MISSION ARCHITECTURE
The question is often asked: Is there a Mission architecture? It is not
my intention here to discuss this question _in extenso_, but merely to
answer it by asking another and then making an affirmation. What is it
that constitutes a style in architecture? It cannot be that every
separate style must show different and distinct features from every
other style. It is not enough that in each style there are specific
features that, when combined, form an appropriate and harmonious
relationship that distinguishes it from every other combination.
As a rule, the Missions were built in the form of a hollow square: the
church representing the _fachada_, with the priests' quarters and the
houses for the Indians forming the wings. These quarters were generally
colonnaded or cloistered, with a series of semicircular arches, and
roofed with red tiles. In the interior was the _patio_ or court, which
often contained a fountain and a garden. Upon this _patio_ opened all
the apartments: those of the fathers and of the majordomo, and the
guest-rooms, as well as the workshops, schoolrooms and storehouses.
One of the strongest features of this style, and one that has had a wide
influence upon our modern architecture, is the stepped and curved sides
of the pediment.
This is found at San Luis Rey, San Gabriel, San Antonio de Padua, Santa
Inés, and at other places. At San Luis Rey, it is the dominant feature
of the extension wall to the right of the _fachada_ of the
main building.
On this San Luis pediment occurs a lantern which architects regard as
misplaced. Yet the fathers' motive for its presence is clear: that is,
the uplifting of the Sign whereby the Indians could alone find
salvation.
Another means of uplifting the cross was found in the domes--practically
all of which were terraced--on the summits of which the lantern and
cross were placed.
The careful observer may note another distinctive feature which was
seldom absent from the Mission domes. This is the series of steps at
each "corner" of the half-dome. Several eminent architects have told me
that the purpose of these steps is unknown, but to my simple lay mind it
is evident that they were placed there purposely by the clerical
architects to afford easy access to the surmounting cross; so that any
accident to this sacred symbol could be speedily remedied. It must be
remembered that the fathers were skilled in reading some phases of the
Indian mind. The knew that an accident to the Cross might work a
complete revolution in the minds of the superstitious Indians whose
conversion they sought. Hence common, practical sense demanded speedy
and easy access to the cross in case such emergency arose.
It will also be noticed that throughout the whole chain of Missions the
walls, piers and buttresses are exceedingly solid and massive, reaching
even to six, eight, ten and more feet in thickness. This was undoubtedly
for the purpose of counteracting the shaking of the earthquakes, and the
effectiveness of this method of building is evidenced by the fact that
these old adobe structures still remain (even though some are in a
shattered condition, owing to their long want of care) while later and
more pretentious buildings have fallen.
From these details, therefore, it is apparent that the chief features of
the Mission style of architecture are found to be as follows:
1. Solid and massive walls, piers and buttresses.
2. Arched corridors.
3. Curved pedimented gables.
4. Terraced towers, surmounted by a lantern.
5. Pierced Campanile, either in tower or wall.
6. Broad, unbroken, mural masses.
7. Wide, overhanging eaves.
8. Long, low, sloping roofs covered with red clay tiles.
9. Patio, or inner court.
In studying carefully the whole chain of Missions in California I found
that the only building that contains all these elements in harmonious
combination is that of San Luis Rey. Hence it alone is to be regarded as
the typical Mission structure, all the others failing in one or more
essentials. Santa Barbara is spoiled as a pure piece of Mission
architecture by the introduction of the Greek engaged columns in the
_fachada._ San Juan Capistrano undoubtedly was a pure "type" structure,
but in its present dilapidated condition it is almost impossible to
determine its exact appearance.
San Antonio de Padua lacks the terraced towers and the pierced
campanile. San Gabriel and Santa Inés 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.