission
history is represented by mural paintings by modern artists of skill and
power. The floor is paved with tiles from one of the abandoned Missions.

[Illustration: TOWER, FLYING BUTTRESSES, ETC., GLENWOOD MISSION INN,
RIVERSIDE.]

[Illustration: ARCHES OVER THE SIDEWALK, GLENWOOD MISSION INN,
RIVERSIDE, CALIF.]

[Illustration: RESIDENCE OF FRED MAIER, LOS ANGELES, CALIF.]

[Illustration: WASHINGTON SCHOOL, VISALIA, CALIF.]

Beyond is the Refectorio, or dining-room of an ancient Mission,
containing a collection of kitchen and dining utensils, some of them
from Moorish times. It has a stone ceiling, groined arches, and harvest
festival windows, which also represent varied characters, scenes,
industries and recreations connected with old Mission life.

Three other special features of the Mission Inn are its wonderful
collection of crosses, of bells, and the Ford paintings. Any one of
these would grace the halls of a national collection of rare and
valuable antiques. Of the crosses it can truthfully be said that they
form the largest and most varied collection in the world, and the bells
have been the subject of several articles in leading magazines.

The Ford paintings are a complete representation of all the Missions and
were made by Henry Chapman Ford, of Santa Barbara, mainly during the
years 1880-1881, though some of them are dated as early as 1875.

The Glenwood Mission Inn proved so popular that in the summer and fall
of 1913 two new wings were added, surrounding a Spanish Court. This
Court has cloisters on two sides and cloistered galleries above, and is
covered with Spanish tile, as it is used for an open air dining-room.
One of the new wings, a room 100 feet long by 30 feet wide, and three
stories high, with coffered ceiling, is a Spanish Art Gallery. Here are
displayed old Spanish pictures and tapestries, many of which were
collected by Mr. Miller personally on his European and Mexican trips.

At the same time the dining-room was enlarged by more than half its
former capacity, one side of it looking out through large French windows
on the cloisters and the court itself. This necessitated the enlargement
of the kitchen which is now thrown open to the observation of the guests
whenever desired.

Taking it all in all, the Glenwood Mission Inn is not only a unique and
delightful hostelry, but a wonderful manifestation of the power of the
Franciscan friars to impress their spirit and life upon the commercial
age of a later and more material civilization.



CHAPTER XXXV

THE INTERIOR DECORATIONS OF THE MISSIONS

We cannot to-day determine how the Franciscans of the Southwest
decorated the interiors of all their churches. Some of these buildings
have disappeared entirely, while others have been restored or renovated
beyond all semblance of their original condition. But enough are left to
give us a satisfactory idea of the labors of the fathers and of their
subject Indians. At the outset, it must be confessed that while the
fathers understood well the principles of architecture and created a
natural, spontaneous style, meeting all obstacles of time and place
which presented themselves, they showed little skill in matters of
interior decoration, possessing neither originality in design, the taste
which would have enabled them to become good copyists, nor yet the
slightest appreciation of color-harmony. In making this criticism, I do
not overlook the difficulties in the way of the missionaries, or the
insufficiency of materials at command. The priests were as much hampered
in this work as they were in that of building. But, in the one case,
they met with brilliant success; in the other they failed. The
decorations have, therefore, a distinctly pathetic quality. They show a
most earnest endeavor to beautify what to those who wrought them was the
very house of God. Here mystically dwelt the very body, blood, and
reality of the Object of Worship. Hence the desire to glorify the
dwelling-place of their God, and their own temple. The great distance in
this case between desire and performance is what makes the result
pathetic. Instead of trusting to themselves, or reverting to first
principles, as they did in architecture, the missionaries endeavored to
reproduce from memory the ornaments with which they had been familiar in
their early days in Spain. They remembered decorations in Catalonia,
Cantabria, Mallorca, Burgos, Valencia, and sought to imitate them;
having neither exactitude nor artistic qualities to fit them for their
task. No amount of kindliness can soften this decision. The results are
to be regretted; for I am satisfied that, had the fathers trusted to
themselves, or sought for simple nature-inspirations, they would have
given us decorations as admirable as their architecture. What I am
anxious to emphasize in this criticism is the principle involved.
Instead of originating or relying upon nature, they copied without
intelligence. The rude brick, adobe, or rubble work, left in the rough,
or plastered and whitewashed, would have been preferable to their
unmeaning patches of color. In the one, there would have been rugged
strength to admire; in the other there exists only pretense
to condemn.

[Illustration: THE OLD ALTAR AT THE CHAPEL OF SAN ANTONIO DE PALA.
Showing original wall decorations prized by the Indians.]

[Illustration: ALTAR AND INTERIOR OF CHAPEL OF SAN ANTONIO DE PALA,
AFTER REMOVAL OF WALL DECORATIONS PRIZED BY INDIANS.]

After this criticism was written I asked for the opinion of the learned
and courteous Father Zephyrin, the Franciscan historian. In reply the
following letter was received, which so clearly gives another side to
the matter that I am glad to quote it entire:

"I do not think your criticism from an artistic view is too
severe; but it would have been more just to judge the
decorations as you would the efforts of amateurs, and then to
have made sure as to their authors.

"You assume that they were produced by the padres themselves.
This is hardly demonstrable. They probably gave directions,
and some of them, in their efforts to make things plain to
the crude mind of the Indians, may have tried their hands at
work to which they were not trained any more than clerical
candidates or university students are at the present time;
but it is too much to assume that those decorations give
evidence even of the taste of the fathers. In that matter, as
in everything else that was not contrary to faith or morals,
they adapted themselves to the taste of their wards, or very
likely, too, to the humor of such stray 'artists' as might
happen upon the coast, or whom they might be able to import.
You must bear in mind that in all California down to 1854
there were no lay-brothers accompanying the fathers to
perform such work as is done by our lay-brothers now, who can
very well compete with the best of secular artisans. The
church of St. Boniface, San Francisco, and the church of St.
Joseph, Los Angeles, are proof of this. Hence the fathers
were left to their own wits in giving general directions, and
to the taste of white 'artists,' and allowed even Indians to
suit themselves. You will find this all through ancient
Texas, New Mexico, and Arizona. The Indians loved the gaudy,
loud, grotesque, and as it was the main thing for the fathers
to gain the Indians in any lawful way possible, the taste of
the latter was paramount.

"As your criticism stands, it cannot but throw a slur upon
the poor missionaries, who after all did not put up these
buildings and have them decorated as they did for the benefit
of future critics, but for the instruction and pleasure of
the natives. Having been an Indian missionary myself, I acted
just so. I have found that the natives would not appreciate a
work of art, whereas they prized the grotesque. Well, as long
as it drew them to prize the supernatural more, what
difference did it make to the missionary? You yourself refer
to the unwise action of the Pala priest in not considering
the taste and the affection of the Indians."

Another critic of my criticism insists that, "while the Indians, if left
to themselves, possess harmony of color which seems never to fail, they
always demand startling effects from us." This, I am inclined to
question. The Indians' color-sense in their basketry is perfect, as also
in their blankets, and I see no reason for the assumption that they
should demand of us what is manifestly so contrary to their own natural
and normal tastes.

[Illustration: ALTAR AND CEILING DECORATIONS, MISSION SANTA INES.]

[Illustration: INTERIOR OF MISSION SAN FRANCISCO DE ASIS, SHOWING MURAL
AND CEILING DECORATIONS.]

It must, in justice to the padres, be confessed that, holding the common
notions on decoration, it is often harder to decorate a house than it
is to build it; but why decorate at all? The dull color of the natural
adobe, or plaster, would have at least been true art in its simple
dignity of architecture, whereas when covered with unmeaning designs in
foolish colors even the architectural dignity is detracted from.

One writer says that the colors used in these interior decorations were
mostly of vegetable origin and were sized with glue. The yellows were
extracted from poppies, blues from nightshade, though the reds were
gained from stones picked up from the beach. The glue was manufactured
on the spot from the bones, etc., of the animals slaughtered for food.

As examples of interior decoration, the Missions of San Miguel Arcangel
and Santa Ines are the only ones that afford opportunity for extended
study. At Santa Clara, the decorations of the ceiling were restored as
nearly like the original as possible, but with modern colors and
workmanship. At Pala Chapel the priest whitewashed the mural distemper
paintings out of existence. A small patch remains at San Juan Bautista
merely as an example; while a splashed and almost obliterated fragment
is the only survival at San Carlos Carmelo.

At San Miguel, little has been done to disturb the interior, so that it
is in practically the same condition as it was left by the padres
themselves. Fr. Zephyrin informs me that these decorations were done by
one Murros, a Spaniard, whose daughter, Mrs. McKee, at the age of over
eighty, is still alive at Monterey. She told him that the work was done
in 1820 or 1821. He copied the designs out of books, she says, and none
but Indians assisted him in the actual work, though the padres were
fully consulted as it progressed.

At Santa Barbara all that remains of the old decorations are found in
the reredos, the marbleizing of the engaged columns on each wall and the
entrance and side arches. This marble effect is exceedingly rude, and
does not represent the color of any known marble.

In the old building of San Francisco the rafters of the ceiling have
been allowed to retain their ancient decorations. These consist of
rhomboidal figures placed conventionally from end to end of
the building.

At Santa Clara, when the church was restored in 1861-1862, and again in
1885, the original decorations on walls and ceiling were necessarily
destroyed or injured. But where possible they were kept intact; where
injured, retouched; and where destroyed, replaced as near the original
as the artist could accomplish. In some cases the original work was on
canvas, and some on wood. Where this could be removed and replaced it
was done. The retouching was done by an Italian artist who came down
from San Francisco.

[Illustration: INTERIOR OF MISSION SAN MIGUEL FROM THE CHOIR GALLERY.]

[Illustration: ARCHES, SOUTHERN PACIFIC RAILWAY DEPOT, SANTA BARBARA,
CALIF.]

[Illustration: FACHADA OF MISSION CHAPEL AT LOS ANGELES.]

On the walls, the wainscot line is set off with the sinuous body of the
serpent, which not only lends itself well to such a purpose of
ornamentation, but was a symbolic reminder to the Indians of that old
serpent, the devil, the father of lies and evil, who beguiled our first
parents in the Garden of Eden.

In the ruins of the San Fernando church faint traces of the decorations
oL the altar can still be seen in two simple rounded columns, with
cornices above.

At San Juan Capistrano, on the east side of the quadrangle, in the
northeast corner, is a small room; and in one corner of this is a niche
for a statue, the original decorations therein still remaining. It is
weather-stained, and the rain has washed the adobe in streaks over some
of it; yet it is interesting. It consists of a rude checkerboard design,
or, rather, of a diagonal lozenge pattern in reds and yellows.

There are also a few remnants of the mural distemper paintings in the
altar zone of the ruined church.



CHAPTER XXXVI

HOW TO REACH THE MISSIONS

SAN DIEGO. From Los Angeles to San Diego, Santa Fe Railway, 126 miles,
one way fare $3.85; round trip $5.00, good ten days; or $7.00, good 30
days, with stop-over privileges at Oceanside, which allows a visit to
San Luis Rey and Pala (via Oceanside) and San Juan Capistrano. Or
steamship, $3.00 and $2.25; round trip, first class, $5.25. The Mission
is six miles from San Diego, and a carriage must be taken all the way,
or the electric car to the bluff, fare five cents; thence by Bluff Road,
on burro, two miles, fare fifty cents. The better way is to drive by Old
Town and return by the Bluff Road.

SAN LUIS REY. From Los Angeles to Oceanside, Santa Fe Railway, 85 miles,
fare $2.55; round trip, ten days, $4.60. Take carriage from livery, or
walk to Mission, 4 miles. The trip to Pala may be taken at the same
time, though sleeping accommodations are uncertain at Pala. Meals may be
had at one or two of the Indian houses, as a rule.

SAN JUAN CAPISTRANO. From Los Angeles to Capistrano, Santa Fe Railway,
58 miles, fare $1.70. The Mission is close to the station. Hotel
accommodations are poor.

SAN GABRIEL. From Los Angeles to San Gabriel, Southern Pacific Railway,
8 miles, fare 25 cents. Or Pacific electric car from Los Angeles,
25 cents.

SAN FERNANDO. From Los Angeles to San Fernando, Southern Pacific
Railway, 21 miles, fare 65 cents. Thence by carriage or on foot or
horseback to the Mission, 1 1/2 miles. Livery and hotel at San Fernando.

SAN BUENAVENTURA. From Los Angeles to San Buenaventura, Southern Pacific
Railway, 76 miles, fare $2.30. Or steamship, $2.35, special, Saturday to
Monday, $3.00 round trip. Electric cars from Southern Pacific Station
pass the Mission.

SANTA BARBARA. From Los Angeles to Santa Barbara, Southern Pacific
Railway, fare $3.15; special round trip, Saturday to Monday, $3.50. From
San Francisco to Santa Barbara, 370 miles, Southern Pacific Railway,
fare $13.40 and $11.65. Street car passes the Mission.

SANTA INES. This is not on the line of any railway. It can be reached
from Santa Barbara, 25 miles, by carriage, or from Los Olivos, four
miles, by stage. Los Olivos is on the line of the Pacific Coast Railway.
To reach it take Southern Pacific Railway to San Luis Obispo, change
cars. It is then 66 miles to Los Olivos, fare $3.00. The better way is
to go by Southern Pacific to Lompoc, take carriage and visit the site
of Old La Purisima, then Purisima, then drive to Santa Ines and return.
With a good team this can be done in a day. Distance 25 miles.

LA PURISIMA CONCEPCION. Go to Lompoc on the coast line of the Southern
Pacific either from Los Angeles (181 miles, $5.60) or San Francisco (294
miles, $9.35). Carriage from livery to the ruins of Old Purisima, thence
to the later one, five miles.

SAN LUIS OBISPO. Southern Pacific Railway from either Los Angeles (222
miles, $6.70) or San Francisco (253 miles, $7.30), or steamship to Port
Hartford and the Pacific Coast Railway, 211 miles, $6.50. The Mission is
in the town.

SAN MIGUEL. The Mission is but a few rods from the Southern Pacific
Station, reached either from Los Angeles (273 miles, $8.05) or San
Francisco (208 miles, $5.95). By far the better way, however, is to go
to Paso Robles, where one can bathe in the Hot Springs so noted even in
Indian days, while enjoying the hospitalities of one of the best hotels
on the Pacific Coast. Carriages may be secured from one of the livery
stables. From here visit Santa Isabel Ranch and Hot Springs (which used
to belong to San Miguel), then drive 16 miles to San Miguel. On account
of the completeness of its interior decorations, this is, in many
respects, especially to the student, the most interesting Mission of the
whole chain.

[Illustration: THE CITY HALL, SANTA MONICA, CALIF.]

[Illustration: MISSION CHAPEL AT LOS ANGELES, FROM THE PLAZA PARK.]

[Illustration: RESIDENCE IN LOS ANGELES, CALIF. Showing influence of
Mission style of architecture.]

SAN ANTONIO DE PADUA. It is a twenty-mile stage ride from King's
City, on the line of the Southern Pacific (216 miles from Los Angeles,
$9.35) to Jolon (fare $2.00), the quaintest little village now remaining
in California, which is practically the gateway to Mission San Antonio
de Padua. At Jolon one secures a team, and, after a six-mile drive
through a beautiful park, dotted on every hand with majestic
live-oaks,--ancient monarchs that have accumulated moss and majesty with
their years,--the ruins of the old Mission come into view. From San
Francisco to King's City is 164 miles, fare $4.65.

LA SOLEDAD. The Mission is four miles from the town of Soledad on the
Southern Pacific Railway. From Los Angeles, 337 miles, fare $9.95. From
San Francisco, 144 miles, fare $4.00. Livery from Soledad to
the Mission.

SAN JUAN BAUTISTA is six miles from Sargent's Station on the Southern
Pacific. Two stages run daily, fare $1.00 for the round trip. Visitors
may be accommodated at the Plaza Hotel, conducted by William Haydon.
From Los Angeles to Sargent's, 394 miles, fare $11.65. From San
Francisco, 87 miles, fare $2.35.

SAN CARLOS BORROMEO, MONTEREY. The old presidio church is in the town of
Monterey, and reached by car-line from Hotel del Monte or the town. San
Carlos Carmelo is about six miles from Monterey, and must be reached by
carriage or automobile. By far the best way is to stop at either Hotel
del Monte or Hotel Carmelo, Pacific Grove, and then on taking the
seventeen-mile drive, make the side trip to San Carlos. To Monterey from
San Francisco, on the Southern Pacific Railway, is 126 miles, fare
$3.00. Friday to Tuesday excursion, round trip, $4.50. From Los Angeles
to Monterey, Southern Pacific Railway, 398 miles, fare $11.45.

SANTA CRUZ. It is well to go from San Francisco on the narrow gauge, 80
miles, Southern Pacific, and return on the broad gauge, 121 miles. Fare
on either line $2.80. On the narrow gauge are the Big Trees, at which an
interesting stop-over can be enjoyed.

SANTA CLARA. While there is a city of Santa Clara it is better to go to
San Jose (the first town established in California), and stay at Hotel
Vendome, and then drive or go by electric car, down the old Alameda to
Santa Clara Mission, 3-1/2 miles.

MISSION SAN JOSE. So called to distinguish it from the city of San Jose.
By Southern Pacific Railway from San Francisco to Irvington, 34 miles,
fare 85 cents. Or from the city of San Jose, 14 miles by Southern
Pacific, or a pleasant carriage drive. From Irvington to the Mission,
three miles, stage twice daily, fare 25 cents.

SAN FRANCISCO DE ASIS is on Sixteenth and Dolores Streets, three miles
from Palace Hotel. Take Valencia or Howard electric cars.

SAN RAFAEL. There is nothing left at San Rafael of the old Mission. The
town is reached by North Pacific Coast Railway, 18 miles, or California
Northwestern, 15 miles, fare 35 cents.

SAN FRANCISCO SOLANO is in the town of Sonoma. Reached by North Pacific
Coast Railway, 43 miles, fare $1.00.


THE END.