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.
HIGH SCHOOL, RIVERSIDE, CALIF.
In modern Mission architecture.
WALL DECORATIONS ON OLD MISSION CHAPEL OF SAN ANTONIO DE
PALA.
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.
